#oxenfree (2016)

[edwardsisland]

in honor of the updates coming for behemoth games have this

[oxensfree]

"Can I have like two real quick minutes with Alex for a second?"

OXENFREE (2016) OXENFREE II: LOST SIGNALS (2023)

[videogamepolls]

Requested by anon

[yuespropagandablog]

Hello esteemed mutual. If you are reading this, then that means my propaganda is working. But you might still have questions, so I am here to answer them. And also, it is my duty to report back on it, because the first game was chosen by you, my mutuals. 2025 might give us the idea that democracy is not as fun as we thought, since people choose to elect absolute imbeciles, but moments like this show that it does have value!

What are the OXENFREE games?

The OXENFREE games are two games from Night School Studio. The first game, OXENFREE, came out in 2016, and the sequel OXENFREE II: Lost Signals came out in 2023.

OXENFREE follows Alex. Alex, her stoner best friend Ren, and new step-brother Jonas are going to Edwards Island for an overnight party. It’s a school tradition, and it’s finally their turn. Unfortunately, only two other people show up: Nona, who Ren has a crush on, and Clarissa, who is a dick towards everyone. Things change when Alex unknowingly opens a rift to a paranormal dimension and whatever entity is stuck there, tries to cross to Alex’s dimension. This would mean destroying the world. Alex and Jonas traverse through Edwards Island, saving the others and trying to find a way home.

OXENFREE II has a different protagonist, namely Riley. Riley returns to the small town of Camena for a job. She and her new colleague Jacob are tasked to place some transmitters in order to understand what is going on. Strange phenomena have been happening on Camena and Edwards Island, an island off the coast of Camena. Riley and Jacob find out that three members of a local cult called Parentage are trying to reopen the rift that Alex closed (spoilers, oops) in the first game, since they believe it leads them to paradise. Riley and Jacob need to find a way to stop them, but by doing so, they travel through time, including a past that Riley tries to escape and a future Riley cannot fathom.

Have a trailer for OXENFREE:

And of OXENFREE II:

What makes these games different from others in the genre?

With genre, I assume you mean story-driven narrative games, not horror, because apart of Cult of the Lamb, I haven't played any other horror-esque games.

What I adore about these games is the "walk and talk" mechanic. Night School Studio wanted to tell a story, but not in a visual novel style. And they also did not want any cutscenes. This means that during most of the story, Alex and Riley can still freely explore the area and interact with their surroundings, while talking to other characters. Instead of a game where the other gameplay gets stopped to do dialogue, or of a game that relies on cutscenes to tell big story moments, the gameplay continues here. There are some moments where you have to listen, but sometimes conversations also continue as you move to another part of the map. (At least in OXENFREE II. I can't remember if it's the case for OXENFREE, cause I only found out about OXENFREE II when I was almost done with the game, lol. I kept waiting in an area for the current dialogue to be done.)

This, my friend, was great! I like visual novels. I like cutscenes. But too much of a good thing can be a bad thing. Visual novels bore me after a while, and a string of cutscenes is also a bit annoying to sit through at times. Here, Alex and Riley can keep moving around, exploring the area, interacting with what they see, using their radio and what not. And also, you can choose not to talk! Since the rest of the game isn't paused, life goes on. If you don't choose a dialogue option in time, the options disappear altogether. Sometimes, dialogue needs to chosen at a quick pace, or sometimes, the options linger for a long time. And there have definitely been moments where I thought it was best to remain quiet.

Also, both games allow subtitles, and each character has a specific colour, so when there's overlap, you can still see who's talking. That's cool. In OXENFREE, you have to toggle them on every time you start the game, though, so don't forget! Oh, and all characters are fully voiced.

What is the difference between the two games?

