Funny / Slay the Princess

In a game filled with heavy amounts of gore and dark sexual undertones, this is the only thing censored.

This page contains unmarked spoilers for the full release of the game! Beware!

---

General

General

• The first trailer has an amusing bit of Early-Installment Weirdness where the Princess can hear the Narrator's orders to the Player. Naturally, she doesn't take the premise of killing her very well.
  Narrator: You're here to slay her.
  Princess: (Wide eyed shock) Wait, what?!
  Narrator: If you don't, it will be the end of the world.
  Princess: N-now hold on a second! Don't you listen to him! What did I ever do to you?
  Narrator: She will do everything in her power to stop you.
  Princess: Well, yeah! I don't want to die!
• The Narrator can become wonderfully petulant if you keep refusing him and cause situations that forces him to describe something he doesn't want. Very often, it's in situations where you're supporting the Princess and helping her.
  "I can't believe you just made me say that. I hate you."
• At the start of all the Second Chapters, you can ask the Narrator if there's any point continuing if the world keeps looping, which results in him mockingly repeating the question in a dull, nasal, high-pitched voice. It's just such a hilariously jarring clash with his otherwise dignified demeanor.
• The Voices, Narrator, and occasionally even the Princess get into long-winded bouts of Seinfeldian Conversation, sometimes with dozens of lines. There's many, MANY moments of snark, sarcasm, references, and hindsight thrown in, far too many to list.
• When venturing into the basement, the Narrator describes the stairs in a tense, intent tone of voice. Usually they're pretty ominous. But he always then says a cheerful, flippant "If the Princess lives here, slaying her is probably doing her a favor!", which is often Mood Whiplash.
  • Even better is if his description of a basement does not sound too unpleasant to live in, such as the Damsel & the Tower's basements (with the former being pretty ornate, with gold-trimmed carpets and beautiful torches, and the latter giving off an impression of a well-made shrine, with the pleasant smell of incense), he'll still clarify that it's a stone basement anyway, just to justify his claim that slaying her will still be doing her a favor.
• Whenever you progress to Chapter II, a mirror will appear in the cabin, but the Narrator will act like it isn't here, and will deny its existence when asked about. One of the responses you could make about addressing the mirror will be to say that you want to look into it and see how handsome you are. And every time, the Voice of the Hero will point out that you shouldn't waste time preening before addressing the Narrator's refusal to speak about it.
• The developers and cast did a stream of the game on December 16 2023, in which Black Tabby Games reused a setup that a librarian had made on their behalf for a Scarlet Hollow stream. Mostly this was fine, but a mutant deer was part of the frame and couldn't be removed - so for the stream they re-positioned Nichole Goodnight's avatar over the deer's head and neck, making a Damsel-centaur.
  • They then joked that "centaur princess" was one of the variants missing from the game, as was "clown princess", only to retract this as they feel the Razor counts as a clown.
  • When the developers walked away from the cabin at the start, The Narrator berated them for doing so on stream:
    Narrator: All these people came here to watch you slay The Princess, and you're not doing it!
  • The devs decided against streaming the Adversary route because the Voice of the Stubborn is hard on Jonathan Sims' throat, and obviously while reading things in real time he doesn't get to take breaks. However, they then played the Nightmare route, for which - without the help of looping - he decided to maintain the Voice of the Paranoid's Survival Mantra, chanting it constantly and even in between the lines he read for the Voice of the Hero and the Narrator. This was then followed by the Moment of Clarity, in which all the Voices appear. This is less hard??
• Nichole Goodnight sometimes streams the game and rereads her lines in perfect synch with herself. The dev and cast noted in their collective stream that she can just do this, re-say the lines perfectly.
• The devs have said that if the Princess was a band it would be called Shifty and the Vessels. To commemorate the "End of Everything" update, they released a piece of art in which the Long Quiet is conducting the Adversary on violin, the Nightmare on vocals, the Specter on cello, the Witch on French horn, and the Damsel on triangle. Then they put this on some merch and advertised it with the Damsel wearing an oversized T-shirt.
• In April 2024, the devs put out a player survey. If someone chose more than one Princess in the question "Who was your favorite Princess?", they would get the message "Quit it, Smitten. You have to pick a favorite."

Achievements

• The 2023 Demo has "NOPE!", which features a picture of you Flipping the Bird at the cabin.
• The icon for "That which cannot die cannot die" has the you clasping hands with the Adversary like the infamous "Epic Handshake" meme from Predator.
• "Opossum", which you get by playing dead around the Beast, features a picture of an opossum looking at the camera. Doubles as Company Cross References because said opossum is Dustin from the developers' other game.
• "And they lived happily ever after" features a picture of you sketching the Damsel Princess' Stylistic Suck form with little hearts around her.
• The icon for "A new and unending dawn, and everyone hates you" uses the same picture of a sun as the regular "A new and unending dawn" achievement, but with an angry face drawn on it.
• The achievement where you take the Adversary up on her offer for a free shot at her heart is called "That shouldn't have worked."

Chapter I

• In the initial discussion with the Narrator, you can ask if he's considered if you want the world to end. The narrator, shocked, replies that obviously he didn't think anyone would be in favor of the world being destroyed.
• One dialogue option involves wondering how the Princess has been eating if she's not seen anyone for ages. Both the Princess and Narrator insist that that's not relevant and you shouldn't bother with the details. Even better, the Narrator admits that for once he's with the princess on this when he often argues against anything she says on principle. There's some Foreshadowing here, as one of her attacks is to chew through bones, and if you reach the Beast chapter, she'll try and swallow you alive.
• If you entered the basement with a knife, one of the dialogue options results in:
  Princess: Are you here to kill me or something?
  Player: What? No way. Why would you even think that?
  Princess: That giant knife you're holding kind of gives it away, doesn't it?
• If you don't to drop the knife upon seeing the Princess, she will keep ordering you to drop it, refusing to hold a proper conversation until you do; though still responding in short phrases until there's nothing left to do but to awkwardly squint at each other from the other side of the room.
  Player: I'm sorry can we just talk.
  Princess: Oh, threatened, are we? You poor thing, drop the knife and of course we can talk.
  Player: It seems we're at an impasse.
  Princess: I guess we are.
  [Player and Princess squint at each other]
  Voice of the Hero: The two of you are going to do this forever aren't you?
  Narrator: You have to blink eventually, just make a choice.
  Narrator: For the love of everything, just slay her already!
  Voice of the Hero: Or drop the blade, do something.
  Narrator: ..Eventually something is going to give, and I highly recommend you be the one to take initiative here.
• Starting up a conversation with the Princess (after having brought the knife to the basement), she describes it as an awkward start to a relationship.
  • If you agree that it's awkward, she will make it more awkward by lightly scolding you for repeating her, before changing the conversation as to why you're there to kill her.
  • Another you could respond to her is use her wording to accuse her of coming on to you. The annoyed Princess responds by refuting your claims and stating that you two have a "relationship" by definition since you two are interacting with each other.
• When asked what her name is, she responds by listing honorifics you may address her by. If you met her without the knife she'll tell you that just "Princess" is fine while the Voice of the Hero wonders if you should actually call her "Princess Princess".
• Float leaving the softer Princess locked up for a while, and the Hero thinks this is a good compromise, but the Princess doesn't think she can stand to be in the basement much longer and the Narrator immediately says if she's left to her own devices she'll escape on her own. Sulkily, the Voice of the Hero grumbles about no one else liking that idea.
• If you tell the princess "Hi, I think I'm here to kill you?" before she sees you (having bought the knife), she will mock you for it, particularly if you hesitate later.
  Princess: Oh ho ho ho, are you now, well let me take a look at you!
  The Narrator: Great job hero, you gave away the element of surprise.
  Princess (in an amused tone): You weren't kidding, when you said you were here to kill me.
  Player: Yeah, it wasn't a joke
  Princess: I know, you bought a knife and everything.
  Princess (if you express uncertainty as to why you're there): If you were serious about trying to kill me, you'd have a bit more gumption don't you think?"
  Princess (If she beats you senseless): Is this really the best you could do? I'd be lying, if I said I wasn't a little disappointed.
  • Inversely, if you tell the princess you're here to kill her without the blade, she'll nervously try to convince you that you've shown up at the wrong address.
• If you choose to immediately kill the Princess and walk right back out, no fuss no muss, and then agree to stay in the Narrator's eternal "good ending", you'll be rewarded with a shoddy card congratulating you for slaying the Princess and saving the world. And a soundtrack of people clapping and cheering!

