Recent reviews by ReMeDy

Kona is an often recommended title for fans who played Firewatch and The Painscreek Killings. Unlike those titles, however, I could not tolerate more than 4 hours of Kona.

It starts off fine enough. You're a private investigator meeting a client, when your client is found dead. You're then left wondering who in town is the murderer as you methodically visit each residence while everyone's mysteriously vanished. This is reminiscent of Painkscreek Killings, where you'll have a foreboding feeling you're being watched as you traverse hours on-foot and on rare occasions by car.

So what does it get wrong? First, the lonely isolation is ruined by an annoying narrator who sounds like they're from the Stanley Parable. This narrator often cracks jokes, making light of situations. Even during a jump scare moment when the lights go out, the narrator feels a need to comment. In games like this, things are better left unsaid. Sometimes not even the game knows whether it wants to use the narrator; inspected objects may instead overlay text on in-game geometry, leaving the player confused whether the narrator broke or whether they need to look around for floating text.

Another issue plaguing users is a visual performance bug impacting frame-rates when the player strafes left and right. I'm reviewing this on a good desktop rig with a RTX 4090, Intel i7-10700k OC'ed @ 4ghz, and 64GB RAM yet despite the fps at 350+ the fps hitches when strafing. Using V-Sync and other graphic options didn't fix this. Multiple users on Steam have reported the issue, yet the issue remains unfixed. This is absurd for a game primarily about navigation.

Speaking of navigation, your character can't sprint long distances. Okay, fine, but there's also no stamina meter. I'm beginning to think this game hates me.

Good news though! There's a survival system in this game! Bad news, it's just a marketing ploy. The survival elements hardly matter. Just light a fire when you need to get warm, smoke a cigarette for your sanity, take a medkit when hurt, done. Basically, when outdoors, treat the game like a mini speed-run and you'll do fine. Just don't light every fire you come across, or you can't complete the game due to a lack of fire matches!

Too bad the inventory management is also convoluted and messy. It over-utilizes a radial wheel menu for everything, made awkward by the game having a weight limit to inventory, and simply annoying when navigating tons of documents.

An absolute mess of a game. Kona doesn't treat the player's time with respect, the narrator is unnecessary, the interface is confusing, and the survival mechanics are hollow. At least it has me excited to play Kona II because now I need to know if the developers learned from their mistakes.

Final score: 3 out of 10

Death Note was at peak popularity in 2007, so it's a miracle this new game exists. Death Note games were mere handheld titles exclusive to Japan reliant on fan translations, yet here we are with a new Death Note game that fans can congregate to with a bit of social deduction on the side.

Is it good? Absolutely, but you must dig to find the labor of love. The game is marred by crashes exclusive to PS5 owners solved by disabling in-game options such as player subtitles. It has audio bugs purportedly allowing investigators to eavesdrop on Kira's secret conversations. It has a questionable (and intentional) design choice where just one player leaving causes the entire game to prematurely end.

It's a shame because the developers clearly understand and appreciate the source material. The graphics use a conglomeration of finger puppets, live 3-D models of Light and L, and 2-D cut-ins straight from the anime with each character's respective Japanese voice acting. It pays homage to scenes like Kira's "all according to plan" meme.

The controls are extremely simple and can be played easily on both keyboard+mouse, or on controller. Players discouraged by complex control schemes will adapt quickly within a game or two. There are offline tutorials and training sections; they're extremely basic, but provide an uninterrupted testing ground to explore the game's features at your own pace. Unfortunately, the bots have no AI and stand like statues; therefore, online play is mandatory for legitimate game-play.

In the same vein as most social deduction games, it's practically required to use voice communication. Players are provided dozens of preset messages, but they're optional and should serve as an aid rather than a voice substitute. Your competition will bring colorful personalities of players: prepubescent teens, street thugs, belchers, bong smokers, etc. On the other hand, you'll encounter new friends and fellow Death Note fans from an anime property that's suffered years of neglect. Add them to your in-game friends list, and ban any you hate.

At its core, the game-play is a simple cat and mouse game akin to Among Us where good guys work together to tag objectives while bad guys pretend, but secretly sabotage (and kill) good guys. The Death Note, however, adds a unique twist to the formula, resulting in delayed kills. More roles have been uncovered in leaks, but for now its base features should entertain a new player for a few dozen games.

