This one hits like a fucked up Valentine’s card somebody dipped in blood and spit on. Oridelle is not a “heroine,” she is a girl who died, got dragged back, and now thinks the only reason she exists is to suck off the guy who saved her. That’s the whole emotional center of the game: her on her knees, him on the throne, and you sitting there clicking through that sick loop of “thank you for saving me, please use me again.” It feels almost too intimate sometimes, like reading someone’s horny therapy diary that got infected by a horror manga. The tone flips a lot. One minute she is this soft, almost cute corpse-girl whispering how grateful she is, and three lines later she is giggling like a brain-poisoned bimbo about how her mouth is “perfect for him” and nothing else matters. It is erotic, yeah, but there is this rotten taste under it, like you bit into candy and it was raw meat.

The horror wraps itself around the sex instead of fighting it. Every time she drags herself back to that coffin, body resetting, clothes fixing, face going back to the “normal” Oridelle, it feels like watching a save file overwrite a human being. She goes out, gets broken a little more, comes back, looks the same. Inside she is not the same. You can feel the split getting wider, her real self trapped under this shiny, porn-brain alter ego that thinks being his perfect cocksleeve is holy work. Some scenes are almost boring in how focused they are on his dick and her mouth, and then suddenly one line pops where she begs him to call her by a name he gave her, not her own, and it hits harder than the actual blowjob. The game keeps telling you, quietly, that she is already dead, just not all at once. And still you keep clicking, because the pacing is like a slow, dripping faucet you kind of hate but keep staring at. Sometimes the writing leans too hard into “bimbo talk” and loses that fragile, tragic vibe I liked at the start, but then there is a moment where she hesitates before opening her lips and it all comes back. I wish there was a way to pull her out, to give her a route where she looks at him and says “no,” but the whole point is that she will not. She crawls back, every time, happy to be used, proud of how empty she can become for him, and that is what makes the whole thing stay in your head after you close the tab and pretend you are just going to check Twitter.

War has already chewed this world up and spat it out, and Dartanian is just tired. His armor’s still sticky with old blood, his nerves shot, and all he really wants is a quiet corner and a warm body that isn’t trying to kill him. Instead he walks right into Ellie, this demon girl with curved horns, ridiculous tits that barely stay inside her top, and an ass that bounces like it’s personally mocking gravity. The game doesn’t waste much time pretending they’re just “allies” either. One minute you’re creeping through some ruined village where you hear faint growls and broken whispers, the next she’s pushed up against a cracked stone wall, lips at his ear, voice purring in that breathy low tone that sounds way too real through decent headphones. The horror vibe is not just visual, it’s in the audio: those distant wet stomps, the sc*** of something long and sharp on stone, and then her sudden gasp when he grabs her by the hips and pulls her close. That contrast hits hard.

The sex is where the sound design actually flexes. Her moans don’t just loop in a lazy way like many mobile smut games. They rise, crack, sometimes cut off when he thrusts too deep. There’s this one oral scene early on where she gets on her knees in a half-collapsed chapel, stained glass broken, moonlight flickering, and when she takes him in her mouth you get this mix of soft sucking, tongue sliding, and faint little muffled whimpers in her throat. It’s messy in a good way, not clean porn-audio, more like someone actually recorded a real blowjob and layered it. When he finally fucks her properly, the wet slap of skin and that squelchy detail between her thighs is so sharp I had to check my volume on Spotify because I thought something else was playing. Her big ass claps every time he drives into her, and you can hear the weight of it. I’m obsessed with that kind of thing and they almost nailed it. Almost, because there’s this weird tiny squeak in one of the looped animations that kept popping up and now I can’t un-hear it. You probably won’t notice, but once you do, it’s cursed.

The monster girls you meet later are where the audio team went a bit crazy in a good way. One has this half-growl, half-pleasure sound when you start fingering her that slowly melts into these broken, needy moans. Another one’s voice cracks when he slides in and she begs him not to stop in this slightly accented way that made me think of some cheap ASMR I fell asleep to once. The romance angle is actually supported by breathing and tiny noises instead of text: Ellie’s breath gets shaky when Dartanian touches her scars, there’s a moment where she’s on top, riding him slow, big tits bouncing in time with the wet smack below, and in between the thrusts you hear the faint tremble in her voice when she whispers that she doesn’t want the night to end. Then five minutes later you’re in some creepy forest, something unseen is stalking you, the wind is howling, branches cracking, and she’s still catching her breath, little aftershocks in her voice. The game feels a bit rough around the edges and some transitions are clunky, but when it locks into that mix of fear, lust, and intimacy, with every moan and wet noise hitting just right in your ears, it honestly doesn’t matter. Turn the music down, put on good headphones, and let the sound carry the dirty parts for you.

You open your eyes in a garden that’s way too pretty for how fucked up you feel. You remember dying… kind of. It’s fuzzy, like that morning after too much vodka when you’re checking your phone and praying you didn’t text your ex. Except now the “ex” is literally your life, and instead of hangover you get a smug angel, a smug demon, and a bunch of confused hot dead people who all like girls, guys, both, neither, or “it’s complicated” in different flavors. They tell you this isn’t Heaven, not Hell, just the Garden hanging out in Limbo, like some cosmic waiting room where everyone’s bisexual or worse. You’re told you can pick your body and gender, like character creation but with the weight of “what the fuck am I actually” behind it. Female, male, futa, trans, something in between, something off to the side. The game doesn’t blink. You can just… exist the way you wish you had when you were alive. That alone hit harder than some porn games ever will, honestly. Then five minutes later you’re flirting with a demon girl who looks like she can ruin your life and you’re fine with it.

