Try Not To Have Gay Sex With Yves 4: A New Hope For Not Having Gay Sex With Yves

The new Kpopalypse computer game is here! 

Celebrate Pride Month 2022 with all the Loona gang plus a stellar supporting cast in this latest installment in the “Try Not To Have Gay Sex With Yves” series, and try your hardest to give Chuu “a new hope” for not having gay sex with Yves!  Good luck – you’ll need it!

CLICK HERE, or click on the Chuu, for the itch.io page, which features Windows, Mac, Linux and play-in-browser versions!

10 thoughts on “Try Not To Have Gay Sex With Yves 4: A New Hope For Not Having Gay Sex With Yves

  1. I’m not sure if I’m missing something but I’m stuck between the club and the taxi…. have interacted with literally everything to no avail?!? Someone please assist

  2. Wild-ass game lol, the first I’ve actually finished, thank you mr. kpopalypse!
    Random: I was playing Wonho’s ‘Losing You’ when I reached the w****** scene near the end and the scene’s bgm lined up so well with the song that I thought I was listening to a remix or something. Anyways, fun game!

  3. Pingback: Kpopalypse roundup – new k-pop releases 27/6/2022 | KPOPALYPSE

  4. Really this is a commentary on how even in narratives almost entirely devoid of male characters, the pervasiveness of internalised misogyny and the male gaze ends up objectifying Yves’ character, where she only exist in reference to Chuu’s sexual pursuit of her, which is very intelligently a subversion of the theme of the Heart Attack MV and Chuu’s role in the lore; in which she only exists as a character in reference to her attraction to Yves (who oftentimes throughout the story represents the male, highlighted by her male name). Contrasting with the role she plays in the lore, this Yves seems to represent the malleability of female idols and how their objectification and ability to fulfill audience fantasies is directly correlated to their profitability; how this Yves is no longer a representation of a person but rather a symbol . The way the game basically conditions you to groan upon the sight of Yves and mumble under your breath “fuck off you stupid cunt” every time you bump into her forces you to hold the perspective of a man who truly begrudges every interaction with a woman in almost Nabokovian in style in the sense it manipulates the player into being at the mercy of the text narration. We don’t play as Chuu, but rather a disembodied power that *controls* Chuu. In this way, the player themselves also represents the power fans hold over the idols and the sense of entitlement that comes with it; we, the player, ought to control the character of Chuu and get frustrated when she does not obey – the same logic evidently applies when idols disobey fans, or do something that betrays their fandom’s characterisation of them, too. Outside of the game’s own commentary, which explicitly shares the narrator’s stance on the industry, the video game medium itself provides a more subtle condemnation on the parasocial illusion of control, as well as the conventions of JRPGs and puzzle games on the whole. Both this game and the original narrative being satirical metacommentaries on the industry basically means that this game ends up being a metametacommentary, not withstanding its metacommentary on the previous 3 games, resulting in a metametametacommentary video game. Which I think is a world first.
    That is to say, I’m stuck plz give hint

  5. Oh, unrelated but Gowon’s Shinee remix doesn’t retrigger if you load in the Not-burning-sun female bathrooms which is quite a shame

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