OXENFREE II takes place 5 years after the first OXENFREE. On paper, you can play this game without playing the first, but you miss a lot of context. Really, why would you? OXENFREE II takes the same gameplay mechanics from OXENFREE to tell a new, but adjacent story. OXENFREE II feels different from its predecessor, since there is a different objective, a different setting, and also different characters. Alex and her friends were teens. Riley and Jacob are in their 30s. I think this allows for a different story to flourish, since Riley has come back to Camena to reconnect with her dad after her life in the city fell apart. In OXENFREE, you learn Alex's backstory through the dialogue options you can pick, and the same goes for Riley in OXENFREE II, but the sequel puts more emphasis on time travel, so it’s not just tell, but also show. I also like that this game had some nice plot twists that made you change how you see your plans and past actions. OXENFREE’s story was more condensed and focused, but I think OXENFREE II’s story is good in its own right. 

On the surface, it looks like OXENFREE II has a smaller cast. It’s just Riley and Jacob. But Riley can find contact information all over the town. This leads to a few contacts in her walkie-talkie, and constantly talking to those people gives them a story as well. This also contributes to the more scattered storytelling from OXENFREE II, but I liked getting to know all these people, and if you don't, the walkie-talkie storylines are optional.

The dialogue options of course lead to different outcomes. Both games have different endings. The characters around Alex and Riley react to what they say, do and choose. You can make Alex and Riley more optimistic, or you can make them jaded and bitter. You can make them friendly, or you can make them rude. The effects of the choices in OXENFREE feel more immediate, whereas in OXENFREE II it all pays off in the ending. This is why some people say that your choices do not matter as much in OXENFREE II, but trust me, they do. It feels like OXENFREE II actually has more ending variations than OXENFREE.

I admit that I get why people were put off by the differences. OXENFREE really is a horror story with a clear objective, and OXENFREE II isn't. OXENFREE II is also less scary. With OXENFREE, I was constantly afraid what I would find, but that wasn't so in the sequel. OXENFREE felt a lot more jarring, since it's all happening in the moment. There are time loops and glitches and whatever. OXENFREE II has more direct time travel, which adds another layer of mystery. Not to say there aren't time loops in OXENFREE II, but it was just a bit different. I tend to say that OXENFREE II is more philosophical, because its scattered story gives room to think about life's meaning, death, choices and what not, whereas again, in OXENFREE it's all about "we need to get out of this now", since Alex and co. are trapped on Edwards Island.

All of this to say that these games are adjacent and best played together (in my eyes), but that they have a different atmosphere.

Are there content warnings?

Yes. OXENFREE is a horror game where possession by the enemy happens frequently. When Alex's friends are possessed, they may do things that physically harm them. Of course, there's the psychological aspect of all of this too. Mental health issues, loss and trauma underlie some of the stories. There are also "small" jump scares.

OXENFREE II has the same warnings, but in addition there's more focus on complex relationships between parents and children, including relationships that aren't healthy. People are hurtful and manipulative.

Oh yeah and the flashing and glitching effects aren't great for epileptic and photosensitive people.

Where can I play this?

OXENFREE can be played on Steam, Xbox One, PlayStation 4, mobile, Nintendo Switch and through Netflix Games. The same goes for OXENFREE II, and it's in addition available on PlayStation 5.

Can we play together?

Without saying too much, there is a moment in OXENFREE where other players have influence on what is happening, but there is no direct multiplayer. It is a solo game. I don't even know how multiplayer would work in these games.

Is there DLC?

Nope! Or at least, not at the time of writing. OXENFREE did get a free update that added a New Game Plus, with a bit of new gameplay. And in preparation for OXENFREE II, it also got updated so that Parentage, the villain of OXENFREE II, can be found on Alex's radio at times, but that's it. Maybe OXENFREE II will get a similar NG+ update, but I have no clue, and also, I don't need DLC beause I think the story had a great ending. I respect the hell out of that. Sometimes, stories just need to end, and that's better than dragging something on and on.

Are there German characters in the OXENFREE games?

Nope, sorry.