What really sticks in my head is how one scene goes from tender to horny to sad so fast it feels wrong, in a good way. You’re sitting under this glowing tree with another lost soul, talking about what you regret from your life. They’re quietly telling you about the first time they realized they liked girls, how they kissed a friend behind a church, shaking and happy and terrified. The garden lights reflect in their eyes, they lean closer, and your choices appear. You can joke it away, you can pull them into this slow, nervous kiss, or you can go full thirsty and grab their hips and push them against the tree. If you go thirsty, the way the writing describes hands sliding over still unfamiliar bodies, the awkward “is this okay” mixed with raw need, feels more real than half the polished porn out there. It’s not just “and then boobs appeared, wow.” It’s messy, people hesitate, someone laughs at the wrong time, it reads like two queer disasters horny in Limbo who never got to be honest when they were alive, so now they’re making up for it in one go. There’s even a moment where they say “I never had sex like this when I was alive” and you can answer “me neither” or pretend you were a huge player. Which is funny, because the game will totally call you out later on that lie.

In between the horny stuff, you’re doing trials, talking to angels that act like burnt-out office workers, demons who act like they run a queer nightclub, and other dead people trying to figure out if Heaven is worth the rules, Hell is worth the chaos, or if Limbo is secretly the best place because nobody really knows what the fuck is happening anyway. Sometimes the tone whiplash gets tiring, like you’ll go from heartfelt talk about dysphoria to a gag about someone’s ass in two lines and it almost kills the mood. There are parts where the pacing drags, especially when a character dumps lore on you about how Eden ended up stuck here and you just wanna go back to worrying if that cute trans boy is into you or only into your “tragic backstory.” But then later, one small choice from an earlier date suddenly changes how a big late scene plays out and you realize oh, okay, it was paying attention the whole time. There are multiple routes and endings, you can flirt with women, men, futas, trans characters, some are soft, some are monsters in a sexy way, some are just emotionally unavailable but so hot you try anyway. It’s not afraid to be horny, but it also doesn’t treat sex like the only reward. Sometimes you get a tender cuddle in the afterlife instead of a full-on scene, and weirdly that feels more intimate. Still, I got annoyed that one character keeps mentioning some specific snack from when they were alive and you never actually see it anywhere. No CG, nothing. That bothered me a lot more than it should have. Anyway, it all feels like a queer afterlife dating mess where you can be a lesbian, a dude, a trans futa, whatever, and still end up kissing under a divine tree while arguing about whether Heaven even deserves you.

Fog rolls in, streets go quiet, and John is just stuck at work with two women he mostly knows from awkward breakroom small talk. That’s the whole vibe here: not some badass hero fantasy, but a guy trapped in an office while the world outside rots in a toxic soup. One second he’s checking his phone, the next the signal dies and the city kind of just vanishes behind this white, angry fog that literally burns skin if you get too brave. It’s weirdly intimate, because when everything outside goes to hell the only thing left to play with is people’s nerves, their fears, their bodies, their need to feel close to someone while it all might end tonight or next week or never. The horror parts hit first, and then slowly the romance and the sex leak in around the edges like the fog under a door, not some instant “you are the chosen dick” story. You feel stuck with Kallie and Laura in this poisoned little bubble, watching them crack, get scared, get horny, get angry, sometimes all in the same scene. It’s messy in a good way. Not every line lands, some conversations ramble, and sometimes John acts like a confused Reddit thread, but that’s also kind of believable.

What really caught me is how often the game lets you just say small shit. Little comments that don’t blow up the plot, they just sit there in the back of someone’s mind. You flirt at the wrong moment and Desire ticks up a bit even while Anxiety spikes, so she might still let you slide a hand under her shirt later, but she’ll shake when she kisses you. You’re nice and soft with her after she has a panic attack and Love crawls higher, which makes the eventual creampie scene feel more like “we might die, please stay inside me” than porn hub speedrun. It’s not all sweet, though. There are moments where the sex is raw and selfish, bodies slamming together on some half-clean office couch or cramped storage room, her moaning while the building around you feels like a coffin. Condoms exist mostly as a suggestion, which the characters ignore whenever the tension finally snaps, and the game leans hard into that risk. You can have a romantic talk, then five clicks later you’re pinning her against a window with the toxic fog just beyond the glass, filling her up because you both need proof you are alive. I wish the UI text was a bit bigger on my phone, but anyway, the story quietly shoves you into this fucked up little family, where trust, lust, fear and love keep shifting around like stats you pretend not to care about while you very much do. Sometimes the pacing drags for a scene or two, then suddenly you’re in a pitch-dark hallway, breathing with her, feeling her hand find your crotch because she wants reassurance in the only stupid way she knows. It’s not subtle. It’s also strangely tender. And then out of nowhere the game just drops a line that feels like a shitpost and you remember people made this on actual computers and not in some cursed fog dimension.