Nose Bleed

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1-10 of 10

Good use of a tricky engine in an emotionally painful game, October 28, 2023

This is a horror game based on the common-to-real-life feeling "Why am I such a mess when everyone else has it together??" Which is really underscored by the chilling ending. (Spoiler - click to show)Learning that everyone else suffers the same thing as the PC, and yet they still have no sympathy and just expect the PC to handle it, was so reminiscent of when you tell someone about a struggle you're facing and their response essentially boils down to "Yeah, that's a problem for everyone, you're not special." There were a few aspects of the game that didn't work for me, but overall I found it a clever use of the Texture engine and an interesting, well-done game.

Oh hey! A metaphor I think I got! One I could apply to life, too!, January 22, 2023

Nose Bleed was my clear favorite of the Texture games I played in IFComp, and I feel it is likely very worth the relatively little time to play through it. The bits that necessitate the content warning are not just there for street cred, too--they provide the right sort of discomfort, not "look how I can gross people out" but more "yeah, I've been there, even if I couldn't have admitted it before I started." The metaphor for the gore is pretty clear. Or, well, the main one I saw.

NB starts off as a "my lousy job" entry (an upper-class one, perhaps, but still lousy) which quickly aims for meaningful absurdism which, from my perspective, hits the mark. There are graphics at the right places, with some sort of vector-ish effect. Given the game's title, it's not too much of a spoiler to mention there are small blood splashes and lines of blood running down. Gritty realism in the blood trails is absent but unnecessary: the trailing line is straight, and the splashes are perfect circles.

This all leads to a puzzle at the end which may feel old hat or a cop-out once Texture is more mature, perhaps the Twine version of "pick the right link in a whoe maze of them." However, since I haven't played many Texture games, it's extremely effective, and if it does become a cliche, I'm glad it wasn't when I played NB. You feel as though you're fumbling in the dark for an escape, and it's the reason a walkthrough is included in the game. Even if you know what to do at the end, you don't quite know what to do.

This makes NB as much more than a "my lousy job" or "I hate my co-workers" fly-by. Details are left out on purpose. You have spontaneous nosebleeds. You try to ignore them. You fail. They stop, soon enough, but the damage is done. Someone notices. They pin you down a bit. They may be a competitor, or a supervisor. There's a flashback. Expensive fabrics are involved. No matter what you do, it feels like you did the wrong thing. You'd like to run away or explain yourself or feel too cool to, but "you are too cowardly to be cowardly."

I've had few nosebleeds in real life, but I've picked a zit at the wrong time and not noticed I'd cut myself shaving until I got to work. Okay, I noticed before, but I thought I'd stopped the blood. But of course the blood in NB isn't just blood. I think we all have that area where we feel completely socially incapable, and we can't shake it, and the narrator does, too. There's that awful secret we don't want revealed, but if we take deliberate steps to cover it, someone could play detective and eventually figure what we were trying to cover. We worry we might be embarrassing others. Or ourselves. And yet, the people most likely to mention we are embarrassing them, well, they seem to be embarrassing us back, right? For me the story built to a very plausible "embarrass or be embarrassed" scenario. It brought to mind a lot of people who could on the one hand say "this hurts me more than it hurts you" and "you're embarrassing yourself more than you're embarrassing me, but it's still too much."

The ending may be open to interpretation, and perhaps it's the sort of surprise twist that isn't a surprise if you've read or played enough, but one part is very clear: the final person berating you spontaneously gets nosebleeds, too. This reminded me of people who said "Oh, X who is mocking you has their problems, too, you know, so don't judge them too harshly." It isn't clear how harshly we should judge X. But certainly there's latitude for saying, enough, already. Some people can't, or they can't point out others' obvious flaws, or don't want to, or it isn't in good taste. Or perhaps X had seemed to learn to deal with their own phobias, with jokes. Or perhaps X was someone on an Internet forum or twitter or wherever who was up front about their social anxiety, so up front they'd note other people didn't have nearly the barriers they did, so you all really need to stop whining for your own good. In any case, the big reveal allowed me to dislike my antagonist without judgment. On replay, I realized that was the sort of person I'd like to be indifferent to, and I've gotten better over the years.