Chapter II

Adversary Route

• The Narrator is fairly upset when he discovers that you, the Hero, and the Princess are all familiar with each other when he isn't.
  The Narrator: (full-on complaining) For all we know whatever happened to you last time was just a fluke, and beyond that, do you know who doesn't remember anything that happened last time? Me. I don't remember what happened last time.
  Voice of the Hero: Are... are you okay?
  The Narrator: (frustratedly) Of course I'm not okay! As far as we're all concerned, the fate of my world is still very much on the line. Not all of us have the luxury of jumping over to a parallel universe the second we die.
  • If you decided to not converse with the Narrator on the topic of looping, thus leaving him to connect the dots himself, you can actually sass back at the Narrator's claims that you should take this fight seriously, either by telling him Blatant Lies that you have no idea what he's talking about or joke about how you'll only take it less seriously after his complaining.
    "Just because it bothers you, I'm going to take this even less seriously. You don't know the depths of my apathy!"
    "(Lie) No. I don't know what you're talking about, I've never died. Do you see how alive I am right now? Would someone as alive as me already have died? I didn't think so."
• If you insist on trying to free the Princess this time, the Narrator resists by forcing your body to stand still until you oblige with an attack. He even forces you to flip the bird as a show of his power. The Adversary returns the gesture.
  • The fact that in a game with gore and some sexual undertones, it's the middle finger that's censored.
• If the Adversary knocks you out in a single strike, the Voice of the Hero and the Stubborn are both disappointed that it's ended so quickly, and prepare for another do-over.
• While fighting the Adversary, she makes a comment about how "Nothing exists outside of us". If you press her on this, pointing out that there's an entire forest outside the cabin, she elaborates that she didn't mean that literally, just that nothing matters to her outside of fighting you, and asks if you feel the same way. You can respond with some overwrought Purple Prose likening your violence to beautiful music, moving both the Stubborn and the Adversary to tears while the Hero and Narrator are just weirded out.
  The Player: "Yes! The two of us are a chorus of notes building on top of each other forever. The song we write in our blood will be the most beautiful music ever written!"
  The Narrator: Great. It seems like both you and the Princess have bought into some sort of shared delusion. Just make sure that whatever you're using for that 'song written in blood' is mostly hers.
  Voice of the Stubborn: Sniff.
  The Narrator: I'm sorry, are you crying?
  The Adversary: Sniff.
  Voice of the Hero: Is she crying?
  Voice of the Stubborn: Sniffling. Are you two not? That was some goddamned poetry.
• If you engage her head-on, then take up the Adversary's offer to go for her heart, she collapses with a "See you soon." The Voice of the Stubborn insists that she'll come back, while the Narrator insists otherwise. After a bit of back and forth:
  Voice of the Hero: Can the two of you stop arguing?
  Both the Narrator and the Voice of the Stubborn: NO!
• When the Adversary revives with you after your Mutual Kill, The Narrator panics and tries to stop the player from following the line of thought that comes from the Princess coming back from near certain death. Cue almost every option being "The Princess can't die" with a few amusing variations.
  - You mean like 'The Princess Can't Die' don't you? Well, it's too late for that. I think we've all thought that one
  - I'm not going to say The Princess Can't Die. I'm not even going to think it.
  - (Lie) 'The Princess can die.'
• The Narrator has a minor crisis over the Player and the Adversary being unable to die, to the point he says he's getting himself a drink because he doesn't want to witness the end of the world sober.
• Face the Adversary unarmed, and you do only minor damage to her with your claws before being killed and forced back to your feet by the Stubborn. If you keep trying to fight her without going back for the knife, she kills you again and the Stubborn says he can keep this up forever and will surely wear her down. The Princess is visibly disturbed and uncomfortable at facing you when you're mangled and twitching. The Narrator has a Hope Spot as he realizes she's afraid - then the Princess decides to give you a Mercy Kill, which she manages without a fight as you're too mangled to do anything. The Voice of the Hero and the Narrator wait, but the Stubborn grumbles until snapping that he gives up.

Beast Route

• There’s some humour to be found in how the Narrator keeps referring to the Beast as "just a princess" when she's now a panther-like monster stalking you through a jungle and repeatedly trying to eat you.
• If you fought the Beast and got killed without letting her eat you, the Beast will assume you’re dead. The Voice of the Hero attempts to tell her that they’re still alive, only for The Narrator to interrupt him by saying that you died for real shortly after.
  Voice of the Hero: But we’re not dead, we’re-
  (The screen goes black)
  The Narrator: But you don’t have time to protest her premature observation of your death, because everything goes dark and you die.

Damsel Route

• If you were planning on concealing what happened last time from The Narrator; The Voice of the Smitten will ruin that plan early by going on about how what the Narrator did last time made him a villain, with overdramatic prose about being there to save his "beloved".
• While discussing the Princess's threat, the Smitten swooningly suggests that maybe the Princess will destroy the world by being too beautiful for the world to endure! The Narrator, at this point desperate for anything that might make you slay the Princess, decides to go along with it.

(Witheringly sarcastic) Sure. It's her beauty. Why not?

