Mouthwashing is a real breakthrough in the world of horror in recent years. The second game from the Swedish studio Wrong Organ quickly burst into the genre, selling 300 thousand copies in just a few months. It was praised everywhere – by both regular players and critics. The project did not go unnoticed at The Horror Game Awards 2024, where it took two prestigious awards: for the best story and as “Players’ Choice”. Moreover, in our portal vote, Mouthwashing took second place among all horrors of the year.

And everything would be fine, but one detail remained uncovered – we never talked about it in detail: no text, no video, no clear analysis. It’s time to catch up. Let’s figure out what the game hooked the public so much with, and whether it is really as good as they say.

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Wrong Organ is a tiny studio with an incredible imagination. Their debut project, How Fish Is Made, was released in 2022 and immediately made it clear: this was not just a game, but a surreal black comedy about choice and meaninglessness, where the line between sleep and reality is erased. And perhaps it was not just an independent project, but a prologue to the future Mouthwashing. Hints of this appeared in the DLC The Last One and Then Another, released in September 2023 – almost half a year before the world saw the demo of their second horror. Captain Curly and other elements familiar to those who played Mouthwashing already flashed there. Later, the “mouthwashing” itself generously scattered references in the opposite direction – to How Fish Is Made.

This strange internal dialogue between games, meta-connections and closed plot loops made Mouthwashing not just a successful project, but something almost cult. But the real strength of the game is not in the Easter eggs and allusions. It is in the story, in the images, in the disturbing, viscous atmosphere. Although, in essence, the plot is as old as the world: a ship (the cargo “Tulpar”) drifting in space and the crew gradually losing touch with reality. At first glance, it is a cliche from science fiction, but it is presented in such a way that you freeze.

The developers themselves name “Event Horizon”, “Pandorum”, “Hell”, “Alien” among their inspirations. And I would also add Tarkovsky’s “Solaris” and “Acceleration” with Casey Affleck. Films different in tone and genre, but they have one thing in common: madness that comes from outside, but grows from within. Evil is not always a monster with fangs. More often, it is a shadow on the wall of one’s own mind.

Mouthwashing takes this very topic – inner demons – and brings it to light with frightening frankness. There’s almost no action. No enemies, as such. But every moment is filled with disturbing, sometimes absurd images: you’re heading to the captain’s cabin – and suddenly you’re flying into the abyss, landing on an alien planet. Then you’re hiding from plastic horses. Then you’re feeding dead crew members with the captain’s foot. Sound crazy? That’s how madness works. And Mouthwashing conveys it with frightening authenticity – sharp, talented, memorable.

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The Weak Link of Mouthwashing’s Plot

The problem is that the reasons with which this entire artistic parade of madness and hallucinations begins look, to put it mildly, dubious. It feels like the developers are trying their best to convince us: “Look, we don’t just have fantasy here, we almost have Tarkovsky.” But in the end, the motivation of the conditional “antagonist” turns out to be even more artificial than that of Dennis Quaid’s character in that very forgotten “Pandorum.”

Let me remind you that Quaid at least had a reason – the ship was abandoned in nowhere, the planet is unknown, humanity, as it turns out, has died out. And in Mouthwashing, the main character (or the person who tried on his powers) was simply afraid of being fired and potentially accused of harassment. Seriously? Is this a reason to lose touch with reality?

Yes, in “Pandorum,” Quaid’s character muttered about lost morality, about how the rules no longer work. And here they persistently tell us about “responsibility”. Like, the ship “Tulpar” did not fly with mouthwashes, but with a heavy burden of guilt and moral obligations, which everyone on board simply could not bear.

I do not argue: philosophy, reflections on the meaning of life, duty and moral choices in the wrapper of a psychedelic horror – it sounds adult and stylish. But seriously? This whole nightmare unfolds because the captain was afraid of shame and the consequences of an affair? In life, of course, anything can happen, and people sometimes go crazy for much more banal reasons. But here it all looks as if the authors deliberately took a domestic conflict and pulled on it the pretentious costume of a space tragedy. Impressive, but unconvincing.

Mouthwashing Character Analysis

To be honest, I can’t say that all the characters in Mouthwashing turned out equally strong. Yes, each of them is strange and memorable in their own way – be it the hot-tempered captain Cale, the nervous second pilot Jimmy or the mysterious engineer Swansea. But it was Swansea who became truly alive and whole for me. His thoughts about fate, fatigue from chaos and attempts to simply “live normally” at the end of the story touched me the most.