At its base $10 price, it's hard to feel ripped off, especially with so much future content promised. This is a live service model unafraid to tease players with in-game cosmetics, but the cosmetics serve no functional advantage. The relaxed pricing makes the game's plethora of day-1 bugs feel a bit forgiving, but it's a shame the developers will lose long-term players over what should be an easy lay-up with an iconic anime license.

In its current state, it's hard to recommend Death Note to anyone but diehard supporters; however, check back on the game periodically. Meanwhile, if you haven't seen the anime or manga, or are looking for the perfect excuse to revisit, then now would be a good opportunity to kill some time. Let's hope the wait is worth it.

Final score: 7 out of 10 (potential 8 or 9 with solved bugs and more content)

Sands of Salzaar is one those games I wish I could give a mixed review, so I'm going to lean into it being negative.

I didn't play Salzaar early in its development cycle, so in its current state, the English reads fine. There's still something in the talent tree left untranslated, and some story text needs an extra quality pass, but thankfully none of it is machine translated, there's rarely any Chinese, and based on past reviews I could tell the game's had several patches. Overall, the English translation is solid, so don't let any of the older reviews concern you.

The main concern left unaddressed is it tries to imitate Diablo's combat... poorly. First, the combat is too quick, so set the in-game speed slower (yea, that's a thing). Second, it's hard to click with any degree of precision, especially if you don't voluntarily slow the game down, so I recommend playing a spell-caster for area of effect tactics. There also doesn't appear to be auto-attack, so if you're not clicking, your character will just stand around. Regardless, combat gets repetitive; there's a lack of battle map variety, with each area sharing only 1-2 maps, depending on if it's a siege.

The AI's fairly bad and can be manipulated thru clever tactics. You'll typically only lose when massively outnumbered, even near max difficulty on just your first new game attempt.

Salzaar only gets easier the more you play by rewarding Legacy points for completing in-game achievements. Legacy points are used for bonuses at the beginning of your next new game. You can also artificially make the game harder with these bonuses, but why someone would subject themselves to more of this game's torturous combat is beyond me.

Salzaar's defining feature is it's campaign world map. It borrows a system nearly identical to the game Mount and Blade (PC). Unlike Mount and Blade however, Salzaar does a better job making the player invested in the story and characters. Mod support further personalizes the player's experience, allowing them to import their own portraits and other tweaks, although most of the mods are in Chinese.

Overall, I wish I could have the world map and characters of Salzaar, but with the combat system of either Diablo or Mount and Blade. Salzaar's combat is holding it back and needs an overhaul. I tried forcing my way thru the combat, but it's a grind that will make you question if the combat is worth investing dozens of hours. If you want a Diablo clone, there's better ones out there.

The leaders look like ugly Disney caricatures, the game looks like it was designed with Android phones, and the women are lacking ample bosoms. Civilization V is superior to VI in every way, and with V's Vox Populi Community mod, the AI is the best in its genre.

(Note: I couldn't tolerate finishing Code Vein, so this review is six hours into the game.)

As a huge Dark Souls and anime fan, Bandai Namco's Code Vein seemed like the perfect marriage. Instead, Code Vein provides valuable lessons on what NOT to do when making a Dark Souls clone, and gives perspective on why FromSoftware's Dark Souls games are exceptional by comparison.

Code Vein's biggest weakest is its level design. Youtuber and Dark Souls aficionado, Iron Pineapple, also attacked the level design, and before playing, I thought, "How bad could it really be?" The first level was fine enough, but when you access the next dungeon, it's as laughable as it is horrendous. The level looks like something an amateur modder would make, consisting of bland cave walls, long corridors, and perfectly geometric square box rooms placed at each end.

Code Vein's second biggest weakness is its lack of enemy variety. With the exception of slimes, you'll be slashing your way through several of the same humanoid looking enemies. Some may be bigger, some may have shields, but it's mostly all the same. Then the game has the audacity to feed us the exact same boss we fought in the first level at the end of the second level.

