The Gallery

My instinct when I see a game tagged 'Casual' and 'Simulation' is to brace for something thin, but The Gallery surprised me with an actual structural idea worth dissecting. Director Paul Raschid - the person behind The Complex and Five Dates - shoots the same pressure-cooker hostage scenario twice over: once in Thatcher-era 1981 and again in COVID-Britain 2021, with the same London gallery as the stage and a curator named Morgan forced to sit in a chair rigged to a pressure-sensitive bomb for the entirety of the night. The decision to play both narratives in whatever order you choose is smart; there is no wrong entry point, and the 1981 version's Thatcher-era socio-political backdrop and the 2021 version's Brexit-and-pandemic weight give each run genuine contextual texture rather than cosmetic set-dressing. The casting is where the concept pays off most sharply. Anna Popplewell plays Morgan in 1981, with George Blagden as the mysterious antagonist Dorian; in 2021, those roles reverse completely - Blagden is Morgan, Popplewell is Dorian. The rest of the ensemble is similarly well-credentialed, pulling from recognisable UK television work. What this means in practice is that the performances hold up across repeat playthroughs, which matters, because the branch count is substantial: 150 decision paths total, 12 distinct endings in the 1981 story and 6 in 2021, adding to 18 across the full package. A relationship-tracking system and a sub-plot success/fail tracker both feed silently into the wider story, meaning choices feel consequential rather than cosmetic. On the mechanical side, expectations need to be calibrated. This is FMV through and through - you watch, you choose, you watch more. Timed choices create genuine pressure at key moments; the option to switch to paused choices makes it functional for group viewing or streaming sessions, which is actually a natural fit for this kind of content. The per-playthrough runtime sits around an hour per narrative, so a first run covering both stories lands somewhere between two and three and a half hours depending on pacing. Replayability is the argument for value, and with 18 endings to hunt and achievement names that reviewers have called genuinely clever, completionists have a reasonable target to chase. The honest critique is that critics have flagged a ceiling on how far the concept stretches. The 2021 narrative is structurally very close to 1981 - same dialogue beats, same physical setting, different dressing - and if the gap between the two feels smaller than the forty-year period implies, that is a fair gripe. One reviewer noted that the writing does not always generate the level of dread a hostage situation deserves, which is a real tension problem for a thriller. The cinematography has also drawn mixed notes: not cinematic enough for a product positioned between film and game, yet not punchy enough to qualify as innovative FMV. The music, though, picks up slack well - timed cues at decision points land with genuine tension. For strategy and systems-minded players who want to understand branching architecture, The Gallery is a compact case study in how relationship-tracking and sub-plot variables can compound into genuinely different outcomes without requiring a sprawling runtime. It is not the most demanding interactive fiction on the market, but OpenCritic's critical consensus sits at a 72 average with 88% of reviewers willing to endorse it - a fair summary of a game that does its specific job competently without redefining the genre. If you have already worked through Immortality or Her Story and want something that leans into the dual-protagonist structure as a design thesis rather than a gimmick, this earns its evening. Diego, Scout Team

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