Intro
With Those We Love Alive is a web-based game written by Porpentine and created using Twine. Due to the game’s overall dark/noir vibe and description of repulsive sights/scenes, I would recommend this game for audiences 16+. Set in a world ruled by “The Empress,” players have no choice but to obey the Empress’ commands and complete various errands each day.
Central Argument
WTWLA successfully intertwines feminist theories into its gameplay by exemplifying casual gameplay and challenging traditional, linear storytelling. However, I personally did not find this game to be too engaging/stimulating due to its text-heavy nature, which required constant reading and imagination. Additionally, while the game incorporates feminist theories in its gameplay, I believe it could benefit from a more explicit integration of feminist themes in its narrative and a concrete representation of diverse identities.
Analysis
WTWLA exemplifies the concept of “casual gameplay,” which is oftentimes more inclusive and accessible compared to hardcore games, which require significant computational power and hefty time investment to become proficient. By being web-based and free-to-play, WTWLA lowers the barrier to entry, catering to a wider, more diverse audience. This inclusivity is evident from the first screen, which reads, “Please remember: nothing you can do is wrong” (see Figure 1). From there, the mechanics of the game are incredibly simple and easy-to-learn: users click on pink highlighted text to navigate through the story and on purple highlighted text to change a word within the story. Additionally, as a casual game, it can be played for varying amounts of time due to WTWLA‘s repetitive storytelling and lack of climactic events, checkpoints, or challenges. In this light, WTWLA embodies an aesthetic of submission, as the repetitive text-based descriptions of locations encourage players to engage with the game in a more relaxed and contemplative manner rather than seeking traditional forms of progression and resolution.
The game also challenges traditional, linear storytelling by employing a non-linear, fragmented narrative. Every day is repetitive, with players always circling back to the palace courtyard and the same set of locations (see Figure 2). Rather than following a traditional narrative progressing towards a singular climax, WTWLA guides players through a never-ending narrative middle, forcing them to complete mundane errands under the Empress’ rule daily. This non-traditional approach allows the game to explore complex themes in a way that mirrors real-life complexities rather than simplifying them into a straightforward, linear progression. For example, the oppressive rule of the Empress can be interpreted as a metaphor for the limited agency often experienced by women and marginalized groups under patriarchal systems. Given that these patriarchal systems feel entrenched in society, it makes sense to have the story told in a non-linear, repetitive way.
However, my experience playing WTWLA wasn’t without critiques, both from a feminist perspective and as a game overall. While the game effectively illustrates a metaphor for the systemic oppression that marginalized groups may feel, it could be improved by offering more resolution or pushback against the Empress’ tyranny, as doing so could strengthen the game’s alignment with feminist principles of community and collective empowerment. Furthermore, although the creators claim queer elements influence the game, I believe it could benefit from more explicitly highlighting underrepresented identities. As it stands, the protagonist in WTWLA is unnamed/unidentified, and much of the game’s narrative text is written in a cryptic/obscure manner (see Figure 3). If the game was more explicit in highlighting marginalized identities or narrated clearer ideas, it could more strongly vocalize feminist ideals/critiques.
Lastly, I must say WTWLA was unlike any game I had ever played before. Unlike other games in the feminist genre, the game is entirely text-based (but accompanied by a great soundtrack), which took me some getting used to because I’m accustomed to games having visuals to immerse the player. Due to the lack of visuals, I quickly realized that this game was heavily predicated on careful reading of the text and the constant exercise of one’s “mind’s eye.” As someone who usually turns to games to disengage mentally, I did not love this aspect of the game. Though the game makes an effort to create an engaging, interactive experience by prompting the player to draw sigils on their skin at parts of the game (see Figure 4), I still found myself unengaged and often spamming the “sleep” button simply to advance to the next plot point.
Discussion question: Chess writes that a good feminist game needs to tell a good feminist story, albeit the story need not be overtly feminist. What are the potential benefits and challenges of integrating a more explicit feminist narrative in text-based games versus keeping the narrative more subtle and allegorical?
