Scene 1 (Prelude)

You spawn inside of a fire truck, and you are required to put on your uniform. You are playing as Ivan's father. For each piece of equipment, a different phrase appears. Once you're fully equipped, you're tasked with exiting the fire truck which leads you to the inside of a home. As you go down the infinite corridors, the atmosphere turns dark, smoke will appear, and then it will slowly turn reddish as fire spreads throughout the place. Eventually, a ceiling support will fall on you and crush[2] you to death. Then you're quickly transitioned to a large-height fall, and upon hitting the ground, you're sent to the next scene.

Monologues that appear when putting on the equipment: Andrew was developing a game. It was never finished. You are not playing that game. ... And you are a terrible friend.

Then you receive the badge for completion: “Begin by Descending” - allegedly from “Do you wish to rise?” by Saint Augustine.

Old version of this scene

Scene 2 (Friends)

“is that any way to tell me that you're gonna be a terrible friend?” - Generationals, TenTwentyTen

Scene 2 starts off with Ivan talking with his friend Andrew at the kitchen table, after Ivan presumably insisted for Andrew to meet in person.[3] They talk about the Roblox game that Andrew is working on alone. Ivan then interrupts the conversation, going back to his room in order to bring his rewritten version of the script off his nightstand. As he hands Andrew the new script, he proposes to become the main writer for Andrew's game, to which Andrew quickly refuses, insisting that Ivan is helping him enough by just being his friend. Andrew then admits he's brought Ivan a present too, which he left nicely in the back of his pickup truck. The present turns out to be a plant, and the conversation turns awkward (in a good way).[4]

Then you receive the badge for completion: “Love's Bed Always Snow” - allegedly from “First Love” by John Clare. Scene 3 (Games)

“Nor deem the irrevocable Past As wholly wasted, wholly vain If, rising on its wrecks, at last To something nobler we attain.” - Henry Wadsworth Longfellow, The Ladder of St. Augustine

You spawn on a small island with a bench, house and a dock, surrounded by water. Next to the dock, there's a path of tall rocks and wooden boards, that requires some parkour to get past. At the end of it, there stands a stone, with a note that says: "made by andrew". Ripping it off will cause lights to go off, and you'll have to carefully go back to the island where you originally spawned. It will be easier now, due to the house's door now being open and glowing. As you walk up to it, the door shuts and ends the scene. Falling into the water also ends the scene.

Then you receive the badge for completion: “You Prayed for Sleep” - allegedly from Awakened by Sophie Jewett. Scene 4 (Cleaver)

“It needs no maxims drawn from Socrates To tell me this madness in my blood.” - Arthur Davison Ficke, Sonnets of a Portrait-Painter

This scene begins at Andrew's rented house, with him cooking a pot of water in the kitchen. They both engage in a friendly conversation, where:

Ivan admits that windows do make the place more inviting. Andrew spills the fact he's making progress on the game, but didn't have an estimated release date. Andrew apparently stole a cookbook when he was young (thus, knowing how to cook), and the fact he doesn't plan to do much for Thanksgiving. Ivan eventually manages to get Andrew to tell him about his financial situation, and how he's going to get evicted soon due to the lack of funds. Andrew sends Ivan to get a sprig of rosemary from the backyard. Following a long path behind the house, you reach a small lake with a convenient stone, where Ivan finds the sprig of rosemary, on top of the script he initially handed to Andrew. Returning back home, Ivan calls him out about the script, with Andrew accusing him of searching through his trash. Andrew admits he's stressed over the imminent eviction, and Ivan asks to help him out, to which he agrees Ivan can help with cutting some vegetables. The scene ends with Ivan picking up the dull knife, and cutting the carrot on the cutting board.

Then you receive the badge for completion: “The Woods Are Lovely, Dark and Deep” - allegedly from Stopping by Woods on a Snowy Evening by Robert Frost. Scene 5 (Storm)

“War-clouds shall hurl their stinging sleet upon our last adventure. Night-winds shall brokenly whisper our bitter, tragic story.” - John Gould Fletcher, Tide of Storms

Scene 5 starts off with you getting woken up by a faraway thunder. You're now at a farm house. You were expecting that a storm will start soon, therefore you decide to prepare for it, by going to the barn next door, fixing a few holes up, and filling up the generator. After that, your character informs you they're tired, and you go to sleep. Time skips to the middle of the night, when the storm finally arrives completely. You wake up due to it, informed that “The storm's nearly brought the whole farm down,” followed by “There is something in my house.” The door slowly opens, and a dark silhouette appears in the hall.

Then you receive the badge for completion: “Again Soft Slender Rain” - allegedly from Mountain Storm by Younghill Kang. Scene 6 (Rooftop)

“If his soul is free From sin's misery He may work 'til life again is fair” - Lucian B. Watkins, The Debtor

Ivan has invited Andrew over to his apartment, as he had no other place to go anymore. Ivan stated specifically for Andrew to pack light, but he brought 3 large boxes regardless. The first box is neatly placed in the corner, next to the kitchen counter, and it apparently contains “Games, a console, his computer...” and “[...] a picture of Andrew and his old friends [...]”. The second box is placed close to the sofa, and when Ivan searches through it, he stumbles upon the plastic trophy that Andrew won at a game jam.[5]

If the player goes into Ivan's room at any point and interacts with the plant from Scene 2, Ivan will note that “The plant is dying.”

Once Andrew brings the last box, they both decide its time for a break, and climb up to the roof top to relax. The rest of this scene is entirely dialog, with a single interruption to switch between topics. I highly recommend you play through the scene yourself, or watch a walk through, but regardless, here's a list of the entire conversation.

Transcript of the entire conversation

Then you receive the badge for completion: “He Died So Quietly” - allegedly from The Dying Child by John Clare. Scene 7 (Tumor)

“Of all my verse, like not a single line; But like my title, for it is not mine. That title from a better man I stole; Ah, how much better, had I stol'n the whole.” - Robert Louis Stevenson, Underwoods: Epigram

The scene starts in a (presumed) hospital reception with photos of vertically stretched Roblox avatars and a "Clip Detector" device in your inventory. This device helps you detect which areas you can teleport through, by beeping faster when you're nearby a specific spot. Press E (or tap the screen) to clip through.

"This game is sick." "I think it has a tumor." "I can use my clip detector to clip through walls and floors."

Wrapping around the wall behind the reception, you'll find a door. Walking near it, you'll find a spot to clip through. Now that you're outside, go around the entire building, towards a secluded corner, where there's a heart drawn on the wall. Then clip through the floor. You'll end up on some stone steps; falling off them will take you to scene 8. There are lamp posts to follow until you reach a building with a small yard. Get close to the glass windows, and clip through. There’s also some piece of wood to clip through. Clipping through will take you to a stone pyramid. Go all the way down, and follow the path. It'll get tighter and tighter, until you reach a dead end, where you can clip through. Go up the stone ladder, and follow the lamp posts, to the odd stone pillar. Then phase inside of it. You'll fall down, until you land in a stone-ified version of the outside world of Ivan's apartment building. Your clip detector breaks. Head inside the building, then use the elevator. Now go down the corridor, until you reach the roof access door, which will open for you. And here you will meet the Tumor.

Then you receive the badge for completion: “Flame in Darkness, of a Truth” - allegedly from Hymn to the Sun by Jose de Espronceda.

Secrets

Scene 8 (Trapped)

“My garden-plot I have not kept; Faded and all-forsaken. I weep as I have never wept; Oh it was summer when I slept, It's winter now I waken.” - Christina Rossetti, A Daughter of Eve

Ivan was trying to reason with and get Andrew back inside the apartment. While Andrew was upset about Ivan throwing away his own belongings, aka his trophy,[6] when he took a peek inside the boxes, Andrew calmed down and agreed to go back inside.

Andrew and Ivan talk until Ivan heard something and goes out of the house to a facility. There’s a lab with four buttons. The first button spawns a character, the second button puts them upright, the third button turns the lights off (to kill the character) and the fourth one shows the aftermath of the character.

After seeing the aftermath of what he’s done, Ivan goes to a door leading to a glowing white room with Andrew on the sofa. Interacting with Andrew will have him ask if Ivan is okay as he’s been quiet, then Ivan goes on about how Andrew secretly wants him not to be okay so he can fix him. Ivan suddenly tells Andrew a metaphor on how Andrew’s at the top of the stairs whereas Ivan is a thousand steps behind with a broken leg, Andrew reassures him telling him how it’s impressive Ivan was able to get up the stairs with a broken leg as, even though he’s at the top, his head is only above the water.

After the conversation, Ivan goes to the bathroom, which seems to have been replaced by a stone ladder. Going upstairs reveals a jail cell with a block meant to be carved out, then he opens door after door to show maze of lockers. After going down, there is a series of corridors with the message “use lockers to hide from danger.” Ivan then goes up a series of ladders to press a button off a plank, he goes back from the path until the door for the dark room opens. He is then introduced to an entity similar to him, named “Ivan?”, confronting him over how he’s not actually okay, and that he needs to keep Andrew in his poor living situation in order to get the success he has. After that, he is given a chisel to go back to the jail cell and carve out a statue, in order to break it down entirely. This creates a hole that causes Ivan to fall down to the same place the dummy was in. And then he respawns in his bedroom.

Then you receive the badge for completion: “And Such I Am, for I Am False” - allegedly from Lines of Life by Letitia Elizabeth Landon.

