Jill again. Of course it's Jill. The survival horror master of unlocking gets herself into another situation where the only key is... well. You know. The animation here has that specific quality, like someone drew it with a lot of feeling but maybe not a lot of formal training, which honestly makes it hotter. The monster design is doing something for me I don't want to examine too closely. Those hands. The way the thing moves. I spent a good while just watching the loop before I even clicked anything because the motion has this hypnotic, almost wrong smoothness.

The arrows at the bottom. That's the whole interface. I clicked the right one first and immediately got a position change that made me choke on my drink. Then I clicked left and it went back but not exactly, there's a weird delay like the game is thinking about it, which I complained about for maybe two seconds before the next scene loaded and I forgot what I was saying. The sound design is... present. Some wet noises that are either brilliant or accidentally perfect. Jill's voice is doing that thing where she sounds distressed but also, and I'm just saying, she's been captured a lot. At this point I'm starting to think she's not trying very hard to avoid these situations. The STARS training clearly didn't cover tentacle evasion.

There's a specific moment where the monster repositions and Jill's expression does something complicated that I've thought about more than I've thought about my actual responsibilities this week. The whole thing is rough in that way where polish would ruin it. Like outsider art but for people who want to see a video game character get railed by something not human. Which is apparently me. I wish there was one more scene, or maybe a different angle on the third one, but what's there is doing exactly what it needs to do. The white arrows are ugly though. They look like placeholder UI from 2005 and they glow in a way that distracts from the, uh, main event. No idea why that bothers me when everything else is so deliberately unpolished but here we are.