Interactive Novel

STRAY GODS (2023)

May 13, 2024

Just to note…

I’ve only played STRAY GODS once, so I cannot discern between any differences between lyrics and/or outcomes apart from the linked videos that I did not capture.

The STRAY GODS story I experienced is solely the one I played, so it may not feature the same songs, inflections, intonations, or lyrics that you may have or might experience.

Due to timing and circumstance, I wasn’t able to play STRAY GODS the moment it was released, which is a shame because anything that has the words ‘The Roleplaying Musical’ in its title is catnip to me, and to have to punt on it was trying.

That said, it was worth the wait.

I do want to get one thing out of the way beforehand though: by ‘roleplaying’ they literally mean ‘roleplaying’. This is not an RPG. This is an interactive novel. You are ‘roleplaying’ as the title character, a wayward young adult. The only interactions are dialogue trees via a very BioWare-ish interface.

(I will note: this game was willed into existence by the lead writer of DRAGON AGE so … none of the above should be terribly shocking news.)

Personally? I am absolutely fine with that severe amount of restraint, especially since I played it while suffering from a broken tailbone because games and narratives distract from obtrusive pain and angling dialogue trees was about the best I could do at the time. (Don’t ask, and no it wasn’t because of any Chicago snow or ice.)

Alas, I’m getting ahead of myself.

STRAY GODS takes Greek gods and situates them in a quasi-modern Earth. While the bodies said gods inhabit are ephemeral, they find new hosts and live on, partially thanks to the belief of those around them, as well as the dark shadow cast by their prior history.

If you’re a comic book and/or gaming nerd, it evokes a lot of Kieron Gillen and Jamie McKelvie’s THE WICKED + THE DIVINE which essentially posits mythological gods as rock stars in the modern world who inhabit mortals for their own purposes and, yes, spectacle and hedonism.

It also reminds me somewhat of Don’t Nod’s HARMONY: THE FALL OF REVERIE with its emphasis on mythological stories and tone and high stakes.

To riff on a slightly more popular work, STRAY GODS swaps the fairy tales of DC/Telltale’s FABLES’ inspired THE WOLF AMONG US in both the thick inkworks and comic book visual stylization which — oddly reminds me of AEON FLUX — as well as noir-infused conflict. However, there are no quick-time events; just dialogue. Reams of dialogue with striking shot-reverse-shots of static images.

If you’re here to play because you’re hoping to quell some sort of power fixation, you will be sadly disappointed, because here? Here, you are the mortal, and — not unlike one of many TWILIGHT ZONE episodes — it’s your life at stake, and only you can wriggle out of the noose.

All of the above may sound like I’m damning STRAY GODS with faint praise, but I am not. STRAY GODS is a gaming anomaly. It’s rare that games like these, games that are all about heightened emotions and all emotive and intensely personal conflicts, those finding their way in the world. I am endlessly thankful that it exists and? I am looking forward to replaying it and possibly taking a different tact to it and to see where that takes me.

The voice casting here is pitch-perfect. The majority of the cast are well-known for TV/video game voice work — Laura Bailey as Grace who has been foisted upon her the role of Calliope, Troy Baker as Apollo, Mary Elizabeth McGlynn as Persephone, Abubakar Salim as Eros — Salim voiced Bayek in my favorite Assassin’s Creed game — but also features FOR ALL MANKIND’s multi-faceted Janina Gavankar as Grace’s best friend Frankie! Felicia Day! STAR TREK: DISCOVERY’s Anthony Rapp as Orpheus! (Apologies if I left out anyone’s favorites — there’s a wealth of talent here.)

This is a work all about bombast and elation and care and worry and wrung hands and fear for the future and … well, perfectly attuned to all of the necessities that form the best musicals. (I will note? They undersell that while this is a musical? It’s first-and-foremost a rock opera.)

You can write off the static nature of the visuals which are essentially merged versions of sequential visual storytelling as economical, but they’re also emblematic of emotional moments that are frozen in time. Moments where you feel your life has changed; pivot points.

Granted, not everyone can appreciate that — obviously, those who are more inclined towards theatrics and are more emotionally grandiose will glean more from this than others — so take this recommendation with a pinch of salt.

As is the way with gods and fates, this has all happened before and it’ll all happen again. The end is pre-ordained, and everyone knows it, but you have to jump through the hoops to get there.

Are the songs in the vein of modern Broadway staples? Yes, yes, they are, but there’s nothing wrong with that. It’s a ever-growing formula for a reason, folks.

‘Challenging a Queen’:

However, these sort of tales? Even if my engagement is simply pointing my directional stick at a quip or murmur or outburst and then hear the astounding belting of a grand duet? The journey is worth the effort.

If there was any doubt that this was a saccharine sweet musical, they put a pin in it at the end — at least with my tale — when Grace reunites with Calliope.