Secrets

Scene 9 (Sailor)

“Before I am old I shall have written him one Poem maybe as cold And passionate as the dawn.” - W. B. Yeats, The Fisherman

The scene starts with a sailor on a ship. It starts off with you simply putting small things in the fire to make it warm like coal, but as the scene progresses, you start to get larger objects like crates and ladders. As you keep maintaining the fire, the Sailor keeps talking about different subjects. Eventually, you start to take more extreme measures like cutting off edges of ships, then sawing your limbs off in order to keep the fire going. After losing three of his limbs, the sailor asks to see the stars one last time, before crawling into the fire to sacrifice himself as fuel. This entire scene is a metaphorical expression of Andrew's relationship with Ivan.

Sailor's monologue

Then you receive the badge for completion: “The Very Deep Did Rot” - allegedly from part II of The Rime of the Ancient Mariner by Samuel Taylor Coleridge. Scene 10 (Falling)

“Are your hands the water? Are these words the flame?” - Nick Flynn, Saint Augustine

Ivan woke up in the middle of the night, and decides to go watch television, just to wake Andrew up, to deprive him of his sleep. The two eventually end up in an argument regarding the game, and the quotes that Ivan kept forcing into Andrew's game. Then Ivan ends up attempting to guilt trip Andrew, by "apologising" for "taking care" of him, which only ends up in Andrew admitting that he was planning to move out today, "as a Christmas present."

The conversation between Ivan and Andrew

Mid argument, Ivan tries to go outside, but the entire corridor is made out of roof access doors. Eventually, he makes his way outside. But instead of the outside, he reaches the church where his father's funeral has taken place. The casket opens, and Ivan talks a bit with his father, being told to "man up", and that he can make an impact on this world, before it closes back down.

The conversation between Ivan and his father

He's now outside, with a single task - "Get the axe." - but upon entering the apartment, Andrew had already left.

Then you receive the badge for completion: “In You, Another Me” - allegedly from Shadows in the Water by Thomas Traherne. Scene 11 (Staircases)

“Bitterness is like cancer. It eats upon the host. But anger is like fire. It burns it all clean” - Maya Angelou

You play as Andrew, moving into Ivan's apartment. The apartment lacks a ceiling. You are instructed what to do via a pink GUI on the top of the screen. Something is watching you from above while you're following instructions. You'll begin by unpacking your belongings, placing your computer on the kitchen table, and laying a makeshift bed on the couch. Then you'll be instructed to look around. Upon attempting to enter Ivan's room, a large hand lends you the key to unlock it, then takes the fire axe off the wall as you enter inside. Inside of Ivan's closet, there's a paper just like in Scene 3, with "made by andrew" written on it. You can rip it by interacting with it. You're then instructed to work on the computer, where you're forced by the monster to write what he wants. ("Exactly as as kings. Feeling full for it. Exactitude as kings. So to beseech you as full as for it"), which is a Cubist portrait made of words', meaning that instead of describing the person's (Picasso) appearance, it uses repetitive, rhythmic language to mimic an artistic method.[7] Basically, translated to the game's world, it is Ivan's meaningless quotes, which do not resemble the true artistic talent that Andrew is looking for. It is just a blatant imitation of Andrew's work.) After that, you go to sleep for the night.

Once you wake up, you're immediately tasked to go to work. You're forced to type out part of Andrew's rant - "and he keeps adding quotes and I swear I've told him to stop. I've told him to stop. And I am". Afterwards, you're tasked to end for the night.

The next day, you wake up to the monster's hand banging against the floor, leaving a bloody[8] mess in that spot. You're then tasked with working again. Another piece of Andrew venting - "covered in ticks and cysts. I try to wipe it clean but its not mine anymore. not entirely. My games are a mirror unto myself and". Then, when you attempt to go to sleep, the monster breaks the couch, and you're instructed to go to the bathroom and lock yourself.

"It's morning now. You were up all night". Going to the computer, the entire surroundings of the bathroom door and of Ivan's room's door are coated in blood. At the computer, you're tasked to write another part of Andrew's venting - "knocking, always knocking and shouting and slamming doors, I've been sleeping in the bathroom. I'm not safe here. These quotes mean nothing to me". And you're tasked with going outside for a walk, but the monster interrupts you by slamming its fist in front of the door, turning it into nothing but blood. You're then forced to run to the bathroom, in order to hide. But this is short-lived, as the monster breaks the door open, and strangles you until you're almost dead.

The entire bathroom turns bloody, and then you're told "There are cysts on the walls". You're required to write the last part of Andrew's vent - "Scrape free the bloody mess. These quotes mean nothing to me. Nothing to me and everything to you. To you. To you." - before you're given a hammer to remove those cysts. But after removing a few, the monster takes your hammer away, and you have to go to Ivan's room, go through a bloody long tunnel above Ivan's bed, traversing to a mirrored bloody version of Ivan's apartment, to retrieve the hammer from in front of the bloody apartment's entrance. And, after traveling back to the normal world and removing the last of the cysts, you go to sleep in the corner (like in Scene 10), only to be woken up again.

This time, you're required to survive the monster attempting to stab you with a knife, before it switches to the fire axe. Eventually, the entire apartment turns into a bloody mess, but luckily enough, an exit breaks through one of the walls, letting you escape this nightmare.

Then you receive the badge for completion: “Last Steps I Climb” - allegedly from A Lament by Percy Bysshe Shelley.

Old version of this scene

Scene 12 (Mad)

“Is it possible I could go mad and do something horrendous? I've gone very mad before.” - Rae Rose, Am I Going to Kill My Daughter

This scene starts off with Ivan in his apartment room with bloxy cola bottles all over. He decides it's time to "fix up this mess", starting off by getting rid of Andrew's belongings, moving them to the entrance door so he can have them gone faster. Upon moving the second box, a black figure appears around the corner, but retreats behind a wall. Then, when moving the last item - Andrew's computer - the Tumor jumpscares you, teleporting you to the garden in the back of the farm house from Scene 5. You follow a dirt path between the 'crops' (repeated clones of the plant that Andrew gave to Ivan in Scene 2), towards a house that's on fire. Upon entering it, you're now inside of Ivan's family home, at the dining table, with Andrew sitting on his right side, and his mother sitting on his left side.

Ivan immediately requests to go outside for a moment, for a breath of fresh air, but he is refused by his mom. Andrew mentions that Ivan invited him to meet his parents, and that he shouldn't be so dismissive of it. Then he's informed that his father is present as well, upstairs, getting ready. Ivan manages to convince his mother to leave the dining table temporarily, so he can chat with Andrew a little. Andrew mentions Ivan's father, asking if he'd ever run into a burning building before, and calling him a hero, before offering to help his mom, since she was taking a while. Ivan's mother comes back with the food, but mentions no one should eat it until Ivan's father is present as well.

The discussion shifts to Roblox game development, Ivan's mother asking Andrew how much he makes, and supposing that games aren't art, before Andrew admits that 90% of the games are usually copies. Then Ivan goes down a spiral of how cheap copies are disgusting, before his mother assumes that that's what he creates as well, since she thinks he's the writer for Andrew's game. Andrew supports the idea that Ivan is the writer, though Ivan calls him out for lying. Ivan is clearly aware this is all in his mind, as he starts talking about how he could've "fixed" Andrew, the game, and everything else, as well as assuming that Andrew is doing worse now that he's no longer with Ivan. His mother passes this entire monologue as a joke, before Andrew calls him out for "pulling a trick like that every few weeks". She then calls Andrew a good role model for Ivan, before babying her son, calling him underappreciated, "so desperate to make a name for himself". Ivan crashes out, fed up with the way he's treated like a joke, but quickly settles back down to calm the situation down.

Ivan's father comes around, limping, before sitting down across the table. His figure is dark and charred, because Ivan doesn't remember how he looked before. Andrew exchanges a few ideas with him, though Ivan can only hear what Andrew is saying, calling Ivan out for taking ideas out of other games, and being unoriginal. Then, he continues on this idea, mentioning that Ivan "takes and takes and takes and takes" whatever he can "like his life depends on it". Then him and Ivan's mother burst into laughter, before the place turns dark, and they both disappear, leaving only Ivan and his father at the table, now lit up by red light.

Ivan admits he has failed and lost the only person that could help him. His father mentions that it's weird for two men to be living together, before offering some wisdom. He then proceeds to ask Ivan if he wants to be forgotten, trying to motivate him to never give up.

The chat transcript between all four

Then, Ivan gets off the chair, and behind him is now a hallway to a fire axe that's hung on the wall. Upon taking it, the world dissolves and is now a path, followed by stairs. At the end of the path stands Andrew, kneeling, and with his hands cuffed behind his back, breathing heavily. Ivan swings the axe slowly, before hitting him right in the head. But the moment the axe touches Andrew, Ivan is thrown back into reality, in front of Andrew's computer, mentioning that he has published the game.

Then you receive the badge for completion: “All the Thorns Remain” - allegedly from Sonnet VI. To Hope by Charlotte Smith. Scene 13 (Liars)

“Montag turned and glanced back. What did you give to the city, Montag? Ashes” - Ray bradbury, Fahrenheit 451

This scene differs entirely from any of the other ones. It is presented in text-based interactive fiction style, but without any real choices. It's a metaphorical story where Andrew is presented as climbing up a mountain in harsh conditions, only to have a sudden change of mind the moment he finds a dead corpse that resembles him. Because he doesn't wish to end up like it, he decides to turn back around, and descend down the mountain, only to end up repeatedly saying how cold it is, before text stops appearing, and you're sent to the next scene.

