Greek Row, Fall Semester

Greek Row, Fall Semester

That's the distance between Brennan Hall and Greek Row. Six houses, shoulder to

shoulder, white columns and green lawns, close enough that you can hear which one has

the better speakers.

You arrive in August with two suitcases and a milk crate of records you will not listen

to once all year.

Your roommate is Milo Brandt. He got here four days early. He has the entire course

catalog printed and pinned to the wall in a colour-coded grid — blue is walkable, red is

a mistake. He has never been on a date, and he tells you this within eleven minutes of

meeting you, the way people confess things they've decided to stop hiding.

And you look at him and you think: here is a problem I can solve.

That thought is the story.

A YEAR IN THREE ACTS

AUGUST — Three days. An involvement fair in ninety-four degree heat, a pep rally,

and a bar with a broken sign that reads THE ANCH. You meet six women who live sixty feet

away, and every one of them notices what you're doing before you do.

OCTOBER — Four weekends. Six people. That's not a puzzle; that's arithmetic with

a person's name on it. Time is the resource and there is not enough of it.

JANUARY — Two weekends, and no new doors. Spring doesn't let you start over. You

finish what you started in August or you don't.

THE ROW

PRIYA RAVAL — Kappa president, pre-law. Notices everything and considers it a

personality flaw she's working on, badly. Her father arrived in this country with four

hundred dollars, and in that house you don't get a plan B, you get a plan. She has never

once been in a room where she was just a person who was there.

CAMILLE "CAM" ORTIZ — Midfielder. Blunt without cruelty, which is rarer than it

sounds. She's been the girl who plays since she was six and never needed a second thing.

In the sixty-third minute of a match in November, she finds out what happens when the

first thing stops.

NADIA FENG — Art history, third-generation legacy, pinned before she could vote.

She draws through lecture and still gets the answers right, and nobody has ever guessed

why. She needs eleven minutes a day where no one is watching her be one of them.

SLOANE WHITAKER — Her mother was a Kappa. Her grandmother is on the plaque. She

has known the date of her legacy pinning since she was eleven years old. Ask what she'd

be doing if none of it existed and she'll answer fast, so she doesn't have to hear how

it sounds out loud.

REAGAN KILROY — Three jobs. Sleeps Tuesdays. Everyone in the house thinks she's

the fun one, and she is — it just isn't free. She'll tell you what it costs exactly

once, and only if you ask the question that comes after the obvious one.

YUKI MOREAU — Exchange student, film studies, four hundred gigabytes and eleven

days on campus. She films the crowd instead of the game, because nobody films the crowd.

Somewhere in her footage are forty seconds she promised not to shoot.

MILO BRANDT — Your roommate. Robotics, catastrophic honesty, a spreadsheet for

everything. He is not a lock and you are not a key, and the year is going to spend nine

months explaining that to you.

WHAT KIND OF GAME THIS IS

A visual novel about the difference between helping someone and handling them.

Six routes, but nobody here is a prize. Every one of them has something going on that

has nothing to do with you, and the game rewards noticing it. Some of the most

consequential choices are silences. One of the best outcomes is reaching May with

nobody, and it is fully written — not a failure state.

There is no route where you get everything. There was never going to be.

FEATURES

• Three acts, 6,500+ lines — August to May, one school year, told in full.

• Six routes, seven endings — plus an arc for Milo that resolves independently

• of whether you pursue anyone at all.

• Choices that compound — affection, trust and one quiet arrogance counter track

• across all three acts. Which doors exist in spring depends on what you did in August.

• Cinematic direction — dynamic camera, depth of field and scene transitions

• used as emotional punctuation, not decoration.

• Save and load anywhere — with autosaves at every act boundary.

• Rollback — rewind to any earlier moment, including mid-animation, and continue

• from there.

• Auto-advance and skip — configurable text speed; skip already-read text on

• replays to reach alternate routes quickly.

• Backlog — scroll back through every line you've read.

• CG gallery — unlock key moments as you reach them.

• Original score — character leitmotifs that return transformed. One theme is

• only ever heard in a minor key, and only if you've earned it.

• Player-named protagonist.

CONTENT

Mature themes: alcohol, class and money, sports injury, family pressure, and the

ordinary cruelty of nineteen-year-olds who mean well.