HOME

very short, movement a bit clunky and slow (of the character) but charming. aight way to spend 10 mins for free but not particularly good imo. still recommend it because of the length

"HOME" is not a game. Games contain meaningful gamelike interaction and game loops, which are absent in this "art experience". Instead of being a game, "HOME" is a software application that presents a poorly made "interactive art exhibition". In this art exhibition, you move ploddingly around some really low quality assets while a badly written poem and a badly assembled bit of ear harmingly awful music gets trotted out at you. None of that can really be described as "playing a game". We get this non-game shovelware on Steam whenever your usual Starbucks barista/McDonalds frycook art school dropout finally gets a restraining order from the local art galleries so turns to Steam Direct to try get their art published somewhere so they can finally dream of moving out of their parents basement. It's true that games can be art... art is where the pinnacles of craftsmanship and quality meet vision and narrative to create an experience far greater than the sum of the parts. This isn't a game at all, and the craftsmanship and narrative are terrible. This isn't making art better, it's just making gaming worse. For those unfamiliar with what actually makes something a game, a "game loop" describes the interaction and feedback a gamer has when playing a game. Tetris, for example, has a game loop where a random block appears, the gamer interacts with the block to position it, and then the game decides if that finishes a row or not, increases the players score if any rows were completed, then gives the gamer another block to position. Counter-Strike has a game loop where a player seeks another player, tests their skill against that player by shooting them or being shot, the computer rewards the player if they win, and then if the player survives, they repeat that loop. There's no loop here, no true interactive feedback. It simply is not a game, it cannot be "played". This has misleadingly been launched in the "Games" section of Steam instead of the "Software" section. This is a common mistake for developers who are new to Steam, or don't understand the difference between games and software which isn't a game. It seems this software published incorrectly as a game is simply lack of experience/knowledge of the correct process. Here's a link for the process to publish non-game software on Steam: [url=https://help.steampowered.com/en/wizard/HelpWithPublishing?issueid=925]Steam Developer Help With Software Publishing[/url] It's unfortunate this process was not known about/followed, resulting in a non-game "art experience" being published in the wrong place. Publishing things which aren't games on Steam in the Games section as games is misleading to gamers and somewhat harmful, because it pollutes the Steam marketplace and takes away visibility and market exposure for genuine game developers who do the right thing and make games for gamers. There are no gameplay loops in this rejected art school dropout exhibition, no "gameplay", no meaningful game like interaction. As such, this has no merit as a video game for gamers, and so I cannot recommend this non-game as a game to gamers.

После этой игры я захотел жить

overall very good. its even free. I recommend it.

免费 有中文 没成就

yea

HOME is a quiet and emotionally driven walking simulator that focuses entirely on atmosphere, reflection, and personal interpretation rather than traditional gameplay mechanics. Instead of presenting players with combat, puzzles, or complex objectives, the experience invites them into a calm and dreamlike journey centered around the emotional meaning of the word “home.” The game is extremely short and minimalist by design, but its simplicity becomes one of its greatest strengths because every part of the experience is carefully built to create a peaceful and introspective mood. The core concept is intentionally straightforward. Players move through a series of surreal environments while interacting with meaningful objects scattered throughout the world. These interactions gradually influence both the music and poetry generated by the game, allowing each playthrough to create a slightly different emotional outcome. Rather than telling a fixed story with clear narrative direction, HOME encourages players to project their own feelings and interpretations onto the experience. This subtle approach gives the game a personal quality that many larger narrative titles struggle to achieve. One of the strongest aspects of HOME is its atmosphere. From the beginning, the game establishes a soft and calming tone through gentle music, quiet environments, and minimalist visual design. Everything feels intentionally peaceful, creating an experience that resembles guided emotional reflection more than a traditional game. Walking slowly through strange dreamlike spaces while ambient music evolves in the background gives the journey a meditative feeling that remains consistent throughout its short runtime. The visual style is simple but highly effective. The game uses a low-poly aesthetic with soft colors and clean environmental design that reinforces the emotional tone perfectly. Rooms transition into entirely different spaces in surreal ways, making the environments feel less like physical locations and more like fragmented memories or emotional states. The abstract nature of the world allows players to interpret the experience freely without relying on explicit storytelling or exposition. Music plays a central role in shaping the emotional experience. The soundtrack changes subtly depending on the objects players choose to interact with, creating the impression that the player is quietly influencing the emotional tone of the world itself. This dynamic musical progression works surprisingly well because it helps each journey feel personal even though the gameplay systems remain extremely simple. The sound design overall is gentle and understated, avoiding dramatic moments in favor of a consistently calming atmosphere. The poetry generation mechanic is easily the game’s most distinctive feature. As players interact with different objects and environments, the game gradually builds a personalized poem based on those choices. The resulting text often feels abstract and open-ended, but that ambiguity is intentional. Instead of delivering a direct message, the poem acts more like an emotional reflection of the player’s journey. This mechanic gives the experience replay value because different interactions can lead to noticeably different emotional tones and interpretations. The pacing is deliberately slow, which may either strengthen or weaken the experience depending on the player. Movement is calm and measured, encouraging players to absorb the environments rather than rush toward an objective. The game never creates urgency or pressure, instead allowing players to wander quietly and focus entirely on mood and reflection. For players willing to embrace that slower pace, the experience can feel surprisingly immersive and emotionally relaxing. One admirable aspect of HOME is how committed it remains to its concept. The game never attempts to artificially extend its runtime with unnecessary mechanics or repetitive content. Its short length works in its favor because the emotional atmosphere remains effective from beginning to end without becoming repetitive. The entire experience can be completed in roughly fifteen minutes, yet it leaves a stronger emotional impression than many much larger games. However, the same simplicity that gives HOME its identity may also alienate some players. Those expecting traditional gameplay systems or narrative depth may struggle to connect with the experience because there is very little mechanical interaction beyond walking and selecting objects. The abstract storytelling and minimalist structure rely heavily on the player’s willingness to engage emotionally with the atmosphere. The movement speed can occasionally feel overly slow as well, particularly during repeat playthroughs or when revisiting environments to explore alternative interactions. The ending may also feel abrupt for players expecting a more dramatic conclusion or clearer narrative resolution. HOME intentionally avoids direct explanation, which may leave some players unsatisfied depending on their expectations. Despite these limitations, the game succeeds because it fully understands the emotional experience it wants to create. It is not designed to challenge players mechanically or overwhelm them with complex storytelling. Instead, it offers a small and intimate experience focused entirely on comfort, introspection, and atmosphere. The sincerity behind its presentation allows even its simplest ideas to feel emotionally meaningful. What ultimately makes HOME memorable is how personal it feels despite its minimalism. By allowing players to shape music and poetry through quiet interaction, the game transforms simple exploration into an emotional reflection on memory, belonging, and comfort. The journey feels less like progressing through a game and more like wandering through a peaceful emotional landscape shaped by the player’s own choices. HOME is a gentle and atmospheric interactive experience that succeeds through emotional sincerity, calming presentation, and thoughtful minimalist design. While its extremely short runtime and lack of traditional gameplay may not appeal to everyone, players open to slower and more reflective experiences will likely find a surprisingly meaningful and emotionally soothing journey hidden within its simplicity. Rating: 8/10