Another issue is the partner system. In most Dark Souls games, you travel alone, adding a layer of dread to exploration, but Code Vein decides you need a friend. Problem is your friend won't shut-up for more than one minute. Even when you open a basic chest, they'll ask what you found, or when you find a hidden item they'll proclaim they wouldn't have found that, or when close to a cliff, your friend will tell you to be careful. It's refreshing at first, but it repeats a lot. Also, the partner is reliable in combat, but that works to the game's detriment, as you can sit back and spam magic or healing while your partner endures all the risk of dying. Dying is the whole point of a Dark Souls game, so it's cheap you can avert the risk by entrusting your life-bar to an AI.

The character creation system has received glowing praise by some, and a compelling reason to play the game. It's fine, but suffers flaws. First, you must select a face preset, and when you do, you can only make minor adjustments. You can't adjust the geometry of the nose, lips, or eyebrows. You can pick from a variety of preset eyebrows, but you can't fine-tune the eyebrow itself. Want to adjust your outer or inner eyebrows? Better hope there's a preset! There's also a ton of clipping with some of the hair styles, and there's an irony to it all considering your character's face is obstructed by a mask for most of the game anyways.

Your resulting character is a voiceless protagonist, despite the fact you select a voice for your character that accompanies combat damage you incur. Bandai Namco should have taken a Mass Effect approach with one voice actor/actress; it's a Dark Souls clone, so there wouldn't need to be many voiced lines anyways. Bandai Namco wants to tell a compelling story in Code Vein, but they're too shy to give the protagonist a voice!? The story characters who do talk are boring; even during the hot tub segment, they literally don't say anything. They won't shut-up in dungeons, yet they won't say a word in the hot tub? Okay then.

Steam reviews are currently "very positive" and while there's merit to some of its positive qualities, Code Vein fails to understand what makes the Dark Souls games so compelling. I would only recommend Code Vein if you've exhausted all the Dark Soul games, and even then I would put several clones above Code Vein. Watch Iron Pineapple's Youtube videos if you're looking for good Dark Souls clones, because Code Vein aint it, and that's coming from someone who loves anime.

I regret purchasing this game. Censoring a game before release is one thing, but censoring it AFTER release, especially after you've given your customers time to purchase it, is on a whole different level of scummy tactics.

Censorship post-release sets a very dangerous precedent for the future of video games. While I agree sometimes games have to be changed due to licensing reasons, I don't respect a developer censoring a game because they suddenly disagree with its violent content.

Resident Evil 3's remake fails to respect its source material and feels like a rushed cash-grab to capitalize on the recent popularity of Resident Evil 2's remade success. While it acknowledges some of the original Resident Evil 3's features, it lacks the ambition of both its original and the respect Resident Evil 2 Remake gave to Resident Evil 2.

To understand why Resident Evil 3 remake received a downvote, it's necessary to attain the perspective of playing its original. The original Resident Evil 3 had many unique aspects nonexistent in its remake. First, there are no decision prompts affecting the path Jill takes to the ending; it's a linear experience. Second, there are almost no puzzles, besides one near the end and some basic "where do I go" mazes. Third, some prominent stages are also omitted, such as the clock tower, although the clock tower is featured as a brief background set-piece and via an in-game newspaper file, which is even more insulting as it proves Capcom's developers knew the clock tower's significance. Finally, the most egregious sin is the remake's treatment of the Nemesis.

The Nemesis in the original mastered the art of balancing semi-random and scripted encounters to keep player's guessing. His behavior closely exhibited enemies from Haunting Ground (aka Demento) and the Clock Tower series. This made the Nemesis an unpredictable threat who seemed to dynamically roam Raccoon City, providing different experiences on subsequent playthroughs. In the remake, none of this applies; he's entirely scripted and is largely relegated to boss fights, scripted encounters, and cutscenes. Ironically, Mr. X from Resident Evil 2's remake behaved closer to the original Nemesis! It's appropriate Resident Evil 3's remake does not call itself "Resident Evil 3 Nemesis," like its predecessor did, but rather is simply titled "Resident Evil 3." It's as if Capcom knew they didn't invest enough attention into the Nemesis system.

Jill Valentine also returns as the story's protagonist, but she isn't the same Jill from previous games. This Jill has a rude demeanor, and when she's not on a bad mood swing, she's hurling profanities; this is not the Jill most of us grew up with! What ever happened to the positive-minded Jill from Resident Evil 1, who after almost getting crushed like a "Jill sandwich," simply laughed and thanked Barry for saving her? There are better ways to exhibit character strength than displaying a negative attitude.