It’s better to get to know the other characters yourself – I won’t spoil them. I’ll just say that they are ambiguous: in some places the script hits the mark, and in others, on the contrary, it misses the mark. But the point, as it seems to me, is not in the weaknesses of the screenwriter, but in the concept itself. This is not a series or even a full-fledged film, but just a couple of hours of a strange, almost hallucinogenic story, entirely subordinated to the author’s idea. Here it was more important not to reveal the characters in detail, but to stun, to pull the viewer’s nerves and knock him out of his comfort zone. And in this sense, Mouthwashing does a great job. Everything – from the crazy scenes, as if pulled out of a nightmare, to the visual style in the spirit of old PS1 games – serves this purpose. This dirty picture, graphic artifacts, bugs that are not really bugs – they do not just add gloom to the atmosphere, but make it truly arthouse, frightening and attractive.

The main thing I want to praise Mouthwashing for is the presentation of the story. Instead of the usual linear narrative, everything here is built on the interweaving of times: the past, the present, and even alternative views on the same events constantly replace each other. Everything begins with a catastrophe, and then we are thrown back, then returned to the present – and all this with a full awareness of the structure, without a sense of chaos. On the contrary, the narrative is structured with obvious authorial precision – the intrigue holds tight, the tension does not subside until the very end. Against this background, the direction also works great: with daring techniques, postmodern humor and such powerful scenes that they are etched in the memory for a long time. Is it scary? No – this is not the case. But it is shocking – and how. Take the scene where the heroes guzzle mouthwash together, or the captain’s surreal birthday, or that terrifying moment when you stumble upon a tightly bandaged piece of meat in the med bay that barely has human features.

Many of these scenes are accompanied by riddles. Sometimes you have to play tag with a mysterious horse spirit, sometimes you have to twist something inside the captain’s body to assemble the necessary sequence. Visually and conceptually, it’s strange, wild, but catchy.

The puzzles themselves, however, leave mixed feelings. There are quite a few of them, and they are quite varied, especially for a two-hour adventure. But at times they seem too simple, and there is a little more running around the ship than I would like. Although within the framework of a narrative game balancing between interactive drama and a walking simulator, this is quite acceptable and, perhaps, even appropriate.

Is Mouthwashing worth playing?

Mouthwashing feels like that loud and praised series or movie that you haven’t gotten around to for a long time – and then turned on and suddenly got hooked. It draws you in from the first minutes: unusual presentation, dark atmosphere, cool scenes. But the closer to the end, the more often you start to stop and think: is everything really so perfect? ​​Somewhere doubts appear, something seems far-fetched – and this, of course, is not a minus, but just a normal subjective experience.

What pleases:

• exciting and sometimes shocking story;
• bright, unconventional characters;
• clear direction, without random decisions;
• powerful scenes that remain in the memory;
• atmospheric puzzles;
• visuals and sound are just candy.

What spoils the impression a little:

• not all plot twists and motivations seem logical;
• there are characters who lack development;
• In some places the game turns into running around the same corridors – and this is tiring.

Mouthwashing System Requirements

How to play Mouthwashing for free on Steam via VpeSports

That’s exactly what happens in Mouthwashing. It doesn’t give you a chance to settle in. No long intros. No hand-holding. You wake up in the aftermath of something terrible — and the only way forward is through fragments of what came before. The past creeps in like fog, and every corridor, every whisper, every strange moment with your crewmates pulls you deeper into something you can’t quite explain.

This isn’t a horror game in the traditional sense. It’s intimate, unnerving, and strangely poetic. There’s dread, yes — but also laughter in the absurd, beauty in the grotesque, and characters who feel painfully real in their brokenness. Sometimes you’ll want answers. Sometimes you’ll want out. But Mouthwashing doesn’t offer closure — it offers questions that echo long after the credits roll.

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And when you come up for air, we’d love to hear what it made you feel — confusion, insight, maybe even catharsis. Share your thoughts through a review. Once it’s approved, we’ll send your access credentials by email. It’s our way of keeping things personal — just like the game.

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Unless you’re in the medbay. Then… we can’t promise anything.