8 Indie Games Featuring Queer Relationships, Eroticism, and Hugs

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It can be hard out there for a queermo gamer. Sexism, racism and homophobia in the larger gaming community aside, it’s just plain hard to find games that feature queer characters or roleplaying games (RPG) that allow players to queer up their own characters. For every simulation game like The Sims, which has been helping us live out our queer suburban fantasies since 2000, there are dozens of other mainstream games that… well, focus on things besides sex and romance. While it’s not necessary for a game to define the relationship and sexual norms of its world, you can bet the players think about them. If there’s anything I’ve learned from my years as an awkward, questioning teenager with unsupervised internet access, it’s that there’s a sexual sub-subculture to every subculture.

In a recent article for Bitch Magazine, Katherine Cross wrote about the underground culture of erotic roleplaying (ERP) in games like World of Warcraft and Dungeons & Dragons. The ERP community has a murky relationship with the wider RPG community. “Sex and sexuality in RPGs are understood as both ubiquitous and unspeakable. It’s there, everyone does it, but it need not be discussed openly. After all, everyone knows how to, you know, do it.” RPGs, for the most part, consider sex and romance separate and unnecessary to the plots; rulebooks rarely deal with issues of “consent, sexual diversity or orientation, or the sexual culture of the world one is playing in.” Meanwhile, romance and sexuality are the entire point of ERPs, whether it’s to further explore a character’s development, to provide a space for a player to explore their own sexuality or, for some, to get turned on. I know people who find reading erotica to be hotter than watching porn. We all gotta do us. When an RPG provides at most the barest romantic tropes for its characters, people will always fill in the rest themselves, adding in queerness and kink where the game developers are silent.

This isn’t to say that developers aren’t trying to bring sex and sexuality into games. BioWare’s Dragon Age 2 received a lot of criticism from straight male gamers for its romantic plotlines and openly gay characters (in one especially harrowing part of the game, a male character flirts with the player even if the player has chosen to roleplay as a man). The backlash is gendered and misogynistic in two parts: first, writer Jennifer Hepler, who wrote some of the romantic plots of the game, was harassed until she ultimately left BioWare, a depressingly familiar narrative for women in gaming; two, in the same way that the Romance section in a bookstore is considered full of bad literature for frivolous women, serious narrative devotion to romance and erotica in a game is “something that somehow drains roleplay gaming of its grittier essence and threatens to drown epic storylines in cooties.”

Backlash aside, games that distance themselves from their romantic and erotic subcultures also tacitly reinforce the problems within our own sexual culture. When left to write their own rules, ERP communities tend to mirror their real-life counterparts: kink-positive but with a double standard against women, heteronormative and full of casual sexual harassment (even in-game, a male avatar can pursue a female one relentlessly). They’re based off the norms that we know, even though the settings are fantastical and their social structures are completely different. Addressing these norms head-on is a way to expand the world that the game is building, and also to challenge our cultural norms around sex. Plus, in order to fully realize a queer character’s queerness, we’re gonna have to talk about sex, baby. Or hint at it. Or at least acknowledge that it exists.

So what is there to play if you’re a gamer, or you’d like to get into gaming, and you’re looking for a queer, sex-positive experience, perhaps with less combat than your average mainstream console game? No worries, friends, I got you. With a little help, I’ve put together this list of hot indie games that are based on queer premises or evoke some queer eroticism, in genres that range from the traditional pen-and-paper tabletop to fun and simple logic puzzles. Happy gaming!


1. Monsterhearts

Monsterhearts is a pen-and-paper tabletop game set in a supernatural high school, about “the confusion that arises when your body and your social world start changing without your permission.” Players play as various monsters with teenage struggles, and it’s especially primed for queer relationships. Anyone can “turn on” anyone else, and all characters have specific sex moves associated with their class, which help or hinder them in gameplay. As it says on the website, “If you like supernatural romances, or stories of monstrosity and personal horror, or if you just like watching sexy people ruin their lives, then you’ll love this game.” Its creator, Avery Mcdaldno, also wrote Dream Askew, a tabletop game about creating and maintaining a queer community during the apocalypse.


2. Breaking the Ice

If you’re just getting into tabletop role-playing, Breaking the Ice is a great way to start. Create your character, then play out their first three dates with another character and see if they end up staying together. You can expand it to include more people, and if you’d like to play on, creator Emily Care Boss made two sequels, Shooting the Moon and Under My Skin.


