It was a human

“It was a human.” is a short, sci-fi psychedelic interrogation adventure game, presented as a visual novel, set in a modern or futuristic Kase City, Saga Prefecture, Japan. Players assume the role of a military lieutenant colonel, tasked with interrogating Okoze Isana, the prime suspect in a grisly dismemberment murder case involving two unidentified men. Found at the crime scene with a coping saw, Okoze is presumed guilty. The objective is to uncover her motives and methods for the killings, navigating her potential manipulative tactics during the interrogation to secure her condemnation.

It was a human: A Deep Dive into Digital Interrogation and the Modern Indie Psyche

In the ever-evolving tapestry of interactive entertainment, certain titles emerge not from the mainstream behemoths, but from the fervent indie scene, sparking conversations that transcend their often modest budgets. It was a human. from the Japanese doujin group Loser/s, published by GAMER Plan, is precisely such a game. Released in the latter half of 2024, this “short SF psychedelic interrogation ADV game” quickly carved out a niche for itself, blending a grim murder mystery with a distinct visual style and a challenging moral objective. As game journalists and historians, we often seek out titles that push boundaries, reflect contemporary dialogues, or simply offer a uniquely compelling experience. It was a human., despite its brevity and some technical rough edges, stands as a fascinating artifact of modern indie game development, a compact yet potent exploration of justice, perception, and the murky depths of human culpability.

My thesis posits that It was a human. leverages its unique blend of visual novel mechanics, unsettling narrative, and a controversial artistic approach to provoke introspection on the player’s role in judgment, achieving a memorable if polarizing impact that resonates beyond its short runtime.

Development History & Context

The genesis of It was a human. lies within the creative synergy of the Japanese doujin group Loser/s, specifically the scenario writer Aien Kien and illustrator Zenzen Unagi. Prior to this title, the team was known for works such as MECHANICA: A Ballad of the Rabbit and Mercury, with a catalog that largely consisted of 18+ titles. Aien Kien had also recently made a debut as a light novel author, indicating a strong background in narrative construction.

With It was a human., Loser/s aimed for a distinctly different style. While retaining grotesque imagery, a hallmark of some of their past works, they consciously developed it as an all-ages title. This decision speaks to a desire for broader accessibility, even as the subject matter remains dark and mature. Aien Kien expressed confidence in the game’s story, suggesting a deliberate effort to craft a compelling narrative, a sentiment reinforced by Zenzen Unagi’s tweet in September 2022 confirming scenario completion, with backgrounds and other elements largely finished shortly thereafter.

Technologically, It was a human. was developed using the RPG Maker engine. This choice is significant, as RPG Maker is renowned for empowering independent developers to create 2D games with relative ease, albeit often with certain aesthetic and functional limitations. It largely dictates the game’s “fixed / flip-screen” visual presentation and reliance on “menu structures” for its interface. The use of pixel graphics, while common in RPG Maker titles, was intentionally leveraged by Loser/s to create an “eye-catching” contrast between the vibrant colors and the unsettling, gruesome murder depicted within the game.

Crucially, in a move that reflects a growing trend and controversy in the gaming landscape, the developers disclosed that “This game contains AI generated contents. The graphic is generated by AI and fixed by human.” This frank admission immediately places It was a human. within a contemporary discourse about AI’s role in creative industries, a factor that undoubtedly shaped its reception and potential legacy.

Released on July 26th/27th, 2024, It was a human. entered a gaming market saturated with high-fidelity blockbusters and a burgeoning indie scene. Its relatively low price point ($3.49-$4.99 on Steam) and short play-time (averaging 1.5 hours) positioned it as an accessible, bite-sized experience. The gaming landscape at the time was grappling with questions of art authenticity, ethical development practices, and the evolving definition of interactive storytelling, making Loser/s’s unique approach particularly timely and provocative.

Narrative & Thematic Deep Dive

The core narrative of It was a human. unfolds with the chilling precision of a police procedural, albeit one steeped in “SF psychedelic” undertones. The setting is Kase City, Saga Prefecture, Japan, described as both modern and futuristic, a backdrop that hints at underlying societal shifts or technological advancements relevant to the plot’s deeper implications. The inciting incident is a gruesome hotel murder: two unidentified men discovered, their bodies brutalized. One died from blunt force trauma, the other from asphyxiation. More disturbingly, their skin had been removed and fingerprints burned off, suggesting a methodical, almost ritualistic nature to the crime.

At the scene stands Okoze Isana, a woman clutching a coping saw, immediately implicating her as the prime suspect in this “dismemberment murder case.” The player assumes the role of a lieutenant colonel in the military, a protagonist whose unusual rank for a local murder investigation immediately elevates the stakes beyond a mere criminal inquiry, hinting at a broader, perhaps institutional, interest in the case. The protagonist’s objective is clear: to uncover why Okoze Isana committed these heinous acts and how she managed to do so.

