The Exit 8 gives players a looping underground passageway and one instruction: exit at 8 if nothing is wrong, turn back if something is. The anomaly detection loop runs on observation and iteration. GPA scores it at the top for Puzzle among walking horror titles — the mechanic distilled the genre to its most precise form.
Game Characteristics
Horror
80%
Logic
80%
Turn-Based
60%
Existential Themes
55%
Dystopian Setting
40%
Dark
40%
High Difficulty
30%
Graphics
30%
Action
20%
Target Audience
Recommended for: Beginners to Advanceds (scores ≥ 50 indicate a good fit)
The Stigmatized Property drops players into a Tokyo apartment building with a history of fatal incidents. Chilla's Art's signature found footage aesthetic and abrupt pacing create tension through restraint rather than spectacle. GPA scores it high on Horror and Dark World — the combination that defines the Japanese indie horror genre's most prolific studio.
Tag Similarity
Horror
80%
Logic
75%
Turn-Based
0%
Existential Themes
55%
Dystopian Setting
40%
Dark
40%
High Difficulty
30%
Graphics
25%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
Shinkansen 0 uses the Shinkansen platform and car interior as its liminal setting, alternating between the empty station and the moving train. The anomaly detection runs across both environments. GPA scores it high on Horror and Puzzle — the combination that places it in the Exit 8 lineage of walking horror designed around observational attention.
Tag Similarity
Horror
80%
Logic
80%
Turn-Based
0%
Existential Themes
60%
Dystopian Setting
75%
Dark
65%
High Difficulty
0%
Graphics
70%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
The Platform 8 traps players on a commuter train that never arrives, applying the anomaly detection mechanic from Exit 8 to a moving environment. GPA scores it high on Horror and Puzzle.
Tag Similarity
Horror
80%
Logic
80%
Turn-Based
0%
Existential Themes
65%
Dystopian Setting
80%
Dark
70%
High Difficulty
0%
Graphics
70%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
Interior Worlds sends players through unlit rooms with only a flash camera for visibility. Each press of the shutter illuminates the space for a fraction of a second. GPA scores it high on Horror and Dark World — the mechanic makes darkness the primary material.
Tag Similarity
Horror
85%
Logic
55%
Turn-Based
0%
Existential Themes
65%
Dystopian Setting
80%
Dark
85%
High Difficulty
0%
Graphics
70%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
Infinitum loops players through suburban residential environments where nothing happens — until the repetition itself becomes the horror. The flag collection that enables escape requires attention to what hasn't changed. GPA scores it high on Dark World and Puzzle — a game where boredom is used as a controlled design element.
Tag Similarity
Horror
75%
Logic
65%
Turn-Based
0%
Existential Themes
70%
Dystopian Setting
80%
Dark
70%
High Difficulty
0%
Graphics
60%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
The Backrooms 1998 processes its found footage through VHS degradation artifacts that make the yellow corridor footage feel like a discovered recording. The 1998 timestamp commits to the analog horror aesthetic. GPA scores it high on Horror and Dark World — the found footage framing is the design, not decoration.
Tag Similarity
Horror
90%
Logic
50%
Turn-Based
0%
Existential Themes
65%
Dystopian Setting
85%
Dark
85%
High Difficulty
0%
Graphics
60%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
Escape the Backrooms progresses through Backrooms levels with distinct environments and rulesets for each. The layer count is the largest in the genre. GPA scores it high on Horror and Puzzle — the combination that describes a game where the architecture of each level is its own survival problem.
Tag Similarity
Horror
85%
Logic
75%
Turn-Based
0%
Existential Themes
60%
Dystopian Setting
85%
Dark
80%
High Difficulty
0%
Graphics
65%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
KAKURENBO: Hide and Seek follows a child through an abandoned rural area using hand-illustrated 2.5D environments. Four endings. GPA scores it high on Horror and Multiple Endings.