These are my somewhat filtered-for-review thoughts. Nose Bleed's crisp presentation brought moments of where adults may even have told me "X has problems too!" I felt guilty wanting to call these people out and failing, mean at how I wanted to lash out, and cowardly because I didn't. The author isn't explicit about their sympathies, though I suspect they lean towards the player. You do have to note people like your assailant have their own problems, but they also have to fix them, and if they assert power over you, why should you help them?

Given all this, NB was much better than someone very, very well-meaning saying "oh you know bullies are empty inside" or "they only pick on you out of insecurity" or even "I understand, but don't let it get you down!" And I realized something else: it doesn't resort to ALL CAPS, which is such a temptation when discussing social anxiety and, I'd guess, a metaphoric nosebleed on its own.

I had several short reflections mid-game of saying oh geez yes it can be horrible like this. But then I had a much quicker bounce-back than I might have had ten years ago. There were people from my past the antagonist reminded me of. I didn't have things like NB to help me take a step back and see through their charades. It's too late to push back at them, but at least NB helps me push them further out of my mind. Looking back on the blurb, it's hard not to laugh at the experience of playing NB and, yes, at some people who said something similar years ago.

Hell is other people (and a bloody nose), December 20, 2022

(This is a lightly-edited version of a review I posted to the IntFiction forums during 2022's IFComp).

I feel like I’ve seen enough games like Nose Bleed to posit that a mini-genre of choice-based IF – the short, abstract game that’s light on concrete narrative content and is all about simulating a mental illness or disorder. The best recent example I can think of was fix it in this year’s Spring Thing, which trapped the player in an OCD loop, and now there’s Nose Bleed, which takes on the social anxiety/imposter syndrome combo pack (apparently this is a fairly common linkage, which is something I learned from post-game Googling; I’ve got a touch of social anxiety, albeit it’s receded substantially from what it was like when I was younger, but as you can probably tell from how much I spout off on this website, for better or more likely worse I’ve never suffered from imposter syndrome).

(While I’m making parenthetical asides, it occurs to me that if you dropped the “choice-based” and lightened up the low-narrative-content criterion, you could recruit Rameses into this subgenre, which might lead to an interesting hybrid lineage to trace. For another time!)

This Texture game is laser-focused on what it’s trying to do – every single passage, if not every single sentence, is dripping with crippling self-consciousness. Much of this is just dramatizing the awful but quotidian experience of these disorders, as the dream-like plot shunts the nameless, ageless protagonist from one stuff-of-nightmares scenario to another: there’s feeling like you don’t know what you’re doing at work, not being able to figure out how to join a conversation, worrying that everyone’s expecting you to do something but you don’t know what it is…. But beyond setting up these situations, the game also takes a more visceral approach to communicating how folks with these conditions suffer. And of course I used the word “visceral” advisedly – also “dripping”, back at the beginning of this paragraph – because per the title, the um, somewhat on-the-nose metaphor here involves spewing blood out of your schnozz when you feel the anxiety coming on.

This is a smart choice, because I think the situations on their own probably wouldn’t be as effective. Even as someone who can struggle a bit in large group settings where I don’t know anyone, I found the protagonist’s mumbley, low-self-esteem flailing occasionally annoying – even when there’s a coworker who seems to want to seek you out to put you on the spot, it still seemed to me that the protagonist could have met some of these challenges with a bit more assertiveness. But when they’re depicted as spewing blood over all and sundry, the idea that everyone would be looking at them with dismay and revulsion lands much more intuitively.

Choice is used effectively to underline the intensity of these episodes. When each attack hits, you typically have a choice of two or three different ways to try to cope – you could try to wipe away the blood, or hold your head at a weird angle to keep it dripping, or mop it up with your shirt – but of course they all look equally unpromising, which I think accurately evokes the feeling that here, unlike other issues like OCD or depression, the problem isn’t that your choices are constrained, it’s that nothing you do can soothe the anxiety (the fact that the nose bleeds are repeated, and per the protagonist’s comments something that they’ve previously struggled with too, makes me wonder why they don’t just carry around a ton of tissues all the time, but that would ruin the conceit so I think it’s forgivable that the game doesn’t even mention the idea).

The visuals work well too; without giving too many of this short game’s surprises away, I’ll just note that there are some arresting graphical effects that helped make things feel substantially more engaging than the prose alone would have managed (speaking of the prose, it’s fine – it does what it needs to do, but it’s not especially evocative. I’d have copied and pasted to show some examples, but Texture apparently doesn’t let you do that, so I suppose you’ll have to take my word for it).

