Home Is Where He Is Walkthrough

Home Is Where He Is is a short first-person horror visual novel about a house you cannot leave and the person already inside it. Mould moves through the rooms while you move through them too, and the game never once stops to tell you how dangerous he is. It only asks you what you do next.

The script is small enough to read end to end, which makes the branching unusually easy to pin down. Two running numbers, fear and affinity, are adjusted by almost every menu you touch. One threshold on one of them decides which of four endings you get, and a single late choice splits the good ending in two. Here is how it actually works.

The house and the person in it

Chapter one opens in your own bedroom. The back door is already locked when you try it, and you find yourself moving through the kitchen, the corridor and your bedroom on autopilot, looking for clothes to wear and a way to leave. The game names the other character Mould and refers to you in a way the player chooses at the start.

What makes the early game work is that Mould is never announced. He simply is in a room you enter, wearing something of yours, close enough that the text stops describing him and starts reacting to him. The first frame below is the moment the script writes it plainly: he is sitting on your bed in your sweater.

The choices the script actually tracks

The first real fork is a piece of fruit on the kitchen table with a bite already taken out of it. Three options, three different bookkeeping results. Throwing it in the bin sets both jogou_fora and nao_comer and adds two points of fear. Leaving it where it lies sets deixou_la with no cost. Eating it sets comer and adds five points of affinity — by far the largest single swing in the game.

Two more forks follow in the same bathroom. You can ignore a drawing and go to bed, or look in the mirror, and inside that you either wipe the drawing or leave it. After the wardrobe, the closed cupboard door and the breathing behind it, the script offers two responses, both of which raise fear — running away costs twice what shouting does.

Fear and affinity are the whole route

Across the whole script there are only two numeric trackers. medo rises when you are frightened, when you throw things away, and most steeply when you flee. afinidade rises on the rare choices that accept closeness instead of resisting it. Almost nothing lowers either one.

Chapter two compares them directly at the close. If affinity is higher than fear the final line reads that you fall asleep feeling held. Otherwise you turn onto your side and the silence does not comfort you. Then the single number that matters arrives: if affinity is 8 or higher, you get a good ending; anything lower and you get the neutral one. No amount of fear alone can push you below that line — only low affinity can.

The four endings

The script names all four endings on screen in Portuguese, and each one is reached by a condition you can check against your own file rather than guess at.

• Além dos limites — the bad ending, shown on screen as Final ruim. Reached independently of the affinity threshold, and it is the one ending that does not let you keep your distance.
• Ao seu lado — Final bom 1. The best of the good pair, awarded only when the final_bom1 flag is set, which happens if you let him stay close at the final bedside prompt.
• Perto o bastante — Final bom 2. The same good ending sequence, but the flag is never set, so the closing choice plays out differently.
• Do outro lado — Final neutro. The default when affinity finishes below 8. You are left on your own side of a door that never opens.

Tips before you start

• The whole route hinges on one number. Reaching affinity 8 is the only requirement for a good ending; fear is a secondary stat that colours the prose but does not gate the outcome.
• Eating the fruit is worth five affinity on its own, which means it alone can carry you to the good ending if you then avoid the fear-heavy options.
• Running away always costs two points of fear, while shouting costs one. On a low-affinity run, which one you pick changes the closing paragraph but not the ending.
• Check the endings list to see which of the four you still have outstanding before you start a new file.

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