• If you ask the Damsel whether or not she destroyed the world in the previous loop, she simply innocently asks should she have done that and would that have made you happy. One of the responses you can answer with is that yes, you wish that the world and its people met a slow and painful ruin, much to the Narrator's frustration. Even better? The Damsel will then respond that she did end the world and made it awful for everyone, all with an innocent and adorable smile on her face. And the cherry on top is that the Voice of the Smitten will still defend her after that.
  Voice of the Smitten: But have you seen her angelic face? She should get a pass! She just wanted to make us happy.
  Voice of the Hero: By destroying the world?
  Voice of the Smitten: Apparently, yes!
• If you keep asking the Princess on what she wants when she keeps saying that she wants whatever you do, her artwork deteriorates to the point of Stylistic Suck, and the music will start distorting to reflect her current over-simplified characterization. If you decide to slay her in that moment, she'll retain the appearance.
  • If you keep asking her, eventually the Shifting Mound will grab the crudely drawn, sketchy Princess, making your subsequent talk with her hilarious.
  • The Art Shift for the idealized version you meet includes the addition of Bishie Sparkles around the Princess when you leave together, while the Stylistic Suck for the most heavily deteriorated version includes her hands being hidden behind her back.
  • If you decide to give up asking questions about her in favor of escaping, the Princess will instantly revert to her idealized version. Doing this when the Stylistic Suck has gotten especially bad is an amusing bit of Mood Whiplash. The Voice of the Hero will be relieved that she's back to normal, while the Voice of the Smitten says it doesn't matter because she's always been perfect.
• The sheer childish pettiness the Narrator displays as he's forced to narrate you and the Princess being a pair of Sickening Sweethearts, never wasting an opportunity to vocalize his disgust.
  The Narrator: Ugh. Look at the way she's smiling at you. She doesn't have to be so happy about this.
  • The Voice of the Smitten's insistence that the Princess is a Damsel in Distress and that he's going to rescue the Princess without hurting her is powerful enough to usurp the Narrator's control. The chain just slips off the Damsel's wrist, and the locked door just opens, much to the Narrator's confusion. The Damsel is the only princess to have opened her own shackle and door. When the Voice of the Smitten chalks it up to The Power of Love, the Narrator just gets even more angry.
    The Narrator: ... The lock clicks and the door creaks open. Are. You. Kidding me?
  • If the Damsel opens the door without your physical involvement whatsoever, the Narrator sounds even more outraged when compared to when you do assist/open the door yourself.
  • If you didn't take the blade down with you to the basement and you open the door out with her, the Narrator giddily realizes there's still a chance for you to pick it up and kill her. If you refuse, he is exasperated.
    The Narrator: You're enjoying this, aren't you? You're enjoying taking every opportunity you can to draw out the end of the world and make me suffer. I hate you.

Nightmare Route

• If you respond to the Narrator's usual opening lines with anything about this being the second time, the Voice of the Paranoid pipes up, fearful that the Narrator will overhear them, to which the Narrator is extremely smug.
  Voice of the Hero: If He doesn't remember what happened, then maybe it's best to keep it that way.
  Voice of the Paranoid: Shhh. What if He hears us?
  The Narrator: (in a very smug and sarcastic tone) That's a very good question, little voice. What if He does hear you?
  Voice of the Paranoid: Shit.
• When you enter the cabin in Chapter II and see that the door's already open, the Voice of the Hero asks if they could have something more than the Pristine Blade. Maybe a bomb?
• The stairs to the basement this time are just planks descending in a void, with nothing holding them up. You can decide to step off them rather than descending. It doesn't work and the Narrator demands to know why you did that. If you say you were curious, he gets very sarcastic.
• When you finally enter the basement, the Voice of the Hero points out how unnatural it is, and asks whether or not the Narrator will point out the weirdness. The Narrator, however, refuses to address its weirdness, claiming that he has to be the voice of reason since the Voice of the Hero isn't being one. Voice of the Hero isn't amused by the Narrator's words.
  Voice of the Hero: Excuse me? I'm being incredibly reasonable. You're the one who's just matter-of-factly describing whatever the hell we're looking at like it's an ordinary basement.
• The Voice of the Paranoid is neurotic to the point of getting on everyone's nerves, but ends up essential to preventing the player from literally dying of fright. As a result, he becomes very sassy while the Narrator and Voice of the Hero are arguing.
  • As the Voice of the Paranoid is saying the Player's organs aloud in order to keep them functioning, the Voice of the Hero interrupts him to snarkingly ask what he's doing, only for the Player's body to begin shutting down again.
    Voice of the Hero: What are you doing?
    Voice of the Paranoid: I'm working! Do you want this body to function, or do you want—
    The Narrator: And then experience stops once more as your body reapproaches death.
    Voice of the Hero: Okay, whatever you were doing, please just start doing it again.
  • When the Voice of the Hero asks the Voice of the Paranoid for his input on whether the Narrator is trustworthy, the Paranoid is too busy trying to keep the body in one piece to say anything. The Hero offers to run the body so the Paranoid can speak, and his response is very blunt.
    Voice of the Paranoid: Finally, I can talk. Now, what were you asking me?...
    The Narrator: They were asking you for your blessing to trust me.
    Voice of the Paranoid: Oh, that's right! Yeah, fuck this guy. Don't trust him.
    • If you listen to the Hero saying the Survival Mantra in the background of that conversation he's clearly having a lot more trouble with it. While Paranoid whispers heart lungs liver nerves rapidly, Hero struggles, saying heart... lungs... liverrr... nerves as if he's in danger of forgetting the sequence. Sometimes he says 'hearts', with a plural!
      Voice of the Paranoid: You're terrible at this!
      Voice of the Hero: I know, but I'm doing my best—
      Voice of the Paranoid: Yes, it's very hard to stay focused on running things when other people are talking to you, isn't it?
• Killing the Nightmare leads to you either being trapped forever in her basement hellvoid or falling through a regular void for eternity, depending on whether you let her lead you out of the basement first or not. In either case it gives you time to badger the Narrator for answers.
  The Narrator: The Narrator ignores you.
  Voice of the Hero: You can't just describe yourself ignoring us.
  The Narrator: I can.
  • If you ask the Narrator whether he's stuck with you or if he can go elsewhere:
    The Narrator: I'm stuck here with you. I wish I wasn't.
    Voice of the Paranoid: Feeling's mutual.
    Voice of the Hero: At least we're all being honest!
  • If you choose the "(Explore)" options, the ensuing discussions come across more like an exasperated dad trying to placate his unruly children on a long road trip.
• If you didn't bring the knife with you; Nightmare will mess with you to prevent you from retrieving it; including lengthening the stairs and insisting on leading the way back up. All the voices tell you to get to it as soon as possible, the Voice of the Paranoid voices his agreement to when he sees it, forgetting that his survival mantra is the only thing preventing your vital organs from shutting down. As a result; you momentarily loose consciousness as Nightmare gleefully throws the knife into the abyss; while the Narrator curses, and says he'll need a stiff drink as he'd rather not face what comes next sober.

  Voice of the Hero: I guess We're not stabbing her in the back.

• At the final door leading to the outside world (having brought the knife), Nightmare becomes impatient upon seeing you hesitate while the voices in the head debate with you. She will enunciate the words "Open the door!" slowly, loudly and one at a time as though she is addressing someone who is very hard of hearing.

