Instinct Unleashed [Ch.13]
This game is odd.
It starts rough — visually, structurally — but I gave it a shot because of its main hook: a futa protagonist. Not something you see done with much weight. And surprisingly, there’s ambition here. A personal mystery, a messy past, and a hometown full of buried tension. On paper, it works. In execution, not really.
The premise kicks off with the MC returning to her old town after years away, trying to make sense of her mother Susan marrying the town’s mayor, Victor. The town names are ridiculous — “Suntown,” “Rivercity”. She moves back home and it suddenly rains all the time like she’s trapped in a noir flick. No one has heard from her in six to eight years. She completely cut off contact, not even her friends or family could find her — as if it’s 1987 and not a modern world with phones.
She was a delinquent back then — constant fights, breaking rules, fighting with her mother. Eventually got kicked out. But where was her father during all this? We find out later he kind of knew where she was, sort of followed her life from afar. But early on, she describes how dark and dangerous her life was. Why didn’t she turn to her aunt? Or friends? Or anyone? The backstory is built on emotional gaps that don’t hold up. It reads like something written for drama without being read over twice.
So she returns, visits her father’s grave in a tearjerker scene, and everyone in town acts like they were just waiting for her. Cue the slaps, the hugs, the “how dare you leave me” melodrama. Every character she meets is either already in love with her, about to be in love with her, or exists solely to fall for her. They all bend for her — emotionally and otherwise. You can sissify them, knock them up, cuck them, humiliate them — it doesn’t matter. They’ll come back around. They all want her.
The game is fractured. Not just because of engine limitations. It feels like it’s made of three rotating parts: erotic scenes, bloated drama scenes, and convoluted “investigations.” The drama is soap-level. Long-winded emotional dumps that drag. The sex is better, but still feels like it’s waiting for permission from the plot to be itself. And the mystery scenes — the supposed backbone — are deliberately foggy. It’s all vague clues, half-baked foreshadowing, double-talk. I guessed things early, but it wouldn’t have mattered. The answers are whatever the dev wants them to be.
The worldbuilding is weak. Supposedly, we’re in a post-war society, almost destroyed by global collapse. But you wouldn’t know it. The world is clean. Too clean. Like a normal day in San Francisco. Except with deeply cartoonish misogyny. Futanaris were created post war, became über-chads, and tried to dominate everyone. Of course. That led to social backlash and near extinction. It’s dumb lore, but the real issue is tonal whiplash. One minute you’re in a gritty investigation story, the next you’re learning the futa are evil because they were too alpha. Why not just let them exist? Why not make the MC a unique case or a secret test subject?
There’s a whole arc where the MC investigates a corporation (NTL — basically Umbrella), and finds out they’re developing a “cure” to allow futanaris to give birth. It sounds kind of cool, kind of tragic. The MC? She just declares it evil. Decides for all futanaris that no one should accept this. That it's butchery. That no one has the right to choose this path. This, from someone who preaches freedom and sleeps with anyone and everyone. The hypocrisy is wild.
The MC is portrayed as stoic, dominant, stable — emotionally bulletproof. She's a whisky-drinking, tattooed, beautiful muscle-bound Latina amazon who plays guitar, watches porn, and sits like a tired man after a long shift. She walks into rooms and everyone falls for her. Why? I couldn’t tell you. Her family besides her twin is white. But they're not — and it’s never explained. Nobody suspects a thing. Except Stella, another futa, who notices her at a glance.
Most characters exist in isolation, waiting for the MC to activate them. Rarely does it feel like they have a life of their own in between events. Characters don’t talk to each other. They just wait for the MC to enter the room and unlock their next scene.
As for story pacing: eventually, the MC goes through a transformation. She gets angry. She says she won’t hold back anymore like her father mentored. She promises to protect her people. It’s supposed to be a big moment, but it reads like teenage fanfic. Something about the dev trying to prove the MC isn’t perfect by having other characters say she’s not special, it's just that everyone else is awful in comparison — but the entire plot still treats her like a chosen one.
The Adam subplot is the worst offender. He's her brother. There’s trauma. A possible redemption arc. Maybe a chance to make peace. But no — it turns out he’s just an ass, always was, always will be. He spirals. No one cares. His son gets sissified, and the outburst is enough for the MC to justify sleeping with everyone in the family. What was the point? There was no payoff. Just a setup for another taboo route.
This game could’ve been great. If it picked a lane. If it committed to one idea. If it cleaned up its characters and let the world breathe. Instead, it tries to be three things at once and spreads itself thin. There are scenes I liked — Mia, especially — but characters like Ivy feel like redundant filler.
At this point, I’m just playing to knock up all the hot girls. The MC is a scumbag — but the story won’t admit it. It gives her everything, forgives everything, and covers her in just enough angst to pretend she's morally complex. She’s not. She’s just the biggest asshole in the room — and everyone loves her for it.
