Basically, just another Power Trip scenario in the vein of Harem, just with a lot less content. John is unhappy with his current family, Sandra didn't wake him up for school in time and Holly is distant, so when he gets the remote he changes his family to his own desire.
Depending on the choices he will make Holly his little servant sister and his mom, Sandra, either his girlfriend, sister, or close friend. People who appreciate morality on the side of the protagonist should probably skip this one, otherwise, you can check it out if you are into Mind Control and Incest, it will be either hot or plain creepy. Even then, is also pretty short, with only around 10 minutes of content.
This is the issue with most scenarios, all of them are not just incomplete, but also abandoned at their own very beginning, they create a setup and they just end, and I have tried to be as positive as possible about these stories in the past, I say, well, it is not a good story, but they offer good ideas, I try my best to think about someone who might fit the demographic the scenario is aiming for, but the truth is that checking stuff like this at the very end will be frustrating for a lot of readers, any kind of readers, even if you are the person who likes this kind of stories, you are just going to get teased and then left completely with your pants down!
If you are going to write a scenario in the future, I would say work in giving either a complete story or at least... one hour of content? At least in that way, you will make sure that there will something for the people who decide to check your story. What are you saying? Publish something as short as this as a proof of concept? No, don't, we have enough of those already, and people end up abandoning those "proof of concepts" most of the time anyway! I am sure we can discuss the concept you want and the story with you in the forum or the Discord.
Now, there is just another little thing I can mention about this scenario, let's talk about the how-the-protagonist-gets-the-TF-device-trope!
So far in the community, we have seen:
A car dropped it by accident and I picked it up (Press Switch, Bodysuit 23)
Aliens gave it to me (Student Transfer Remote)
I found it in an old abandoned old place (Student Transfer Magic Book from Kat's house, PDA device from a library or so, I think)
There is also other stuff like magical events in Freaky Friday and stores that when you try to come back do not exist anymore. In this case, we have a variant, John gets the remote thanks to an old guy who offered him "a universal remote that does whatever he needed" but I feel that's the worst variation of the trope, why somebody would give a remote like that to a stranger? Just because they are the protagonist? Anyhow, for fetish and sexual-focused stories, it does the trick, but for more serious stories, I think is something you might want to take into account if you are going to write them.
Novels like Student Transfer and Press Switch offer a wide range of options in stories focused on a related thematic, TF, it is natural that some scenarios and spin-offs get born in offering their own anthology of stories and routes based on more specific topics or ideas. For example, as I said before, I wanted first Into the Janeverse to be an anthology of MTF transformations. For this scenario, Escape the Manor, we have an anthology of transformations based on Identity Death.
Now, I have said that I like long stories to even if they become linear most of the time due to how they are fleshed out, I have reviewed some linear scenarios in the past, but I haven't mentioned a scenario like this, that has a completely opposite approach.
Everything starts with a group of people who have to find refugee in a Manor when they get stranded in the middle of nowhere during a downpour; after that, the characters will realize that something inside there is going on and they will have to choose to try and escape or fight what it is within. In Escape the Manor we have a lot of choices, and by a lot I mean a lot, counting 43 endings (54 including placeholders) which offer a variety of events all across the presented story.
What kind of endings do we get? Oh boy, where do we start, since most endings show different characters and monster girl tropes all coming from High Fantasy standards. We have Bee Girls, Dark Elfs, Succubuses, Slime, Maid Servants, Immortal Wish Benders, Posession Demons, Mirror Demons, Weight Gain Fat Girls, Centaurs, Gyarus, Bimbos, Spider Girls, Isekai Girls, and so forth...
According to Narg, the ultimate goal was to provide a wide range of TF options with a large number of ways to achieve Identity Death, so, all these endings and routes, despite being so varied and different, are connected all together by this one theme, in particular, mind control and identity death, giving a somewhat consistent topic inside the scenario.
What is most discussed about this scenario however is the execution of these transformations, which might not be likable for some. While in Cold as Ice we have slow drama and introspection ending in two main events revolved about the death of an ego, most mind control and identity deaths in Escape the Manor happen quite fast actually. The implications of losing your identity and forget who you were or who other people were are not touched here, the drama there is involved and the implications of the transformations are limited to being mentioned that they happen.
Since we are talking about content explicitly focused on a fetish, it is to be assumed that a lot of people might enjoy this due to its sexual appeal. In that way, Escape the Manor works, it showcases an Identity Death happening, if you can get sexual appeal of hearing the Identity Death alone, this scenario will work for you since this is what it does best, the characters get their memory erased in a lot of different kinds of beings, and it has variety even for everyone.