After completing the game, there's little incentive to replaying. There is no Mercenary mode as seen in the classic Resident Evil 3. Again, there's no alternative in-game decisions seen in the original Resident Evil 3, and unlike Resident Evil 2 there isn't an alternative character to replay the game with. There are new difficulty options which mixes up some of the item and enemy locations, and in-game unlockables, but it's a lazy way to artifically inflate the game's replayability. There's a free add-on called Resident Evil Resistance, but it's a broken mess and has mostly negative reviews.

There's still some fun to be had with Resident Evil 3's remake. If you enjoyed Resident Evil 2's remake, then you'll get more of the same. For better or worse, it's a carbon copy of Resident Evil 2's remake, which is appropriate given the original Resident Evil 3 was planned as expansion content to the original Resident Evil 2 before being made into a fully-fledged title. What's unforgivable is this remake reeks as a rushed cash-grab. It fails to understand the significance of its source material while blatantly omitting several of the original's key features. If you're a Resident Evil fan, I'd still recommend it for the gameplay, but if you're looking for a remake that respects the original, then you'll be sorely disappointed.

Final score: 4/10.

Despite a small team of about two people, Shinrai is a rare example of an indie mystery novel delivering a surprisingly good mystery. Shinrai isn't without its flaws, but given its budget constraints, its a testament that a little passion can go a long way!

The game takes place at a secluded mountain resort, as a group of anime schoolmates convene for a Halloween party. Needless to say things go horribly wrong as murder and mayhem ensues. Piece together the clues, and discern who's truly responsible, otherwise you may wrongly send an innocent character to jail!

My initial concerns focused on the artwork. The characters possessed a flat color palette with thick black strokes, reminiscent of college Adobe Illustrator projects. The artwork certainly screamed indie; however, as a mystery novel enthusiast, I pressed on, and I'm glad I did. Once you dive into the game, the artwork morphs into something endearing, giving the characters a distinct charm. The characters adhere to basic anime tropes, but regardless, they're lovably entertaining with their expressive personalities, bad puns apenty, slapstick comedy, and playful sexual innuendo. If you've played similar anime detective games, such as Phoenix Wright and Danganronpa, you'll feel right at home.

The main character, Raiko, is the story's Sherlock. The developers make no secret she's inspired by Detective Conan with her nerdy personality, over-sized glasses, and small stature. Despite her appearance, Raiko is a surprisingly confident and mature 14-yr old protagonist who the other characters learn from, and even slowly idolize. Beneath her anti-social behavior lies a cool, calm, and collected girl, providing hilarious scenes when clashed against the game's outlandish personalities.

While Raiko makes for a good Sherlock, the same can't be said for her Watson sidekick, Nobara. Her dialog mimics a southern accent, but it comes off being hard to read. It's made worse whenever she panics, delivering stammered speech patterns, occuring frequently. It's clear Raiko and Nobara are inseparable, but in the sequel, a different Watson would be a nice change of pace, or at the very least Nobara needs to tone down the accent. A character can still have an accent without having it spelled out constantly.

None of the characters are voice acted, but that's never been a requirement for good visual novels. Bad voice acting can otherwise ruin a great game, and plenty of visual novels have stood the test of time without them. Meanwhile, the composer delivers a fantastic performance. The game could use a couple more soundtracks, as what little there is gets recycled frequently. The music is at its best in the mountain resort's creepy dark environments the characters often find themselves in, where uncertainty is in the air, and anything can jump out to surprise them. I knew the music was effective when I would brace myself for a potential jump scare!

The glaring weakness of Shinrai is its Ren'Py engine interface, suffering multiple setbacks. The game cannot be saved during decision prompts, which in the world of visual novels is unforgivable. Instead, you'll need foresight to know when important decisions approach so you can save in advance. What's worse, there's only a max of 16 save slots.

The interface panel's functionality is only available during Raiko's narration segments, so if you want to skip text, but you're stuck in a conversation, then you must progress through the conversation until seeing a narration segment to reveal the interface. The game's text also suffers persistent glitching where every few lines it gets stretched or compressed by a few pixels. You'll learn to ignore it, but it's bizarre how a visual novel engine fails to accomplish so many basic essentials.