Prisoner Route

• If you press the Narrator about evidence on how the Princess can end the world, he'll ask you to check your pockets. You retrieve an envelope with "The Evidence" crudely written onto it, and inside is a letter reading "The Princess will end the world if you don't stop her. This is an immutable truth."
  • This is the only reference to the player having pockets or clothes at all. The Narrator says the note is in your handwriting - said writing is terrible, a very shaky and irregular script, and yet the Voice of the Skeptic immediately suspects that the Narrator's forged it.
    • Even better, the Skeptic can't figure out any other reason to doubt the extremely crude note, implying that your handwriting actually is that bad.
• After the Narrator finishes his "she will lie, she will cheat" warning about the Princess, the Voice of the Skeptic proceeds to "fake-agree" with him while still trying to stealthily nudge you into going against him behind his back. Keyword: trying.
  Voice of the Skeptic: Yes, yes, don't believe a word she says. Just go in, take the knife, and do what you're supposed to. Wink.
  The Narrator: Did you just say "wink" out loud?
  Voice of the Skeptic: No, I didn't. Wink.
  The Narrator: Just ignore this clown and focus on the Princess.
• Attempting to leave the basement after you've already sat down to talk with the Prisoner will anger her, and she promises that you'll regret it. The Narrator, too, is having none of it and swiftly locks the door behind you until you've finished the job, prompting a smug, victorious smirk from the Prisoner as she hears the lock click into place.
  The Prisoner: I told you that you'd regret saying that. But I didn't think you'd regret it so fast. And with so little effort on my part.
• Should you decide to go along with the Prisoner's plan, the Narrator will refuse to let you perform the action, even trying to take the control away from you by trying to force you to rigidly remain in place. However, the Voices of the Hero and the Skeptic proceed to point out that the last time the Narrator tried to take control of you, the Princess retaliated by killing you, which, by his own admission, ended of the world, thus reminding him on how futile his attempt to stop them is. The Narrator, in response, is reduced to angrily grumbling.
• If you try to cut the Princess out (against her insistence that you hand her the knife so she can do it herself), she'll try to throttle you with her chains to force you to give her the knife. The Skeptic begins trying to figure out which of you is being unreasonable here, leading to this great line from the Hero:
  How about we think about the nuances of interpersonal relationships when we're not being strangled?!
• If you carry the Prisoner's head out with you, the Narrator starts going into his spiel for the Good Ending. But he interrupts himself when he realizes that the world still exists around the cabin; the Princess may be headless, but she hasn't been slain.
  [Leave the cabin and claim your reward]
  The Narrator: You open the cabin door, ready to return to a world saved from certain doom. Only, a world saved from certain doom isn't what you find. Instead, what you find is—wait, no, that's not right.
• Beside the Princess, a short chain dangles, bearing an empty shackle. The Narrator absolutely does not want you to investigate it. The Voice of the Skeptic think this concern is silly - obviously putting it on and snapping it closed is a terrible idea, but he's interested in anything the Narrator doesn't like, and just looking at or touching it is surely fine. Decide to take a look, and the Narrator grimly says he doesn't want to say what he's supposed to now. As if magnetized, it leaps out of the player character's hand and snaps closed around his neck. That same force yanks the Pristine Blade out of his hands, flinging it out of reach.
  • If you become trapped beside the Princess, you can try talking to her but she gives very short, mostly one word answers. When you comment that she's not one for small talk, she says in a tone that sounds just slightly amused:
    The Prisoner: Nope.
    Voice of the Hero: Rude.
  • Later, when the basement starts deteriorating from the passage of time, you can ask if she's noticed.
    The Prisoner: I don't like small talk, remember?
    Voice of the Hero: Still rude.
  • The Voice of the Hero whines about how boring it is to sit shackled to the wall and wait in a very childish tone.

Razor Route

Can we just say this entire route is Black Comedy almost from start to finish and move on? No? Alright then, proceed.

• Every dialogue option upon first encounter with the Razor, has her respond with some reference to stabbing or rather her supposed intention not to stab you in an insincere and cheerful tone (like in the video example).
  The Razor: And Why Would I stab you to death? I don't know you. You haven't given me a reason to stab you to death. It would be so silly of me to cut you open and look at your insides.
• If you ask for proof:
  The Razor: Hands without anything to stab you with! And Empty sleeves to! Look at how few stabbing implements I have, it's practically zero!
• If you ask if the Razor has a knife hidden "somewhere secret" she'll deny it in her typical insincere tone of voice. Only to realize she sounds like she's lying when she's not. So then she'll actually drop the damsel act to plainly and clearly state that there is nothing hidden in her "secret zones." Even the Voice of the Hero accepts that she's telling the truth.
• If you ask the Razor what she's going to do if she's let out, her response boils down to: all sorts of activities. If you follow up on that:
  The Player: Activities like stabbing or murdering?
  The Razor: Yes! I mean, maybe! I've never done any of those things but there is something alluring about the sound of it. I think it would also be fun to do other things like "look at a bird" or "touch a tree".
  The Voice of the Hero: Okay, now listen.
  The Voice of the Cheated: You're not actually buying this, are you?
  The Voice of the Hero: Listen.
  The Narrator:...Yes?
  The Voice of the Hero: ...I would like to look at a bird.
  The Narrator: You can look at a bird later.
  The Voice of the Hero: But if we look at a bird now, we wouldn't have to be here.
  The Voice of the Cheated: He has a point.
  • This is rather humorous as the Player character is a Birdman. Especially since the mirror in which the Player (and by extension the Voices) could see a bird is either not there when the Voices are or is there when the Voices aren't.
• The Razor's rant to the Player when he goes on about her being suspicious is full of hilarious mental gymnastics.
  The Razor: That's so rude of you, passing judgments on strangers you've never met just because they're different from you! How would you like it if I did that, huh? Silly little birdface thinks he's so serious coming down here but doesn't know anything! Thinks he can tell me to get rid of all the knives I don't even have while he gets to wave one around right in front of me/doesn't even have a knife for stabbing! I bet you didn't like that did you? I bet you didn't like being judged for no reason.
• If you buy into the Razor's damsel act and decide to approach her, she slices you open with an arm blade with a flat "Hehe."
• If you keep asking her questions, on meeting her again, she'll eventually tell you: "I'm bored now", before rushing forward ready to stab you, with a goofy grin on her face.
  • Immediately afterwards, she will stop because her arm is still chained. Her expression will change to a mix of confusion and sad disappointment. You almost expect her to go "awww..." Then she will nonchalantly slice off her arm, which due to her treating it as casually as ripping off a caught shirt sleeve means it's still quite chuckle-worthy.
• No matter your choices, Chapter II will end with the princess staring at you with wide eyes as she flatly declares, "I'm going to kill you now," or "You're going to die now" and doing just that. It's a lot more silly than nightmarish, which fits with the Black Comedy throughout the route.
• After the first death at the Razor's hand, the Voice of the Cheated snaps and cuts off the Narrator with a swear filled rant to skip the introduction and get to the cabin. And then he actually wills the player into the cabin, taking the Narrator by surprise.
  The Narrator: You're on a path in the woods—
  Voice of the Cheated: No, fuck that! If we're going to have to do this over and over and over again, we're not starting in the goddamn woods every time. We're starting in the fucking cabin.
  The Narrator: You're what?!
  (Smash Cut to inside the cabin)
  The Narrator: The interior of the cabin is sharp, a constricting mess of curved and battered sheet metal pushing you towards—Wait, excuse me?! What just happened? What did you do?
  Voice of the Hero: I feel dizzy.
  • The Narrator variants are altogether bewildered for this route. He's reset not just at the start of the chapter but every time the Player is killed, and that's a lot of times.
• As you enter the cabin in Chapter III, you are inevitably confronted with the mirror blocking your path. If you have the Broken with you, he'll object to the idea of touching it and demands that the Player moves it away without looking, believing that "[they] all look awful after dying twice". Inevitably, you are forced to touch it, and the Broken responds with a long and drawn-out pitiful groan.
• You can still try to flirt with the Razor after she's established to be hellbent on killing the Hero. The other voices are really unsure about this decision; the Cheated only decides to roll with it to see where it goes.
  [Give her The Look]
  Voice of the Hero: The Look?
  Voice of the Hunted: The Look. We've all used it.
  Voice of the Cheated: Yeah, do you not know about The Look?
  Voice of the Broken: Even I know about The Look.
  The Narrator: (Sigh) You flash the Princess The Look.
  ...and a rosy blush rushes to the Princess' cheeks as she breaks into a wide grin. Unbelievable.
  The Razor: Oh? Is that how it is? Yeah, okay, I feel that. I like you too. Neat!
  Voice of the Cheated: I'll be damned. This is actually going to work, isn't it?
  The Razor: Still going to kill you, but now we can enjoy a mutual romantic subtext to the murder!
  Voice of the Hero: Or not.
  • The other voices may not be sure about flirting with the Razor, but aside from the Hero and the Hunted they're not exactly against it. Apparently, almost all of the voices with you in this route are into her.
  • This includes voices who have been established as having a thing for their respective Princesses, like the Broken and the Stubborn, but also ones like the Paranoid and even the Cheated himself!
  Voice of the Broken: She doesn't want us.
  Voice of the Contrarian: You're just saying that because you want her to be into you.
  Voice of the Broken: I know. I thought I was being obvious.
  • If you chose to fight her head on previously the Voice of the Stubborn will appear at the start of the next chapter and if you choose to give her "The Look" he will drop these golden responses
  Voice of the Stubborn: The Look, eh? So we're getting serious about this.
  Voice of the Stubborn: Oh, I like her. I like her a lot!

