Depression Quest is an interactive fiction available on the web and on Steam. It was originally released in 2014 and created by Zoë Quinn, Patrick Lindsey, and Isaac Schankler. Although the topic of depression is universal and can be experienced by anyone, I would recommend the game for young teens and up since the topic is quite heavy to deal with. Although the game makes a valiant effort to shed light on the topic of depression, it is a highly personalized experience, so players will likely have a mixed reception to its representation. Since depression affects different people in different ways, no single depiction can fully represent everyone’s experiences. The game explicitly acknowledges this limitation and does not claim to be a universal depiction of depression. However, this personal approach is also one of the game’s greatest strengths because it encourages players to understand depression from the perspective of someone who experiences it directly.
In the game, players experience the story of a depressed individual. Its enacted narrative of depression manifests as having certain dialogue options be crossed out and unavailable to players. Some of these text options are always locked, reflecting that with the presence of depression sometimes things simply are not a choice. Other options become available or unavailable depending on prior choices made and the mental state of the character you play as. As your character becomes more depressed, more options are usually taken away. Conversely, if your character makes the “right” choices and improves mentally, more options become available to the player. Rather than simply telling players that depression limits motivation and decision-making, the game literally limits the player’s agency. Seeing an option crossed out can be frustrating because players know what they want to choose but are unable to select it. This mirrors the disconnect that many people with depression describe between knowing what they should do and actually being able to do it.
As an interactive fiction, the game inherently utilizes several theories mentioned in Play Like a Feminist. Depression Quest very much exists in the narrative middle where technically you can improve and work toward a climax of sorts, but it is much more reserved. It is explicit that once you reach the end, the struggle and journey are lifelong and will continue beyond the player’s involvement in the game. This rejection of a neat heroic resolution aligns with many feminist critiques of traditional game structures. Instead of presenting a clear victory condition where the player conquers an obstacle, the game portrays depression as an ongoing condition that requires continuous management. Additionally, Depression Quest embraces the idea that games do not have to be focused on winning or overcoming obstacles. Instead it shifts focus from success to understanding and empathy. The goal is not to become stronger than depression or defeat it once and for all. Instead, players are asked to understand the daily realities of living with it. This emphasis on empathy and personal experience reflects feminist approaches to storytelling that value perspectives that are often marginalized or overlooked.
The game also heavily utilizes player agency. The game has multiple endings that are determined by player choice. These choices also change the game by allowing the player either more or fewer options. However, this use of agency is also my biggest critique of the game. Usually there is a “right” option for players to choose. Getting therapy, taking medication, and opening up to others to seek support are all choices that help you get the better ending of keeping your mental health in check. However, as a result, the game inadvertently portrays dealing with depression as much easier and simpler than it actually is. I appreciate that it is still possible to get a “neutral” ending without medication or therapy, but the best ending, where you are able to cope with your depression most effectively, requires therapy and medication. The game clearly conveys its sentiment: depression is a serious illness that requires professional help and, in some cases, medication. Although the game states that it is simply sharing a perspective to communicate what depression can feel like, there is still some dissonance in this statement due to the nature of the game and its narrative. In a way, it feels like the creators push the idea that medication and therapy are the best way to deal with depression since these are the required choices the player must make to get the better endings.
This is where I think the game falls a little short. Feminist theory often challenges the idea that there is one correct path through a complex social or personal issue. While therapy and medication are certainly valuable, the game’s structure risks reducing recovery to a set of correct decisions that players can discover through experimentation. In reality, people can seek professional help and still struggle for years. Others may face barriers to treatment such as cost, social stigma, or lack of access to healthcare. The game touches on some of these difficulties but ultimately still organizes its endings around a fairly clear hierarchy of choices.
Compared to many other interactive fiction games, Depression Quest stands out because it uses game mechanics to restrict player choice rather than expand it. Most narrative games reward players with more options and more freedom as they progress. Depression Quest deliberately does the opposite. This design decision effectively communicates its themes and differentiates it from many games in the genre. However, I think the game could be improved by presenting a wider variety of successful outcomes that acknowledge the complexity of treatment and recovery. Doing so could preserve its message while avoiding the implication that there is a single best solution.
It’s a complicated topic, and my initial thought is to allow more ways to get better, but that would also risk detracting from portraying the difficulty of dealing with depression. Honestly, I’m not sure what a good solution would be, and despite my criticisms, I still think Depression Quest is an important game. Even if players disagree with certain aspects of its portrayal, Depression Quest remains a meaningful example of how games can engage with serious social issues and create experiences centered on understanding rather than entertainment alone.