[haveyoulistenedtothisalbum-poll]

Tracklist:

Lost (Prologue) • Beacon Beach • Epiphany Fields • Against The Rocks • Towhee Grove • Cleanslate • Alsos • Cold Comfort • Lantern • Argonaut • Catbird Station • Against The Waves • Kanaloa • Dead Light • Catchpole Station • From The Leads • The Gate • Lost • Argonaut Atalanta • Days Past • The Beach, 7AM

Spotify ♪ Bandcamp ♪ YouTube

[lakemojave]

Mojave's Top Ten Games of 2023 (3 of which actually came out this year)

I figured I should make a list like this at some point, but I didn't actually play many new games this year. Well, I played tons of games for the first time and loved so many of them, but few of them were new releases. At my current stage as a game critic, I'm playing a lot of catchup, trying to get context for current games, playing the classics and the seminal franchises of the medium. I do not have a game of the year pick. Even though I was behind the curve, I still wanna talk about the experiences that moved me this year.

Honorable mentions:

Baldur's Gate 3 (2023): One of the densest, fleshed out, satisfying narrative RPGs the gaming industry has seen in years. Immersive, well written and charming, no two people can have the same experience with this game because of how much variance and player choice is accounted for in the gameplay and script alike. It's for that reason it's not on the list though--not only have I not finished it, I'm also not doing it singleplayer, and am missing out on much of that juicy story content in favor of me and my group's meta-narrative.

Black Mesa (2020): The remake of the first half life is sharp, smooth, and immersive, combining what was visually and narratively compelling about Half Life 2 back into the original story. It has some of my favorite setpieces of the entire half life catalogue now, which is saying a lot. It's off the list in favor of the original.

Dead Space (2023): A triumphant return to the horrors of the Ishimura incident, with insidious twists to the game design and story that disrupt a fan's familiarity with the game world time again. It scared the fuck out of me so many times, but the bittersweet feeling I get thinking about the fate of the Dead Space franchise means RE4 gets its spot.

10. Oxenfree 2: Lost Signals (2023)

The long awaited sequel to 2016's Oxenfree caught me by surprise after playing the first game just before it. Playing the original teen horror, I'm struck by how grating some of the dialogue can be, how sophomoric and cheap it can feel without drinking deep of the content. What makes this version of teen horror so compelling, though, is that through sympathetic participation with Alex, you catch yourself from griping at the young characters for making foolish choices, which is very effective.

What's stunning about this sequel is that in the 7 year gap between games, it's not just the team and the audience that has matured, it's the writing all around. Your character, Riley, is in her early 30s, returning to her hometown and feeling very existential as she peers into the past, the future, and the unknown in between time and space. The world of Camena and Edwards Island is expanded on those lines, the thematic focus becomes resonant and emotionally devastating, and the dynamic with young characters, familiar or not, demonstrates how strong this second chapter to the oxenfree story really is.

9. Resident Evil 4 (2023)

Look. I love a horror game. 2005's Resident Evil 4 may be among the best of them, and it may be timeless in its own right, and it may be foundational to so many other games I love today, but god damn is this remake fun. With sharper visuals and atmosphere than the original, intricate new resource systems like knife durability and parries, and some updated character work, it's safe to say this is a categorically different game than the original. Plenty of material was cut from the main game, like the IT fight or the laser hallway, which found their way into the DRASTICALLY improved Separate Ways expansions, starring Ada Wong. It's not my favorite Resident Evil, and it's far from the scariest, but it's the one with Leon's spin kick, and there's nothing more satisfying than that.

I do maintain a lot of early gripes I had with the remake. When Resident Evil 8: Village came out in 2021, it borrowed a lot of mechanical, narrative, and aesthetic tropes from RE4, updating them to a new game in the wake of the remakes of RE2 and 3. Those remakes were truly transformational masterpieces, blending all of Resident Evil's best aspects to create new, distinct experiences. RE4, the original, didn't really need much updating, it's been ported to hell and back already and is so ubiquitous that there was no real need to bring it back into the zeitgeist. Nothing can really be gained by this remake except for a victory lap for Capcom.