  Voice of the Paranoid: Maybe it'll work! Maybe it'll throw her off. I know I'd be thrown off if she started flirting with us.
  Voice of the Contrarian: Yeah, because you'd be into it.
  Voice of the Paranoid: No comment.

  Voice of the Stubborn: I'm into it.
  Voice of the Cheated: I can't say I mind either. If it weren't for all the cheating, I'd say she's pretty cute.
  
  • Regardless of how you chose to flirt with the Razor, she'll charge you, blades sprouting out of her arms, but with the goofy blush and grin still plastered across her face.
• If you came down to the basement to confront the Razor again without a knife (thanks to the Contrarian throwing it out the window on a whim), attempting to fight her will result in her mocking you before she decides to give you a free shot for the heck of it, right before you proceed to punch her in the face. It doesn't work, since she retaliates and skewers you anyway, but the sight of you punching the Princess is still a very amusing sight.
  The Razor: Ow ow ow ow ow! That hurt! What are your bones made of, metal? ... Because mine are.
• With every death, you spontaneously reincarnate and have a new Voice joining the crowd. If you have the knife on you, you enter a montage of the Razor repeatedly stabbing and the narrator repeating the words "she skewers you" as you try your utmost to fight back. You try every crazy idea the voices throw your way... but one of the options is :She wins when she kills us right? let's beat her to it!"; which leads to:
  The Narrator: And then, you skewer yourself.
  Voice of the Contrarian: Huh. That didn't do much of anything. We're tougher than I thought.
  The Razor: Huh. I thought we both understood that dying doesn't get you anywhere.
• When the Razor reveals her final form that's entirely razor blades, each Voice has their opinion of the result:
  • The Voice of the Smitten is still madly in love with her, calling her gorgeous. Surprisingly there is one voice that agrees, the Voice of the Stubborn.
    Voice of the Stubborn: Behold! The perfect woman!
  • Much like in "The Stranger" route, the Contrarian suggests throwing the Pristine Blade out the window just for fun. (And if you didn't initially take the blade with you into the basement in the second chapter, he will in the third.) When the Razor reveals her final form, which is a skeleton of blades built around a beating heart, he wonders aloud if they can throw her out the window.
  • The Voice of the Opportunist is disappointed that she doesn't have a back anymore so she can't be stabbed in it.
• The rest of the Voices simultaneously freak out, and everything descends into a cacophony of arguments until the only option you're left with is to shut them all out. The Narrator is surprised at the sudden tranquility, but he doesn't get to properly react before another dialogue option appears: "[Him, too.]"
• There's also the fact that the entire route can be summed up as "You and the Voices resort to Save Scumming to try and slay the Razor". The Narrator becomes increasingly annoyed at them skipping the scenery and his prose about them:
  The Narrator: Fine! I'll just shut up then and speed this whole thing along! Are you sure you don't want me to describe the stairs? Or the room? Or anything? It feels like I'm hardly apart of this.
  • On the final iteration of this route, the Narrator gets fed up with being overridden by the Cheated and decides to just hand the reins over to the Voices. Once you meet with the Razor who's ready to "show you something", nothing happens as the Narrator is still idle, and the Voices have to coax him to return to get the story to progress.