3. Analogue: A Hate Story

A decision-based visual novel, Analogue: A Hate Story, explores the mystery of what happened to a futuristic spaceship society that became increasingly patriarchal and misogynistic before the spaceship went dark completely. The story deals with human-computer interactions, interpersonal relationships and LGBT issues, while also featuring “transhumanism, traditional marriage, loneliness, and cosplay.” Christine Love, the writer, has also created Digital: A Love Story, a mystery/romance set on a late-80s computer, and don’t take it personally, babe, it just ain’t your story, a game that follows the “erosion of privacy, gay drama, young sexuality, and the perils of modern online life” in a prestigious high school.


4. Until Our Two Alien Hearts Beat As One

A text-based multiplayer browser game, Until Our Two Alien Hearts Beat As One lets players create beautiful alien creatures with tentacles or flippers or compound eyes and then try to interact with each other across cultural language barriers. Creator Porpentine has made many strange, thought-provoking games, including howling dogs, an interactive story of escapism, texture and feelings, and Cry$tal Warrior Ke$ha, a glittery space adventure where you play as Ke$ha during and after one of her concerts.



You are a bike-riding fluorescent pink queer urban hugger, and for the duration of an outrageously upbeat song you’ve gotta hug as many people (and cats) who need hugs as possible. If you ever want a boost in good vibes, take a break with HUGPUNX. Its creator, Merritt Kopas, has also written more hard-hitting games like Lim, a maze-like game that illustrates the struggle of LGBT people to blend in, and Consensual Torture Simulator, a game about consensual violence and BDSM.


6. Triad

Triad is a simple sliding puzzle that tries to solve the question of how to fit three people into a bed that isn’t made to hold three people. Creator Anna Anthropy has made quite a lot of queer games, including Encyclopedia Fuckme and the Case of the Vanishing Entree, which comes with the warning, “There’s some filthy nasty dirty stuff here.” She also created dys4ia, an autobiographical game about her experience with hormone replacement therapy.


7. Luxuria Superbia

Luxuria Superbia is a “simple game of touch, pleasure and joy.” It’s a multi-sense experience with music, touch-based play and beautiful visuals. As a player, you try to cultivate flowers of various colors in a garden. The game is deliberately sexy; the instructions state that “it responds with lush colors and poetic seductions. Touch all twelve flowers in the way that they like.” It’s one of the most weirdly sensuous games I’ve ever played, and I’m into that.


8. Gone Home

Oh wow, y’all, Gone Home. If you haven’t played it yet, pop a Red Bull, pop on over to the website (or Steam) and get this game, then don’t sleep until you’ve finished it all. It’s a story exploration game that follows Kaitlin, who’s returned home after a year abroad to an empty house. Through a series of letters and clues, the player discovers what happened to her parents and her younger sister Samantha. It’s haunting and emotional, and it cut straight through my queer robot heart.

What are some of your favorite games that include queer storylines or eroticism (or both)?

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Robin doesn't lean in, she spreads out. Her skills include talking up the movie Spice World to strangers. In any situation, she would prefer to get campy. She's a hedonist, lady dandy, and lazy academic. She has a twitter and a tumblr.

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  1. Aw you found my old alien dating sim…it’s so broken but I love it. I worked on a card game version of it that was a lot more balanced. At the beginning of each game you picked three cards from a deck and combined them to make your creature (“winged crystal tentacles”). This had no mechanical effect but was extremely important

  2. Does it count that years ago(like 6 or 7) I played an adult flash game online where you played female employee at lingerie shop. The goal was to help the female customer find the right outfit, while doing missionary work. I feel like it was probably made by a dude(who may or may not have been queer). It was alright.

    As I mentioned before Second Life offered the one the option to make a queer life. My second like was how I saw myself as a queer female(though didn’t at the time realize I was genderqueer trans*). The came get pretty addicting.

  3. Oh wow I knew and loved some of these (Porpentine! Merrit! Anna Atrophy!) but a bunch more are new! And Luxuria Superbia is from Tale of Tales aka the reason I spent a nice chunk of my first semester in grad school as a deer with a human face.

    I have a friend pitching on queer Twine games. I’m excited. It’s such a cool, accessible medium.