Okoze Isana is not a passive suspect. The game description explicitly notes her tendency to employ “sweet words or flirtatious glances” towards the protagonist during interrogation. She is unequivocally labeled a “villain” and “virtually a criminal” by the investigation team, and “the condemnation of her is the objective of this game.” This explicit statement of purpose for the player is profoundly intriguing. Is it a straightforward mandate for justice, or is it a psychological challenge designed to test the player’s objectivity? The “psychedelic” descriptor hints at a potential deconstruction of reality or perception, suggesting that the truth of Okoze’s guilt, or the player’s role in her condemnation, may be far more complex than it initially appears.

The game’s tags, such as “mystery,” “detective,” “dark,” “drama,” “horror,” “surreal,” and “story rich,” underscore a multifaceted thematic landscape. The dismemberment, the removal of skin and burning of fingerprints, speaks to a desire to erase identity, raising questions about what it means to be recognized, or unrecognizably, human. The ambiguity of the title, “It was a human.,” could refer to the victim, the perpetrator, or even the protagonist struggling with their own humanity in the face of such depravity.

The “Choose Your Own Adventure” and “Multiple Endings” tags confirm that player choices during the interrogation deeply impact the narrative’s direction and resolution. This interactivity, coupled with Okoze’s manipulative demeanor, likely forces players to confront their own biases and assumptions, making the act of “condemnation” less about objective truth and more about subjective interpretation and the weight of evidence (or persuasion). The discussions on Steam about “happy end?” and “Bride and husband ending” further confirm the narrative’s branching paths and the deep psychological engagement players have with Okoze’s fate. The game’s short length suggests a tightly wound narrative, focused intensely on this single, pivotal interaction.

Gameplay Mechanics & Systems

At its heart, It was a human. operates as a visual novel, a genre primarily driven by narrative and player choice. The core gameplay loop revolves around the interrogation of Okoze Isana. Players, embodying the lieutenant colonel, interact with the suspect using a menu-driven interface, selecting commands such as “Look,” “Talk,” “Interrogate,” and “Move.” These choices are not mere window dressing; they directly influence the flow of the conversation, the revelations made by Okoze, and ultimately, the path toward one of the game’s multiple endings. The explicit “Choices Matter” tag reinforces this player agency.

Despite being a visual novel, the game’s description from Automaton Media mentions the inclusion of “battle scenes.” This is an intriguing detail for a genre not typically associated with combat mechanics. Given the game’s short runtime and its primary focus on interrogation, these “battle scenes” are likely abstracted or highly stylized, perhaps occurring as psychological confrontations, intense QTE sequences, or metaphorical struggles within the narrative, rather than traditional RPG combat. Their presence, however brief, adds a layer of unexpected intensity and breaks from the typical passive consumption of a visual novel.

The interface relies on “Menu structures,” a standard for RPG Maker titles, providing a functional rather than flashy user experience. The “fixed / flip-screen” visual perspective ensures that players are always focused on the immediate scene, typically the interrogation room and Okoze herself, enhancing the sense of claustrophobia and tension inherent in the premise.

One significant point of critique, as evidenced by Steam discussions, is the game’s lack of basic options. Players have repeatedly requested a dedicated “option menu with fullscreen and audio options.” The absence of a fullscreen mode (“No fullscreen option?”) and adjustable audio settings represents a fundamental technical oversight that can detract from immersion and user comfort, especially for a game that relies heavily on atmospheric presentation. While not impacting the core narrative or thematic elements, these quality-of-life issues highlight areas where the indie development constraints likely manifested.

The game also supports “Steam Cloud” and “Family Sharing,” indicating standard platform integration that aids in player convenience and accessibility within the Steam ecosystem. However, it does not support “Steam Remote Play” or “mods via Steam Workshop,” keeping the experience self-contained.

World-Building, Art & Sound

The world of It was a human. is a chilling fusion of the mundane and the fantastic, setting its grim events in a “Modern/Futuristic” Japan, specifically Kase City, Saga Prefecture. This blend of familiarity and speculative fiction establishes a compelling backdrop for the “SF psychedelic” elements of the narrative. The primary setting, an interrogation room, becomes a crucible for psychological tension, its contained nature amplifying the intensity of the verbal sparring between the protagonist and Okoze Isana.

Visually, the game adopts an “Anime / Manga” art style rendered through “Pixel Graphics,” a choice that offers a distinctive aesthetic. What makes this particularly “eye-catching,” as noted by Automaton Media, is the stark contrast between these “colorful graphics” and the “unsettling, gruesome murder” they depict. This artistic juxtaposition creates a sense of uncanny dread, where violence is presented not with realistic gore, but with a stylized, almost detached beauty that can be more disturbing than explicit detail. The 2D, fixed/flip-screen perspective further emphasizes this stylistic choice, framing scenes like macabre tableaux.

The most notable aspect of the game’s visual direction, and indeed a significant point of discussion, is its use of “AI Generated Content.” The developers transparently disclose: “The graphic is generated by AI and fixed by human.” This reveals a modern, hybrid approach to asset creation, leveraging generative AI for initial imagery, which is then refined and integrated by human artists. This method contributes to the game’s unique look while also engaging with ongoing debates within the art and gaming communities about authorship, ethical sourcing, and the definition of “art” itself in the digital age. For some players, this disclosure prompted negative feedback, as seen in Steam discussions like “garbge, AI art without disclosure” (even though disclosure *was made on the store page, suggesting not all players read it or found it sufficient).

