Slay the Princess is a weird game. We’re going to start with that right from the opening. You are in the woods, on a path, and a narrator tells you to go into a cabin, grab a dagger, head down into the basement, and slay the princess held captive there.

What follows is an unfolding narrative built from layers upon layers of questions, both the ones you have for the enigmatic Narrator as well as the deeper ones no one seems to be asking. Along the way, you’ll be faced with myriad decisions, many of which you may be surprised at the depth of options you’re offered.

There is no other gameplay. No jumping puzzles. No quick-time events. No menus and inventories and stats. You’re placed in the center of a poorly explained and bizarre situation: being tasked with slaying a princess. Everything from that point is a tapestry of threads for you to tug at.

Your most innocuous decisions have rippling consequences you’re unlikely to realize your first time playing. When I talked about Dispatch, I mentioned that the overall plot proceeds despite your decisions, and you’re only changing the WAY it plays out. Well, that’s the opposite here. Every question you ask. Every solution you try. Every branch of every decision tree leads somewhere different.

This game may make you question your sanity, the sanity of others, and the sanity of the nature of sanity.

To say any more risks spoiling a weird and trippy adventure that you’d never suspect from either the title or the first moments of play. To see what it’s all about, you really need to experience it firsthand.

So, go ahead. Slay the Princess.

Or don’t. That’s totally an option, too. (Disclaimer: your mileage may vary; not responsible for the consequences of slaying princesses, not slaying princesses, or waffling about the whole thing and doing one or the other anyway.)