  4. I know it’s a AAA title rather than an indie one, but I really wish Autostraddle would talk about The Last of Us! In addition to having several awesome queer characters, there is a canonically queer WOC who kicks so much butt, and there’s another queer teenage girl who is (spoilers) The Chosen One. There are also a lot of badass, not-sexualized female characters who do everything from owning the Boston black market to leading the country’s largest militia group to running the only stable, self-sufficient town anyone knows about. It has a couple of problematic elements, but it is so far ahead of any other mainstream titles I’m still in shock that it exists. And, hey, it won the most Game of the Year Awards in history, so it probably won’t be a drag to play, right? :)

    Personally, I didn’t really enjoy Gone Home. SLIGHT SPOILERS: There were some things I related to, but it was hard for me to care about Sam because she was SO privileged and seemed to take it completely for granted. I felt a little worse about Lonnie’s plight, but I honestly didn’t find the love story compelling, and (unlike some of my straight friends who played the game) I didn’t think the parents were being outrageous villains for treating Lonnie the way they’d treat a boy Sam was having sex with! It’s been a while since I played it, but forcing a teen to keep their door open when their SO is in the room and grounding your kid for lying to you (and sneaking into a bar for a concert???) is not inherently homophobic. =/ Just my opinion, though.

        Yes! And the song Riley blasts while they’re dancing is “I got you babe” by Etta James, as a pre-emptive middle finger to all the people who whined, “But she’s only 14! Maybe she’s confused/experimenting/too young to know what she wants!”

        From the time they released that first polaroid of Ellie hugging Riley from behind, I was saying, “I know it’s never going to happen, but I really think these two might be in love.” People were SO rude to me! A lot of people actually said, “It makes me uncomfortable that you’re sexualizing these young girls! Are you sure you’re not just a pedophile and want Ellie to like girls so you’ll have a chance with her?” OH NO, YOU FIGURED ME OUT! I’m trying to date a 14yo fictional character! Don’t tell my actual real life girlfriend who’s 10 years older than me!

        Ugh. What *I* hate is that people sexualize homosexual romance. If Riley had been a boy, no one would have even blinked when I said I thought they had chemistry. Even if they’d had had some wild sex, I don’t think those same people would have been saying, “Oh, she’s too young to be sexualized!”

        But it’s all okay now, because I was right and they were wrong. :D I was so mad when they were sitting in the photobooth and almost kissed, because I just *knew* ND wasn’t going to take them that direction… AND THEN THEY KISSED! I went nuts, haha. For days, I would randomly scream “THEY’RE CANON!!!” and start sobbing out of overwhelming joy. As someone who was also in love with her best friend at 14 and never had the guts to kiss her (even though, years later, I found out the feeling had been mutual), Left Behind meant so, so much to me. I still get a little giddy thinking about it! I know ND and especially Ashley Johnson were surprised by all the positive, emotional responses queer gamers had, but they shouldn’t have been. :) They handled that DLC so perfectly.

    • This makes me happy you brought this up and that you feel so strongly for TLoU! I worked on The Last of Us as a texture artist and also helped Neil Druckmann with Ellie’s queer character development for Left Behind as an openly gay women at Naughty Dog. I feel so humbled and privileged to have had the chance to contribute to this game in this way. I love hearing stories of queer fans connecting with the game because in a lot of ways my experiences as a coming of age lesbian that I told Neil about for reference are similar to Ellie’s. I feel like it’s a lot of young lesbian’s coming of age story and it feels good to have that feeling of relating to someone else’s experiences. It validates those feelings in a way that maybe some of us didn’t have growing up. I’m glad you think so highly of the game and the DLC! :)

      • Oh man, it’s a huge honor to hear from you! Thank you so much for your hard work on the game, and thank you for helping give Left Behind so much life and meaning! The Last of Us became my favorite game of all time thanks to Left Behind, and I know many other queer/lesbian gals who say the same thing. It’s a beautiful work of art, and you should definitely be proud. :)

          • Well, I think on the whole that TLOU did a great job with most things. There’s a lot I adore, and that’s mostly what I talk about! I especially love that there are so many characters who are women, queer folks, or POC, or even all of the above. A few minor but problematic things I noticed, though:

            *There are several prominent Black characters in the game, which is wonderful, but I didn’t notice any other racial diversity. If nothing else, I was surprised that there were no Latin@ characters, except possibly one of the cannibals Joel tortures for a few seconds in Winter? I didn’t feel like the communities in the game reflected the communities I’ve belonged to throughout my life, in terms of race.

