[3] Impostor Factory's gameplay is similar to that of the first game in the series, To the Moon, which was built on the RPG Maker XP engine.

The massive estate is owned by Dr. Yu and Dr. Haynes, who run the illustrious Yu-Haynes Foundation in an underground lab hidden deep beneath the mansion.

Quincy gets acquainted with the other party guests, including Lynri Watts, a mysterious young woman with the ability to seemingly be in two places at once.

As a young child, Lynri was prone to sudden blackouts and was eventually diagnosed with a rare genetic disorder that could become malignant with little warning.

Isolated from her peers by the knowledge of her condition, Lynri devoted herself to studying neuroscience, specifically research on encoding human memories into computers.

Lynri immediately begins to work with the Foundation on developing technology that would interface directly with human memories, while Quincy takes on a domestic role at their home.

One day, Lynri arrives late to a disastrous product demonstration for investors, where a colleague is unexpectedly killed by a memory-interfacing prototype.

Overwhelmed with the realization that she could have died that day regardless of her health, Lynri decides to travel the world with Quincy, finally fulfilling a long-time goal of theirs.

Consistently wheelchair-bound and on oxygen support, Tobias is raised with all the love that his family can give him, but ultimately dies of health complications as a young child.

Many years later, one day prior to a product launch of the technology, Lynri decides to run another test on the device.

Towards the end of her life, she returned to the Foundation to use their machine to preserve her memories for her son, but they became inaccessible after her death due to technical issues.

[6][7] Laura Shigihara, whose vocals were featured in the previous major installments, is noticeably uncredited as her voice wasn't suited for the game's darker elements.

[10] Damaso Scibetta of IGN Italia gave a positive review, saying: "Gao's writing is always impeccable and is capable of never falling into the banal, even when it touches themes already abused in the medium and in narration in general.

"[11] Bob Richardson of RPG Fan also gave a positive review, saying: "It’s akin to going into an art gallery and scoring each painting or sculpture, and while that seems like I’m laying the praise on a bit thick, I genuinely feel this way."