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About the StoryA horror-parody in the tradition of Franz Kafka. Many regard 'the friend zone' as a metaphorical penal colony in which well-intentioned Nice Guys™ frequently find themselves trapped. But what if it were a physical penal colony?
And what if you became stuck in there with the Nice Guys™?
38th Place - 21st Annual Interactive Fiction Competition (2015)
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Number of Reviews: 3
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In the Friend Zone takes these concepts as the basis for its story. Actually, it doesn't have much story. It's more concerned with deconstructing the concepts and fleshing them out into a surreal allegory.
It bills itself as "a horror-parody in the tradition of Franz Kafka," but I don't think this is accurate. Of course the game does owe something to Kafka. The Nice Guys™ in the game's world feel that they're being persecuted by obscure forces beyond their control, like many characters in Kafka's fiction, and one passage is inspired directly by the parable "Before the Law" from The Trial. But the piece is otherwise not similar to Kafka. You have nothing like Kafka's bureaucratic prose, circling around as it eats itself; you have nothing like Kafka's off-kilter absurdity; in fact, you always know exactly where you are with In the Friend Zone. The allegories are obvious, monstrously obvious. They smack you over the head and invite no alternative readings.
I don't think that this is precisely a problem. It just means the game is not advertising itself correctly. It's got much more in common with Pilgrim's Progress. The entire thing involves wandering around an allegorical landscape, and the protagonist is even referred to as "Pilgrim." Kafka fans are not necessarily going to enjoy what's being offered here.
When I went into the game, what I expected was snark in industrial quantities. I wasn't eager for this. What I got instead wasn't snark at all. Make no mistake, this game is critical of its material (criticism that I happen to agree with), but it's not interested in taking cheap shots. It really does dedicate itself to the allegory, painting a surreal hellscape that has been carefully constructed. More than that, it goes a step further and truly considers events from the perspective of the Nice Guys™, trying to walk in their shoes and unravel why and how people exist with such attitudes. They aren't being used as punching bags, which is what I was certain was going to happen.
I also admit that I expected the writing to be dismal. It is not. There are some typos here and there, but for the most part it's smooth, sometimes it's shiny, and the author has a knack for chipper dialogue.
In other words, I was pleasantly surprised by the whole thing, but at the end I was also left thinking, what's the point? Who is this written for? What is it actually doing? It's not written for the Nice Guys™. It won't change their minds. It's not written for their critics. It won't change their minds. Rather, it's simply using the "friend zone" and "nice guy" ideas as jumping-off points to create a fantasy nightmare world.
But this is an unstable nightmare world that's anchored to something ephemeral in pop culture. In twenty or thirty years, will people still be thinking with this game's terminology? Many people right now don't even know about "nice guys" and "friend zones." They hover around in the same space as internet memes. They're more persistent, yes, but In the Friend Zone is essentially an entire game written to deconstruct a few passing linguistic fads.
Pilgrim's Progress and Kafka are still around because they're universal. I don't see In the Friend Zone sticking around. Maybe it's ridiculous to apply criteria like that to a Twine game -- to ask, will this be universal, will it withstand the ages? -- but that's actually something that I ask about every game and book and movie that I consume. Something like howling dogs, I can safely say, is universal. It strikes deep, major veins in humankind. In the Friend Zone doesn't, but the author certainly seems to have the writing chops to produce something more substantial in the future.
What is by far the most distinctive thing about this game is its writing and mythos, really. There are apocalyptic scenes galore, and Lovecraft inches his way into each scene. It feels like the game Neka Psaria. It feels like a slimy version of Stross’s Rule 34. It feels like some kind of regional gothic, made interactive. This game reads like Porpentine… kind of, with more effigies and less cyberpunk.
The story appears to be set in an elaborate mythos with Priapus (in its original form, a Greek god of fertility and protector of male genitalia) worshipped as a kind of malevolent deity.
It’s no surprise that there’s sexual imagery throughout, though the imagery seems less erotic than violent. There is also quite a fair bit of violence, though at that point it felt more abstract than visceral. This was partly because the targets of the violence were nameless and, for all purposes, not distinct.
Apart from that, I found it hard to get my bearings. The way to progress through the game isn’t really clear - you start off naming a person you’re looking for, but exactly what has happened to that person is very unclear. It made it frustrating for me, half because I kept 'walking’ in circles, half because I didn’t know how to advance the story.
Nevertheless, Vance’s writing is sound. It never veers into Lovecraftian purple prose, despite its influence, and putting aside my misgivings, this is an able piece of genre writing.
An allegorical journey exploring the role of 'Nice Guys' in relationships, February 3, 2016
Although the love interest and PC can have their gender chosen, it seems to be centered around men; after all, the entire world seems to be (Spoiler - click to show)a woman, where you explore her arm, eye, mouth, anus, and vagina, getting progressively more disturbing.
Gameplay is linear at first, turning into exploration later on. The game directs towards different 'questions', which you hunt through to find. I enjoyed this part of the game, as well as parts of the openings.
The overall theme is something I don't quite identify with, and as a prudish person, there are more sexual references than I would like. The general feel seems to be that women are torturing men by placing them in the Friend Zone, but the subtext is that the men are torturing themselves. Nowhere, though, does it suggest open dialogue or communication as ways of developing relationships.
So I had mixed feelings about it. I loved the execution and writing, and I'd be very happy to see more from this author.
In The Friend Zone on IFDB
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