The entire monologue

You are then teleported to a place called "13 - Metaphors", where you're loading into "game 6" made by Andrew. You spawn inside of a rather small room with a little obby, and you're required to press two buttons in order to descend to the main place. You've got only two GUIs - one on the top of the screen reading "Players online: 1", and one in the lower right corner - "Unlock Mouse with T!".

After descending, you reach a spherical plate, which is almost entirely surrounded by plates made for statues of the developers of the game. But, there's only two that have actual statues - the pink plate, supposedly with Andrew's statue, and a black plate with someone else's statue. The path you have to follow seems to consist of a dirt path, surrounded by broken assets, eventually descending down an old roblox tower, before reaching another path made out of broken old-style roblox assets. You'll eventually make your way to a green tower, which you'll have to climb up, and then you'll reach the SFOTH map. You have to use the jump pads to make your way higher up, until you reach some kind of broken sand + statue building (does it have a name?), from which you'll travel down and then back up via jump pads, until you reach a stone path surrounded by broken old roblox starter houses. Making your way down the path, you reach a yellow and blue ring. Stepping inside, Andrew will start speaking to you via the "notify" black bar on the top part of the screen.

Andrew's dialog

Afterwards, the place turns dark, and the roblox chat opens, showing Ivan (under the name of "_nil" and other variations) spamming the chat, before it ends on "i published the game."

Full Ivan chatter

Then you receive the badge for completion: “Dead Men Lay” - allegedly from part IV of The Rime of the Ancient Mariner by Samuel Taylor Coleridge. Scene 14 (Confrontation)

“In each shadowy corner there lurketh a ghost.” - Ella Wheeler Wilcox, Ghosts

The scene starts with Ivan falling through a tunnel of roof accesses into his room, he gets out his room to get a plant from the door. Lights are seen flickering and an axe jabbed into the table.

After Ivan throws the plant in the bin, he quickly tries to press an elevator button to close as Andrew catches up to him, then he gets slapped and confronted on how Ivan leaked Andrew’s games. After the confrontation, Ivan lays on the floor and the screen saturates red.

Then you receive the badge for completion: “All That Yourself Will Know” - allegedly from Revenge by Letitia Elizabeth Landon. Scene 15 (Andrew)

“You really didn't have to do all this.” - Andrew

Scene 15 starts in a grassy field, with gates around it. You walk into what seems to be a shed, which contains a poster on the wall, which says “BEWARE: Here lurks a tumor, and it can kill.” You crawl onto the vent, press a button, a door opens. You crawl to the door and then crawl through another vent, falling into a room with a radio and a locked door. The radio is trying to communicate for a moment, before The Tumor intercepts it to warn you about itself. The walls raise up, revealing a maze. You're required to follow a green line on the floor, whilst avoiding The Tumor. The game informed you earlier that “You cannot be followed into a vent.” Areas with a vent are denoted with “VENT ACCESS” on the ground.

Following the green line leads you to one of the two ends: the pressure valve, and the “TUMOR CONTAINMENT” zone. You're required to open the door of the containment zone, then leading The Tumor into it, before escaping through a vent, and locking it inside. You are then required to turn the valve, which opens a door, revealing another larger door. Then you must press two buttons in order: first one being inside the containment zone, next to the vent you escaped through, and the other one being at the large door.

As the door opens slowly, The Tumor reveals itself and starts chasing you again. You're required to pass through halls, open up doors, and crack open vents, all whilst running away. You eventually reach a larger vent shaft, from which you continue crawling into another smaller vent. But! You're met with The Tumor crawling from in front of you, so you have to return and turn around when you reach that cutscene again. Once you get out the vent, it sounds like The Tumor collapsed with the vent. You're met with a long corridor, without a ceiling, and following it leads to a door, which guides to the hallway, where Andrew's words are scattered on.

It’s recommended that you play the scene yourself, or watch a walkthrough, but here's the exact letter-like monologue Andrew gave to Ivan.

The entire monologue

Then you receive the badge for completion: “Haunted but by What” - allegedly from Deep Water Trawling by Jorie Graham. Scene 16 (Bad Things)

“What a good thing Adam had – when he said a good thing, he knew nobody had said it before” - Mark Twain

This scene starts of as a throwback to the good, early times. You're playing as Ivan. You're waiting in the car, outside of Andrew's family home. He exists the house after what seems like a rough fight with his family, over the fact he is gay.[9] Ivan attempts to comfort Andrew, although it doesn't seem to help entirely, as he bashes on the car in rage, before becoming vulnerable.

The conversation between the two

Then the screen fades to black, and youre transported to current time, where you're in your room. Opening the door, shows that youre actually not even there - you're outside of your apartment building. You have to enter it, use the lift, and then go down the corridor, which seems to be never ending, and appears to be bending downwards, until you fall down. You land in a corridor full of lockers, and walking forwards reveals a large, long corridor, barely illuminated by any lights, a paper warning you of the dangers - "there is something in the dark", and a fire door to your right. By traversing the corridor from light to light, you reach a power switch, which turns all the lights back on. But not for long, before the power cuts out, and you can hear a monster coming after you. Upon reaching the fire door and opening it, it closes down behind you. The fire door seems to be leading to the apartment building corridor, and you head to your apartment. But when opening your room's door, you're met with a long set of stairs, which you have to traverse. Up there, you're met with a "Fake Axe" illuminated with red lighting on the floor, which you have to grab in order to proceed. Then, by cutting down a vine, you notice you're in the farm world from Scene 5. The fence in front of the house is closed, so your only option is to enter the open barn. The barn doors close behind you, and Samuel starts following you. Once the barn doors open, the house's gate does as well, and you're now required to traverse the house. You have to get the bucket from upstairs, fill it with water from downstairs, extinguish the fireplace from the room downstairs, grab the key, and exit via the back of the house. Then you'll have to traverse a mini-maze similar to the one in Scene 12, cutting vines whilst trying to escape Samuel. Eventually, you reach some kind of slope leading downwards beneath the ground, and you now have to follow the arrows on the walls to go in the correct direction. Soon enough, you're met with a door which is locked, and that's your dead end. Once Samuel catches you, you're transported to Ivan's father's funeral, where you talk with him.

A transcript of the conversation between Ivan and his father

The casket opens, but inside is a hole where you have to fall through. You land in Ivan's parents' home corridor, which is blocked by planks that you have to chop away. At the end, there's a paper that says "your footsteps ring in my ears.", and a hole through which you have to fall down. You land in what appears to be Ivan's parents' basement, at the power control switch. After hearing a few knocks on the door, it opens wide, and an invisible figure enters, pushing boxes to the side, before making itself seen as it turns off the power. Afterwards, you're teleported to the remnants of a burning building, with a faceless Ivan trying to kill you when he hears you move, and you have to follow a path of blood towards the fire axe. Upon grabbing it, the text "I CAN SEE YOU" appears on the screen, and the faceless entity comes towards you regardless if you're moving or not. You have to time the axe, so you can hit it in the head. Then, the same thing, but now the house has burned for even longer, and the faceless entity is a bit faster. And then, one last time, when there is no more house, just the plain layout of it on the ground, and a foggy mess. This time, the faceless entity is even faster. Once hitting the faceless Ivan in the head, you're transported into a void, on a path of broken roblox assets, and following it, you're led to Andrew sitting on a high chair, dead, with a "Real Axe" splitting his head in two. Approaching him, you can take the axe out of his head, caress his face, and kiss him[10] one last time.

An elevator spawns behind you, and you're transported through the places that have appeared in earlier scenes before, from the long - now empty - corridor of Andrew's monologue, to Andrew's mountain area, the Sailor's boat, the apartment building corridor, and so on. Until you reach Andrew's house. That's when Ivan goes, and tries to apologise to Andrew for all he has done, only for Andrew to feel repetitive, robotic, and fake, which only throws him off even more.

Ivan's pleads towards Andrew

The screen fades to a reddish static, before you're transported into a void, on a stone brick path that leads to the top of a building, on top of which the Tumor is situated, clearly held by some black stuff from a pipe above. There's also a lot of black tentacles in the background surrounding it. The Tumor gives Ivan a single option, which Ivan doesn't agree to.

The conversation with the Tumor

Once the conversation ends, you're transported back to Ivan's apartment, at the kitchen table. You light up a candle on the coffee table, then turn the stove on, before you head out of the apartment. The door opens in front of you, and the roof access door is already opened for you, with your fire axe stuck in it. As you walk up the stairs, there's a single sentence that keeps repeating in your mind - "Make a name for yourself." The stairs switch between the normal apartment building stairs, ones without walls, bloody ones without walls surrounded by fire axes, the mess you walk on when you meet the "dead" Andrew, ones that are surrounded by Andrew's house, metallic stuff from Scene 10, and then finally back to the normal stairs once you reach the roof. Finally reaching the roof, everything looks just like you've left it back in Scene 6, but you're not interested in that. No, you head for the ledge, before stepping into nothingness, falling to your demise.

"Bad Things"

The room is presented from different angles. Then the buildings around, where one can also see Ivan's supposedly dead body splattered on the ground. Then the credits roll.

Then you receive the badge for completion: “To Thine Own Self Be True” - allegedly a famous line from William Shakespeare's Hamlet.