Spectre Route

• When the Spectre makes her appearance, we learn that the Voice of the Hero is afraid of ghosts, with the Voice of the Cold responding to it with his usual bout of sarcasm.
  The Voice of the Hero: A g-g-g-ghost!
  The Voice of the Cold: Oh. Wow. How absolutely terrifying. What's a ghost supposed to do to us?
• If you "slay the Princess", your blade harmlessly passes through her ghostly form and she mocks you for it. If you "slay the Princess harder", you'll just do the same thing again, which just leaves her exasperated.
  Really?
• Should you offer the Spectre killing yourself as an apology for killing her in the previous loop, she'll decline but not before remarking that it's "sweet for you to offer", the Voices will object, and the Narrator proceeds to request that you abstain from making such suggestions in the most darkly hilariously-worded way possible.
  The Narrator: It would seem that everyone here is in agreement except for you. I shouldn't have to tell you that you shouldn't kill yourself. So please, try to keep your suicidal tendencies in check.
• There's several options to apologize to the Spectre for killing her, and one is so particularly pathetic and self-pitying that the Spectre is completely turned off.
  The Player: I'm not cold! I'm just... dumb! I'm just a big dumb stupid idiot! Stupid stupid stupid what was I thinking just believing what I was told?
  Voice of the Cold: Oh, cut it out. You don't need to be so pathetic.
  The Spectre: Eugh. Sure. Did that make you feel better?
  • Even better, if you visited her without a knife and made no attempt to grab her, she'll remark that she "wouldn't mind seeing a little begging" for forgiveness, but when you do, she'll proceed to take her words back.
    "Nevermind. I don't think I want to see you beg. That's just sad. I shouldn't feel sad about my murderer."
  • And afterwards, you can note that everyone sounds disappointed in you and that you should grovel even more to rectify that. The Voice of the Cold straight-up denies you that opportunity, while the Narrator tries to use that opportunity to try to bait you back on his side.
    The Player: Shit. Everyone sounds disappointed in me. I should grovel even more.
    Voice of the Cold: No. You're not doing that.
    The Narrator: That's right, don't you dare grovel. Mine is the only opinion that matters and I'll never be disappointed in you. So long as you do as I say.
• She will swap between two distinct faces, usually using the friendly one, but occasionally using a more menacing (smiling) face to make a point. If you tried to attack her as she appears, she uses the latter one more frequently, having fun with the attempts to put you on edge.
• There are a number of Insane Troll Logic assertions you can make from the options, including one implying her threatening you before being stabbed, was at least as bad as the actual stabbing. She will calmly reason out every one of them, with a smile and a bit of sarcasm.
  The Player: Stop playing the victim. You threatened me last time.
  The Spectre: Well, yeah. You brought a knife with you. Was I supposed to just welcome you with open arms when you obviously had stabbing on the mind?
  The Player: That knife could have been for anything!
  The Spectre: It could have. But it wasn't. You can't blame me for threatening a would-be-knife-wielding-murderer, especially when that would-be-knife-wielding-murderer became an actual-knife-wielding-murderer.
• If you tell her that you were trapped in a timeless void and had to slay yourself to escape, she'll feign sympathy before gleefully telling you otherwise:
  The Spectre: You poor thing. That must have been so frightening for you.
  Voice of the Hero: You know, after everything we've been through, it's nice to see someone finally sympathizing with us. This whole thing's been an ordeal, hasn't it?
  Voice of the Cold: She doesn't mean it.
  The Spectre: (gleefully puts on menacing grin face) It serves you right! I was pretty scared, too, when you stood there not saying a word with a knife clenched in your fist. But now you know how bad it hurts to get stabbed in the chest. (puts on a scary face) It sounds like you got exactly what you were owed.
• If you ask her if the possession is temporary, if she's irritated (from being attacked again) she'll tell you not to worry as she doesn't want to be stuck with you longer than you want to be stuck with her. Otherwise, she'll tease you about not knowing:
  The Spectre: For all we know, that's not how it works. Maybe I'll wind up stuck with you for a very long, long, long, long time.
• If you ask her why you're not floating around like a ghost like she is, she will reassure you by grabbing your arm, which the Narrator describes as a cold, and slightly painful tingling sensation:
  The Spectre: You don't look dead, killer. And you don't feel dead, either.
• After possessing the Player's body, the Spectre makes comments (these can be politely curious or snarky depending on whether or not you tried to grab/stab her in her spectral form) about the Player's mind already being inhabited by the Voices and Narrator and their constant bickering.
  The Narrator: You push yourself off the ground. The Princess is nowhere to be seen—
  Voice of the Cold: Obviously she's nowhere to be seen.
  The Spectre: Because I'm in here with all of you. Everybody knows that.
  The Narrator: I'm setting the stage.

  The Spectre: But if I'm stuck in here, I'll be making some renovations. It's too crowded. [If attacked prior and after arguing with the voices]

  "Okay I've heard enough from those two, let me see if I can pop out!" [unpossesses the player's body]
  • Once you're about the leave the cabin with the Spectre, with the Voice of the Cold noting that the Narrator doesn't do much to actually stop them, the amicable Spectre proceeds to tease the Narrator that maybe he doesn't actually hate her as much as he says, which only serves to irritate him further.
    The Voice of the Cold: For how much you hate her, you aren't doing a whole lot to stop us from leaving this place.
    The Spectre: Maybe the bossy one doesn't actually hate me. Maybe He even likes me! Or... maybe He just knows that He's been in the wrong. Maybe He's trying to make amends, too.
    The Narrator: Not at all. I'll have you know that I do hate you, and I will continue to hate you for so long as I am able.
  • As you and the Spectre leave, the Narrator tries his best to stall your escape from the cabin, but it's obvious that his control over the situation had already waned.
    The Narrator: You lift your shaking hand and rest it on the door handle, but you pause before you open it, exhaustion sapping what's left of your will.
    Voice of the Cold: Was exhaustion really the best you could muster up? It's over. There's no use stalling. Let's see what happens next.
• If instead the Spectre decides to make good on her threat to crush your heart, her reaching into your chest doesn't seem to do anything. The Voice of the Cold says of course it's not doing anything, a ghost can't hurt you. Then she pulls out your heart, and the Voice of the Hero gasps in outrage.
  "That's ours!"

Stranger Route

• It can come off as funny or creepy depending on your perspective, but the Narrator making every path you take to try to get away from the cabin lead right back to it, and then making an infinite number of cabins when you keep trying anyway. He then unceremoniously kills you and the rest of the world just to be an extra petty bastard because you wouldn't listen to him.
• Again, it can come off as funny or creepy, but once you're on the Stranger's path in Chapter II, you'll notice that a wall has been built around the woods, the path and the cabin. Just so you can't turn around and try to leave again.
• The Voice of the Contrarian exists only to be a spoiler to the Narrator and find as many creative ways to "ruin his day." This includes questioning him, making him repeat instructions, suggesting that you throw the Pristine Blade out the window, or wanting your interactions with the Princess to be worse.
  • He tells you to hold your blade in a Reverse Grip just because it looks cooler that way and it annoys the Narrator. Whether you agree to do so or not doesn't affect gameplay but it does change your mouse cursor.
  • If you do throw the blade out of the window, the Hero will get on the Contrarian's case for suggesting it, because now they don't have a useful tool. The Contrarian tries to shrug it off the same way a child tries to get out of trouble.

Tower Route

• There's a bit of Fridge Humour when you realise that the Tower's mocking nickname of "Little Bird" isn't in fact a Dehumanizing Insult, but a completely literal description of what you are.
• When the Tower commands you to slit your throat, the Narrator reminds you that you're still in a position to slay her and urges you to end this. The Voice of the Broken takes up his vaguely-worded command and points the blade at your throat, and the Narrator quickly corrects himself.
  The Narrator: Your hand lifts the blade and...brings it toward your throat. Okay—I apologize for the unclear language. End her.
• If you choose not to resist the Tower, the Hero decides to sit this one out.
  Voice of the Hero: All right. I'm done with this. I'm just going to sit in the corner. Let me know when we get our agency back.