…and yes, I did try to romance Persephone but it didn’t quite work out. (For what it’s worth? I wrangled the second scene. So close, but yet so far.)

Addendum

Just one day before this post was scheduled to be published, it was announced that Summertime Studios will be releasing STRAY DOGS: ORPHEUS as DLC on June 27th! (Although, boo, as a console player I have to wait for some undefined time to play it.) Can’t wait to delve back into this world!

HITCHHIKER (2021)

May 3, 2024

Another Annapurna work! Similarly to OPEN ROADS, it takes place almost exclusively in cars which — yes, fitting for a game named HITCHHIKER.

However! This game? It’s a slow burn that becomes surreal as fuck. It’s one of the few games that feels justifiably and smartly inspired by TWIN PEAKS in that there’s a hell of a lot of symbolism, a shitton of folks talking in code, and a protagonist who has no idea what the fuck is going on and is literally just along for the ride. Most interactive TWIN PEAKS knockoffs? Not great! I’m looking at you, DEADLY PREMONITION. Not the case with HITCHHIKER.

HITCHHIKER is broken up into five chapters, five different drivers, and the bulk of the game simply consists of listening to them and looking around at items in the car and trying to piece together the life you can’t remember, as well as your meaning to exist.

I realize that sounds pretentious, but it’s engrossing enough that I had no problem running with it. Or riding shotgun, so to speak.

That’s it. That’s the game. Like OPEN ROADS, it’s primarily an interactive novel, but it’s so engrossing and weird and enthralling and I am absolutely here for it.

The voice acting is absolutely on-point. Visually, it’s fittingly stylized and off-kilter and far more colorful than you might think for the subject material. If I have one complaint it’s the extremely abrupt ending which? I’ll note? Not something I usually complain about.

It also features an abundance of crows, which I can never get enough of.

If you are into interactive narratives/novels, I can’t recommend it enough. If you aren’t? Steer clear. (No pun intended.)

OPEN ROADS (2024)

April 29, 2024

Annapurna has been one of the boosters of interactive novels over the past few years, publishing games such as SOUTH OF THE CIRCLE, TELLING LIES and WHAT REMAINS OF EDITH FINCH, just to list a few. The recently released OPEN ROADS is yet another quality narrative exploration addition to their library, one that focuses on the dynamics of mothers and daughters via a road trip to discover answers to family history questions.

OPEN ROADS has been in development for far longer than anyone expected. It was first revealed in 2020 at The Game Awards as as a project from GONE HOME development studio Fullbright, founded by Steve Gaynor who oversaw MINERVA’S DEN, DLC for the art deco intellectualism of BIOSHOCK.

If you keep up with gaming news, you may be aware that Fullbright as a development studio has essentially folded after practically everyone quit during the production of OPEN ROADS due to Gaynor’s toxic behavior.

Gaynor stepped down as CEO, but still, eventually everyone left except himself, and Annapurna allowed those that formed Open Roads Team to separately work on OPEN ROADS.

Sadly, this is a recurring theme within the gaming industry. Just a handful of days before penning this post, it was revealed that the narrative head and, later, CCO of Deck Nine — who developed of some of my favorite LIFE IS STRANGE games, games that mean so much to queer individuals — much like Fullbright’s GONE HOME — the creative environment was absolutely toxic.

My apologies for the severe digression. It’s awful that the working environment behind so many emotionally sensitive games that resonate for marginalized folks are still helmed by toxic assholes who take advantage of their position of power, but I feel the context is necessary.

Anyway! OPEN ROAD is a raw and unvarnished exploration of lives lived, but buried and hidden. It is definitely more of an interactive novel than a proper game — there are no fail conditions, there’s no risk; it’s a small interactive tale of a mother and daughter exploring their past and roots, mostly via car trips and the occasional abandoned abode. It’s simple, yes, but extremely effective if you’re into these sort of interpersonal stories that explore the nature of human behavior and emotions and coping and willful ignorance.

If there’s one facet I’d complain about, it’s that the character designs for the mother — Opal — and the daughter — Tess — is severely at odds with the 3D realism of the background surroundings. It’s especially jarring when they’re driving in the car as the environments are startling realistic, whereas the characters are very expressionistic. I will note that the design for the characters is very winsome and expressive, but the the game does have an undeniable visual dissonance.

I’m sure that approach was done by intent, and perhaps meant to be unnerving and evoke how fantastical this trip is — how it’s dreamlike — but from an aesthetic perspective? It did unmoor me.

It’s a wonder that this game was released to the world, despite everything. It’s so heartfelt and feels so personal and I can’t help but love and revel in it. It’s perfect for a Sunday afternoon play, especially if you aren’t afraid to shed a few tears.