You start as this worn-out priest, the kind of man who’s seen too much war and not enough peace. He’s got that quiet authority, the type that doesn’t need to shout to make people obey. The town he moves into looks calm at first glance - green hills, soft light, all that - but it hides a mess of broken souls and dirty secrets. Slavery’s legal here, though not exactly cheap, so what you end up with are girls who’ve been through things. They flinch when touched, they test your patience, they crave attention in ways they don’t even understand. And you? You’re supposed to “train” them. Whatever that means depends on how far you’re willing to go.

It’s not just about spanking or groping, though there’s plenty of that if you push the right buttons. It’s about control, slow corruption, the way someone starts looking at you differently after a few nights of discipline mixed with affection. One moment she’s trembling, the next she’s begging for more. There’s something raw about it, something that feels wrong but also weirdly tender. The game doesn’t rush you; it lets you breathe between the filth. Sometimes you just sit there watching her try to please you, clumsy and shy, and you can almost forget she used to be terrified of you. Then she slips up, says something defiant, and you remember exactly who’s in charge.

The fantasy world stuff - elves, magic, holy symbols - it’s mostly background noise for the real thing: power and surrender. You can play gentle priest or ruthless master, or both depending on your mood. The animations hit that sweet spot between awkward and hot, like someone actually trying instead of posing. There’s even a bit of romance buried under all the punishment, if you squint. Not perfect, not polished, but maybe that’s why it works. It feels messy, human, like lust written by someone who’s lived it instead of imagined it.

You wake up as this pale girl in a filthy underground “medical” room, wearing almost nothing, with tubes in your arm and some creep’s blood bags hanging around. The first thing that hits harder than the jump scare is the camera slowly zooming on your face when you realize the blood smells good. Not “hospital good”. Dick‑hardening good. Pussy‑throbbing good. It’s not shy about it. The game just locks you there for a while and lets you stare at that one dripping bag, and I swear that scene lasts too long, but in a nice sick way. That’s when it clicks: alright, I’m a vampire, I’m starving, and every person I see is either a snack or a fucktoy or both. After that, it just throws you in this big modern city where all the lights look too bright and every human heartbeat sounds like porn BGM. They pretend it’s a normal “arrive in the city, get clothes, find job, meet people” start, but under that it’s basically a slow horror build where you keep wondering if you are about to suck someone off or tear their throat out. Sometimes both. The story keeps dropping small weird details like people scared of ancient myths, news about mutilated bodies, a girl with almost yellow eyes who stares at you a bit too long on the subway. You keep thinking “ok this will explode later” and then it… doesn’t. At least not yet. That’s kind of hot too, like edging with plot.

Sex scenes don’t rain from the sky right away, and I actually liked that, which is funny because I also hated it when I was horny and clicking through dialogue like a degenerate who has three other tabs open with Pornhub, xHamster and Discord. When they finally let Kyra get off, it goes from zero to “I’m fingering myself in a stranger’s bathroom while trying not to bite through my own lip” really fast. There’s one masturbation scene in a crappy rental apartment, blinds half broken, city noises outside, where she’s trying to stay quiet because her new roommate is on the couch. The camera spends a ridiculous amount of time on her thighs tensing, not even on the pussy. I kept thinking “move down, move down” and at the same time I was kinda happy it didn’t. Like, the tease is better than the shot sometimes. Then you get group situations later where things stop being gentle. There’s this club scene, shitty techno, neon everywhere, and you end up in a back room with too many hands on your body, mouths on your neck, someone’s cock rubbing your inner thigh while another girl is kissing your jaw. You can either lean into the “I’m the hungry monster, use them” vibe, or just drown under them, and both paths feel dirty in different ways. The oral stuff is nice and messy, spit and blood mixing, and the game doesn’t flinch from graphic violence when you finally stop holding back and rip someone open like a meat toy. The weirdest, most memorable bit for me was when you wake up after a kill, covered in dried blood, and you realize you came while doing it. They don’t overexplain it. No long monologue. Just her staring at her hands, shaking, then getting horny again when she smells herself. It’s fucked. It’s kind of romantic too, in a twisted way. And no, I’m not going to talk about that alley scene with the monster girl, the one where you’re not sure if you’re dominating or being milked. That thing is stuck in my head for all the wrong reasons and I’ll probably still think about it in a week while pretending I opened Chrome for “emails”.

