Katrina and Gregory travel to Europe by train, eventually arriving at a tunnel that is longer than they think. This game no longer makes much of a disguise that it has little to do with interactive fiction, but rather focuses on literary representation. It could be defined as a psychological horror or a thriller, but I don’t think it should. In his way of depiction, he most closely resembles the short stories of Sylvia Plath, where few things happen on the surface, the point lies in the description and capture of the characters’ emotions. On the train path, they meet a Portuguese couple called Kirsten and Sam for some reason. It turns out they are all childless. Arriving in the tunnel, you can already find them together. Turns out they’re almost alone on the train here. A child rushes away screaming in the hallway.
In the end, they all react differently to what happened, but that leaves Katrina quite cold. Katrina is only interested in herself. More, more … Like probably the author, Natalia Theodoridout. I think the genre of all this is an autobiographical short story turbocharged with multimedia elements. In this we say, I don’t think I’m much wrong, because I also read the interview with the writer. Behold, we have already embarked on the path I have always voiced to bring the literary approach to the fore in interactive texts. Interactivity, multimedia, it doesn’t matter? No, but let’s leave it now, it would be long. Let us stick to the fact that we mean another change in function in the history of nonlinear narrative.
Rating: 4.5 out of 5 childlessness