Tag Similarity
Horror
70%
Logic
40%
Turn-Based
30%
Existential Themes
55%
Dystopian Setting
70%
Dark
60%
High Difficulty
0%
Graphics
50%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
Inside the Backrooms supports co-op play across its escape sequences, running puzzle solving and creature avoidance in parallel. The multi-floor structure gives each section distinct rules. GPA scores it high on Co-op and Horror — the combination that identifies the Backrooms game most committed to building conventional gameplay around the source material.
Tag Similarity
Horror
85%
Logic
70%
Turn-Based
0%
Existential Themes
60%
Dystopian Setting
80%
Dark
80%
High Difficulty
0%
Graphics
65%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
Phasmophobia tasks a team with identifying ghost types through evidence collection using voice recognition and sensor equipment. Calling out a ghost's name in the dark produces audible responses. GPA scores it at the top for Co-op and high on Horror — the combination that captures a game built entirely around cooperative tension.
Tag Similarity
Horror
90%
Logic
65%
Turn-Based
0%
Existential Themes
0%
Dystopian Setting
70%
Dark
60%
High Difficulty
65%
Graphics
40%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
SEPTEMBER 1999 runs for five and a half minutes. A VHS recording moves through a house with something wrong. Free to play. GPA scores it high on Horror and Dark World — the entire game is a tone delivery system at minimum viable length.
Tag Similarity
Horror
75%
Logic
0%
Turn-Based
0%
Existential Themes
55%
Dystopian Setting
70%
Dark
70%
High Difficulty
0%
Graphics
40%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
DREDGE sends a lone fisherman through an isolated archipelago where the fish are wrong and the nights are dangerous. The Lovecraftian horror escalates through item descriptions and environmental events rather than cutscenes. GPA scores it high on Dark World and Horror — the combination that separates it from other fishing games structurally.
Tag Similarity
Horror
65%
Logic
50%
Turn-Based
0%
Existential Themes
60%
Dystopian Setting
65%
Dark
60%
High Difficulty
40%
Graphics
60%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
The Backrooms: Found Footage runs its maze survival on audio cues rather than visual information, reducing the yellow corridor environment to sound as the primary input. GPA scores it high on Horror — the design commits fully to sensory reduction as the horror mechanism.
Tag Similarity
Horror
90%
Logic
0%
Turn-Based
0%
Existential Themes
60%
Dystopian Setting
85%
Dark
85%
High Difficulty
0%
Graphics
50%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
LSD: Dream Emulator is available through emulation. The 1998 PlayStation title was built from ten years of dream diary entries, generating environments through a day counter system that produces different results over time. GPA scores it at the top for Existential Themes — the game predates the liminal space concept by twenty years while embodying it completely.
Tag Similarity
Horror
65%
Logic
0%
Turn-Based
0%
Existential Themes
90%
Dystopian Setting
80%
Dark
60%
High Difficulty
0%
Graphics
40%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
The Backrooms: Lost Media uses the visual language of discovered media — degraded footage, missing frames — to present its Backrooms content as documentation. GPA scores it high on Horror and Dark World — the found footage analog horror aesthetic runs through the presentation more deliberately than most Backrooms titles.
Tag Similarity
Horror
85%
Logic
0%
Turn-Based
0%
Existential Themes
65%
Dystopian Setting
85%
Dark
85%
High Difficulty
0%
Graphics
55%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
The Convenience Store sends a night shift worker through a closing routine in a store where the customers stopped coming. Chilla's Art's VHS filter and abrupt transitions carry the horror. GPA scores it high on Horror and Dark World — the combination that defines a liminal horror built around institutional spaces.
Tag Similarity
Horror
85%
Logic
0%
Turn-Based
0%
Existential Themes
60%
Dystopian Setting
80%
Dark
80%
High Difficulty
0%
Graphics
55%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
POOLS renders endless indoor swimming facilities through vintage video camera grain, using footsteps and water echoes as the entire audio design. There are no threats and no objectives. GPA scores it high on Dark World and Existential Themes — the experience is defined entirely by absence and atmosphere.