If what you are looking for is the mental and social implications about Ego Death, Escape the Manor is not really the scenario for you, all due to its fast pace and approach. Most "deaths" go in a similar way, somebody applies some magic, and the characters forget what they were doing, after the other person who is mind-controlling them tells them who they are now, they adopt a new identity rather quickly losing any hesitation and personality they could have had. Sometimes characters might struggle, sometimes characters might be aware they aren't who they used to be, but in the end, most of them end up engulfed by their own mind control.
Now, while Narg says this was not intentional, the truth is that Escape the Manor as a final product is something that has to be enjoyed right quickly or rather instinctively, without analyzing it too much. As I have said before, this scenario stands for its sexual appeal rather than anything else, if you think about it the more you need, or if you judge the scenario in a more serious way than what it should, it simply falls apart in its own logic: From the unremarkable personality of the protagonists, the lack of having a different cadence for each character, through the way the casually take everything that is happening, the vague magic that is used as a plot device only, the characters that sometimes morph to different bodies while being mind-controlled and sometimes not, to the villains that have such enormous power to use telepathy and mind control in anybody in the mansion at any time but don't do it just for the sake of the plot.
With TF, there are people who enjoy the content for its mental, psychological implications, and there are people who enjoy it for the sexual appeal. It is something that I like about TF since it offers content and ideas for several kinds of audiences, Escape the Manor might be enjoyed more by the latter group in this case.
Yes, this scenario has a very characteristic stream of consciousness method, and just like in scenarios like Harem or John Sudden Lifechange, its appeal results polarizing. My recommendation is that if you like Mind Control and Identity Death you can check them out taking into account the quick and to-the-point approach it uses, it doesn't offer any further deconstruction upon identity itself but it gives a wide catalog of ideas with diversity and range.
So far I have covered some scenarios focused on lewd content and some focused in more elaborated stores focusing on the mental and social aspects of TF in the wholesome side, but there is a side I haven't covered of this branch of mental and social side focused stories: the one focused in darker stories, in bleak drama and pain.
Just as with many other scenarios, Cold as Ice's routes vary in quality and consistency, therefore it is better to judge them individually, like seasons on a TV show. Cold as Ice features three long routes that are linear for the most part aside from the decision each one has to give out two different endings for the audience, if you do not like linear stories you might still get successfully bamboozled by the illusion of interactivity in the story. For me, linear stories are preference sinve most of the time an author that focuses in one linear story it usually ends up fleshed out well; what about the endings? Well, that is something I will talk about in a few minutes...
The scenario introduces Irene as the main character while depicting her as a somewhat tough girl with anger issues, but with a big heart for her best friend Allison and good people who meet her, she ends up getting the spellbook but since she isn't from the Blackwell family, the amount of spells she can do is limited and it also a lot more hurtful for her, taking away her energy at times.
The first route that was completed, and curiously the route most people play at first, is a route focused on Brad, the Brad route, for short.
This one starts when Irene discovers Brad and Eric, who have been genderbent for an unknown person. Eric leaves and Brad ends up teaming up with Irene who offers her help to find out how to turn him back despite her lack of powers. To help Brad cope with being a girl she gives him some of her memories about being a girl, which also causes Brad to slowly become more and more female-minded, so Irene and Brad have to find a way to swap him back as soon as possible.
Overall the scenario behaves mostly like the main game, focused on the social relationships of the characters and how do they deal with the TF, there are also certain parts of comedy and the whole route has a taint of mystery that keeps you engaged, around the end it even gets to be thriller-esque and even when the route is linear until that point, it is nice to see Irene getting more and more clues. Another good thing to mention is how reduced the spell library Irene can use is, that is, to avoid escalation issues, which is something that normally is not taken into account in the main game.
Is the route good overall? Well... no, the truth is that the reveal is the most random and nonsensical thing ever, somebody who didn't take any participation in the story, or in any of the other routes for that matter, creating a big plot hole in the whole scenario as well. It is a person that you would never expect because she has no actual motivations related to the characters or what they do, it just doesn't make sense.
This villain is literally like the one shown in the ProZD's sketch.
Now, I said that I would talk about the two ending formula later, right? In the Brad route, you get an extremely bad ending and an extremely good ending. The curious thing is that you end up preferring the bad ending by far because it is a lot more interesting than the good ending.