Cynicism aside, FUCK YEAH, TWO CAKES!

8. Mass Effect (2006)

I should say that the version of Mass Effect I'm playing is not the one that came out in 2006. The Legendary edition does a bit of graphical and mechanical tweaks to update some of the dated aspects. That's kind of a shame, because the dated aspects are what's so fascinating about Mass Effect. Between Baldur's Gate 3, Disco Elysium, and now the early Fallout games, I find myself taken by classic CRPG design, which accommodates such a wide variety of player choice. Mass Effect doesn't have too much choice in it--the progression and ending are pretty much fixed from the beginning, you basically choose what flavor of the script that you want.

In that way, I like Mass Effect as a transitional piece--an attempt to bring the aspects of early CRPGS into the modern, console games market, with all the budget EA would give them. The writing and design are...satisfactory. The shooting could be more robust, the characters could have more personality, and to the series' credit those things do come about in Mass Effect 2 (which I'm sure I'll gush about when I finish it).

It's the presentation I love here. Mass Effect has maybe one of my favorite sci fi settings I've ever seen. A vast array of alien civilizations, a rich history filled with interesting lore, a competent portrayal of intergalactic politics, all delivered by characters that are deep and interesting. The voicework is also some of the best I've ever seen, and although there are many standouts, Jennifer Hale's Shepard is just tremendous. Actually playing Mass Effect may be a slog, completionist play might require some of the worst loot grinding I've ever seen, but that is all secondary to the way I was captivated by Mass Effect's version of the final frontier.

7. Half Life (1998)

I did a whole ass 5 hour video essay about Half Life, and I don't wanna belabor how much I like this game and series too much more. I loved Half life 2 and the portal games for years, but it was only for that project that I actually got around to playing this. It's a real bonafide classic, containing so many tropes of modern immersive action games WAY ahead of their time. The setting of Black Mesa is deep and engaging, the environmental storytelling is strong, and the voicework is natural and believable (for the most part.) Sometimes as a game critic I have to give some allowances to an older game for some of its jank and some of its rough edges, let myself see the thing just for what it is without all my modern hangups. I don't have to do that with Half Life like I do for other games. There's parts of it that are rough, like the Interloper and On a Rail chapters, but Half Life feels just as good to play now as it did 25 years ago.

6. Dredge (2023)

There's an old tumblr post that proposes a fishing game that's secretly a horror game. That post imagines a game that starts out normal and comfortable, but as the game goes on the player would catch stranger species of fish, soon finding monsters lurking in the deep and hidden secrets. It got a lot of peoples' imaginations going and engaged a lot of fan artists and even more comments riffing on this idea.

Dredge is that game. I was so gleefully surprised to see this game go through every single one of those steps in the first region alone. The game has a strong atmosphere and great art, leading to some real weird and nasty fish to catch and fill out the weird and spooky encyclopedia. Fishing at night gives you different and weirder fish, but it also raises your panic meter, which can cause hallucinations and open you up to monster attacks. It's a pretty ambiently scary game for the most part, and I almost chalked it up to being more horror themed than actual horror, until this one lagoon where a giant tentacle suddenly shot up at me out of a sudden drop in the ocean floor. I fuckin yelped, actually screamed in a way only two other games have gotten me to do this year.

5. Alien: Isolation (2014)

I have never, in my life, felt more powerless in a game than when I played Alien: Isolation. I'm used to games like Resident Evil, where you have a toolset for survival that is limited, but allows you to give actual pushback towards the zombies trying to get you. I played Amnesia: The Dark Descent this year too, the opposite of this dynamic, where you have NO means of resistance whatsoever, and the binary outcomes of monster encounters of that game completely broke my immersion.

