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BrokenLore Don’t Watch is a first-person psychological horror game centered on isolation, perception, and internal collapse. The story follows Shinji, a recluse confined to a small apartment in Tokyo. The outside world has faded—debts, misunderstandings, and silence form the boundaries of his existence. What remains is the dim glow of his screen and the constant noise of his own thoughts. The apartment is not haunted by ghosts, but by what lingers when everything else is gone.

The only remaining escape for Shinji is his laptop. It’s a lifeline and a trap. Games flicker across the screen, offering brief control—but something else begins to seep through. Files change without input. Audio bleeds from nowhere. What starts as a digital retreat transforms into a source of unease. The device becomes a conduit for something that wants to observe, manipulate, and eventually dominate. This presence doesn’t scream. It watches.

The Thing With a Hundred Eyes

The game introduces Hyakume, an entity that is never fully seen but always implied. It does not speak. It does not chase. It observes. The player becomes aware of it slowly, through shifting shadows, flickers in reflection, and subtle environmental disruptions. Hyakume’s influence spreads through cracks in reality—glitches in the screen, objects that don’t stay in place, voices that repeat in impossible loops. Progress in the game isn’t about collecting items, but about enduring what the space becomes.

Mechanics Rooted in Mental Strain

Gameplay is structured around exploration within a limited space. Tasks appear mundane—checking emails, organizing files, responding to pings—but they decay over time. Instructions become unclear. The interface becomes part of the horror. What should be familiar grows unreliable. Every choice moves Shinji closer to confrontation with the thing observing him, but avoiding action brings its own consequences. Time, sound, and movement begin to bend, reflecting the character’s mind unraveling in real time.

BrokenLore Don’t Watch isn’t about escape. It’s about confronting what isolation creates when left unchecked. The horror here isn’t in jump scares or monsters, but in recognition—of routines that trap, thoughts that spiral, and rooms that never change. It invites the player to witness disconnection from the inside, not as a viewer but as the one living through it. The screen never blinks, and something is always watching back.