Raptor Boyfriend: A High School Romance

I spend most of my time stress-testing late-game economies and AI governors, so when I get handed a cryptid dating sim to evaluate, I approach it the same way I'd approach any system: what are the actual decision loops, do they reward attention, and does the writing hold together under scrutiny? Raptor Boyfriend held up better than I expected on all three counts. The setup sounds like a joke pitch, a socially anxious teen girl named Stella arrives in the small fictional Ontario town of Ladle in 1997, discovers her classmates are cryptids, and has to survive her final year of high school while navigating a crush on a velociraptor, a bigfoot, or a fairy. It plays this premise with a straight face, and that sincerity is what makes it work. The actual decision architecture is modest but thoughtful. The game runs across seven chapters, each representing a chunk of the school year, from early September awkwardness through the holiday stretch and into the final weeks. Your core agency comes from who you call on the upstairs phone between chapters, who you drop home last, and who you check in on during low moments. These choices accumulate into a route centered on one of the three love interests: Robert Raptorson, the skateboarding velociraptor with a poet's interior; Taylor Tall-Toe, the brooding bigfoot musician who turns out to be Stella's lapsed childhood pen pal; and Day Lilly, the high-achieving fairy artist who is actively being haunted by her ghost ex-girlfriend, Ingrid. Each call also plants a bolded memory cue that you later need to recall when interacting with that character in person, earning collectibles like cassette tapes, handwritten poems, and comics that flesh out who these people actually are beneath the supernatural exterior. It is a small but effective loop, and it respects the player enough not to explain it twice. Where the system earns criticism is replayability. The overarching plot scaffolding changes very little between routes. You will re-read most of the same scenes with only the key character-specific moments swapped in, and the second half of the school year feels noticeably compressed compared to the build-up before the holidays. Players after a heavily branching, route-divergent experience similar to longer otome titles will find the shared trunk of the story more frustrating than charming. The chapter structure is also quite templated, arriving at school, making a dialogue choice or two, returning home, making a call. Rocket Adrift's three-person team made something personal and carefully written, but the seams of a small production budget show in the repetition. What keeps it from being a minor note is the quality of the characterization and the hand-drawn animated art style, which earned nominations for Best Animation and Best Art Direction at the 2022 Canadian Indie Games Awards. The backgrounds move, there are no loading screens, and the whole thing plays out more like an animated comic than a static sprite-over-background visual novel. The 90s acoustic soundtrack by Pat Smith supports the atmosphere without ever overplaying it. More importantly, the writing treats Stella's social anxiety, and the genuine emotional complexity of each cryptid's backstory, with more honesty than the premise demands. These are characters carrying real weight, and the game earns the moments when that weight lands. Steam users agree at a rate above ninety percent positive, which for a niche indie title is a meaningful signal. This is not a game for someone who needs player agency to feel mechanical or consequential. It is a short, earnest visual novel with a memorable cast, a consistent voice, and just enough interactive structure to feel like more than a kinetic read. If you have any tolerance for the genre, the writing quality here clears the bar easily. Diego, Scout Team

Valve rates this game Steam Deck Playable.

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