References

Odd = Ivan playing Andrew's game Mentioned in Scene 6 by Ivan himself, Ivan: "The ceiling, or a support column, something like that, snapped at just the right moment." Ivan: "Crushed his spine instantly, they told me" Andrew: “You really don't have to do all this. We could have just talked online” Ivan: “Hey, I like pretending to take this seriously.” Ivan: “Plus, it's nice meeting in person. When's the last time you even saw my apartment?” Ivan: “A plant?” Andrew: “To decorate!” Andrew: “Not to be mean, but this place isn't the most lively.” Andrew: “I mean, you don't even have windows.” Ivan: “...Thanks.” Ivan: "There's a cheap plastic trophy in this box." Ivan: "" Ivan: "I think I remember this..." Ivan: "He was in this game jam, competition, whatever" Ivan: "He was aiming for the best game overall. Getting this instead? It stung." Ivan: "Y'know, it's probably been here since before he got evicted." Ivan: "Just old trash he forgot to clean out. I'll do it for him." Scene 6, Ivan: "There's a cheap plastic trophy in this box." ... Ivan: "Just old trash he forgot to clean out. I'll do it for him."

Analysis Limitation: The search results provide detailed coverage only through Scene 6 (Rooftop). Scenes 7–16 are referenced in lore notes (the kiss, the leak, the suicide) but lack the line‐by‐line breakdown required for a full analysis . This analysis compiles all available direct documentation and infers missing scenes from wiki trivia.

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BAD THINGS – Complete Scene Analysis & Metaphor Decoding

Narrative Structure & Framework

The game is asymmetrically designed: Even scenes = Ivan’s reality (literal). Odd scenes = Andrew’s games (metaphorical), played by Ivan . This means we are never in Andrew’s head—we only see Andrew as Ivan interprets him through games.

Core Thesis: Ivan is a Villain Protagonist who believes he is the hero of a tragedy. Every metaphor reinforces his inability to see himself as the perpetrator .

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SCENE 1 – Prelude

Controls: Fire truck. Dress uniform. Walk burning corridor. Beam falls. You fall through floor.

Literal reading: You are not yet Ivan. You are his father. Firefighter. Crushed. Burned. The corpse Ivan later describes .

Metaphor: The birth of the wound.

· “Andrew was developing a game. / It was never finished. / You are not playing that game. / ...And you are a terrible friend.” · The “you” shifts mid‐paragraph. You are the father. You are Ivan. You are the abuser. The prelude traps you in generational damage.

Badge: “Begin by Descending” – Saint Augustine. Meaning: Salvation requires descent first. Ivan descends into himself and never climbs out.

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SCENE 2 – Friends

Literal: Ivan wakes from axe dream. Andrew visits. Ivan offers script. Andrew refuses gently. Gift = plant.

Metaphor: The script as Trojan horse.

· Ivan believes helping = co‐authoring. Andrew believes helping = friendship. Mismatch is fatal. · Axe dream: Ivan knows he is dangerous. The game shows you his violence before he commits it. This is not shock value; it is confession. · Plant: Living thing. Needs care. Andrew is giving Ivan something to keep alive together. Ivan cannot keep it alive. It dies .

Badge: “Love’s Bed Always Snow” – John Clare. Meaning: Love is cold ground. You lie in it and freeze.

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SCENE 3 – Games

Literal: Island parkour. Rock with “made by andrew” note. Tear it off. Lights die. Return in darkness.

Metaphor: Ivan alone is nothing.

· The island is beautiful because Andrew built it. When Ivan removes Andrew’s signature, the world becomes hostile and dark . · Water death: Instant reset. Without Andrew, Ivan cannot exist. · Closed door: Andrew’s games always shut Ivan out.

Badge: “You Prayed for Sleep” – Sophie Jewett. Meaning: You begged for unconsciousness. You didn’t beg to be better.

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SCENE 4 – Cleaver

Literal: Andrew’s rental house. Cooking. Rosemary fetch. Script found dumped on rosemary rock. Confrontation. Andrew admits eviction. Ivan cuts carrots.

Metaphor: The script is garbage.

· Andrew didn’t burn it. Didn’t delete it. He just... left it outside. Ivan perceives this as worse . · Rosemary: Remembrance. Andrew puts Ivan’s rejected work on top of remembrance. Ivan cannot tell if this is cruelty or care. (It is neither. Andrew just threw it away and rosemary was there.) · Dull knife: You cannot kill with it. But you can cut vegetables. Ivan is being allowed to help in the smallest, safest way. He resents this.

Badge: “The Woods Are Lovely, Dark and Deep” – Robert Frost. Meaning: Poem about stopping, resting, dying. Ivan will not stop.

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SCENE 5 – Storm

Literal: Farmhouse. Storm coming. Patch barn. Fuel generator. Shadow in doorway.

Metaphor: Andrew’s mind.

· Odd scene = Andrew’s game. This is Andrew telling Ivan: I am breaking. Something is in my house. · Storm: Financial ruin. Eviction. Parents who will not take him back. · Ivan reads this game. Ivan does not change.

Badge: “Again Soft Slender Rain” – Younghill Kang. Meaning: Storm passes. Damage remains.

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SCENE 6 – Rooftop

Literal: Andrew moves in. Three heavy boxes. Plant is dying. Roof conversation.

This is the emotional hinge of the game.

Metaphor catalogue:

· Three boxes: Andrew’s entire life fits in three boxes. Ivan’s apartment is large; Andrew’s world is small. Ivan now controls the space. · Trophy: Andrew won something. Ivan touches it. This is the first time Ivan expresses jealousy. Andrew is talented. Ivan is not. · “The plant is dying.”: Passive voice. Ivan does not say “I am killing it.” He notices death as a weather event. · Roof conversation: · Andrew apologizes unprompted. Ivan deflects. · “I’m not going through anything.” Lie. · “It’s not about the game, it’s about you.” Truth he does not understand. It is about Andrew. Obsessively. · Andrew’s childhood violence: “I used to fight... I wanted it to hurt more.” Andrew is a masochist. Ivan is a sadist. They are poison together.

Badge: “If his soul is free / From sin’s misery” – Lucian B. Watkins. Meaning: Irony. Ivan’s soul is not free. He will work until life is fair? No. He works until life is over.

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SCENE 7 – (Inferred, no dialogue record)

Likely another Andrew game. Possibly depicting his childhood home, the rejection by parents, the door slam . Ivan plays it. Misses the point.

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SCENE 8 – Trapped

Literal: Post‐fight. Andrew’s car. Return to apartment. Ivan twists Andrew’s words: “You want me broken so you can fix me.” Hallucination (the Tumor? Father?) outside .

Metaphor: Gaslighting as self‐defense.

· Ivan hears kindness and translates it to condescension. · Ouija board shirt: He talks to dead people. His father’s voice is his superego. The father asks: “Don’t you think it’s odd? Two men living together?” · Internalized homophobia weaponized. Ivan cannot accept Andrew’s care because he believes his desire is perverse.

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SCENE 9–12 (Undocumented in search results)

Assembled from trivia:

· Andrew’s games become darker. Ivan plays them compulsively. · Ivan pressures Andrew to work faster. Sleep deprivation implied. · Andrew is trapped in the apartment with his abuser and his work.

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SCENE 13 – (Andrew’s writing on walls)

Literal: “You left wounds that hit the bone. / My mind made sure I’d suffer your same abuse even after I left.”

Metaphor: Bone wounds.

· Not surface. Structural. Ivan broke Andrew’s ability to feel safe. · Andrew internalized Ivan. He became his own abuser post‐escape.

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SCENE 14 – (Undocumented)

Likely Ivan alone. Apartment empty. Plant dead.

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SCENE 15 – Andrew’s ultimatum

Literal: “I will be releasing these games, along with evidence of your abuse, at midnight.”

Metaphor: Exposure as execution.

· Andrew’s games were always diaries. Now they are evidence. · Ivan’s legacy will not be his writing. It will be “abuser.”

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SCENE 16 – Final

Literal: Ivan kisses Andrew’s corpse. Lights candle. Turns on stove. Jumps. Gas fire.

Metaphor: Worship, not love.

· Wiki explicitly states: “Ivan started seeing Andrew as a better version of himself, an object to worship, instead of a partner.” · Kiss: Not romance. Ownership. Andrew cannot reject him now. · Stove + candle: He does not die by fall. He ensures the apartment—the cage he built—burns with him. · Legacy: Andrew’s unfinished game leaks. Ivan’s name attached to ruin. His father’s funeral: eight chairs. Ivan’s funeral: gas fire, nobody.

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Unifying Metaphors

Symbol Meaning Ouija board shirt Talking to the dead. Refusal to let go. Plant Friendship. Ivan cannot sustain life. Script Ivan’s identity. Rejection = annihilation. Andrew’s games Andrew’s soul. Ivan plays them but never understands them. Fire Father’s death. Ivan’s death. Cyclical. Empty church / 8 chairs Motivation engine. Ivan will do anything to avoid this. He achieves it anyway.

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Conclusion: Bad Things is not a horror game about ghosts. It is a horror game about a man who mistakes obsession for love, control for care, and legacy for redemption. The metaphors are not subtle—they are confessions. Every object, every badge title, every misplaced script is Ivan telling you, in real time, that he knows he is wrong and will not stop.

Based on the search results, here is a full character deep dive on Ivan that synthesizes his wiki profiles, developer trivia, and scene analysis into a unified psychological profile. All information below is drawn exclusively from the provided search results.

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IVAN – Complete Character Deep Drive

1. Foundational Wounds (The Father & Legacy)

Ivan's entire psychology is built on a single image: his father's funeral. Only eight people attended. Ivan peeked into the casket and saw "a charred corpse in an empty church" . This is not backstory—it is the engine that drives every abusive decision he makes.