Three witches, one cramped house, zero self-control. That is basically the whole mood here. You’re not watching some noble heroines in shiny armor, you’re poking around a messy magical sharehouse where everyone is horny, stressed and pretending they’ve got their shit together. Each witch has her own vibe: the serious one who pretends she’s above it all but still ends up with a demon’s tongue between her legs, the lazy troublemaker who uses magic like a dating app filter, and the “good girl” type who blushes while masturbating to the same corrupted visions she swears she hates. The game treats their daily life as a mix of errands, spell practice, demon hunting and “accidentally” walking in on each other naked. And that’s before the corruption really starts to bite.

The sandbox structure is the thing that got me hooked and annoyed at the same time. You can wander around the house, peek through doors, spy through keyholes, catch someone moaning in the bath, and the game just quietly tracks it all. I spent way too long messing with one stupid spell that only lets you watch from mirrors. It sounds small, but the first time I used it and saw the “good” witch on her knees, sucking off some shadow beast she summoned “for research”, it hit harder than the bigger quests. The corruption is not instant. You see small changes. She starts with awkward, hesitant oral, more teeth than tongue, then a few scenes later she is choking herself happily on a demon cock while you hide behind a wardrobe. The game never stops and says “look, she is corrupted now”, it just slips it in while you are busy trying to figure out how to use some magic ritual that probably will backfire on you anyway. There is cheating stuff too, but the game treats it almost casually. It’s more like “oh yeah, she has a boyfriend somewhere outside, anyway she is riding this monster with glowing eyes because it makes her cum like crazy”. It has that slightly dirty soap opera energy where everyone lies and nobody really wants to stop.

What I liked most is how the voyeur angle keeps colliding with the fact you actually play as the witches. One moment you hide and watch two of them making out, big tits pressed together, tongues slow, hands everywhere. Next moment you control one of them in a demon contract scene and you remember you chose to sign away a bit of her soul just to unlock a new masturbation animation in her room. The game lets you feel like a pervert neighbor and also the girl touching herself on the bed. Sometimes the magic is just an excuse to show how far their bodies can go. Tentacled demons pin them down, huge hands on their ass, spells failing because they are too busy moaning to finish a chant. Sometimes the fantasy stuff matters, like when a “simple” demon hunt turns into a long, sweaty corruption chain that ends with a witch voluntarily opening a portal between her thighs. There are little daily choices that look harmless, like using a charm to skip chores, and later you realize that charm is feeding off her purity and that’s why she now gets wet just hearing the word “master”. And I still can’t forgive the tiny detail that the kitchen table always looks the same even after all the filthy things they do on it, no stains, no mess, nothing. It bugs me every time I’m clicking past it on the way to watch one of them get railed by something with horns and too many tongues.

It starts with a weird kind of quiet, like you’re waiting for someone to say something they shouldn’t. The first scene pulls you in because it doesn’t even try to be shocking - it just *is*. Anna’s voice has this tone that sits between teasing and sincere, like she’s half‑ashamed of wanting to talk about what she wants. And then you realize, the game isn’t really about her leaving for Italy; it’s about how much you can stand watching her become someone else. There’s a moment where she sends you a photo - nothing too wild - and yet it feels heavier than the later scenes where everyone’s naked. I think that’s the trick: it makes you feel complicit before you even click the next line.

The humor sneaks in when you least expect it. There’s a bit where one of the side characters, can’t even remember his name now, tries to give “advice” about open relationships using a sandwich metaphor that’s absolutely terrible but somehow right. The writing jumps from filthy to tender so fast you almost get whiplash. Sometimes it feels mean on purpose, especially when Shego shows up - yeah, they went full parody there - and suddenly the tone flips again, all green eyes and cruel smirks, leather snapping against skin like punctuation. The game keeps forgetting it’s supposed to be sexy and then accidentally becomes it. One minute you’re laughing, next minute someone’s wrists are tied and you’ve forgotten why you were amused.

I’ll admit, I got weirdly obsessed with the sound design. The moans don’t loop cleanly; they stutter, slightly off‑tempo, and that imperfection makes it more real. There’s a scene with a mirror - voyeur stuff, sure - but what caught me is how the reflection lags a frame behind. Maybe intentional, maybe not. Doesn’t matter. It messes with your head. The pacing’s uneven, some transitions abrupt, but that chaos fits the story. If I could change one thing, I wouldn’t. Or maybe I would, but only to make it worse. Hard to tell anymore.