Witch Route

• The moment you come down the stairs and the Witch acknowledges your presence, one of the responses you can give to her? Retort to her calling you nasty with "I'm not nasty!", and she'll just tease you with it more.
• You can apologize for your actions, but the Witch isn't particularly impressed:
  The Witch: Oh you're sorry! Isn't that nice! You're such a gracious little monster.
• After you give the knife to the Witch, you have an option to call her beautiful and say that this is why you want to save her. She actually gets caught off-guard and finds herself blushing while having the most Tsundere-ish expression on her face, as the Narrator is exasperated that you not only said that "nonsense", but actually meant it.
• If you let the Witch lead you out of the basement, she'll lock the door in front of you and mock you about you two being stuck in the cabin forever. Soon after, the world ends and the door disappears, and you can see the Witch standing smugly before she realizes that she can see you too.
• If you give her the knife, one of the dialogue options becomes:
  The Witch: What do you think happens now?
  Player: If you're like someone else I know, you'll stab me.
  Voice of the Opportunist: That someone would be me!
  The Witch: You know me too well!
• If the Witch pulls you down the stairs, breaking both of your backs, the Voice of the Opportunist chimes in with some unheard-of: an opinion of his own.
  Voice of the Opportunist: You know what. I'll say it. That sucks! I don't like having a broken back.

Chapter III

Apotheosis Route

• The Voice of the Hero gets remarkably sassier after what he's been through prior.
  The Narrator: This is bad.
  Voice of the Hero: Oh, is it now? I hadn't noticed! Do you need a primer, Mr. Amnesiac?
  ...But if I hear the words "you're here to slay her" or "if you don't, it will be the end of the world" you'll have lost speaking privileges.
  The Narrator: You're going to hear some of those words, but not all of them, and definitely not in that order.
• When the Narrator admits that your perception of the Princess can change her, the Voice of the Paranoid starts chanting "Make her small" over and over, only to panic and wondering if he's just making her stronger. Given the Apotheosis is a giant, it either didn't work or actually made her stronger.

Damsel-Grey / Burned Grey Route

• Having the passionate Voice of the Smitten and the detached Voice of the Cold together in one place is a recipe for funny bickering. It's one of the few times the Hero and the Narrator are on the same page, considering the two drastic personalities they need to contend with.
  Voice of the Smitten: You killed her! And so I killed you!
  Voice of the Cold: And you clearly didn't do a good enough job. I'm still here.
  Voice of the Hero: Oh, and I'm still here too.
• When the Princess' ghost locks the basement and sets it on fire so she and the player can be Together in Death:
  Voice of the Smitten: See! Everything's fine! She wants to be with us.
  Voice of the Hero: Yeah. In a bad way.
  Voice of the Smitten: She just has a unique way of expressing things!

Den Route

• If you manage to get the Princess stuck in the tunnel of her lair, the Narrator gives you a soulful description of the pleading look in her eyes...before telling you to ignore it and slay her. The voices indignantly demand to know why He told you that.

  Narrator: It's not my fault her eyes had something to say!

Fury Route

• If you got here by killing the Tower, instead of the first thing you hear being the Narrator starting his spiel, you start with the Voice of the Broken sobbing hysterically over the Tower's death, which throws the Narrator off as he starts and makes the other voices uncomfortable.
• If you got here by disappointing the Adversary, the Contrarian says being killed by her had been "a great way to go!"
  The Voice of the Stubborn: Does it matter? We lost.
  The Voice of the Contrarian: Oh, why so glum, rage-boy? I thought you were brave! I thought you were proud! Or was all that bravado just hot air?
  The Voice of the Stubborn: Look it's just — the fight was better the first time.
• Depending on your choices, particularly if you choose to engage with the Fury, the Curb-Stomp Battle in her favor can be quite humorous for how much of an Anti-Climax it is.
  Voice of the Stubborn: It's now or never, let's make it a beautiful blaze of glory!
  [Cue the Fury instantly turning the player's organs inside out as the music comes to an abrupt halt.]
  The Narrator: With a horrifying squelch, you are unwound.

The Moment of Clarity

• Despite the seriousness of the route, every Voice being present leads to quite a few funny interactions, including large arguments with the Voices taking different sides, or the Voices ganging up on the Narrator collectively.
• After you take the Moment of Clarity's hand, the Narrator describes it like this. It's worth noting that this is a route with almost no romance in it, making this line come out of nowhere on the Narrator's part.
  The Narrator: You extend your hand to hers. For all her past cruelties, the moment feels gentle, tender even. I can't believe you just made me say that. I hate you.
  

Thorn Route

• The Narrator's reaction to you kissing the Thorn if you brought the Voice of the Smitten with you. His disdain with the entire situation and the other Voices' reactions to it make for one of the funniest scenes to go along with how generally heartwarming this part of the Thorn route is.
  The Voice of the Hero: Can we actually do that?
  The Narrator: No! You can't! Absolutely not!
  The Voice of the Smitten: You know as well as I do that we can.
  The Voice of the Opportunist: And we wouldn't want to throw away a chance for a special moment, now would we?
  The Narrator: If I were only capable of throwing myself off a bridge.
  The Voice of the Smitten: Well, are you going to describe our steamy, romantic kiss?
  The Narrator: Sigh. You lean in and you kiss her.
  The Voice of the Hero: (goadingly) ...And?
  The Narrator: And she reciprocates. Enthusiastically. You kiss. It's done. Are you happy now?
  • Of course, such Beige Prose doesn't satisfy the Smitten and he prods the Narrator for something more passionate. The Narrator begins speaking as though he's trying to read through a script as fast as possible before slowing down for some overblown Purple Prose.
    The Voice of the Smitten: This is good stuff.
    The Narrator: (begrudgingly) I'm aware of my skill.
    The Voice of the Hero: He's making fun of us.
• The Narrator's clearly waning sense of control as you free the Thorn is a highlight. The voices even note how pathetic some of his attempts to thwart your plans are.
  The Voice of the Cheated: Is that all you've got? Threatening us with an accidental misstep? I expected more from you.
  The Voice of the Opportunist: Our blade didn't even waver when he said that. Yeah, you're right! He's a bit of a nobody, isn't he? Good thing I've been on your side of all this since the beginning.
• The narrator continues to reluctantly describe your happy ending with the Thorn while trying to dampen it:
  The Narrator: Hands clasped, the two of you open the door, and set forth into a new day. You irredeemable murderers!

Wild Route

• If you got here by playing possum in front of the Beast, you're here with the Voice of the Contrarian, who allows that being one with the Princess is "pretty great" but isn't sure what, if anything, they can do now. Surely not just passively exist! He hates that idea. One of the options you can select at that point is [passively exist], being contrary at him.
  • The Narrator agrees that the player should separate from the Princess. The Contrarian changes his mind instantly.
• If you select an Explore option and ask the Princess about the Narrator, he tries to get you and the Princess to separate from each other, trying to play the "she'll end the world" card again, which gives you another option on how to reject the Narrator and take the Princess's side...
  "I've had enough of this guy. How do we stop him?"