In my analysis, then, I think Nose Bleed succeeds at what it sets out to do. I’m not sure I liked it as much as it deserved, though? Maybe it’s because, unlike most games of this type, in this case I do have some direct knowledge of what Nose Bleed is about, and as a result the depiction didn’t seem as revelatory as it otherwise might have. It could also be that the one-note nature of the protagonist’s characterization did start to get on my nerves after a while, even while conceding that they kind of have to be a perpetual wet noodle for the game to work. I think my reactions here were unfair, though; it’s a well-crafted piece, and has a nice button at the end that indicates a goodly amount of self-awareness, and avoids the trap games in this sub-genre can fall into, with the ultimate message of the game reducing to “look at people who suffer from this disorder, doesn’t it suck” – instead the final note is a subtly hopeful one, pointing to the possibility of connection despite everything.

All that blood gets between player and interface. In a good way., December 3, 2022

(This is an edited version of a review I posted in my blog during IFComp 2022)

Nose Bleed is a clicking-choice-based story with graphic elaboration – ostensibly about social anxiety – that elicited a combination of visceral nausea and hysterical laughter from me; a pretty strong combination for a ten-minute (to play) game.

The player-narrator of Nose Bleed works in an office. They're meant to be doing something with spreadsheets but they feel barely capable. The details of the work, or indeed of anything but the narrator's flustered mental space, and later, their spectacular nose bleeds, are omitted by the game. Their headspace and the negative self-talk going on in there are the main event – the content warning says "social anxiety". In the protagonist's distorted mindset, they expect to be negatively evaluated by others all the time. The narration is a spiral of feeling incompetent, incapable, distressed, depressed, and wanting to flee situations.

When the PC's nose starts to bleed during the work day, it comes in like a metaphor for their anxiety. It starts, it can't be stopped, it seems uncontrollable, others can see it and evaluate them negatively as a result. The bleeding gets worse. The PC is invited to an event they can't get out of, and the blood keeps-a-coming. Choices about what to do next are made by dragging words on the screen to nouns that light up. The actions tend to be basic ones that are either ineffectual (rub nose) or fobbed off upon selection by the protagonist's own self-defeating brain (apologise).

What makes Nose Bleed so nauseating is the way the blood is animated on screen. The paper-white backdrop is stained first by a single streak, then as spots that appear, and finally as an unstoppable animated splatter that follows the cursor about. Coupled with selectable prose options like "Lick" (the blood off your lip) the effect of all this was to begin to induce in my arms that strange weakness that precedes blood-related nausea for me. And then I began to laugh. The whole thing was reaching the intensity of a skit where a patient sits in a waiting room while geysering blood. As much blood gets all over the prose in Nose Bleed. It piles up on the on-screen choices and nothing can stop it.

Nose Bleed's finale has a kind of twisting escalation that reminded me of a David Cronenberg film or two. I'm not sure what meaning I ascribe to the very last event in the game, but the overall design is very good, moving quickly from banal office work and equally banal thoughts, via the start of a typical nose bleed, through the discomfort of being unable to stop the bleed, to an eventual wittily programmed and (to me, hilarious) graphical geyser.

If all that animated blood is in danger of having an eclipsing effect, I could say that having all one's thoughts eclipsed by one panicky thing is like social phobia, after all.

Escalatory workplace horror, November 29, 2022

In which you're a generic office worker with a bit of a problem. Love the escalation in this one, it starts off maybe realistic then keeps ramping up and up. The beginning is slow, a little boring in my opinion, but when the visual effects kick in that's when the real fun starts. Wish things would go downhill faster and farther, actually. What if you could burn down the company office? What if you could kill your boss?

The writing is a tad too "woe is me" for my tastes, but that's personal preference. I do feel sorry for the protagonist.

Have to mention the last line as well. That last line is gold. It really makes the story for me. (Spoiler - click to show)The idea that everyone else is dealing with this and there's absolutely no reason for you to worry about it, but you hate it anyway, resonates with me on a personal level. I wish it had been foreshadowed more, since on replay it seems more like a 'comes out of nowhere' twist, but I love it anyway. The concept of an otherwise-ordinary world where everyone is just bleeding out of their noses all the time is excellently surreal as well. End note!