The overall story and mystery, however, is compelling and exciting. You won't want to put the game down as it flirts with the idea of an impossible murder reminscient of an Agathe Christie novel. The player must piece together evidence acquired in various investigation segments, inspired from point-and-click games. At the game's conclusion, the player is challenged to make reason of the evidence, and declare who performed the deed. Reaching the wrong conclusion provides one of several "bad endings." Players are ranked with a final score and given various bonus content, notably hidden epilogue scenes detailing deeper motivations of certain characters.

Some players have mentioned the game takes too long to setup the introduction before it gets exciting. This is understandable, but if you're accustomed to playing longer visual novels and understand the nuisances of mystery writing, then you know exposition is par for the course. By the end of the game, you'll want to learn more about the characters anyways!

There is one flaw to the mystery that almost makes me not want to recommend the game. This is a HEAVY SPOILER!...
According to Van Dine, "A crime must never turn out to be a suicide. To end an odyssey of sleuthing with such an anti-climax is to hoodwink the trusting and kind-hearted reader." Some of Van Dine's rules are obsolete, but this isn't one of them. The advantage of using anime as an art medium is character emotion. Shinrai doesn't give us the pleasure of fingering the culprit and watching them squirm. Instead, the reader can't help but feel the culprit accomplished their goal, escaping an interrogation and prison sentence. This is a missed opportunity for those accustomed to the precedent set by Phoenix Wright and Danganronpa.

Shinrai is rather short at about 15 hours, which is a perfect length and makes it more accessible to wider audiences. Considering the game's save slot restriction, this is certainly a blessing. While it's light on content, the mystery has enough twists to keep the player guessing. It's challenging enough for veteran mystery readers, while also being a great entry point to those new to mystery or visual novel genres.

While it's hard to recommend Shinrai over bigger budget titles, such as Phoenix Wright or Danganronpa, Shinrai provides a thrilling substitute for mystery fans, providing that itch of content when the well of other mystery titles dries up. Shinrai lays the groundwork for a memorable and loving cast of characters from which the developers can build on with future titles. Raiko compares favorably to the pantheon of other mystery novel Sherlocks, and the story holds its own to even professional mysteries. There is strong potential for Raiko as a future detective star. With a sequel to Shinrai already in the works, the development team surely agrees, and it will be interesting seeing what mischief Raiko-nyan finds herself in next!

Final Score: 7/10

p.s. I am a mystery novel veteran who did solve the mystery on my first try with about an 86% detective rating, but only because Umineko no Naku Koro ni trained me to be a good detective; otherwise, I doubt I would have figured it out. It definitely had me challenged!

(Note: This review was written after chapter 4's release. If the final fifth chapter impacts this review, I will update it accordingly. I am also a man.)

Female-driven visual novels have become increasingly common among western audiences. Unfortunately, these games are also peppered with groan-inducing young boys seeking to win the hearts of adolescent girls through affection. Where are the games with dark storytelling and evil men, and why is it taboo for women to fantasize about them? Demonheart wisely accommodates this void with a cast of evil love interests and a thought-provoking dark narrative.

To understand the nuances of Demonheart, we must trace its origins back to the PC game, Neverwinter Nights. Demonheart originated as a mod, given life as this visual novel. This visual novel is mostly a rehashed story from the mod; however, there are enough new surprises to satisfy returning players, especially since the original mod was never finished.

The major flaw in transitioning Demonheart from an action role-playing game to a visual novel is the difference in scope. When we subtract the combat and exploration, what's left is a condensed story barely enough to qualify as a short visual novel, clocking in at about ten hours. Regardless, the story expertly weaves a powerful narrative into these limited hours, and the universe the story provides leaves open the possibility for future sequels.

The protagonist is a beautiful young woman named Bright. She can be anything the player wants, from honest and affectionate to deceitful and cruel. One feature that faithfully makes its transition from Neverwinter Nights is that everything Bright says is produced through the player selecting decision prompts. Typical visual novels only provide these opportunities a few times a game; Demonheart provides hundreds. Admittedly, most of these decisions are an illusion of choice, but because the player won't always know what decisions impact the story, it's suspenseful nonetheless. Bright will be presented a number of evil (or good) opportunities to provide an outlet for a player's dark fantasies while the game monitors her progress with a built-in alignment system.