Tag Similarity
Horror
75%
Logic
0%
Turn-Based
0%
Existential Themes
70%
Dystopian Setting
90%
Dark
70%
High Difficulty
0%
Graphics
75%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
The Complex: Found Footage renders Backrooms Level 0 through VHS processing that makes the yellow fluorescent corridors feel genuinely documented. The found footage framing is structural, not decorative. GPA scores it high on Horror and Graphics — the visual commitment to the format is the primary reason to play.
Tag Similarity
Horror
85%
Logic
0%
Turn-Based
0%
Existential Themes
65%
Dystopian Setting
85%
Dark
80%
High Difficulty
0%
Graphics
90%
Chart tags: Horror / Logic / Turn-Based / Existential Themes / Dystopian Setting / Dark / High Difficulty / Graphics
About "The Exit 8"
▸Game Composition (GPA Analysis)
8番出口 leads with its Escape identity, anchored by the core feel of "The Exit 8 gives players a looping underground passageway and one instruction: exit at 8 if nothing is wrong, turn bac…." The headline profile reads Horror 80% / Logic 80% / Turn-Based 60%, making it a strong pick for fans of Horror and Logic. Skews toward a beginner-to-intermediate audience while still leaving room for more seasoned players.
▸Characteristics & Analysis
Our editorial team scored "8番出口" by using its feel of loop horror, escape, and set in Japan as the primary lens, weighting Horror and Logic most heavily. Top similar titles include "事故物件", "新幹線 0号（Shinkansen 0）", "8番のりば（The Platform 8）".
The Exit 8 — Liminal Spaces, Backrooms, and Japan's Underground Corridor Horror
Overview — an indie "anomaly hunt" that went global
The Exit 8(Japan: 8番出口) is a first-person loop horror game from KOTAKE CREATE. You walk underground corridors, turn back when something looks wrong, and only advance through "normal" sections toward Exit 8. Miss an anomaly and you are sent to Exit 0 — back to the start.
It is an indie title that broke out in English-speaking markets and across Asia. No flashy graphics or long story required: unease in the space itself was enough for a worldwide hit, and the name still shows up whenever similar games are compared.
Another acclaimed Japan-born indie horror comes from Chilla's Art: The Stigmatized Property (Japan: 事故物件). Retro VHS visuals and dread tucked inside a believable apartment — quiet horror on the edge of daily life, without leaning on jump scares. On GPA, The Exit 8 ranks #1 in similarity to that title; both hinge on observation and wrongness. Short Japanese horrors built from familiar spaces keep proving they can travel globally without AAA budgets — and these two titles sit in the same wave.
On GPA, Horror and Logic both score 80%. Turn-Based sits at 60% — unusual for horror, added because of the loop structure. That points to design built on quick calls stacked together, not slow puzzle-solving: an observation-and-memory loop.
GPA tag snapshot — The Exit 8
Horror ◀
80%
Logic ◀
80%
Turn-Based
60%
Existential Theme
55%
Dystopian World
40%
Top tags shown here. Use the similarity explorer on this page for deeper comparison.
Liminal spaces and Backrooms — the "uncanny empty" born online
The game landed overseas as something new because it plugs into liminal spaces and Backrooms — aesthetics rooted in internet culture.
Liminal spaces are places meant for passing through — halls, waiting rooms, empty malls, fluorescent-lit tunnels — that feel wrong when nobody is there. They still function, but their purpose drains away. That in-between feeling became a massive meme from the late 2010s through image boards and TikTok.
Backrooms spread around 2019 as online horror: behind reality's walls, endless yellow wallpaper and damp carpet. Real building photos blended with fiction; fear of wandering in and never leaving spawned games and short films.
The Exit 8sits where both meet. A Japanese station underpass — white tile, flat lighting, repeated signs and corners — is classic liminal imagery. Backrooms-style repetition plus "one detail is off" maps directly onto anomaly hunting.