            *I liked Sarah a lot, so I was disappointed that her character existed mostly to give Joel his tragic back story. This is an unfortunately common trope, especially in video games. I’ll admit that it made me narrow my eyes a bit the first time I played the game. On top of being somewhat problematic, ‘fridging’ has also been done so many times that it almost felt cliched. It was still very sad, though!

            *It could be (and has been) argued that Tess’ death served the same purpose as Sarah’s: to motivate Joel. I like to think it’s a little different than that, because Tess is my all time favorite character in anything EVER. She got to go out with her boots on, taking out soldiers and avoiding a fate worse than death, and I don’t feel like we see too many women get to do that in media. So this one is iffy for me. Of course, I’m a little biased, because I would literally give anything to play the game as Tess instead of Joel. :P Seriously, it would be my first wish if I found a genie.

            *The #1 biggest issue for me is that Ellie has surprisingly little agency where it counts. Based on the early tensions between her and Joel, where she wants him to treat her more like an adult/partner-in-crime, I really expected the game to go in a different direction at the end. It was so disappointing that Joel and Marlene were the ones fighting over Ellie’s fate, while Ellie herself had no say in it. I know there are some solid narrative reasons for this decision, but it left me feeling like Ellie’s character was more reactive than proactive.

            —In the game, Ellie is unconscious for the entire final level and doesn’t even know anyone is fighting over her. It might have been more interesting if she had been awake and had to make the decison: should she sacrifice herself for all the dirt-bags out there, like the ones in Pittsburgh and Eastern Colorado, or should she stay alive so Joel didn’t have to end up alone? She could have chosen the latter, forcing her and Joel to try to sneak or fight their way out of the hospital together. That’s just one example, and of course I adore the game as it is! But it did bother me that after all that build-up, Ellie didn’t get to make her own huge decision.

            —Some other huge fans of the games have pointed out that Joel is essentially the same person as David, minus the cannibalism and creepy attraction to Ellie. David is clearly meant to be a foil for Joel, but I’m curious to know if the writers intended for Joel to end up so much like David. Joel’s intentions might be better, but both characters felt completely entitled to do what they wanted with Ellie’s body, completely ignoring or overriding her wishes to fulfill their selfish needs. I actually like the ending more in this context, because it opens up so many interesting conversations, but it’s incredibly important to talk about Ellie’s lack of autonomy.

            Anyway, I hope I don’t seem too nitpicky! I really, really love this game. I love that Tess owns the Boston black market and Joel calls her “Boss.” I love that Marlene commands the nation’s largest/most notorious rebel army. I love that Maria runs the only healthy, happy city that we see. I REALLY love that Ellie is the would-be chosen one! And I love that all the women are allowed to individually express such a huge range of emotions, from caring to outraged to funny to passionate. It’s an awesome game, and I don’t want to seem like I’m disparaging it by talking about some of the problematic elements.

          • I agree about there being a lack of racial diversity. It would have been easy to include either Latino and/or Asian representation in the game. We can definitely improve that aspect in my opinion.

            As far as Sarah goes, it does suck that she had to die in order to have that parallel with Ellie in Joel’s life. I liked Sarah a lot too. That was actually one of my levels that I did (Prologue). I had to create her room and have it portray her personality and her back story, so I felt very connected to her in a personal way. I’m curious; If Joel had lost a son instead of a daughter, would you feel the same way about that death scene? I imagine that it was important for Joel to have the loss of a daughter because it wouldn’t have the same correlation to Ellie if he had lost a son. Really that’s a tough one to avoid and I wish there was a more graceful way to approach that kind of scenario. Any further thoughts on that?

            Tess was super badass. Again I wish she didn’t die as well. I don’t think it was Tess that motivated Joel after her death. The two of them had a complicated relationship. I’d argue that it was Tess in the beginning or maybe it was just business and the idea of getting the stolen guns back for delivering Ellie to the Fireflies. But after Tess’s death, I like to believe Joel continued the journey because he was in the thick of it. He couldn’t go back to the military city because the soldiers would just kill him, so what else was there? He was skeptical the entire time but as time went on Ellie grew on him.

            Now I can’t defend the decision to have Ellie not have any agency during the hospital scene. It is pretty bad. That whole scene still creates a lot of conflicting feelings…and perhaps that was Neil’s purpose. Maybe Ellie if she was awake would have decided to die for the cause (Nooooo Ellie NOOOOOO) obviously we all like her too much for her to die. I personally think she would have sacrificed herself, but I think people (players) wouldn’t have wanted her to die. I mean did the Fireflies even run any tests before deciding they had to kill her? Who’s to say it would have worked? There are a lot of questions lol. Maybe I’m selfish just like Joel haha. I guess we will never know what Ellie would have wanted unfortunately.