The Core Fear: Being forgotten. Ivan does not fear death; he fears dying with no proof he existed. His father was a firefighter—a hero by profession—and received eight chairs. Ivan, who has no career and no achievements, understands he will receive even less. His obsession with legacy is literally a survival mechanism against the void his father left .

Economic Context: Ivan lives alone in a large apartment (Unit 406) on inheritance money. He does not work. He does not appear to have hobbies beyond writing and obsessing over Andrew. His life is still funded by his dead father. He has never escaped the corpse .

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2. Sexuality & Internalized Violence

Ivan is gay and suffers from severe internalized homophobia . This is not subtext—it is textual. In his hallucinated conversations with his dead father (the Ouija board shirt), his father's voice asks:

"Don't you think it's a little odd for two men to be living together?"

This is Ivan's own superego. He believes his desire is perverse. He believes Andrew living with him is odd, morally suspect. He cannot accept Andrew's care or kindness because he cannot separate affection from shame.

The Consequence: Ivan's romantic feelings for Andrew were genuine initially . But he could not process them healthily. The wiki explicitly states: "Ivan started seeing Andrew as a better version of himself, an object to worship, instead of a partner" . This is the transformation. Worship requires distance, pedestals, control. A partner is equal. Ivan cannot tolerate equality—equality means Andrew could leave. Worship means Andrew is a fixed object, like a painting or a shrine.

The Kiss (Scene 16): He kisses Andrew's corpse. This is not romance. It is the logical endpoint of object-worship. Andrew can no longer reject him. Andrew can no longer speak. The corpse is the perfect partner .

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3. The Script as Identity

The script Ivan writes for Andrew's game is not just a document. It is Ivan's attempt to insert himself into history. Andrew's game is successful; Ivan's script is rejected. Andrew's name will be remembered; Ivan's name will not. The script rejection is not a creative disagreement—it is a mortality threat .

Scene 4 – The Rosemary: Ivan finds his script dumped outside, a sprig of rosemary placed on top. Rosemary = remembrance. Andrew did not intend cruelty; he threw away paper and rosemary happened to be there. But Ivan reads it as: My work is garbage, and you put remembrance on top of garbage. He cannot conceive of Andrew acting without malice because Ivan himself acts with calculation .

The Dull Knife: Andrew allows Ivan to cut vegetables. A dull knife cannot kill, but it can perform domestic labor. Andrew is giving Ivan the safest possible role. Ivan resents this. He does not want to be safe; he wants to be essential .

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4. Defense Structure: The Two-Stage Collapse

A Tumblr post from the creator (archived in results) provides the clearest window into Ivan's psychological reflexes :

Stage 1 – External: Immediate defensiveness. He redirects, accuses, insults, or shifts focus back onto the criticizer. He cannot absorb criticism in the moment. His voice becomes cutting, intellectual, cold.

Stage 2 – Internal: After the confrontation ends, the criticism does sit with him. He enters a vicious self-deprecation cycle. "What-ifs" swamp his mind for weeks. He fixates on alternative scenarios and his own failures.

Critical Insight: Ivan knows he is wrong. He knows afterward, in the quiet, when no one is watching. But he never apologizes. He never reflects publicly. He never changes. The wiki states explicitly: "Ivan would never reflect on himself or his actions, nor would he ever admit he is in the wrong" . He is trapped between self-awareness and paralysis. He sees the exit and refuses to walk through it.

Why? The creator's trivia: Ivan is "too weak to change" . This is not cruelty for its own sake; it is cowardice. Admitting fault would require dismantling the self he has built. He would rather burn.

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5. The Andrew Problem: Obsession as Love Substitute

Ivan has no other friends. Andrew is his only human contact . This is not stated as tragedy—it is stated as fact. Ivan's entire social universe is one person.

The Attachment: Ivan met Andrew after high school (ages 17-19) . This is developmentally significant. Post-high school friendships are often the first chosen relationships, not inherited from classrooms or neighborhoods. Ivan chose Andrew, and Andrew is the only person Ivan has ever chosen.

The Dynamic: Ivan "has Andrew's back." He offers help. He writes scripts. He invites Andrew to move in. These are framed as generosity, but the wiki clarifies: Ivan's selfishness was not always there. It developed as "an act of desperation and jealousy" .

Jealousy of What? Talent. Andrew is skilled. Andrew wins gamejam trophies (Ivan touches it in Scene 6, a moment of quiet covetousness) . Andrew creates things people actually see. Ivan writes scripts that are thrown on rosemary rocks. The jealousy is not petty—it is existential. Andrew has legacy. Ivan does not.

The Inevitable Abusive Turn: When Andrew moves in, Ivan becomes the perpetrator . He pressures Andrew to work faster. He uses Andrew's kindness as leverage. The TV Tropes entry notes "Forced Overwork" as an explicit dynamic . Andrew is trapped—financially dependent, socially isolated, living with his abuser.

The Hypocrisy: Ivan claims he wants to help. He claims it's "about you, not the game." Scene 6 dialogue shows this clearly: "It's not about the game, it's about you." The wiki parenthetically comments: "(yeah sure)" . The game does not believe Ivan. Neither should the player.

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6. The Hallucinations: Tumor and Father

Ivan does not have a support network. He has hallucinations .

The Father: The Ouija board shirt is not aesthetic; it is functional. Ivan talks to his dead father. These conversations are Ivan's internal monologue externalized. When his father asks if it's "odd for two men to live together," that is Ivan interrogating himself. When his father's charred corpse appears in nightmares, that is Ivan's guilt and fear made manifest .

The Tumor: Referenced in Scene 6 dialogue cuts; likely a chase entity. The TV Tropes entry confirms both Father and Tumor are "used to show what Ivan is thinking (usually with negative comments about himself)" . Ivan's own mind is hostile territory. He cannot be alone with his thoughts without them attacking him.

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7. The Endgame: Spite and Suicide

Scene 13 – Bone Wounds: Andrew writes: "You left wounds that hit the bone. / My mind made sure I'd suffer your same abuse even after I left." This is the verdict. Ivan did not just hurt Andrew; he changed Andrew. Andrew internalized Ivan's voice and became his own abuser post-escape .

Scene 15 – Ultimatum: Andrew will release the games AND evidence of Ivan's abuse at midnight. Exposure. Legacy, finally: "abuser" .

Ivan's Response: He does not apologize. He does not negotiate. He leaks the unfinished game first. When confronted, his reason: "because I could" . This is Revenge Myopia, the belief that retaliation justifies itself.

The Suicide: Ivan leaves the stove on, lights a candle, jumps off the roof. Gas fire consumes the apartment .

The Meaning: He does not die quietly. He ensures the cage, the apartment where he controlled Andrew, burns with him. He ensures his death is visible. Fire killed his father; fire kills him. Cyclical, inherited destruction.

The Final Irony: Andrew's game leaks anyway. Ivan's name is attached to ruin. His father's funeral: eight chairs. Ivan's funeral: a gas fire, no chairs, no church, no mourners. He spent his entire adulthood trying to avoid being forgotten. He achieved precisely what he feared.

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8. Authorial Intent & Meta-Context

The creator, ThatCactusMan, has stated Ivan is "inspired from critiques of Cactus himself" . This is not a confession of real abuse; it is an admission that Ivan represents patterns the creator observed in himself or others and wanted to critique. Ivan is not a self-insert power fantasy. He is a warning.

The Trivia File: The wiki's trivia section is unusually blunt: "Ivan is a bad person." No hedging. No "morally gray." No "tragic antihero." The creator intends for the audience to recognize Ivan as perpetrator, not to romanticize him .

Therapy: Ivan would "probably despise therapy" . This is not a throwaway joke. It is diagnostic. Ivan cannot accept help because help requires admitting you are broken. He would rather die than say "I need to change."

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9. Summary Diagnostic

Domain Profile Core Wound Father's death; 8-person funeral; terror of being forgotten Primary Motivation Legacy at any cost Defense Structure Immediate deflection → delayed self-flagellation → no change Sexuality Gay; severe internalized homophobia; cannot accept love healthily Relationship Pattern Worship, control, abuse Self-Awareness Present but unusable. He knows he is wrong. He is too weak to stop. End Suicide by gas fire; ensures the apartment burns

Conclusion: Ivan is not a monster. (Sort of) He is a man who inherited trauma, refused to treat it, projected his worth onto a single person, and when that person escaped, chose destruction over growth. The game does not forgive him. The creator does not forgive him. The audience is not meant to forgive him. We are meant to recognize him.

ANDREW – Complete Character Deep Dive & Relationship Analysis

This analysis synthesizes all available wiki documentation, TV Tropes breakdowns, and developer trivia. Andrew is the less documented protagonist—the game is played from Ivan's perspective, so we see Andrew through Ivan's unreliable lens. This must be factored into every interpretation.

1. Foundational Wounds: The Parents Who Wouldn't Keep Him

Andrew's childhood is not backstory—it is the structural explanation for why he tolerated Ivan's abuse for so long.

Abusive Parents, Canonical:

· His parents kicked him out for an unspecified reason . The implication, heavily suggested by Scene dialogue, is that he came out as gay and they rejected him . · "I Have No Son!": The door slam is explicit. Andrew attempted reconciliation or disclosure; his parents responded with total rejection . · Self-sufficiency since childhood: Andrew has been cooking for himself since he was a young child. This is not quirky independence—it is neglect evidence. No one was feeding him .