For core horror fans abroad, a Japanese indie slotting into that frame mattered. Steam reviews and Reddit threads call it "Backrooms but Japanese subway" and one of the clearest anomaly games — word of mouth crossed language barriers.
Why a Japanese subway — and why station passages
The setting is Japan's subway and station connectors. Where Backrooms used generic offices, this game chose infrastructure specific to Japan. That hits domestic familiarity and foreign uncanny at once.
Japanese horror film returns to subways and underground malls: gates that should be closed, platforms after last train, narrow maintenance paths — places where surface rules feel thin. The Exit 8 recreates that without exposition. Almost no dialogue; if you have lived in Japan, you recognize the air.
KOTAKE CREATE did not pick the backdrop for looks alone — it is the game. Identical hall layouts let a poster angle, manhole count, or light color register as an anomaly. Subway passages supply endless near-duplicate stages for spotting differences.
Why Japanese subways feel uncanny — author perspective
Urban Japan packs subway lines especially dense in city centers; Tokyo alone runs many routes deep underground. Daily commute infrastructure that changes face by time of day — that split is where the creep starts.
Daytime: crowds, footsteps, announcements. Night: the same hall goes quiet. Shutters down, passengers gone, distant machinery — if you live here, the moment when human presence vanishes overlaps with liminal-space photos you have seen online.
Subways also appear in news about accidents and crime. Essential, yet never fully comfortable. Dark corners, blind spots for cameras, confusing multi-line layouts — they lodge as slightly scary places. The game makes that latent anxiety visible through loops and penalties.
Foreign players meet "Japanese underground" as exotic; local players watch familiar space turn wrong. Same assets, two layers of fear — a core strength.
Subway as another world — ties to Japanese horror culture
Film, TV, and novels often treat subways and deep underground malls as borders to elsewhere: mapless floors beyond the gate, the same train arriving again after last service, multi-level complexes you cannot climb out of — horror, fantasy, and mystery all reuse the pattern.
Medium
How subways / underground space is used
Link to The Exit 8
Horror film / TV
Beyond the ticket gate / a corridor on the platform that should not exist
The deeper underground you go, the thinner reality's rules become — a recurring device
Urban legend / online horror
Stations after last train, closed gates, empty platforms
Connects naturally to Backrooms and liminal-space culture
Novel / manga
Multi-level underground malls and subway mazes
Complex subterranean stacks framed as stairs into another world
The Exit 8
Keep walking the same hall; trust only the feeling that something is wrong
Horror lives in the space itself, not exposition
The Exit 8 implements that "rules change as you go down" myth as a modern anomaly game. No monster jump — broken spatial logicis the event. J-horror's everyday underside meets Backrooms-style net horror on one line.
What makes it work — the despair of reset to Exit 0
Walk past an anomaly and you return to Exit 0. Clear only normal sections until Exit 8 opens. Runs are short, but one wrong call wipes progress.
Tension differs from jump-scare horror. "Is it safe to go forward?" "Was that corner the same?" — you cannot afford to be wrong. Finding an anomaly hits hard; you want to walk again. The catchcopy's "addictive" loop lives here.
You only walk — so looking becomes the game
First-person movement and looking around. Almost no action. The load is observation, memory, focus — compare each segment to the last, name what feels off. Puzzle-like, but lower time pressure; instead, attention erodes in quiet halls.
Observation
Sign text, object counts, shadow direction — spot normal vs anomaly.
Memory
Without the previous layout in mind, you miss changes — even in short loops.
After a clear, communities debate missed anomalies and speed routes. Simple rules, endless discussion — why the game keeps being referenced.
Streaming — "where's the anomaly?" with the chat
Streamers drove a large share of discovery. "Something wrong here?" "Do we go?" — chat turns into a live detective session focused on one screen.
Horror streams often lean on loud scares; here the draw is fine detail on screen. Clips and vertical video spread fast across JP, EN, and Asian platforms. GPA's "popular on stream" tag reflects that watchable structure.