Hizack mentioned he did the good ending by obligation, and it shows, the good ending is insipid, cliche, and lacks inspiration. The bad ending on the other hand might feel a bit too cruel for some but it has an interesting concept reminiscent of Being John Malkovich movie.
So, the route has good stuff on it, but it is simply ruined by its laughable ending. Hizack said he didn't really want to bother changing it, and just as the experimental ending in Stone to the Head, it remains as a failed piece in the Student Transfer history.
But don't worry, it gets better from here.
In the second route, Irene's sidekick is not Brad but Cornelia. The plot starts with Irene and Allison switching bodies out of curiosity and after an incident with Sayaka, Cornelia ends up stealing the book giving it to her thinking Irene and Allison are planning to prank her with it (not sure how though, she opened, and only see a bunch of gibberish) and then, the worst case happens, Sayaka gets magic powers, a lot bigger compared to the ones Irene has.
Here we just do not see a bigger background about Irene and Allison's friendship but we also get to see more development with Irene towards her classmate Cornelia, who now has been forgotten by Sayaka due to her new powers.
While the route lacks the mystery of the first, it still keeps you engaged as you read how Irene and Cornelia try to turn things back to normal and take the book away from Sayaka before it's too late, it's also a more cheerful route than the previous one, at least while not including the ending.
The issue with this route is the characters, starting with the main antagonist, Sayaka, who, as seen in other scenarios, acts like a complete psychopath without any actual empathy, she is the best she is and nobody can defeat her, to the point she becomes practically cartoony and one-note. A lot of the people in this route are treated as if they lacked enough intelligence. She offers to duplicate money to everybody and people start to form a line asking her for wishes, but even then Sayaka's mind controls half of the people that come to her (according to Irene), like her classmate Zoey. Yui and John also seem to lack intelligence and feelings and they believe whatever Irene tells them, not even getting angry about what is happening in the process.
Now, since Sayaka is a psychopath, the depiction of Cornelia also changes, she is not a loyal friend that has been with her since the beginning like in Arch Nemesis and she isn't an obsessive, insecure friend as shown in the main game, in the Magic Sayaka route, she is a total victim and a tool used for Sayaka just as anybody, a person who is desperate of having a friendship and that needs help as well. So, choose your version, for better or worse, there are several interpretations of the story that can explain her character. Personally, I like to see her cutting ties with Sayaka altogether, but Sayaka as a character doesn't even work here, she is practically just a walking plot device, doing things of her will, and no actual good qualities are given to her so we can feel her more alive.
Aside from that, I do think the route is quite solid, and also in contrast to the Brad route, it features a complete improvement in the concept for both endings, and I think it is really important to mention tit since it might be useful to anybody who wants to write fiction.
While in the first route we had an extremely bad ending with interesting concepts an extremely good ending that turned out to be pretty insipid, this time we got two, interesting, bittersweet endings in which where the protagonist still loses and wins something in exchange. There is no really a correct ending, or an ending where pain can be avoided, in both cases, something bad will happen, Irene will lose something, and in both cases, only some stuff can be solved. Some people would argue that having two "bad endings" is actually pointless, but there is a difference between them: who will you choose to save? Irene, or her friends and other people instead?
This format is important because making the protagonist lose something no matter the ending makes the endings feel more real and less idealistic, the issues they went through feeling more real because the errors the character committed will still have consequences the rest of her life, there is no Deus Ex Machina, no magic solution for everybody, the pain we felt along the way is real and will stay there in some way or another for the characters, it makes the story actually mean something in comparison to the cheap happy cliche ending of the Brad route where quotes are seemed to be taken of a random generator and do not actually feel like they mean anything, this is something, and it's great.
It is true that Irene's decisions are a bit stretched out for the sake of this format and she could have found another option to fix everything again, but well, it is something that can be forgiven, this is the first time the two bittersweet ending format was made in the scenario, and both endings are certainly interesting even if one lacks a lot more logic than the other.
The decision to if I will make completely happy endings from now on too is up to me to choose by now, but with Cold as Ice, I have learned that stories can have a bigger bearing in the story is not everything is solved around the end, not all the issues leave, and the bittersweet feeling, if used well, is a good resource to make the story feel more realistic, the character has lost something due to their own actions and there are consequences to those actions. While it is not done simply for the sake of it, it can be great, since I still feel that fictional characters can be treated with kindness too.