            I can see the similarities between Joel and David selfishness. I don’t think people are meant to look at Joel as a good guy. He’s an anti-hero and kind of an asshole and even with that said I don’t think the comparisons of him to David are completely fair. Yes they are both men who felt the need to use Ellie for selfish companionship (in different respects) but David is just a piece of shit and Joel had good intentions as you said. For Joel, it all goes back to the father daughter relationship that was established in the prologue. These are good points and I’d like to bring them up to Neil and get his thoughts.

            I appreciate all the criticism! It’s a very helpful discussion and leaves plenty of room for improvement. I know that Neil is very open to hearing varying view points and he might already be aware of some of these issues already. Thanks for the detailed response Rachel!

          • A lot of the things I mentioned are problematic simply because TLOU doesn’t exist in a vacuum. It’s not about one female character dying to further the male’s plot/characterization; it’s about the bizarre prevalence of this trope. It’s hard to say, “Oh, Sarah shouldn’t have died (or existed in the first place, or been a girl)!” when it did work for the story. The issue is that it works for So. Many. Stories. TLOU perhaps did a fantastic job with it, but it’s worth examining why so many girls/women are killed off to give straightwhitedude protagonists an angsty back story. It’s also something to consider when trying to tell incredibly fresh stories–something Naughty Dog generally does incredibly well. I hope that makes sense!

            [I LOVED Sarah’s room, btw, so kudos to you for that! It was the perfect 12yo girl room.]

            I view Tess’ death as being slightly different than Sarah’s, personally. I like to think that her final order as Joel’s boss was for him to take Ellie to Tommy, so he’s doing it because he trusts and respects her, even after she’s gone. I’m sure there are other reasons, too, but I hope that’s the primary one. It is true that Joel couldn’t go back to Boston, so I’m sure that’s another big part of it.

            I actually like David a lot as a villain. He reminds me of someone who abused me when I was a bit younger than Ellie, so Winter was simultaneously very exhausting and very cathartic. I sensed from his very introduction that David was trouble. I actually like Joel more in comparison to David, believe it or not! I think it’s just very believable, that even the “good” guys can still do very problematic things because privilege. I see it all the time in guys I know and love in real life! One thing (probably THE thing) I adore about TLOU is the unbelievable realism of all of the main characters. IMO, Joel being so similar to David is scary but completely realistic. It just makes me love Joel more, in a way that’s just as complicated as my love for male family members who have done and said some awful shit. I think the game captured that, and most people I’ve talked to have agreed that Joel made the right choice.

            I think it’s actually not so much that Joel or even Marlene took her choice away, but that the *narrative* took her choice away. I feel like, despite her insistence that everything “can’t be for nothing,” Ellie could have convincingly chosen not to get her brain cut out for a variety of reasons, including:

            -Not enough convincing data
            -The world is beyond saving
            -All the other false hopes mentioned in hospital recordings
            -Her death would destroy Joel
            -The Fireflies don’t have good intentions
            -A vaccine would likely help the hunters and bandits attack good people, like those in Jackson
            -There might be another way (What if, say, her immunity can be transmitted through pregnancy but not through a vaccine?)

            Anyway, as I said, I LOVE the game, and I even like the ending. :) It’s just unfortunate, both from a feminist perspective and a storytelling perspective, that Ellie ultimately had no say in her own fate. It seemed like the whole story was subtly building and foreshadowing an ending where *she* would have to make a difficult choice. Because she was the one who was so determined to get to the Fireflies and be the “savior of all humanity,” I think it would have been a lot more powerful and unexpected if she had been the one to change her mind at the last minute. I accept and enjoy that some very different themes were played with instead, but it felt like the ending reinforced that the game was all about Joel’s development. I couldn’t relate to Joel at all, and the game felt like it belonged to Ellie from Pittsburgh on (OMG, especially with Winter so close to the end!), so that felt incongruous to me.

            Anyway, just my opinion! Thanks for chatting with me. I love talking about The Last of Us almost as much as I enjoy playing it. Thank you again for all your hard work! My life would be a much darker place without this beautiful piece of art y’all created.

