Hello!
Another Cabin in The Woods
Written in Twine, short-to-medium length. You’re visiting an isolated house in the woods that belonged to your estranged mother now passed, and you’re going through all the rooms and picking your way through various memories of your childhood. The story delves into some serious tragic events, but it’s overall fairly hopeful. There’s a vaguely supernatural element, but that’s not the focus and it’s mostly grounded.
Sort of upbeat, coffee shop background type music, lots of small sound effects (doors creaking open, piano snippets), and even voice acting!? The voice acting is generally fine, clear and expressive (The “mother” voice did sound kind of young!).
A lot of the passages have lines of voiced dialogue alongside its prose. Example snippet:
To the right lie the three bedrooms and the shared bathroom, as well as the den. Her precious den.
“I should walk through the house,” you say. “See exactly what I’m dealing with. But where should I start?”
You might get a couple paragraphs of prose with a paragraph of dialogue like above, and just the dialogue is voiced. You’re only ever by yourself in the house though. A lot of graphic adventure games (point-and-click ones, Life is Strange…) have the protagonist narrate to themselves out loud like this, for the benefit of the player. I don’t think I’ve seen it in a text based game like this though, so it could just be something I wasn’t used to, but I found it sometimes hard to both read and listen at the same time. I know visual novels sometimes get voiced, but those are dialogue-based, not prose-based. It did make me think about how unnatural having a character constantly narrating to themselves really is. Does it actually work better in point-and-click stuff, or am I just more used to it there? Reading dialogue that “you ask” and “you say” to no one in particular just seemed a bit unnatural.
In this story you’ll spend a lot it playing catch up, trying to piece together all the events and people your character alludes to. This piecing together of a non-linearly presented backstory is a cool structure, and most of the story is told through carefully chosen flashbacks. You discover different details and facets within all the different slices of the lives of your family this way. The overall tone is set cohesively through all the earnest music and sound and dialogue and writing, and overall this is a deeply planned out story that’s willing to really reach high to hit some resonant emotional notes.
I wonder about the second person perspective, because this doesn’t feel like a “put yourself in their shoes” type of story. I’m hearing “myself” voiced constantly, my character knows more than I do throughout, and this isn’t really a choose-your-path narrative either. Would third person work better? When should you use second person, anyway?
The story deals with some fairly heavy stuff. The writing isn’t far off, but trying to cram as much pathos into as short a scene as this tries to several times would be a pretty big ask for even the best authors and voice actors in the world, I would think. I wasn’t entirely sure in the end about some of the motivations of the parents, but that does probably make sense from a child’s point of view of events (the mother is really attached to the house why? The father is sort of monstrously uncaring?). There’s sort of a centrepiece mini-puzzle this builds towards quite well, and a strong overall vision for the story.