Alien: Isolation actually gives you myriad crafted tools to overcome your obstacles, from human scavengers to androids to the xenomorph herself. Yet, the impossible speed and predatory senses of the monster means that one slip up means instant death, and the death animations are pretty brutal. Through cunning and cautious play, you can slip past the Alien enough times to where you get a flamethrower, which will repel her in a pinch. However, her AI is advanced to the point where she will learn your habits between deaths, look for you in lockers if you hide in them a lot, resist certain tricks like noisemaker bombs or flares. It's in keeping with how the 1979 movie presents her: a perfect killing machine. In fact, its the way so much of the Sevastopol resembles the aesthetic of that early film that not only helps the atmosphere, but makes the alien's power more believable. Immersive and terrifying, Alien: Isolation is a horror triumph.

4. Undertale (2015)

Yeah that's not actually a joke. I really did only play Undertale this year, and I was really actually completely blind going into it. Of all the games I'm happy I got to experience fresh, it was this one. Undertale seems tropey in its game design, story beats, and writing style 8 years later, but that's because so much of its design has been cannibalized by indie developers going after this aesthetic. As a bullet hell, it's...fine. As a meta commentary on retro RPGs and on the act of violence in video games in general, it's incredible. It legitimately gave me immense joy to reach the end and have my stubborn insistence on pacifism challenged even further, and then rewarded in the best possible way. I got to experience it on stream, too, with some friends who had played it previously and one who did not, and we all did the common thing and did funny voices for everybody. It's created some real cherished memories for me, memories that wouldn't have hit as hard if I did not wait to play Undertale.

3. Metal Gear Solid (1998)

Now here's a game I truly thought I'd never get around to. I'm a big fan of the Metal Gear series and when I learned that konami was releasing the master collection pack of the first 3 games, I was fuckin' stoked. If there's one other game that dictated the trajectory of storytelling and presentation of modern games like Half Life did, it's this one.

Having played the first two metal gears, the 2D ones from the late 80s, I was struck by how much of the basic design beats of Metal Gear come directly from the early titles. Seeing them translated into 3D is just incredible--all the prototypical stealth design transcribed so seamlessly into a much more legible visual language to me. The shooting may feel like ass and the bosses may have healthbars the size of Alaska, but the moment to moment sneaking in this game is so intricate and thorough that you really do feel like a tactical master as you go about it.

None of that touches on what's most memorable about Metal Gear Solid, and that's the presentational aspects. The animations and models might be worse than Half Life's, but the writing and voice acting is just world class. David Hayter as Snake, Cam Clarke as Liquid, Christopher Randolph as Otacon, and Patrick Zimmerman as Ocelot (hell even an early Jennifer Hale role) are astounding performances, even today. The cutscenes and dialogue are certainly oversaturated and long, but goddamn if I don't like watching and listening to them. I love this damn game.

2. Bloodborne (2015)

Bloodborne has been more of a myth and less of a game for me. I played some bits at a friend's house in 2017 and never owned a PS4 so I never thought playing it would be possible for me. I obsessively watched lore videos and playthroughs which got me into Dark Souls 3, then Sekiro, then Elden Ring, which has fueled much of my activity on twitch and as a game critic in general. It was only this year that that same friend lent me her PS4 and I played Bloodborne 3 whole times until I 100% the game in a matter of months. The experience was so meaningful to me that I ended up scrapping my first bloodborne video and starting from scratch, this time with Bloodborne Kart dev Lilith Walther as a guest.

I have never been more immersed in a game world than I have been in Bloodborne's. Yharnam is not only such a dense and intricate city, it is drop dead gorgeous in such a grotesque and macabre way. Many words and many writers have already described the surreal hypergothic smokescreen shrouding the insidious cosmic beings steering the terror and bloodshed from out of sight, so I won't repeat them here. You don't forget the sights and sounds of Bloodborne--they linger in your imagination, the visual language shapes your own ability to conceive of images and ideas in horror fiction, twisting the familiar into stranger shapes and forms.