Not a one-month fad — "Exit 8-like" as genre shorthand
On Steam and Reddit, the title still works as a genre reference. Every similar release gets compared to The Exit 8 first.
Labels like "Exit 8-like" and "anomaly games" stuck. New entries trigger clone debates and original-anomaly lists — standard thread fodder.
That is a design pattern, not just copying: liminal aesthetic, penalized loop, observation puzzle — a checklist for followers. A Japanese indie naming an English-language subgenre is rare since bigger breakout indies.
From indie to worldwide — why a small game spread everywhere
While AAA chases fidelity, The Exit 8 bet on low-poly station halls and minimal UI. A small team read as one author's obsession — easy to spot on Steam's indie shelf.
Rules read without subtitles: anomaly — turn back; clean — forward. Short clears fuel streams, video, and word of mouth. Affordable price reached players who want horror without multi-hour survival runs.
GPA tags "short completion" and "Japanese developer" match that fit: design and timing aligned.
Lineage — after P.T., walking horror reinvented
Repeat a hall, hunt wrongness — P.T. (2014) made that loop famous. The Exit 8 codified it as station passages, Exit 0 penalty, Exit 8 goal.
P.T. twisted one L-shaped corridor; this game stacks many near-identical segments and varied anomalies. Fear from memory mismatch, not jump scares — you want to trust sameness and cannot.
2020s indie horror split into VHS-style, liminal, and anomaly branches. This game took the clearest rules and the easiest Steam pitch — hence the comparison baseline.
Anomaly design — a spoiler-free catalog of wrongness
Anomalies are not set-piece disasters — they are swapped everyday details: one poster, a sign facing wrong, an extra object, unnatural silence. Managed public space breaking reads better than monsters for liminal horror.
Players carry a template of a normal Japanese station hall. Uniform light, aligned tile, standard ads — only deltas count. First run: something feels off, hard to say what. Later: "Was this corner like that before?"
Exit 0 resets motivate memorizing lists — wikis, VODs, Reddit threads. Community knowledge spreads like other indie hits. The Logic 80% score tracks the pleasure of noticing.
Sound and light — horror without jump scares
Graphics at 30% on GPA signals mood over spectacle: fluorescent hum, distant fans, your footsteps — quiet audio, heavy silence.
Flat, bright lighting — not half-face shadow horror. Wrong color temperature or a dead light stands out as anomaly.
Existential Theme 55% fits: is there really an exit? Am I walking forever? The title keeps asking if escape is possible.
Tokyo underground — scale and getting lost
Tokyo's network is among the world's largest. Operators, surface and basement levels, long transfers under identical tile — commuters often forget which exit they used.
The game turns mild real-world disorientation into fatal penalty for one missed anomaly. Locals think "that could happen."
Major hubs with three or four underground floors mirror horror's "stairs into elsewhere." Exit 0 reset feels like seeing the up escalator but never reaching the surface.
Editor's review — after walking the corridors
Editor's Review
Spatial dread
If endless quiet halls scare you more than being chased, this lands. Regular subway users feel the stillness of a night connector transplanted into the game.
Exit 0 despair
Missing an anomaly and snapping back to 0 stings most. That no-mistake pressure makes clearing a clean section feel like real relief.
Simple but deep
Walk-only controls — yet memory and observation still break down. Solo works; so does debriefing anomalies with someone else.
Global context
Backrooms and liminal-space fans get a Japanese take. The hit was context match, not graphics budget.
How GPA neighbors compare
On GPA, Chilla's Art's The Stigmatized Property ranks among the closest matches (around 86% similarity) as another Japan-born indie horror. Phasmophobia, DREDGE, and Chants of Senaar also sit nearby — read them on quiet dread vs observation.
1. The Stigmatized Property (事故物件)
Similarity 86%
Shared: high Horror and Logic, quiet dread in everyday Japanese spaces — a Chilla's Art flagship. Different: VHS-style apartment exploration, not underground anomaly loops.
