Like the more elaborate Blue Suburbia, Alexis isn't so much a game with goals and clear objectives as a rhizome open for exploration, with a human subject poised in its center. After an opening cinematic you're able to click on different underlined words in the girl's aloof break-up letter and get a sub-cinematic as a result. Its really weak interaction design, in contrast to a really robust gamer's game, but its interesting for a few minutes even as the hamster choir and tweaked out teeny-bopper voice grows excruciatingly irritating. This is in part due to the sonics, but mostly due to the archetypal experience of being dumped by someone more attractive and less intelligent than yourself, which if you haven't experienced directly, you've probably experienced vicariously through some form of popular culture.
What is most interesting about Alexis from a designer's point of view is how its subject exudes socially meaningful feedback in her motions and eyebrow twinges and talk-to-the-hand theatrics—if only there was an interface and algorithm to account for that kind of personality (not necessarily Alexis', but any personality expressed so vividly). Most designers chasing that grail would, lacking the necessary conceptual tools, construct elaborate puzzles with social dressing and tie in a plot twist to the logic of the solution, adventure game style. The Alien Melon aesthetic wouldn't have it though, closure isn't in their vocabulary, so clicking on the continue tab gives you all the closure that an almost completely random close-up of a plush moose doll can give.