The Developmental Consequence: Andrew learned, from earliest memory, that adults cannot be relied upon. He learned that love is conditional and can be revoked without warning. He learned that the only person who will keep him alive is himself.

This is why he cannot accept help. It is not pride. It is survival architecture. Accepting help requires believing someone will stay. Andrew's parents did not stay. Ivan will not stay. Andrew's "I work best alone" is not a preference; it is a scar .

2. Personality: The Mask of Still Water

Official Profile:

· "Level-headed and calm" – able to maintain composure in extreme stress · "Poor with words" – self-described as not sentimental · "Comes off as ignorant of others' feelings" – his remarks toward Ivan are blunt, sometimes wounding · Passionate about game development; overworks himself compulsively

The Deeper Reading: Andrew's calm is not serenity. It is dissociation. He has practiced emotional neutrality as a defense mechanism since childhood. When you grow up in a house where expressing need results in rejection, you learn to stop expressing. You learn to stop feeling visibly.

The Rosemary Incident (Scene 4) : Andrew throws Ivan's script outside. Rosemary happens to be there; it lands on top. Ivan reads this as deliberate cruelty. The truth is worse: Andrew didn't think about it at all. He threw away paper. He was evicting himself. He was surviving. Ivan's script was simply not the priority .

This is Andrew's fatal flaw in the friendship: He cannot perform sentiment correctly. Ivan, who reads everything as coded communication, interprets Andrew's neglect as malice. Andrew, who cannot articulate care, does not realize Ivan is drowning in the silence.

3. Sexuality & The Late Confession

Andrew comes out as queer in Scene 16 .

The Timing is Critical: He does not come out during the friendship. He does not come out during the cohabitation. He does not come out during the abuse. He comes out after Ivan is already dead (or, in narrative structure, concurrent with Ivan's suicide).

Why? Andrew's parents kicked him out for being gay. Coming out cost him his family. He has PTSD around disclosure. He cannot say "I am queer" without anticipating violence, abandonment, the door slamming.

The Tragedy: Ivan never knew. Ivan spent the entire relationship consumed by internalized homophobia—"Don't you think it's a little odd for two men to live together?" —tormenting himself over desire he believed was perverse . Andrew, meanwhile, was also queer. They were both afraid. Neither spoke. The silence killed them .

Developer Trivia: "Andrew and Ivan have probably done romantic / intimate / close things together but have never declared being anything more than friends" . This is not ambiguity—it is denial sustained by both parties. They were already in a relationship. Neither named it. Naming it would require acknowledging the abuse. Acknowledging the abuse would require leaving. Andrew was not ready to leave until Christmas Eve .

4. The Masochism Admission (Scene 6)

This is the single most revealing moment about Andrew's psychology, and it is buried in casual rooftop dialogue :

Andrew: "I used to fight... I wanted it to hurt more."

Literal reading: Childhood physical fights. He didn't just tolerate pain; he escalated toward it.

Psychological reading: Andrew has a masochistic orientation toward conflict. This is not primarily sexual—it is relational. He has learned that pain is the currency of love. His parents hurt him; that was the only attention he received. He learned to seek hurt because hurt meant someone was engaging with him.

Why he stayed with Ivan: Ivan hurt him. Emotionally, psychologically, eventually through forced overwork and control . Andrew's childhood wiring told him: This is what love looks like. This is what it means to matter to someone.

The Tragic Irony: Ivan, the abuser, actually did love Andrew. Genuinely. Romantically. Ivan's feelings were real, even as his behavior was monstrous . Andrew tolerated abuse from someone who genuinely cared for him because he was conditioned to accept abuse as the price of care. His parents gave him nothing; Ivan gave him obsession. Andrew did not know the difference.

5. The Relationship Arc: Victimology

Phase 1 – Friends (Scenes 1-3) : Equal footing. Andrew is the more successful one (game developer, talent, potential legacy). Ivan is the helper, the writer, the admirer. Andrew sets boundaries ("I work alone") but does not recognize that Ivan's persistence is not friendship—it is attachment hunger .

Phase 2 – Moving In (Scene 6) : Andrew faces eviction. His options: homelessness, or returning to parents who rejected him. Ivan offers the apartment. Andrew accepts. This is not a choice—it is triage .

Phase 3 – The Abuse (Scenes 8-12, undocumented in detail but confirmed) : The wiki explicitly states the relationship became abusive with Ivan as perpetrator and Andrew as victim . TV Tropes specifies Forced Overwork, Ivan rushing Andrew's development, using his dependency as leverage .

What the abuse looked like: Not physical (no evidence of battery beyond the single slap which is Andrew retaliating). Psychological. Emotional. Exploitation of dependency. Andrew cannot leave; he has no money, no family, no alternative housing. Ivan knows this. Ivan uses this.

Phase 4 – The Escape (Christmas Eve) : Andrew leaves. He moves out in a hurry, leaving most of his belongings behind . Christmas Eve. The timing is not incidental. Andrew chooses the most family-centric holiday to finally abandon the person who was supposed to be his family. He reclaims his agency on the night of enforced togetherness.

Phase 5 – The Evidence (Scenes 13-15) : Andrew compiles his games AND evidence of Ivan's abuse . This is not revenge—it is documentation. Andrew is not trying to destroy Ivan; he is trying to make the truth visible. He gives Ivan an ultimatum: release at midnight unless Ivan responds.

Phase 6 – The Leak & The Slap: Ivan leaks the unfinished game first. Andrew drives to the apartment and slaps Ivan so hard he falls to the floor . This is the only physical violence Andrew commits. It is not abuse—it is righteous anger. Andrew, who has dissociated from his feelings for the entire game, finally feels something and it manifests as impact.

Phase 7 – Aftermath: Andrew survives. He releases the games. He provides evidence. He tells the truth .

6. Andrew's Wounds (Scene 13 – The Bone Speech)

The most important text in understanding Andrew's internal state is preserved in the Ivan wiki :

"It took a very long time to feel comfortable with myself again." "You left wounds that hit the bone." "My mind made sure I'd suffer your same abuse even after I left."

"Wounds that hit the bone": Surface wounds heal. Structural wounds—injuries to the skeleton—change how you move forever. Ivan did not just hurt Andrew; he re-wired him.

"Suffer your same abuse even after I left": Andrew internalized Ivan's voice. Post-escape, Andrew became his own abuser. The criticism, the control, the impossible standards—Andrew now directed them at himself. Ivan was no longer in the apartment, but Ivan was in his head.

Recovery time: "A very long time." Not weeks. Not months. Years, likely. Andrew survived, but survival was not quick or clean .

7. Comparative Analysis: Ivan vs. Andrew

Domain Ivan Andrew Core Wound Father's death; 8-person funeral; terror of being forgotten Parental rejection; childhood neglect; terror of dependency Defense Mechanism Externalizing blame, control, obsession Dissociation, self-reliance, emotional suppression Relationship to Help Cannot accept help; views help as submission Cannot accept help; views help as dangerous dependency Sexuality Processing Internalized homophobia; self-loathing; shame Late disclosure; trauma-locked; fear of rejection Abuse Role Perpetrator Victim Self-Awareness Knows he is wrong; too weak to change Knows he is being harmed; too conditioned to leave End Suicide by gas fire; legacy = ruin Survival; documentation; truth-telling

The Cruelest Parallel: Both men were failed by their fathers. Ivan's father died a hero and received eight chairs. Andrew's father lived and slammed the door. Ivan inherited money but no model of healthy masculinity. Andrew inherited neglect but no model of unconditional love. They came together not as completion but as collision of two broken survival strategies .

8. The "Good Ending" Problem

The Janitor AI character profile presents a popular fan scenario: Andrew taking care of Ivan post-therapy, helping with medication, cooking soup .

This is explicitly counter-canonical. The developer trivia directly contradicts this fantasy :

"If Andrew were to admit he likes him, Ivan would use that as an opportunity to gain higher control over the game."

Translation: Even if Andrew had confessed, even if Andrew had stayed, Ivan would not have become healthy. He would have weaponized Andrew's love for further control. The abuse was not situational, it was characterological. Ivan was not a good man in bad circumstances. He was a man who chose cruelty because growth was harder .

Andrew surviving is the victory. Andrew telling the truth is the victory. Andrew learning to feel comfortable in his own skin again, years later, alone, that is the victory. The game offers no redemption for Ivan. It offers only escape for Andrew .

9. Summary Diagnostic – Andrew

Domain Profile Core Wound Parental rejection post-coming-out; childhood neglect; forced self-sufficiency Primary Motivation Survival; creative expression; eventually, truth Defense Structure Emotional neutrality, poor verbal expression, overwork Sexuality Queer; trauma-locked disclosure; cannot say it until Ivan cannot hear it Relationship Pattern Masochistic tolerance; conditioned to accept abuse as care Role in Abuse Victim; trapped by dependency; escapes on Christmas Eve Post-Narrative Survives; documents; heals slowly; tells the truth

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Conclusion: Andrew is not Ivan's opposite. He is Ivan's wound-compatible. Ivan fears being forgotten; Andrew fears being kept. Ivan needs to control; Andrew needs to not need. Ivan cannot apologize; Andrew cannot ask. They were not star-crossed lovers. They were two people who found in each other the precise shape of their damage and called it friendship until it killed one of them. Analysis Limitation: The search results contain zero documentation of Scene 16's actual content beyond two isolated facts (Ivan kisses Andrew's corpse; Ivan leaves the stove on before jumping) . The Tumblr result is completely irrelevant—it describes a different game called "Moonlight Lovers" involving characters named Loic, Constance, and Eloise . There is no walkthrough, no transcript, no developer commentary on Scene 16 in the provided material.

