Holly White has the kind of face that makes you want to ruin her. That’s not a compliment, it’s a game mechanic. She arrives in the city with her good grades and her little boyfriend and her plans to pay rent like a normal person, and within twenty minutes the game has already started counting your sins on a little invisible scorecard. The Good path is for people who want to help her fold laundry and call her mom. The Bad path, which I picked so fast my finger cramped, is for the rest of us.

I spent way too long on one early scene where she’s just trying on office clothes in front of a mirror. You can make her twist, pose, second guess the skirt length. It’s a tiny moment but it tells you everything about how the corruption works here. It’s not a switch that flips. It’s a zipper that gets stuck halfway and then you realize you don’t want it fixed. The new boss at the media company, some guy with a jawline that screams “I own a boat and have opinions about your potential,” starts leaning into her personal space before she’s even finished orientation. And the game just lets it happen. No dramatic music sting. Just his hand on her lower back and the point counter ticking up.

The lesbian content with her new coworker caught me off guard because I was too busy chasing the humiliation scenes. There’s a moment in a supply closet, very early, where the power dynamic is so lopsided it feels like watching a nature documentary. The interracial scenes are aggressive in that specific way where the dialogue is trying to make you feel something complicated and mostly succeeding. The big ass tag is doing a lot of heavy lifting here, literally, the artist has a fixation and I support it. I do wish the stripping mechanic had more player control instead of just watching her get talked out of her clothes, but maybe that’s the point. The game wants you to feel like you’re losing grip on her, same as she is. I forgot to mention her boyfriend exists for about an hour of playtime, which feels like the intended experience.