Max, an Autistic Journey

I keep a mental shelf for games that only exist because someone had to make them, not because a market demanded it. Stéphane Cantin built this one with and for his son Max, released it on Max's birthday, and that act of devotion shapes every pixel of the experience before you even open a battle menu. Knowing that context does not excuse every rough edge, but it does reframe them, and I think that reframing matters. The structure is a single school day, played out in a SNES-era top-down RPG shell built in RPG Maker. You guide ten-year-old Max through a strict morning routine at home, a car ride rendered as a timed Pac-Man-style driving mini-game, and then the sensory chaos of a school hallway where classmates literally appear as monsters until Max retrieves his noise-reducing headphones from his locker. The design choice to literalize anxiety as RPG enemies is the game's most quietly clever move. When a sock drawer becomes a dungeon or a bully encounter escalates into a boss fight, the metaphor works because it never winks at you. Max's imagination is the lens, and the game commits to it. You also carry an on-screen anxiety meter, colour-coded from calm green through anxious yellow to breakdown red. When it fills, you enter a breathing mini-game, tapping icons in rhythm to help Max slow down. It is simple, borderline shallow as a mechanical challenge, but functionally it teaches the player what structured coping feels like from the inside. The RPG combat itself runs on an HP-MP-TP system where TP fills during battle and resets after, similar in spirit to a limit-break pool. Max's siblings Jimmy, Charles, and Elisabeth join the party in the later stages, adding a small layer of party management. HP and MP restore between fights, keeping the pacing light, though some reviewers noted that battle strategy mostly reduces to cycling a blindness-inflicting flashlight attack and rationing your strongest MP spells for bosses. That criticism is fair. The combat is a vehicle, not a destination. The mini-games, ranging from picture puzzles to a music-making sequence, do more to vary the rhythm than the turn-based skirmishes do. There are also known bugs: at least one party-wide sleep effect can create a no-exit softlock, and a post-cutscene movement freeze has been flagged since launch with no confirmed patch. Going in with that knowledge is just being honest with yourself. What holds it together is the soundtrack and the pacing of empathy. The music shifts register when tension rises, and in the quieter story segments it sits under the scenes with a gentleness that makes Max's hardest moments land harder. Pictograph tooltips appear throughout to explain ASD concepts without turning the game into a lecture, and the pop-culture asides, Lord of the Rings quotes, a Han Solo cameo, a Jon Snow cold-weather warning, feel like a dad and a kid giggling over what to put in a game together. The game wisely acknowledges it represents one specific point on a wide spectrum, not autism as a monolith. That honesty is rarer than it should be. Critics who wanted something more formally ambitious are not wrong that the RPG Maker frame limits the game's artistic ceiling. But I think they miss the point of what this is: a short, precise, personal document made interactive. It runs four to six hours depending on how thoroughly you explore, and it knows exactly when to end.

Kai · Scout Team

Indie & narrative

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