Plus it just feels so fucking good to play. I like From Software titles and their style of combat, and I like how fast combat works in Sekiro and Elden Ring, but neither of those games accommodate brutality like Bloodborne does. You're meant to attack recklessly, cravenly, no blocking, just press the attack again and again until you're drenched in the gore and blood of your foes. You feel like one among the beasts--after all, what difference is there between a predator and the man that hunts them?

1. Signalis (2022)

I have not stopped thinking about Signalis since I played it the first time. The game is like a fucking honeypot for me. It's got Resident Evil style tank controls as an option, with similar combat and inventory management, themes and presentation similar to Silent Hill, and a sci fi flourish akin to Dead Space. So what, it's every great horror game jammed into one retro style amalgamation? Sounds like a great time for me!

That's just the surface, the hook of it all. While the game certainly uses this familiarity to pull you in and make you comfortable and excited for its own terrors, there's a creeping feeling of unease as you continue to revel in the horror and gore that's taken over these halls. Your character, Elster, is a special ops android in a fictional fascist regime, who has abandoned her post to search for her human partner, whose identity eludes her as she slips into delusion. After reaching the depths of the first area, where the space mine turns into a hall of flesh and viscera, the very walls pulsing and dripping, the world suddenly resets, and you find yourself back in the very first zone, now covered in the same blood and gore. The characters cry out in pain at you, begging you to stop, to turn back, to stop prolonging their hell with your own pursuit of an ending. A chalkboard in a classroom with a pretty frivolous note early on now reads "YOU'VE BEEN HERE BEFORE."

If I go on I'm gonna spoil the whole game, but that part there is the essence of Signalis to me. Many games will challenge your own enthusiasm for playing, question the time you spend in the game rather than like, going outside or something. Few games will actively blame you for prolonging the suffering of the game's inhabitants and creating a self contained digital hell. Few games will ask you "why do you want terror?" in the way that Signalis does.

Signalis is a triumph of horror game design. The imagery is horrifically cryptic, the worldbuilding is dense, the monster design and soundscapes are creepy and effective, the gameplay feels desperate and every bullet fired feels like a scream for help. Signalis is my favorite game I played this year, hands down.

[digirainebow]

things that are (probably) true now that we have canon birthdates for the oxenfree characters

the events of the original oxenfree take place on june 4th, 2016. if taken into town, nona reveals that her birthday is in 3 days. since we now know that her birthday is june 7th, and that lost signals takes place 5 years afterwards in 2021, we finally know the exact day the first game happens. yay!

clarissa's birthday happens to fall on the same day that anna was killed. as maggie writes in adler letter 9, april 4th is the day in 1952 that she and anna tried to bring the sunken back.

last year, ren went to the movie theater and watched oppenheimer with nona (and clarissa) because she wanted to see it, even though he wanted to go see barbie, and it was his birthday that day.

[feralnonbee]

Day 2: Mirror @bluerubystudios

A redraw of fanart from 2016 for OxenFree🧡 Again, I would HIGHLY recommend this game if you like horror games with an amazing story.

Original:

[zannolin]

—on siblings (and losing them)

shazam! fury of the gods (2023) // antigonick, anne carson // the haunting of hill house, e3 // ginger snaps (2000) // the x-files, s1e4 // the lion, the witch, and the wardrobe (2005) // the haunting of hill house, e3 // star wars: episode iii — revenge of the sith (2005) // antigone, sophocles // the scorpio races, maggie stiefvater // ready or not (2019) // shazam! fury of the gods (2023) // oxenfree (2016) // arcane, s1e9 // "killing flies", michael dickman // shazam! fury of the gods (2023)

[oliolioxenfreewrites]

"All the Outs in Free" - OXENFREE (2016)

one of my favorite video games ever; the creepy-ass edwards island still haunts my dreams. 😭 if you were curious about where my tumblr handle inspo came from :)

[jokersenpai-thenavigator]

Why You Should Play: Oxenfree

*Spoilers for an 8yo game!*

Oxenfree’s story isn’t terribly complex. It takes maybe 4 - 6 hours to beat, depending on how much of the collectable content you’re aiming to grab. Game play primarily consists of walking around the island, talking to your friends, and fiddling around with your pocket radio.

