Well, I certainly can't fault the ambition. From the disclaimer upon opening the game, you know exactly what you're getting into, and it takes some courage to tackle these kinds of themes. That said, while I don't think anything was handled poorly or disrespectfully, I think this one needed to be paced out a bit more, especially in the second half, to really deliver on this premise.
Breaking it down by rating criteria:
Implementation of Theme:
This is probably the weakest part of the entry for me. I honestly think your best connection to "folklore" is through the "wolf in sheep's clothing" motif, which is rooted in biblical scripture that was later adapted to vernacular adages, but the addition of the Greek mythology aspect, seemingly just to check the jam theme box, makes me think that angle may not have been intentional (to clarify, I think Mary being a "wolf" as in a a danger, literally in sheep's clothing, is intentional, but the reference to that phrase's source material may not be).
Like some others have said, I don't get much from the inclusion of Greek mythology since the stories mentioned by the leads don't really mirror the narrative and it feels tacked on.
Presentation/Writing:
I like a lot of the ideas here, but the execution was hit or miss for me. BGM felt pretty passable for me, not particularly noteworthy or distracting, though I did like the pulsing track that was used whenever the script took a tense turn. The artwork we get for Mary is solid, but I felt like Lucy could have used a few more expressions since we really only have two characters depicted on screen and Lucy only gets a couple variations, one of which is the smile that looks maybe creepier than it was intended to be.
I think color coding the backgrounds based on mood/perception is a cool idea (e.g., the school is green when Mary sees it as a safe space, the color fades once she's with Micheal, and the green tint is gone once she's given a "task" by Micheal and she can no longer use school as a temporary escape) but I think you could have accomplished this with some more subtle filters. I don't mind the sketchy, cartoony art style at all (I think it actually is a really interesting juxtaposition to how disturbing the story is) but with the heavy green filter, I had no idea what I was looking at in the first scene in the classroom.
Writing definitely could've used another proofreading pass, and there was some awkward phrasing that made me wonder if there were things that were getting lost in translation. For example, real early on we have the sentence "The moment the teacher stops talking everyone starts talking" - you want to avoid using the same word twice that close together, and there are a few different ways you could revise this, like "everyone starts talking the moment the teacher stops," or "As soon as the teacher finishes, the class erupts in conversation".
Another sentence I noted was "I just thought it was pitiful that you always spend your time alone" - the script acknowledges that Mary is being awkward here, but that still feels really harsh and I wonder if you intended it to be that way or if you could have used a softer word than "pitiful" here.
Story:
Like I said at the top, the hook here is really good. From the moment Micheal touches Mary's thigh in the car, you know where this story's going, and there are a lot of great little touches that really sell Mary's trauma, including the dissociation, possessiveness, and the very haunting final line of the bad ending where she hopes to never see Lucy again. The first half sets this up really well, but it really starts to stumble as Mary's relationship with Lucy develops. I know you have a comment response below about not doing well with "slow burn" stories, but this one really could've benefited from taking its time and exploring more deeply the impacts Mary and Lucy have on each other.
As it stands, both endings feel too sudden based on where these two are in their friendship. If Lucy is aware of the rumors about Micheal and has serious concerns about them, as we see in the good ending, it seems like a stretch that she'd feel comfortable following Mary home based off of like, one reassurance, especially since Lucy has reason to believe Mary is being manipulated. Even if she did go home with Mary, as Lucy is presented I don't necessarily buy that she'd willingly go off alone with Micheal instead of pushing back on that.
Similarly, I think it would take a lot more than just a conversation or two to break down the years of abuse and trauma and begin to step out from Micheal's control in the good ending. Both of these feel rushed, and the story would be much improved if we got to see these develop more organically.
I also don't know if I totally buy the way the rumors themselves are presented. I get that bad people exist and that they often get away with bad things, but I find it somewhat difficult to believe that if it was that common knowledge that Micheal was a predator and Mary was spotting for him, nobody would have reported him, including his previous victims. I get that there's a perceived stigma around reporting sexual assault, but the way Mary's "friends" are depicted feels too heartless and cruel to feel realistic.
Creativity:
I really can't fault you here. While I think the execution, especially regarding the pacing, could have been better, this was a really ambitious premise and I think this was a valiant effort at depicting the struggles of surviving abuse. For what it's worth, I did think this was a major improvement over your Novembuck entry and I think you're definitely improving your craft, so I hope you stick with it!