Wraith Route

• If you got here from the Spectre route and claim you're even since you killed her and she killed you, she will tell you it's adorable that you forgot that the latter only happened because you tried to kill her again.
• A few good ones from the Opportunistic version of the route, in which the Player manages to stab the nightmare at the top of the stairs after agreeing to leave the basement.
  • The Voice of the Opportunist is all for welcoming our new Princess overlord but his overly ingratiating behavior straddles the line between wanting to butter her up so the player will survive and genuinely flirting with her because she's a strong woman.
    Voice of the Opportunist: "We might as well ingratiate ourselves to our terrifying new overlord."
    "It takes a bullshit artist to recognize a bullshit artist, and I'm one of the best in the business."
    "She at least takes what she wants. She's inspirational, really."
    "And look at the bright side: at least everybody knows exactly where worms stand in the pecking order! At the bottom. Which is the most important part if you think about it, because it gives everybody else something to stand on. The bedrock, if you will."
    "The two of you are being incredibly rude. Hi! Hello! Welcome! I live here, along with him and him, and, well, I've never been clear on whether He lives here."
  • With the voice of the Opportunist, the Narrator is so exasperated that he tells you to let her out and see what happens, as there's no talking sense into the voices with you.
  • After the Princess performs a Demonic Possession, the Opportunist greets her like a host at a house party. Although she's too vengeful to be swayed by his sales pitch, she still enjoys it because it makes everyone else uncomfortable. It's also funny how she briefly bickers with him over the events of the Nightmare route.
    The Wraith: YOU STABBED ME IN THE BACK!
    Voice of the Opportunist: That was then, this is now.
    Voice of the Hero: You should stop talking.
    The Wraith: NO HE SHOULD KEEP SAYING THESE THINGS. I LIKE TO FEEL YOU WRITHE IN DISCOMFORT.
  • If, on the other hand, you get the Cold, you get this exchange, both said in a uninterested monotone.
    Voice of the Cold: It's rather rude to show up in someone else's body and boss it around like this.
    The Wraith: AND IT IS RUDE TO MURDER .
• The Narrator, in a desperate attempt to keep the Wraith from leaving, deliberately narrates such that the hallway to the exit lengthens with each step you take. The Wraith counters with her own narration which moves the door into her grasp, with a very unusual retort.
  YOU CANNOT DESCRIBE ME INTO SUBMISSION. THE DOOR IS RIGHT THERE.
• The Princess gets some really funny lines if you decide to chuck yourself into oblivion with her riding your body.
  WHAT DO YOU MEAN WHAT HAPPENS NEXT YOU WANTED THIS.
  HE LEFT. GONE. IT'S JUST YOU AND YOU AND YOU AND ME.
  IDIOT.

The Finale

• If you make it all the way to the finale the Shifting Mound brings back her vessels to try and convince you to agree with her. Yes, the Damsel will still be in her deteriorated state if she got that way, and the Razor is as amusingly Ax-Crazy with her speech as ever, and if you defeated her in the "Empty Cup" route by destroying her body in the Long Quiet until all that's left is her heart, she'll appear as a disembodied heart.
• During the argument against the Shifting Mound, when she brings back the Beast vessel to argue her point, you can give her a very unheard-of rebuttal.
  "You cannot use eating me to prove that you're right."
• If you chose to bring the dagger with you in your first entry through the cabin, a cynical Princess will await you in the cabin in the heart of the Shifting Mound. In the "And? What happens next?" ending where you leave with her, she has an amusingly Tsundere response to a Love Confession.
  I...love you too.
  But I'm trying to not get all sappy about it! Don't make me get all emotional.
• If you did bring the knife with you, and agree to the cynical princess' plan to reset the timeline, she will also return the "I love you too" response, albeit with a completely stunned expression as she stabs you with the knife you just gave her.
• If you didn't bring the dagger with you, a gentle version of the princess waits in the heart of the shifting mound. In the version of the ending where you leave with her, she tries working up the courage and says, "Come on, Princess, it's just a door". The amusing implication is that the Voice of the Hero's suspicion in one route is correct, she really is called Princess Princess.
• In the new updates to the "And? What happens next?" endings, the Player can choose to apologise to the Shifting Mound's Heart for hurting her on his journey and these lead to both funny and heartwarming moments
  • If you started with the Damsel, the Shifting Mound's Heart will call you sweet... and apologises for stabbing you poorly 50ish times and that despite being possessed by the Narrator to kill her, she could've thought of doing anything that didn't involve killing you.
  Timid Princess: You are so sweet, but the first time we met you tired to rescue me and I stabbed you like fifty times in the chest. And you know how bad of a job I did. You were the one getting stabbed. I mean, yes, you were possessed by that freaky voice living in your head, but I also could've maybe tried doing anything else before deciding to kill you.
  • She also looks away briefly almost as if she's embarrassed
• If you ask her if she's the same as the Shifting Mound outside, the timid version of the Shifting Mound's Heart if will drop this surprisingly playful and snarky line to tease the Player.
  'Timid Princess: I am She as much as She is me and all of us are both everything and also...not everything. Hehe. I had you there for a second, didn't I?
• If you've found your way back to the Stranger's cabin, the Voice of the Contrarian joins you with the Voice of the Hero. Pick up the blade, and the Hero snarks that the Contrarian might toss it out the window again, but the Contrarian admits that there's no Narrator to mess with so it's not fun. You can still do it anyway, leaving the Contrarian both amused and proud of you.
  Voice of the Hero: So you're not gonna suggest we throw it out the window?
  Voice of the Contrarian: No, we've been through too much for that. And He's gone, so there's no one left to mess with but ourself.
  Voice of the Hero: You've gotten serious.
  Voice of the Contrarian: Besides, what's the third beat? It isn't as funny if I suggest that twice.
  Voice of the Hero: (upbeat) There's the guy I know.
  [Throw the blade out the window.]
  Voice of the Contrarian: (laughing) You actually did it! I know I just told you not to, but I'm proud that you did it anyways. It's like you've finally left the nest.
  Voice of the Hero: Yeah. Just like that it's gone, isn't it? Blade tossed. Glass shattered. I guess we'll have to make do without it. There's your third beat.
  Voice of the Contrarian: Hey! You're right. Good work, that was really funny.
  • For added hilarity, when the knife gets tossed out of the cabin it ends up stabbing one of the Princess's bodies swarming outside of the window, which even turns its head slightly as if wondering what the hell just happened.
• If you slay the Princess for good, you'll normally be greeted with the "A new and unending dawn" ending, with you and the Voices now free to shape the universe in peace...that is, unless you told them it was their end at the mirror; in which case they decide to taint your hard-earned ending. You only need to tell them this twice at the mirror, so it can seem petty if you reassured them at the other times. If you did mock them You'll get an alternate version of the ending, called "A new and unending dawn, and everyone hates you", where the Voices decide to get their payback on you. It's a darkly humorous moment that comes in an otherwise pretty somber ending, especially with how eager some of the Voices are with deciding to torment you for a very long time. Let's hope you learned where the mute button is (if you fought Razor).. they even draw an angry face on the achievement icon for good measure.
  Voice of the Stubborn: You thought we'd be gone. Thought you could taunt us with death.
  Voice of the Cheated: We're the house now. We get to make the rules, and I'm not so sure you'll like those new rules.
  Voice of the Cold: This is going to be fun, isn't it?
  Voice of the Contrarian: You all need to lighten up! Telling us we were going to die was funny!
  Voice of the Hero: I'm not sure they agree with you. Voices get around.
  Voice of the Opportunist: Knives out, boys. It's time to get to work.