Slay the Princess Review

Slay the Princess is a psychological horror visual novel developed by indie studio Black Tabby Games. The game’s premise plays on a cruel twist of the damsel-in-distress archetype. You are dropped off in the middle of the forest, with only a lone cabin in sight and a task: to slay the princess imprisoned there to save the world. The story unfolds based on the decisions you make, permitting high replayability, while propelling contemplations on the burdens of our choices and their consequences. 

As a musician, the game’s sound design was one of its most striking features for me. The original soundtrack is as rich as it is diverse, ranging from orchestral pieces that emulate the princess’ seemingly pristine image to intense, percussive pieces that reveal the princess’ more sinister face. Beyond the music, players are constantly on alert thanks to the game’s tasteful use of eerie ambient sounds, subtle whispers, and sudden, jarring noises. Lastly, the voice-acting done by Jonathan Sims and Nicholas Goodnight elegantly immerses the player into the game while enhancing the player’s internal conflict, as the narrator goads the player into killing this unknown princess. Altogether, the audio cues, the soundtracks, and the voice acting artfully enhance the storytelling experience, complementing and/or contributing to the player’s own sentiments as they progress through the game. 

Moving on to the game’s more visual elements, the artwork in “Slay the Princess” is both beautiful and unsettling. The visual style has a dark, almost gothic aesthetic that complements the game’s premise. Every background and sprite is hand-drawn with pencil and paper by Ignatz-winning graphic novelist Abby Howard. Knowing this enhanced my appreciation of the artwork, as the amount of detail put into every illustration is astounding. The princess in particular is drawn with a diversity of expressions and body language to appeal to her numerous personas and add depth to the narrative. As for the backgrounds, they often involve shadowy, claustrophobic environments that enhance a player’s unease, especially when combined with the narrator’s coercion for the player to choose.

Beyond the refined nature of the illustrations, Howard tastefully uses color to keep the player engaged. Whereas muted palettes dominate the scenes, occasional bursts of vivid color draw attention to key elements or moments in the story. 

Regarding the flow of the game, “Slay the Princess” excels in its narrative pacing and flow. The game is divided into chapters, each representing a different attempt or approach to slaying the princess. This structure propels the narrative while allowing players to explore different choices and their consequences. The decision-making process is intuitive, as each choice presented clearly, allowing players to weigh their options without feeling overwhelmed. The dialogue is sharp and well-written, providing enough context to understand the stakes without sacrificing the pacing. Beyond that, the choices themselves invite questions regarding morality, free will, and the nature of evil, prompting players to question their decisions and the narrative itself. As someone who is not a fan of horror, the game thoroughly scared me, especially with the numerous moments of intense suspense built by the narrative, the sound, the artwork, etc. In addition, though there was no outright terror at play, the game excels in provoking discomfort via psychological unease. Regardless, I found myself replaying the game several times to watch how my decisions could yield such diverse outcomes for me, the princess, and the world. 

Overall, Slay the Princess is a standout indie game that masterfully blends narrative depth with psychological horror through its immersive sound design, artwork, and narrative flow. The game challenges players to think critically about their choices and the nature of the story, and its many endings offers a unique and thought-provoking gaming experience that stays with you long after you’ve put it down.