![]() The Vulnerable, Introspective Tone of No Longer Home I have now replayed No Longer Home, hence my lack of coverage around the game’s release window, but neither playthrough gave me the fulfillment I was hoping for. Furthermore, the choice-driven nature of the dialogue seems, on the surface, like something that would work well for me. In theory, No Longer Home is the type of game that I’d usually click with - an emotionally-driven story featuring gender non-conforming characters, an immersive art style, and the like. The last thing I’d want to do by offering my experience as a critical contrast to the game is to come off as disrespectful or dismissive. ![]() Disappointingly, No Longer Home left me feeling as directionless and alone as its two protagonists by the end.ĭue to the semi-autobiographical nature of the game, specifically its two central protagonists, Ao and Bo, levying any critique at the story, the writing, or the atmosphere, feels like a delicate balance on a knife’s edge. And though the story addresses meaningful themes that arguably are underdeveloped in most games, I couldn’t shake a constant feeling of dread and worry until I had finished the experience. Though the art presentation is charming and smooth, moving set pieces around like a stage play, the tone of No Longer Home brought about a certain kind of existential angst in my gut. I was excited to play No Longer Home, a game that featured an intimate and thoughtful look into the lives of non-binary protagonists. May this critical reflection on the game serve as an opportunity for others to engage with it. Our thanks to Fellow Traveller for providing a review copy of No Longer Home.
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