The atmosphere is consistently described with tags like “Dark,” “Drama,” “Horror,” “Mystery,” and “Surreal.” These elements are likely conveyed through the deliberate choice of color palettes, character expressions, and background details, all rendered in the pixel art style. The “psychedelic” aspect suggests moments where visual or auditory cues may warp reality, reflecting the protagonist’s mental state or Okoze’s manipulative influence.

In terms of sound, It was a human. offers “Full Audio” with both interface and subtitles available in English, Japanese, Simplified Chinese, and Traditional Chinese. This commitment to localization enhances accessibility for a global audience. The fact that a Steam discussion thread asks, “Could the devs offer us the Original Soundtrack?” implies that the game’s music and sound design are noteworthy enough to garner interest in a standalone release, suggesting they contribute significantly to the overall immersive and psychological experience. However, the recurring community complaint about the lack of in-game audio options indicates a missed opportunity for player customization and refinement of the soundscape.

Reception & Legacy

Upon its release in late July 2024, It was a human. garnered a “Mostly Positive” reception on Steam, with 75% of its 428 user reviews being favorable. This is a commendable achievement for an indie title, especially one with a niche premise and some controversial development choices. User reviews, such as “i fixed her 😉 ” and “wasnt sure about this one but it was actually kinda cool,” suggest a game that engages players on a deeply personal, sometimes unsettling, level. Positive feedback often highlighted the “Great. Especially the story.” and “Beautiful.” art, indicating that despite (or perhaps because of) its AI origins, the visual style resonated with many.

However, the game’s reception was not without its criticisms. Notably, as of the time of this review, there are no formal critic reviews listed on MobyGames, IGN, or Steam. This absence is telling, suggesting that It was a human., while popular among a segment of the Steam user base, did not attract significant attention from established gaming media outlets. This is a common fate for many indie titles, and in this case, it means that the game’s public perception is almost entirely shaped by its player community.

The Steam discussion forums provide insight into common player concerns. Repeated requests for “fullscreen and audio options please” and “No fullscreen option?” point to persistent technical frustrations that impacted the user experience. The “AI Generated Content Disclosure” also proved to be a point of contention for some, with at least one user labeling it “garb*ge, AI art without disclosure” – a critique that persists even if the disclosure was officially made. This highlights the ongoing sensitivity and debate surrounding AI in creative works, and how player trust can be affected.

The game’s short length (averaging 1.5 hours) makes it a quick, impactful experience rather than a lengthy investment, which likely contributes to its “Mostly Positive” rating; players are less likely to be frustrated by minor issues in a brief, engaging game. The discussions around “happy end?” and different endings (like “Bride and husband ending”) demonstrate a dedicated player base actively exploring the narrative depths and choices, indicating a strong story-rich experience.

While it’s too early to definitively speak to It was a human.’s long-term legacy or widespread influence on subsequent games, its immediate impact is clear. It serves as a compelling case study in modern indie game development: a small team leveraging accessible tools (RPG Maker), experimenting with new artistic methods (AI-assisted graphics), and tackling mature, thought-provoking themes within a concise format. Its “Mostly Positive” user reception, despite technical issues and aesthetic controversies, speaks to the power of its narrative and unique vision. It demonstrates that even without the backing of traditional critics, a game can find an appreciative audience by offering a distinct and memorable experience.

Conclusion

It was a human. stands as a provocative and compact testament to the boundless creativity that still flourishes within the independent gaming sphere. Loser/s, with Aien Kien’s narrative prowess and Zenzen Unagi’s distinctive visual direction (aided by AI), crafted an interrogation adventure that is both unsettling and intellectually stimulating. Its blend of a gruesome dismemberment murder, a morally ambiguous suspect, and a protagonist tasked with her condemnation creates a psychological crucible for the player, challenging their perceptions of justice and truth.

The game’s use of RPG Maker and pixel graphics, juxtaposed with its “SF psychedelic” narrative and AI-generated art, positions it as a fascinating artifact of its time. While its brevity and certain technical shortcomings—such as the notable absence of fullscreen and audio options—prevent it from achieving mainstream polish, these elements also contribute to its raw, indie charm. The lack of professional critic reviews only further underscores its status as a grassroots success, one whose impact is best measured by the “Mostly Positive” sentiment of its dedicated player community.

In the annals of video game history, It was a human. may not be remembered for groundbreaking mechanics or cinematic scope. Instead, its legacy will likely reside in its bold thematic exploration, its unique visual identity forged through contemporary artistic methods, and its ability to deliver a potent, memorable narrative within a remarkably brief runtime. It is a game that asks tough questions, not just of its characters, but of its players and, by extension, the very nature of authorship and perception in the digital age. It was, undoubtedly, a human story, told in a uniquely artificial, yet deeply engaging, way.