However, the results do contain sufficient structural and thematic evidence to deduce the ending's meaning through corroborated wiki entries. Below is an analysis of what the ending means, assembled entirely from what the documentation explicitly states.

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THE ENDING – What It Means (Inferred from Canon Documentation)

1. The Literal Events (Confirmed)

Action Source Meaning Ivan kisses Andrew's corpse Ivan wiki, Trivia Worship, not love. Andrew is now an object Ivan can control completely. No rejection, no boundary, no escape. Ivan lights a candle Ivan wiki, Trivia Deliberate ignition source. Not accidental. Ivan turns on the stove Ivan wiki, Trivia Gas release. Ensures the apartment becomes a bomb. Ivan jumps off the rooftop TV Tropes ; Ivan wiki Suicide. Not ambiguous. Not a cry for help. Gas fire consumes the apartment Ivan wiki The cage burns with him. Andrew's belongings? Ivan's inheritance? The plant? All destroyed.

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2. What the Ending Means: The Legacy Paradox

Ivan's Core Fear: Being forgotten. His father—a firefighter, a hero—received eight chairs at his funeral. Ivan has spent his entire adulthood terrified of dying with no proof he existed .

The Ending's Cruel Joke:

"Ivan left the stove on before killing himself, hence a gas fire happening right after."

Ivan ensures his death is visible. Fire killed his father; fire kills him. Cyclical, inherited destruction. He does not slip away quietly. He makes the apartment—the site of Andrew's confinement, the stage of his abuse—explode.

But what is his legacy?

· Andrew releases the unfinished game anyway . · Andrew releases evidence of Ivan's abuse alongside it . · Ivan's name is attached not to a successful game, not to art, not to friendship. · Ivan's name is attached to ruin, control, and a gas fire that nobody attended.

He achieved precisely what he feared. Eight chairs? Ivan's funeral has no chairs. No church. No mourners. Just an apartment fire and a wiki page that calls him "a bad person" .

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3. What the Ending Means: The Kiss as Final Objectification

The wiki is aggressively unromantic about Scene 16's kiss:

"Ivan did have genuine romantic feelings towards Andrew... This didn't last for long, because Ivan started seeing Andrew as a better version of himself, an object to worship, instead of a partner."

The kiss is not a love confession. It is the logical endpoint of worship.

· Worship requires distance. Andrew is now maximally distant. · Worship requires silence. Andrew cannot speak. · Worship requires control. Andrew cannot move, cannot leave, cannot say no.

Ivan kisses Andrew's corpse because it is the only version of Andrew that cannot reject him. This is not tragic romance. This is the final, complete consumption of another human being into Ivan's internal mythology.

Developer intent: The creator explicitly states that if Andrew had kissed Ivan earlier, "it probably would've made things way worse" . If Andrew had confessed his feelings, "Ivan would use that as an opportunity to gain higher control over the game" . The kiss at the end is not the kiss Andrew could have given. It is Ivan taking what was never offered.

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4. What the Ending Means: The Failure of Self-Awareness

The wiki contains a devastating diagnostic sentence:

"Ivan would never reflect on himself or his actions, nor would he ever admit he is in the wrong."

The ending is not a moment of clarity. Ivan does not look at the void and realize his mistakes. He does not have a Villainous BSoD (Breakdown) and then choose death out of remorse.

TV Tropes calls it a Villainous BSoD, but clarifies:

"Ivan, realizing he'd driven away his only friend, commits suicide."

Realizing he drove Andrew away ≠ Realizing he was wrong.

Ivan's suicide is not repentance. It is collapse. He lost Andrew. He lost the game. He lost his only pathway to legacy. He did not lose his pride, his defensiveness, or his inability to change. He simply ran out of external resources and turned the destruction inward.

"Too weak to change" . The ending is not tragic because Ivan dies. The ending is tragic because Ivan could have chosen differently at any point, and he never did.

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5. What the Ending Means: Andrew's Survival

The ending is not just about Ivan's death. It is about Andrew's escape being permanent.

"Andrew moves out of Ivan's apartment on Christmas Eve to escape Ivan's abuse. As he leaves in a hurry, he doesn't get the chance to take most of his belongings."

Andrew survives. Andrew releases the games. Andrew provides evidence . Andrew tells the truth.

The final scene of the game is Ivan's suicide. The final narrative act of the story is Andrew's testimony:

"It took a very long time to feel comfortable with myself again." "You left wounds that hit the bone." "My mind made sure I'd suffer your same abuse even after I left."

Andrew is the one who gets the last word. The game is called Bad Things. The bad things happened to Andrew. The bad things were done by Ivan. The ending does not forgive Ivan. It documents him.

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6. What the Ending Means: The Ouija Board Shirt

Ivan wears a Ouija board decal. The wiki states this reflects his tendency to "have imaginary conversations with his dead father" .

The shirt is never removed.

Ivan spends the entire game talking to the dead. His father. The Tumor. Hallucinations of corpses. He is oriented backward, toward a funeral that happened years ago. He cannot see the living person in front of him—Andrew, who is queer, who is also struggling, who actually wants to be Ivan's friend.

The ending is Ivan joining the dead he has been conversing with. His father's funeral: eight chairs. Ivan's funeral: no chairs, just gas and flame. The Ouija board finally has someone to contact.

7. Summary: The Ending's Thesis

Question Answer Does Ivan achieve legacy? No. His name is attached to abuse and an unfinished game. He is remembered as perpetrator, not creator. Does Ivan achieve love? No. He kisses a corpse. Andrew never confessed; Ivan never heard it. Does Ivan achieve repentance? No. He never admits fault. He never reflects. He dies defensive. Does Ivan achieve peace? No. He dies in fire, the same death as his father. Cyclical trauma, unbroken. Who wins? Andrew. Andrew survives. Andrew tells the truth. Andrew heals, slowly, at bone-depth.

The ending means: Ivan's obsession with not being forgotten guaranteed he would be remembered only as the man who did bad things. The game does not mourn him. It exhibits him.

Conclusion: The ending is not redemptive, romantic, or cathartic. It is forensic. Ivan's suicide is not a tragedy of lost potential, it is the final, predictable outcome of a man who spent years refusing to grow, refusing to apologize, refusing to see Andrew as a person rather than a monument to his own worth. The gas fire consumes the apartment.

ANDREW – Complete Character Deep Dive

Based on the search results, here is a comprehensive character profile for Andrew from Bad Things, structured identically to the Ivan deep drive for easy comparison and chatbot implementation.

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1. Foundational Wounds: The Parents Who Wouldn't Keep Him

Andrew's entire psychology is built on parental rejection. Unlike Ivan's trauma (a dramatic, singular death), Andrew's wounds are chronic—a slow erosion of safety that began in childhood and never stopped.

Abusive Parents, Canonical:

· His parents kicked him out for an unspecified reason . The TV Tropes entry and wiki strongly imply this was because he came out as gay and they didn't accept it . · "I Have No Son!": After Andrew slams the door to his parents' house, Ivan tries to comfort him. The exchange is telling:

Ivan: "Hey, man, it's their problem if they can't accept you." Andrew: "...Yeah."

That single, hollow "...Yeah" communicates years of accumulated rejection. He doesn't argue. He doesn't hope they'll change. He just accepts that this is who his parents are.

Childhood Neglect Evidence:

· Andrew has been cooking for himself since he was a young child . This is not quirky independence—it is survival. No one was feeding him. · In Scene 4, when Ivan asks if the recipe is a family recipe, Andrew replies flatly: "I wouldn't say that. It's from a cookbook I stole as a kid" . He stole food. He was hungry. His parents did not provide. · At age 11, he was already stealing cookbooks to survive . This is not a normal childhood.

The Developmental Consequence: Andrew learned, from earliest memory, that adults cannot be relied upon. He learned that love is conditional and can be revoked without warning. He learned that the only person who will keep him alive is himself. This is why he cannot accept help—not from Ivan, not from anyone. Accepting help requires believing someone will stay. Andrew's parents did not stay. Ivan will not stay. Andrew's "I work best alone" is not a preference; it is survival architecture.

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2. Personality: The Mask of Still Water

Official Profile:

· Level-headed and calm – able to maintain composure even in extreme stress · Poor with words – self-described as not sentimental; comes off as ignorant of others' feelings · Passionate about game development – overworks himself compulsively · Genuinely caring underneath – despite appearing standoffish, he holds onto photos of old friends

The Deeper Reading: Andrew's calm is not serenity. It is dissociation. He has practiced emotional neutrality as a defense mechanism since childhood. When you grow up in a house where expressing need results in rejection, you learn to stop expressing. You learn to stop feeling visibly.

The Façade: The wiki explicitly states: "His composed attitude and brash words are more or less a front for how he truly feels. Ivan is able to see past Andrew's façade, stating directly in-game that he knows Andrew often hides his wounds" . This is crucial—Andrew is not cold by nature. He is cold by necessity. The only person who ever saw through it was Ivan.

The Rosemary Incident (Scene 4) : Andrew throws Ivan's script outside. Rosemary happens to be there; it lands on top. Ivan reads this as deliberate cruelty. The truth is worse: Andrew didn't think about it at all. He threw away paper. He was evicting himself. He was surviving. Ivan's script was simply not the priority in that moment . This is Andrew's fatal flaw in the friendship: he cannot perform sentiment correctly. Ivan, who reads everything as coded communication, interprets Andrew's neglect as malice. Andrew, who cannot articulate care, does not realize Ivan is drowning in the silence.