  5. I found Gone Home on a list of indie games that everyone should play so I got it on Steam and began to play it. I tend to play games for a few hours at a time, what I didn’t realise was that this game only took 2 hours to finish. One sitting? Really? That’s all we get? Don’t get me wrong, it was stunning and enjoyable to play but for that price I could have got at least 50 hours of gameplay from most other developers.

    • Time really isn’t everything. For about the same price I got a copy of Space Pirates and Zombies and got 110 hours of repetitive addiction that I struggled through out of stubborn determination and compulsion. By the end I regretted it and realized I would have been much happier to have given up after the first 5 hours. Gone Home, which took me 4 hours, while taking my time and enjoying it with my partner, was by far the better purchase

  6. HUGPUNX is just so cute XD
    There are really not that many games where you can actually hug people – or cats
    Also the song is great, played the game three times just to listen to the music

    Gone Home is cool on so many different levels, I expected a spooky little game from some former BioShock developers and its whole queerness really positively surprised me

    Nice to see some game coverage on Autostraddle, you guys had some great articles here recently =)

  7. Oooh that Luxuria Superbia seems pretty cool, ever since I’ve found out about the existence of erotic games (read: when I was 12 and already a hardcore gamer) I have been highly curious and excited about potential queer ones but too scared to expose myself to the the violent, rapey stuff out there to really actively look for a title I would like, thanks for the article!

  8. Some other good picks:
    – Dream Askew, another RPG, also by Avery Mcdaldno is pretty great! http://buriedwithoutceremony.com/dream-askew/
    -ReProgram by Soha El-Sabaawi http://philome.la/pixiemania/reprogram/play
    intersections of kink & mental health
    -Realistic Kissing Simulator (okay, it’s not that erotic but it’s pretty fun) by James Andrews and Loren Schmidt http://jimmylands.com/experiments/kissing/

    If you’re into this sort vein of gaming totally check out DifferentGames.org(full disclosure, I worked on the conf the past 2 years so this is slightly self-promotion-y, but if you want more queer/radical games, check out the people who’ve been featured there, QGCon and at GaymerX).

  9. There’s a new-ish game called Great Personality which is a dating sim based on Myers-Briggs personalities rather than gender (the player character has a name that you choose, but no other details). I ended up with a super hot punk chick who was an ESTJ. Regardless of what you think of Myers-Briggs, the artwork (from 50 different artists!) is really lovely and discovering the personalities is very interesting.

  10. I quite enjoyed “Gone Home”, partly for its queer story line, partly for the awesome 90s vibe, and partly for its exploration-centric approach to first-person gaming (especially in contrast to combat-oriented first-person games). In fact, I just re-installed it for another play through; perhaps I will make some time this week for it!

    I’m fascinated by the recent explosion of indie games that focus on interactivity as a gateway to empathy. I can’t wait to see more developments along these lines, since games/interactive art can immerse players in so many unique ways. My experience with “Gone Home” drove this point home; it was the first video game to bring me to tears and stomp on all my feels.

    When it comes to games representing marginalized people and their experiences, I think encouraging empathy becomes all the more important. Some players will relate with representation of characters like them, while others might gain insight into experiences outside their own. Either way, it’s so important!

    I just hope that the creators of empathically-driven games can disregard the haters and connect with their true audience. I’m glad we have a positive community to explore some of these things here.

  11. gone home is one of my favourite games ever. The whole atmosphere is intimate. I was so careful to put all the things back exactly as I found them so the family wouldn’t know I was digging through their stuff lol.

  12. Checking out Luxuria Superbia asap, the concept impresses me. And Of Porpentine’s i love Cyberqueen most, and also it was so fucking hyper-happy-awesome to experience All I Want, those two made me feel young again for a second.

  13. Long Live the Queen! I bought it on a whim after reading a review of it at The Mary Sue, and promptly misplaced my entire weekend (and a great deal of sleep). It’s a visual novel-style game with some really brutal min-max elements; the goal is to get through the story (which takes place over the course of a year) without getting the main character – a princess nearing her coronation – killed.

    There are a lot of fun branches on the story decision tree and a lot of paths to win – though making it to the end is legitimately difficult the first time or two. However, dying is more fun than frustrating – you get a goofy cartoon that’s really quite endearing (she says, knowing how odd that descriptor is). And there are multiple queer elements, spanning relationships between NPCs, and your own.

    Seriously one of the best increments of $10 I’ve spent on entertainment.

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