But DAMN does Oxenfree do well in its execution.

The aforementioned radio, as your primary means of interacting with the island, is an amazingly implemented mechanic. You can go through the entire game, only using it for its intended purpose, and it is entirely valid.

But.

If you take the time to scroll through the radio stations in different locations - even outside of the “anomaly” areas - you’ll get little pieces of information and world building.

Music stations exist, though they only play music from the 1940’s.

Certain stations in certain places will broadcast messages in Morse code, which, coupled with the opening call signs from the anomaly stations and the freaking beats in the game’s main music track, led to an ARG back in 2016 when the game was released.

Sometimes, you’ll get clips from old interviews.

And sometimes…you’ll hear yourself. Having conversations that haven’t happened.

And that’s just the radio mechanic.

Another main gimmick of the game are time loops. You’ll occasionally get stuck in a loop, only able to escape once an old magnetic tape player appears, allowing you to break through the frequency of the loop. The time loop will visually appear on the screen as almost VHS quality static, like the world around you is physically being paused and rewound each time you make it to the edge of the loop.

The screen distorts with static, gets flipped upside down and your dialogue choices reversed, still images of nautical blueprints and old photographs flash for a brief second. In the background, seemingly innocent trees and stones will twist and distort into towering monsters, eyes glowing bright against the darkness of the island, there for only a second, leaving you to wonder if you actually saw something, or if it was just your imagination.

There are moments in the game where Alex’s reflection will speak to her, giving her advice. At the moment, the information seems…strange. Nonsensical. You tell yourself to let Jonas speak to his mom - who is dead. You tell yourself to let Michael know to stay with Clarissa - despite Michael having died years ago.

The information doesn’t make sense…until you approach the end of the game. And then you have to decide whether or not to believe your reflection, and make your choices, until at the very end of everything…after everything that you’ve experienced in your play through, everything you’ve learned…you have to tell your past self what to do. The entire time, it was you.

The game ends, your futures are set…and then, as Alex is narrating her closing statements…the audio distorts. Alex says that she has to pick up Jonas for Ren’s trip to the island. The screen gets staticky, and goes black.

And then fades in on Ren, describing the history of Edward Island.

You are on a boat.

At the beginning of the game.

And you are aware that you’ve been here before.

**Link to information on the ARG, because HOLY SHIT I WISH I COULD HAVE BEEN THERE FOR THIS!!! https://wiki.gamedetectives.net/index.php?title=Oxenfree#:~:text=The%20Morse%20code%20in%20the,to%20go%20to%20Edwards%20Island.

[ghost-in-the-hella]

Let's Play Oxenfree!

Tonight at 6:30pm ET, my partner and I will begin our first-ever playthrough of Oxenfree! Yes, it came out in 2016. No, we really haven't played it yet. Yes, it looks like exactly the kind of game we love to play. No, we're not sure what took us so long.

[haveyoulistenedtothisalbum-poll]

Tracklist:

Beacon Bay • Black Lantern • The Beach, 6AM • Operation Downfall • Better Not Go Alone • Towhee Grove (Beatless Version) • Operation Olympic

Spotify ♪ Bandcamp ♪ YouTube

[nerds-in-wonderland]

☕🔥💀Cozy Horror Games💀🔥☕

OXENFREE

"Oxenfree is a supernatural thriller about a group of friends who unwittingly open a ghostly rift. You are Alex, and you’ve just brought your new stepbrother Jonas to an overnight island party gone horribly wrong."

Found On: Steam

Developer: Night School Studio

Publisher: Night School Studio

Released: Jan 14, 2016