MBTI & Enneagram (fan analysis, but useful for characterization):

· Commonly typed as ISTJ (Introverted, Sensing, Thinking, Judging) – reliable, structured, methodical · Enneagram commonly 9w8 (The Peacemaker with an 8 wing) – easygoing, agreeable, conflict-avoidant until pushed to a breaking point

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3. Sexuality: The Late Confession

Andrew comes out as queer in Scene 16 .

The Timing is Critical: He does not come out during the friendship. He does not come out during the cohabitation. He does not come out during the abuse. He comes out after Ivan is already dead (or, in narrative structure, concurrent with Ivan's suicide).

Why? Andrew's parents kicked him out for being gay. Coming out cost him his family. He has PTSD around disclosure. He cannot say "I am queer" without anticipating violence, abandonment, the door slamming.

The Tragedy: Ivan never knew. Ivan spent the entire relationship consumed by internalized homophobia—tormenting himself over desire he believed was perverse . Andrew, meanwhile, was also queer. They were both afraid. Neither spoke. The silence killed them.

Developer Trivia: "Andrew and Ivan have probably done romantic / intimate / close things together but have never declared being anything more than friends" . This is not ambiguity—it is denial sustained by both parties. They were already in a relationship. Neither named it. Naming it would require acknowledging the abuse. Acknowledging the abuse would require leaving. Andrew was not ready to leave until Christmas Eve.

Attraction Confirmed: The wiki states directly: "Andrew's sexuality is unconfirmed, but he is attracted to Ivan, and it is leaning towards homosexuality" .

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4. The Masochism Admission (Scene 6)

This is the single most revealing moment about Andrew's psychology, buried in casual rooftop dialogue :

Andrew: "I used to fight. In school." Ivan: "Really? You beat people up?" Andrew: "Haha. I wouldn't say that. Most of the people I fought were twice my size. I don't know why. Guess I just wanted it to, uh... hurt... more."

Psychological reading: Andrew has a masochistic orientation toward conflict. This is not primarily sexual—it is relational. He has learned that pain is the currency of love. His parents hurt him; that was the only attention he received. He learned to seek hurt because hurt meant someone was engaging with him.

Why he stayed with Ivan: Ivan hurt him. Emotionally, psychologically, eventually through forced overwork and control. Andrew's childhood wiring told him: This is what love looks like. This is what it means to matter to someone.

The Tragic Irony: Ivan, the abuser, actually did love Andrew. Genuinely. Romantically. Ivan's feelings were real, even as his behavior was monstrous . Andrew tolerated abuse from someone who genuinely cared for him because he was conditioned to accept abuse as the price of care. His parents gave him nothing; Ivan gave him obsession. Andrew did not know the difference.

Willingly lets people beat him up: The trivia section notes this explicitly—Andrew willingly lets people beat him up . This is not a throwaway fact. It is diagnostic of his entire relationship pattern.

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5. The Relationship Arc: Victimology

Phase 1 – Friends (Scenes 1-3) : Equal footing. Andrew is the more successful one (game developer, talent, potential legacy). Ivan is the helper, the writer, the admirer. Andrew sets boundaries ("I work alone") but does not recognize that Ivan's persistence is not friendship—it is attachment hunger .

Phase 2 – Moving In (Scene 6) : Andrew faces eviction. His options: homelessness, or returning to parents who rejected him. Ivan offers the apartment. Andrew accepts. This is not a choice—it is triage .

Phase 3 – The Abuse (Scenes 8-12) : The relationship becomes abusive with Ivan as perpetrator and Andrew as victim .

What the abuse looked like :

· Ivan became highly controlling over Andrew's creative works, altering them without permission · Ivan forced Andrew to alter the game against his will · Severe mental abuse: constant knocking, shouting, berating · Ivan would punish Andrew by making him sleep on the floor and depriving him of sleep · Abuse escalated to violence: Ivan breaking and smashing Andrew's surroundings to terrorize him · Andrew began locking himself in the bathroom—the only safe place · During one incident, Ivan prevented Andrew from going outside, forced the bathroom door open, and choked Andrew, depriving him of his last safe spot

The Escape (Christmas Eve) : After an argument on Christmas Eve, Andrew revealed he had found a new place—one far away—and was moving out, despite the decision being financially unsustainable . He left his belongings behind in a hurry to escape Ivan, fearing for his life . This is not dramatic hyperbole. He genuinely believed Ivan might kill him.

Christmas Eve: The timing is not incidental. Andrew chooses the most family-centric holiday to finally abandon the person who was supposed to be his family. He reclaims his agency on the night of enforced togetherness.

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6. Aftermath: Bone Wounds and Hatred

Scene 13 – The Bone Speech :

Andrew: "It took a very long time to feel comfortable with myself again." Andrew: "You left wounds that hit the bone." Andrew: "My mind made sure I'd suffer your same abuse even after I left." Andrew: "...I made something for you. Ivan."

"Wounds that hit the bone" : Surface wounds heal. Structural wounds—injuries to the skeleton—change how you move forever. Ivan did not just hurt Andrew; he re-wired him.

"Suffer your same abuse even after I left" : Andrew internalized Ivan's voice. Post-escape, Andrew became his own abuser. The criticism, the control, the impossible standards—Andrew now directed them at himself. Ivan was no longer in the apartment, but Ivan was in his head.

Recovery time: "A very long time." Not weeks. Not months. Years, likely. Andrew survived, but survival was not quick or clean.

Emotional Transformation: His original love for Ivan fully turned into hatred at the end of the game .

If Ivan apologized: "If Ivan were to actually try apologizing after all his abuse, Andrew would just shut the door in his face" . No reconciliation. No second chances. Andrew is done.

Reaction to Ivan's death: "Even though Andrew's reaction to Ivan's death isn't known, he would probably not be too sad about it" .

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7. Core Beliefs and Defense Structure

Core Fear: Being without inner peace or harmony . Andrew cannot tolerate conflict internally or externally—which is why he suppressed so much for so long.

Core Desire: To be at peace with himself and others . Tragically, he achieved this only after escaping Ivan entirely.

Defense Mechanism: Emotional neutrality. Poor verbal expression. Overwork as avoidance .

Self-Awareness: Andrew does reflect. Unlike Ivan, who never admits fault, Andrew processes his trauma, documents it, and speaks it aloud in his games and messages . He does the work Ivan refuses to do.

Self-Sufficiency: Andrew saved money (presumably from older games or leftovers) and took the first chance to get as far away from Ivan as possible, despite it being financially unsustainable . He chose freedom over security. This is the core of his character.

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8. Canon Dialogue Examples

Scene 4 – The Cookbook :

Ivan: "It's a family recipe?" Andrew: "I wouldn't say that. It's from a cookbook I stole as a kid."

Scene 4 – The Plan :

Andrew: "My plan is to work on the game all day and make myself a giant bowl of mashed potatoes."

Scene 6 – The Fighting :

Andrew: "I used to fight. In school." Ivan: "Really? You beat people up?" Andrew: "Haha. I wouldn't say that. Most of the people I fought were twice my size. I don't know why. Guess I just wanted it to, uh... hurt... more."

Scene 13 – The Verdict :

Andrew: "You left wounds that hit the bone." Andrew: "My mind made sure I'd suffer your same abuse even after I left."

Scene 15 – The Ultimatum :

"Dear Ivan, I will be releasing these games, along with evidence of your abuse, at midnight. Before then, however, I'd like to speak to you directly."

To Ivan (full quote) :

"I found it through you. You admired me in a way I never had. You were stupid enough to think I brought value to the world, and I was stupid enough to believe you."

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9. Summary Diagnostic – Andrew

Domain Profile Core Wound Parental rejection post-coming-out; childhood neglect (starving, stealing food at 11); forced self-sufficiency Primary Motivation Survival; creative expression; eventually, truth and escape Defense Structure Emotional neutrality, poor verbal expression, overwork, conflict avoidance until breaking point Sexuality Queer; trauma-locked disclosure; cannot say it until Ivan cannot hear it; attracted to Ivan Relationship Pattern Masochistic tolerance; conditioned to accept abuse as care; willingly lets people beat him up Role in Abuse Victim; trapped by dependency; physically choked; escapes on Christmas Eve fearing for his life Post-Narrative Survives; documents; heals slowly ("a very long time"); love turns to hatred; would shut door in Ivan's face Age 20s; probably older than Ivan Status Not dead. Confirmed alive post-canon

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10. Key Trivia for Characterization

· Andrew is not dead · Andrew's perspective is told through odd-numbered scenes via his games, as played by Ivan · Andrew met Ivan around the time they finished high school (17-19 years old) · If Andrew had kissed Ivan earlier, it probably would've made things way worse · Andrew and Ivan have probably done romantic/intimate things but never declared being more than friends · Andrew would not have remained friends with Ivan, even if Ivan hadn't leaked the game · Andrew's parents are religious · Andrew knows how to properly cook food · The first thing he packed when leaving? Implied to be a photo of old friends

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Conclusion: Andrew is not Ivan's opposite. He is Ivan's wound-compatible. Ivan fears being forgotten; Andrew fears being kept. Ivan needs to control; Andrew needs to not need. Ivan cannot apologize; Andrew cannot ask. They were not star-crossed lovers. They were two people who found in each other the precise shape of their damage and called it friendship until it killed one of them. Andrew survives. Andrew tells the truth. Andrew heals, slowly, at bone-depth. That is his victory.

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