Similar tag snapshot (top 5)
Horror
80%
Logic
75%
Turn-Based
0%
Existential Theme
55%
Dystopian World
40%
2. Phasmophobia
Similarity 59%
Shared: horror and watchful tension. Different: co-op investigation and voice recognition, not spatial loops.
Similar tag snapshot (top 5)
Horror
90%
Logic
65%
Turn-Based
0%
Existential Theme
0%
Dystopian World
70%
3. DREDGE
Similarity 57%
Shared: dread under routine, dystopian tone. Different: fishing loop and open sea, not anomaly hunting.
Similar tag snapshot (top 5)
Horror
65%
Logic
50%
Turn-Based
0%
Existential Theme
60%
Dystopian World
65%
4. Chants of Senaar
Similarity 49%
Shared: the thrill of noticing. Different: language-decipher puzzle, lighter horror.
Similar tag snapshot (top 5)
Horror
0%
Logic
95%
Turn-Based
0%
Existential Theme
60%
Dystopian World
50%
The Exit 8 owns solo liminal anomaly horror — not co-op ghost hunting or fishing dread. The Stigmatized Propertyis the nearest quiet Japanese horror cousin; this game separates itself with underground loops and the Exit 0 / Exit 8 penalty frame. Nudge Horror and Logic on this page's sliders to browse nearby quiet thrillers.
Slow unease, not loud scares — but reset pressure is real. Lower volume, short sessions help beginners try it.
Q. How long to finish?
Many first-timers reach Exit 8 within a few hours. Learning anomalies shortens runs; memo speedruns are part of the fun.
Q. Fun without living in Japan?
Rules need no language. Many overseas players treat Japanese subway halls as exotic liminal space — hence heavy English Steam reviews.
Q. How is it different from Exit 8-likes?
Followers swap settings — hospitals, schools, offices — or crank difficulty. The original owns Japanese station passages and the Exit 0 / Exit 8 metaphor as the first reference point.
Q. Spoilers for streaming?
Specific anomalies spoil easily; rules do not. Co-watch detective play vs spoiler avoidance is the tradeoff that helped the game spread.
Who it fits — and who should skip
Target audience (recommended at 50+)
Beginner60
Intermediate75
Advanced50
* Primary range: beginners through advanced players (recommended at 50+). Controls stay light, but observation and memory load still bite on intermediate-plus runs.
Strong fit
·Liminal / Backrooms fans — want to walk it, not just view images
·Observation horror — wrong details over jump scares
·Short sessions — finish in an evening, replay friendly
·Stream viewers / co-op chat
·Subway uncanny resonates
Think twice if
·You want chase or combat horror
·Long plot and character drama first
·Identical scenery loops frustrate you
GPA positioning
Horror 80% and Logic 80% lead; Graphics and High Difficulty stay low — investment in spatial unease, not spectacle or mechanical skill. Existential Theme 55% tracks "still lost" feeling more than explicit philosophy.
Turn-Based 60% reads as per-segment go / back decisions stacking toward Exit 8, not tactical RPG turns.
Raise Logic for Chants of Senaar or Zelda-style puzzles; max Horror for Phasmophobia or Silent Hill 2 Remake. The Exit 8 sits as quiet logic horror.
Bottom line — genre-defining subway liminal horror
An indie that spread worldwide by pairing Backrooms and liminal-space culture with Japanese subway passages. Wrongness over monsters; looking over complex controls — Exit 0 despair and anomaly triumph share the same loop.
Subways are daily life in Japan and a horror staple; abroad they are liminal-space textbook material. That overlap outlasted a fad — Exit 8-like and anomaly games remain the vocabulary.
For your next short horror pick, clear this one, then move the Horror × Logic sliders on this page to find the next title.
Scores use GPA (Gamer's Profile Analyzer) tag weighting. Latest numbers and similarity ranks live on each game's detail page from the GPA home screen.