Social Anxiety, or Just Jerky Peers?, November 24, 2022

Adapted from an IFCOMP22 Review

Nose Bleed is a very short work that attempts to use interactivity to bring immediacy to a tightly focused horror story. The impulse to treat social anxiety as a horror premise is really a great idea. Popular media is overrun with social anxiety stories that mine childhood bullying for drama. Few of those are horror stories, despite having truly horrific events depicted, and much more commonly leverage the horror for the cathartic overcoming of it.

Adult social anxiety is a significantly less-trod ground, and a horror focus is even more rarified air. I seem to have slipped into a mountain climbing metaphor, not sure why. The mechanism of a nose bleed as source for that social anxiety is also kind of a genius choice - it is something we have no control of and is plausibly not serious enough to push people past irritated inconvenience to empathy. The choice of workplace was also a crucial one, as it is one of few places adults HAVE to interact with people they don’t want to. Points for really interesting and challenging thematic concept!

The chosen implementation fell a bit short is my sense. For a few reasons. The graphical presentation didn’t really serve the narrative. I couldn’t help but see missed opportunities here. That said, there were two instances, about 2/3 into the game where the graphical choices were surprising and effective. I would have liked a lot more of that throughout the playtime.

Ultimately, the graphical presentation is not a minus, maybe even a minor plus. Choices made to leverage interactivity for this story were harder to get past. Social anxiety works a little differently in 3rd person stories than first person IF. In the former, the trick is to get the reader on the protagonist’s side by making them some combination of relatable, sympathetic and/or rootable. This is commonly done via non-anxiety scenes where we can care about the protagonist to empathize with them when their social group turns on them. Here, the work is aiming to invoke anxiety in the player by having them ‘experience’ it directly. Which is an excellent use of horror IF if it works!

By omitting the shell of a separate protagonist though, you need to craft a narrative that the player buys into. It didn’t come together for me that way. For one, the descriptions of the injury grew increasingly horrific, in a way that made the NPCs ignoring it look decreasingly human, in turn making me less invested in their social pressure. The situation didn’t quite gel for a few other reasons. Often the choices you are given don’t fundamentally change anything except narrative texture. Adding up to a feeling of lack of agency, without clear narrative reasons for it. A lot of early game is interacting with a single other character. Social anxiety is most effective when you feel isolated from the entire community around you. When its only one person, it’s just as likely they’re just being a dick which is a whole different dynamic. Later in the game when the community expands, there isn’t a narrative reason why the PC is with them. Adults have many degrees of freedom to avoid toxic communities, like say Ubering separately to work functions. I’m not saying it's super easy to avoid toxic life scenarios. I’m saying the game didn’t do the legwork to convince me I was trapped.

Without that legwork, I was often thinking “well there are a lot of different ways that could be avoided” which had the effect of me decoupling from the protagonist that was supposed to be me. I started to think of them as willingly submitting… which again is definitely a real thing. The story just didn’t get me there. Instead it actively disconnected me from the protagonist. So that’s how I got to a Mechanical playthrough. Really only the short duration and the nifty graphic flourishes kept it from being Bouncy. I think this reaction is actually a testament to the author in one sense: they attempted a unique horrific experience and while not getting me there, clearly their themes elicited some response.


Played: 10/8/22
Playtime: Less than 20min, finished
Artistic/Technical rankings: Mechanical/Seamless
Would Play Again? No, experience seems complete

Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless

A gross game about nosebleeds and social anxiety, October 28, 2022

I had heard rumors about this game before I played it.

This is one of many Texture games entered in this competition, and it's probably the best-put-together one out of the bunch.

It's a visceral body-horror game in a limited sense; you have blood leaking out of your nose while at work but you feel desperately like you can't pay attention to it or fix to it or you'll be letting everyone down.

I'm sure there are many interpretations of this, but I definitely feel like it touches on social anxiety/impostor syndrome (actually, looking back, one of the content warnings is social anxiety).

The visceral text is accompanied by excellent animations that make the spreading drip of the nose bleed a lot more real. I had some trouble, though, with a completely black screen, taking a long time to find the right way out.

This game grossed me out and I didn't enjoy playing it, but I think that speaks to its quality.

