What a fucking game. It was definitely a lot darker and grittier than the other pieces of media I was consuming at the time, but man if it wasn't utterly captivating.

I think I can attribute my understanding of my own struggles with mental health to Susan, actually. She begins the game in a horrid state: cynical and depressed. Life has dealt her shitty hand after shitty hand and she is all the more bitter for it. As she encounters the absolute worst that humanity has to offer, it'd be easy for her to spiral even deeper into her cynicism.

But this doesn't happen. Quite the opposite, in fact. And it's in that juxtaposition between grimdark and the very human interactions between Mitzi and Susan, as well as all the minor NPCs that Susan helps along the way that Susan's character really shines. Why is it that so many of us continue living on even when life seemingly does everything it can to ruin us?

For Susan (and for me, as I eventually grew to understand) it's the few relationships we cherish that gave her hope. She wants to help people. She wants to be a positive force in people's lives so that they don't have to suffer as she did. And that is a sentiment that deeply resonated with me.

Great game with a distinct, and stunning visual style that hasn't left me nearly a decade later.

The Cat Lady is a incredible and amazing yet depressing and sad point n click horror game. It's a game I recommend playing in smaller doses (preferably one chapter at a time with breaks between) as it can be quite tolling due to the nature of the game's themes and subjects.

What makes the game are the characters and the story. Following the story of Susan, her meeting with Mitzi and their adventure together trying to find the Eye of Adam is really fun to follow and their friendship is very beautiful. Every chapter (seven in total) is unique and there's not really anything that drags the game out.

This game is definitely recommended for both point n click and horror fans out there! It's very much psychological horror, although it does have its fair share of gore, murder and even some jumpscares. It's a great game, that's all.

Some story elements here were wonky. The opening with the Queen of Maggots misdirected to what the story would be like and what the focus would be on. Other elements of the story are so surreal I have to wonder if they're metaphorical or in the character's head so the extended opening set me up for the wrong expectations.

Judging this story's portrayal of depression is hard because I didn't get a strong essence of what Susan's problems are really like aside from she's lonely and traumatized. As a series of vignettes about sadism and horror– this game works very well. I like the aesthetics and thought that the dour environments were very realized.

I also like the simple controls and presentation. Using the keyboard exclusively– a handful of keys– worked well with the game's stripped down attire. The music could be a little goofy but it was mostly excellent taking from a broad handful of genres.

I've been marathoning a video games podcast and when I got to their episode of The Cat Lady, I decided to check the game as I have heard a lot of good things here and coming away from it, even if I had played more titles this October, I can't imagine me any other potential game giving a more affecting horror experience.

Nejdospělejší titul jaký jsem dosud hrál. A zároveň i ten nejdepresivnější, nejvíce psycho(logický), zdaleka nejlépe napsaný a to především během lahůdkových dialogů. Není moc her (a ostatně ani filmů), kde by dialogy působily jako skutečné rozhovory.

Že především na indie herní scéně vznikají v posledních letech tituly, které se nebojí dělat věci po svém jeden tak nějak očekává. Že vzhledem k minimu prostředků se snaží udělat z nouze ctnost též, ale že se skrze toho dosáhne nefalšovaného artu (kdybyste mermomocí chtěli přirovnání tak jde o specifický mix starého dobrého Kinga, Lynche, Refna, Davea McKeana a Bena Wheatleyho) , který má co říci jak po umělecké, tak i herní stránce, tak toho bych nenadál. Vizuální stylizace je ve vší své černobílé znepokojivosti nádherná, dabing je prožitý jako žádný jiný (a to dabovat čtyřicetiletou šáhlou ženu bez sebemenší ochoty dále žít, tak aby nepůsobila jako parodie sebe sama, není žádný lehký oříšek) a tak nějak prostě není co kritizovat.

A o čem to je? Byla by škoda cokoli vyzradit, ale když to chcete vědět, tak je to o marastu v našich životech a odvrácené stránce našeho pokolení formou psychologického horroru. Že jsem doposud nezmínil nic o hře jako takové? Pravda pravda, no tak vězte, že jde o adventuru, která si sice vystačí pouze se směrovými šipkami a enterem a přesto se v každé ze sedmi kapitol hraje zcela jinak a jde v ní o něco jiného. Zároveň jde o adventuru, která nabízí možnosti volby a díky omezenému prostoru i minimu předmětů je za každých okolností přísně logická, ale rozhodně ne lehká; umí potrápit, ale nikdy se to nezvrhne v „použij vše na vše a doufej, že se něco ujme“.

Catwoman, ehm... Cat Lady není příjemný zážitek, ale je to sakra silný a působivý zážitek, ze kterého jsem stejnou měrou psychicky vyšťaven jako naprosto nepokrytě nadšen.

I really enjoyed this game overall, even though I think it started stronger than it finished. It does both surreal themes and more grounded point and click puzzle gameplay really well. Ch 6 is a big highlight, as exploring the whole apt building with this mystery as the motive was very fun and interesting. Early chapters like 1/2/3 feel a lot different, less grounded and more avant-garde. You don't really know what's going on, you're trying to understand who you are and what is actually real. I think both of these styles of storytelling work well, and mesh well for the most part too. Some parts of the dialogue do tend to drag, and the ending felt a bit... disappointing? Not for the reasons why the game tells you it should be, but just that overall it feels a bit rushed and contrived. There is a lot of build up and then the ending happens, and then there's a time skip and some exposition that feels necessary... but it also leaves you with the feeling that you missed out on something more emotionally impactful.