I don't want to spoil too much about these two endings either, and I already said that John and Yui's depiction is pretty flawed in this route, but in one of the endings I just saw them in a certain state that caused me a lot of feelings and emotion. The execution there was wonky since well they both acted pretty casual about everything, but the concept made me feel so excited that I even jumped from my chair several times. How can I say it without giving spoilers? Maybe something like ID pseudo-selfcest romance, or something like that, and done well could make up for the best romance story ever, and I hope to write a story for the concept one day.
For the very last route, we have Yui. After Irene uses a spell that she can't reverse due to her lack of magic abilities (even when the spell had it' own warning) she and Yui get body swapped and get stuck. Their only hope? To find a true Blackwell heir that can use the book and switch them back.
This route also features some curious ideas like the fact that Yui and Irene are slowly getting their identity erased and slowly getting into believing they are each other even when they have completely swapped bodies, implying that their own brains contain their own sense of self and that swapping souls only allowed them to take their previous memories temporarily.
While I do not get quite the logic behind that mechanic, since to me body swaps could be seen as a complete memory swap, this is a field that allows a lot of interpretations and points of view. Do souls exist? Does a puppet with your memories have its own soul? As far as the main game goes, I think the consensus is that there is a soul which puppets don't have, according to Yui Spellbook Continuation, a puppet who stays in a body long enough can grow to be a real soul, the "memory restoration effect" is another take in the mechanics of body swaps which its own rules, which in this case are made to give a sense of urgency to the story.
New characters are introduced, like Sam, Yui's playful and sassy cousin, a character that hasn't been shown in the canon game up to this date but she gives a new dynamic to the Yamashita family.
I could mention and make more nitpick about the story, but overall it is what it is, the story is about to find Blackwell, so Irene and her friends make people in all school touch the book waiting to see if the gem inside it shines, so they can identify the real Blackwell, Irene starts to get closer to Natsumi since Yui doesn't usually give her enough attention, and the story develops into Identity Death around the end. This route features other two bittersweet endings where there is not a solution for everybody, will you sacrifice Irene? Or would you rather sacrifice someone else? Who is going to lose their sense of self?
Now, let's talk about Identity Death (or ID for short), what is identity death? Basically, it is the term used for when a character forgets about themselves and who they really are, starting to believe they are someone else and become a different person at the cause of this, in other words, it is the death of an ego.
For a lot of people, this concept is failed on its own and represents a deal-breaker, the point usually given is that is nothing more than a flawed tool to change the perspective of the story and giving urgency, which many fail to write in the first place. If a character forgets everything about themselves and what we went through with them before, doesn't that make the story pointless? Anything they could have learned along the way is simply forgotten, what they were, everything, it is murder for some, and not different than normal death for a lot, what is the point of writing stories where we will just end up with a different character at the end?
Well, my friends, I used to believe all this too, all this, indeed, but Cold as Ice has shown me the actual potential of the whole concept. The point of Identity Death is not how the affected people deal with the death of their own ego since they are basically... dying, the point of Identity Death is to see how the people related to them deal with the "death" of the person they knew before, will they accept this new person or will they try to bring them back? Do they really consider this a new person? It makes up for a good source of Drama and an interesting option to show how some people grasp the concept of identity: Does the body represent the person? Is being with friends with the new person the same as being with friends with the person you knew before? Does any of their qualities stay before this ego rebirth?
Yeah, it is a complete mindfuck on its own, and even when Identity Death stories will usually end up with a sad or tragic tone, a lot of the stories it can tell to deconstruct even more the sense of self can be really interesting. Consider that Identity Death is not a mental fetish, but more of a social fetish, since the point is not exactly how the own character deals with their own death but how others around them do.
The big issue with this route is... that is not completely animated! After a bit, the path ends up in a placeholder, but the whole route is there, you have to manually open the rpy file and read the script from there, there are no animations so no visual clues (like Irene and Yui's eye color changing is given), but it is perfectly readable this way, even when a bit of a chore.
When I did read it I made some screenies with what I imagined what was happening in the story, here is Riley (best boy in the whole scenario):
What we can wait for is that somebody ends up animating the rest of the story, now that Hizack is gone from the community.
Overall, while it has a lot of flaws and issues, I consider Cold as Ice a fantastic scenario, recommendable to people who love introspection and drama in TF. People who are looking for wholesomeness and more happy stuff might need to look somewhere else but those who look for bleaker endings and stories might enjoy this scenario. If you think Identity Death is all bogus and nonsense, I would say also that Cold as Ice is the scenario for you to try so you can get an idea about what is the whole appeal of this TF subgenre. I have to admit, overall, it has a lot of fantastic ideas and some great characters too.