This one just didn't work for me, October 19, 2022

In this choice-based game you play as... someone. A non-descript person with a desk job, whose nose continually starts and stops bleeding throughout the piece, without much explanation. The ending intrigued me and put a new spin on the story that came before, but it wasn't enough to redeem it.

This one didn't work for me on several levels. The first was the interface. Instead of clicking on a word or sentence to make your choices there would be 1-3 verbs in boxes at the bottom of the screen and you had to drag them up to the proper noun to make your choice. At first it seemed unique/fun, but in the end it just took me out of the flow of the story. Clicking a hyperlink is easy and keeps my mind focused on the text rather than the logistics, and if you missed dropping the verb tag on the noun by a little bit it would drop back to the bottom and you'd have to do it again.

Another thing that didn't work for me was the game basically telling me "No!" when I made a choice. Sometimes I would pick a verb and the next screen of text would tell me why my character couldn't do that. In other games I've played in the past this mechanic has served to emphasize the helplessness of the character, but I didn't feel like that was justified here. Also, sometimes it works to interrupt your character in the middle of the action as a change of pace, but it happened too often in this story for that to be effective.

Finally, the story just didn't grab me. When you start you have no idea what is going on and the same it true right up to the end. The writing is vague, on purpose I'm sure, but it didn't work for me. If I never know what is going on, even a little bit, I can't get in to the story. And it seemed like the story repeated the same cycle of (Spoiler - click to show)nose bleed -> deal with it somehow -> get ridiculed -> be confused too much.

Clean interface and programming, but nothing about the game worked for me.

ADDENDUM: I've since learned that the interface isn't unique to this game. I thought it was a Twine innovation or something, but it was actually made with Texture Writer, an authoring tool that came out in 2014, but that I hadn't encountered until this game. That said, do to my other issues with the game, I'm keeping my star rating the same. Just an FYI.

Writhe like a worm on a hook, October 11, 2022

Nose Bleed by Stanley W. Baxton

This one made me squirm. It is short and economical, but still descriptive enough to tap into a fear that nightmares are made of. It uses some clever effects to enhance the repulsion, but the writing is what makes this entry so transporting. Except–who can I recommend it to? Considering that most of us who enjoy text adventures are able to place ourself in the game so effectively, what would motivate someone to want to go through this???

(Spoiler - click to show)As someone who gets stains on their clothes at work on a regular basis, I connected very closely with the anxiety of a highly noticeable mess turning everyone’s attention towards you. I also relate to the feeling that everything you try to do to cover it up and move on just makes it worse.

Short Story IF with an interesting conceit and play mechanics, October 6, 2022

Nose Bleed is an unsettling short IF work that explores the themes of social anxiety and debilitating self-doubt through an interesting conceit: you've got a nosebleed and, no matter what you do, it won't go away. The nosebleed quickly escalates from nuisance to horrific, and there's some strange, almost disembodied descriptions of your attempts to lick, rub, and ignore the blood seeping from your orifice.

The game is written in a Twine-like system (update: actually, it's written in TextureWriter, a system I'm not familiar with; but this game has the feel of a classic Twine game), but has a neat game mechanic to advance the story. Rather than clicking on links, the player is presented with 2-3 verbs in boxes at the bottom of the screen and drags them around to a corresponding word or phrase on the page. This helps to reinforce the tension of wanting to take control of the situation -- the verb that you're grabbing -- and the helplessness of inability, as any attempt to avert or address the situation inevitably results in only worsening the situation.

The player character's nosebleed is soon noticed by a coworker and, once the PC is shuttled to a company event, their nosebleed becomes an embarrassing distraction for everyone. While I found the plot intriguing -- and definitely effective in communicating the main themes of the work -- this is ultimately where I felt Nose Bleed was not fully realized. The office job setting where the nosebleed starts out is very generic and not described in any specific detail. The narrator's internal monologue likewise feels underdeveloped and lacking a lived-in tone or voice.

In part, the work is going for a surreal vibe and does not want to place the story in a fully realistic setting -- this is something like a nightmare, a vision of a hell. In that respect, this work reminded me a lot of Andrew Plotkin's Shade -- but Shade is so effectively precisely because the surreal nightmarish elements settle in over a concretely realized apartment. If Nose Bleed had a fully realized character and setting, the monstrous nosebleed that serves as an externalization of social anxiety and self-doubt would be even more powerful.

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