I will also say this game would have definitely appealed to me more as a teen, just bc the themes are a bit early-2010s edgy lmao. It gets mildly cringe at moments because of this, its... just a bit too earnestly emo lmaoooo. But so am I, so 🤪 it was giving "fuck the world" teen vibes for sureeee

Also I have to note that there was a long, drawn out moment of ableism, which was very uncomfortable but also tracks with the release year and also the edgy teen humor vibes. Very unexpected and icky, although I understand the context of when this game was made. Mayyybe doesn't track with modern sentiments tho

Overall this is a fantastic game that I enjoyed playing, even with all the jank. I will say though it feels very of its time (or even earlier than its time) and was hard for my modern computer to run. The biggest issue was that alt-tabbing caused crashes. But that was my only annoyance.

One of the few indie games that should have gotten more recognition but gained more of a cult following. Heavy dark themes of depression, loss and suicide.

-the only scary parts if your not able to handle blood, body horror or any of the mature themes above
-the art style reminded me of old 2000s pc games online but i started to grow closer to it the more i played
-soundtrack fits perfectly with the overall theme
-the voice actor for Susan Ashworth, Lynsey Frost, deserves an award, she really killed it
-one of those games that I thought about for a long time after finishing it
-my fav scene was when Minzy was having a heart to heart talk with Susan on her balcony, the reason why she came to Susan in the first place. her whole story broke my heart + was read out very well by the voice actors
- i wish i could get amnesia and replay this game all over again

Tackling on mental health issues is a move most videogames aren’t touching with a ten foot pole. Unless you have first-hand experience dealing with this stuff (Games like Hellblade do it well because psychologists and neuroscientists were involved, for example), it’s easy to mess up and unintentionally stereotype and disrespect those that have to live with it. That’s why it’s so common to make the subtext do the heavy lifting when these themes come to light. It’s a move some might find cowardly, but it’s comprehensible.

Now The Cat Lady isn’t the least bit afraid to wear its themes of depression and suicide. Right off the bat it starts with its protagonist, Susan Ashworth, reading her own suicide letter before overdosing in sleeping pills, surrounded by the stray cats that keep her company.

It might feel heavy-handed at first, but it treats it how it should: without euphemisms, cutting out the bullshit; this woman is fed up with the world and is trying to kill herself to stop the pain she has been drowning in for so long. This is empathetic; it shows how she is feeling without beating around the bush.

Empathy IS what makes this game so good. This is an adventure game that’s bloody and gritty, there’s instances of fetishist serial killers, cannibalism, healthcare violence, dead babies; hardcore edgy death metal shit, but it doesn’t feel unwarranted. It channels the darkness of Susan’s past and present, mirroring how she feels on the inside.

That aspect is very interesting, because the line between what’s fact and what’s fiction here is very blurred. There are both supernatural elements and navigable dreams, and it often jumps between them and the actual world, making you question whether or not what’s happening is true, false, or something in between.

This surrealism works quite well here, for the abstract allows for abstractions; raw emotions flow out of the characters and are made form. This also is an interesting way of subverting expectations; the jumps between “this is just a dream” to “OH SHIT THIS IS ACTUALLY HAPPENING” make this an engaging and thrilling psychological horror experience.

This is all communicated through a Lucasarts-like aventure game, that works like a point-and-click but it actually presented like a 2D side-scroller. This is because it’s important to show the protagonist and her interactions, since it’s such a character-driven game. The camera is also used against the player, as it allows for the game to hide things that are in her field of vision, which works as a tool for creating suspense and horror.

The puzzles are standard Lucasarts and King’s Quest stuff, requiring lateral thinking in a mixture of common sense and thinking outside of the box to be solved. Unlike these games, however, they involve stuff like giving drugs to a heroin addict and killing a kidnapper with poison gas. Fun stuff.

Visually, it’s very singular. It mashes these semi-realistic pre-rendered backgrounds with black and white hand-drawn characters that look weird but still very much human; and they do come to life through the excellent voice acting (that does suffer from poor audio quality… it’s a budget game). As a vehicle for showing what it needs to show, it’s perfect. I actually finished the game in love with its style.


The soundtrack is amazing. The horrifying footstep sounds and music brings the scary moments to a whole new level, whilst most of the game is this alternative rock album that helps paint the picture and intensify the feelings it’s trying to convey so well. There’s sad, hopeful, and even badass moments that are dictated by how good the accompanying score is.

Susan is like that. She’s sad and lonely and charming and badass. A tough old lady. Through the trials she overcomes and the bond she creates with this lovely young woman that was also dealt a bad hand in life (but nonetheless teaches her so much) makes her grow a lot, and is a big symbol of hope for me.

Through this deep dive into her past, present and future (all at the same time) I was able to learn about myself and about people, and is something I can’t recommend enough for those struggling with themselves. It’s heavy, but beautiful. Isn’t that how life is?