Guide to the plot of “Tiny Bunny” – briefly

The protagonist is sixth-grader Anton Petrov, who recently moved to a new neighborhood with his family. From the very beginning, he finds himself caught up in a series of strange and frightening events: children begin disappearing in the neighborhood, and no one can explain what’s happening.

Soon, the forest around the village begins to literally “wake up,” seeming to take on a life of its own. Voices and rustling sounds can be heard from the thicket, mysterious footprints appear at night, and missing children notices are constantly being found in the villages . Anton encounters strange, child-sized people wearing animal masks . It becomes clear almost immediately that they are somehow connected to the missing children.

The player’s decisions determine the further development of the plot. This will allow them to reach one of 20 possible endings. Despite the numerous different endings, many of which often contradict each other, it feels as if the game is a single world. It is not a collection of parallel universes. The different endings are not alternate realities, but distorted manifestations of the same laws: hallucinations, fantasies, partial loss of control, the intervention of parasites and external entities.

Parasites and the collective mind

The central element of the entire story is parasites, which explain mysticism through a fantastical lens. They are the ones responsible for voices in the head, nightmares, transformations into animals, and the sensation of an alien presence. Masks and parasites are directly linked: without a mask, the parasite cannot fully possess the host, while the flute only temporarily activates it.

An illustrative example: Anton’s adult self reacts to flute music only with hallucinations, but when wearing the mask, he loses control and commits murder. If the parasite is activated without the mask, it can be expelled from the body.

The parasites apparently act as a single hive. This explains Anton and Olya’s shared dreams, as well as situations where Anton knows things he shouldn’t. The infection can be passed on hereditarily, but it weakens the parasite, necessitating the Master of the Forest to find a “perfect host” capable of completing the process.

The idea of ​​an “ideal fantasy” also fits here: the parasite seeks to isolate a person’s consciousness, locking it in an illusion, while it gains complete control over the body.

Masks, transformation and the Master of the Forest

Masks aren’t just symbols. They’re an anchor that allows the parasite to gain a foothold and complete its transformation. This is precisely why they’re so important, and why acquiring one is a point of no return. Without a mask, the parasite is unstable; with one, it gains power over the individual.

The Master of the Forest is the central figure of the entire system. He has either long been possessed by the parasite or is its primary host. He directs the parasite’s spread, initiates rituals, and gathers the “beasts.” His image combines the traits of a demonic creature associated with gluttony, the herd, and the subjugation of the will.

The remaining animals are either carriers of parasites or entities that have temporarily inhabited people.

The garage as a node of reality

The garage is an unusual place. It’s a point of materialization, a lair, and a receptacle for entities. It can appear and disappear, indicating its immaterial nature. For entities to operate in the physical world, they require a human host with a parasite inside.

Ritual

The ritual has no clear description, but its essence is achieving the impossible, the final consolidation of the parasites’ power. “Bite the Moon” is more a metaphor for transcending the human and the real than a literal act.

Alice

Alice is the most contradictory element. She simultaneously protects Anton, guides him, and holds him back from the other beasts. She is either a parasite with remnants of a human personality, or a distorted form of consciousness that needs Anton as a key figure to complete the cycle. Such duality is almost entirely absent from the other beasts.

Plot explanation of endings

• Domestic violence. In this ending, the Master of the Forest brings his plan to a localized success. Karina becomes the “chief stowaway” and absorbs Anton and Olya. Crucially, the world around her doesn’t collapse: the newspapers don’t report an apocalypse, and the town continues to live its normal life. This suggests that the parasites don’t necessarily need to destroy the world—they simply need to gain control of the desired hosts. This ending feels like the most down-to-earth and realistic scenario for the Beast’s victory.
• Vanished in the Night. Here, the beasts cross the line and begin to act like creatures from nightmares: they break through the roof, drag children away, and images of eggs and Alice appear as a hypothetical “queen.” Most likely, this isn’t literal reality, but Anton’s distorted perception, as the parasite has almost completely taken over his consciousness. The references here function not as lore, but as a visual language of horror—the world ceases to be stable and descends into pure delirium.
• Apocalypse Now. This ending takes the idea of ​​parasites to its extreme: they are presented as cosmic entities devouring the planet. However, the lack of full-fledged intervention from higher powers suggests that what is happening is either an extreme hallucination or a subjective interpretation of the end of the world through Anton’s eyes. Most likely, this is not a “real apocalypse,” but an image of humanity’s total defeat.

• Escaped from a coma. Anton retreats into fantasy after an overdose, remaining locked in his own inner world. During this time, the parasite gains control of his body and continues to operate in reality. This ending fits well with the overall concept: the parasite doesn’t kill its host if it can use their body without resistance. The strangeness with his mother, whom he leaves untouched, underscores the parasite’s selectivity and pragmatism.
• Mad World. One of the most down-to-earth endings. Here, the mystical is supplanted by the human element: Tikhonov blames the murders on Anton, and the beasts seem to retreat into the shadows. The world isn’t saved, but it’s not destroyed either—evil simply changes form. This ending demonstrates that even without the active beasts, the consequences are irreversible, and the truth can be buried beneath the official narrative.
• Was there a boy? The animals suddenly abandon immediate action and opt for a wait-and-see strategy. This seems illogical, but it could mean Anton was an “unsuitable” host. The parasites need the perfect hare, and if the current one fails to live up to expectations, they are willing to wait for the next generation. The ending emphasizes their cold, calculating nature.
• Hunting Season / Shadows of the Past. These endings are almost identical in meaning and depict another round of violence and retribution. The cemetery scene with Polina and Alisa feels strange precisely because it demonstrates the internal conflict between the parasite and the human personality. Alisa gains the upper hand—and then dies, as if the system self-destructs when it tries to transcend its limits.

• Beasts Among Us / Blood Claw. The idea of ​​physical resistance to the parasites appears here. The claw acts as a talisman, but its logic is contradictory: the parasite sometimes relinquishes control, then returns. This likely demonstrates the instability of the symbiosis rather than clear rules. These endings emphasize that victory over the beasts is possible, but will always be temporary.
• In Still Waters. The plot depicts the intervention of higher powers, which ends the beasts’ history. However, a key question remains: if the beasts are destroyed, why does the system continue to exist? Byashi’s survival hints that the source of evil has not been completely eliminated, and the masks may reappear.
• The Recipe for Love . This depicts the gradual loss of human memory after wearing the mask. Anton forgets his family, but the parasite’s voice seems to fade. This may mean the parasite has achieved its goal: the personality is broken, resistance has disappeared, and further pressure is no longer necessary. The pack is no longer needed—control is complete.
• A Contract with the Devil / Genius and Darkness. These endings provide maximum context: deals, conscious choices, an attempt to solve a problem radically. Byashi’s destruction by burning appears not as a necessity, but as a ritual elimination of a threat when no other option is seen. These are endings where people become executioners themselves, finally accepting the rules of this world.

“Bunny” is a story about loss of control, identity theft, and childhood theft, where parasites exploit children’s fears, desires, and traumas, turning them into hosts. Masks are a tool, the garage is a hub, and the Master of the Forest is a coordinator or patient zero.