The alignment system, unfortunately, feels a bit superficial. In just 20 minutes, the player can max out their choice of alignment. Most games use alignment as a progression system to track the player over an entire narrative, but in Demonheart it feels tacked on to accommodate returning Neverwinter Nights players. Nonetheless, its inclusion is a feel-good ego boost for players to have the peace of mind knowing their good or evil decisions are having an impact.

Demonheart is a dark story, and the weight is carried by its antiheroes, Brash and Raze. Both are potential love interests, imposing their sexual emotions upon Bright. Brash is a powerful and irritable knight, openly disdaining anyone he remotely disagrees with. He's also incredibly sexist and brutally honest about it. Meanwhile, Raze is a demon working from the shadows, whispering dark suggestions into Bright's head and isn't shy about conquering her. Most games driven by female protagonists exhibit bad-boys as basic delinquents; in Demonheart, these bad-boys are genuinely evil men, exhibiting ruthlessness and sexual perversions uncharacteristic of most female protagonist games.

These perversions are given further clarity with voice acting. For a small-scale visual novel, I was nervous at its inclusion; voice acting when done poorly can ruin an otherwise great game. The developer wisely invested time into patiently selecting a commendable cast of performers. The voice acting ranges from below average to impressive. The worst is from Bright's mother, who lacks enthusiasm. The best performances, thankfully, are from the main supporting actors, Brash and Raze who perfectly capture their personalities. The two have a unique accent as Brash possesses a rough demanding voice while Raze presents himself as a suave sophisticated playboy. Sometimes, they can deliver a line that falls flat, or perhaps their microphone is too close or far from their face, but it's rare enough to ignore.

The artwork for the characters and the fictional world they inhabit is both distinct and beautiful. The characters possess a combination of striking eyes with normal human features, possibly inspired from Neverwinter Night's fantasy portrait art. The backgrounds share details from old oil paintings, which is a pleasant comparison to the story's dark fantasy setting. Some early critics shared animosity at early impressions of the game's artwork, but after seeing the totality of the artistic marriage, I am convinced the art is successful.

One major omission from the art in contrast to its Neverwinter Night's mod is the sex. The mod was not under sexual scrutiny from Steam, allowing for a different depiction of the characters, especially Brash. That version of Brash was a sex-craved addict who practiced what he preached, consequently making him more unpredictable and dangerous. By comparison, Brash in the visual novel is still violent, but stops short at having sex, as if he knows he's being monitored by the ratings board. Not even the protagonist calling him "queer" impacts Brash, for under the watchful eye of parents, Brash knows his hands are tied as he's met his match. Oh, but don't worry, it's totally fine if he kills people, right?

Demonheart may lack in explicit sex, but it still provides an unforgettable unique story showcased by its powerful and sexually suggestive cast of antiheroes. It explores a dark female-driven narrative appealing to both male and female audiences, and succeeds better than some had originally thought at the transition from a Neverwinter Nights mod to full-fledged visual novel. Oh, and Lamb, if you're reading this, write a sex scene into the chapter 5 ending. Cut to black if you have to.

Final Score: 9/10.

Mr. Shifty is a game with a unique concept weighed down by shallow development. It's close to being a perfect game, but some things dramatically set it back.

The technical issues are appalling given the game's simple graphics. The game crashed twice, and when it does, you must restart the entire level. Various comments have attested to these crashes. Thankfully, each level only lasts an average of 9 minutes, but for such a simple looking game to crash not once, but twice, is unforgiveable. Second, despite my strong desktop PC, the game occassionally suffers from micro stutters in the game's second half when there's more enemies and explosions. In a game of one-hit instant deaths, these stutters compromise the gameplay's theme of fast-paced action, and may get you killed.

The characters are incredibly shallow. I wasn't expecting Shakespeare, but regardless, you never find out why Mr. Shifty has his powers. Furthermore, Mr. Shifty is a silent protagonist, so there's nothing compelling about him, other than his mysterious superpowers of unknown origin. Silent protagonists can work when they're surrounded by interesting characters, but the only two characters we have -- Nyx and Stone -- provide no backstory and don't complement the protagonist. Nyx's commentary is basically dry one-liners to make your eyes roll. Stone is no better and is akin to Diablo III bosses who won't shut their mouth as Mr. Shifty traverses each level.

The game has no end-game content. There's no survival mode, no level editor, no trial modes, no time attack, no extra difficulty settings... nothing. When you complete the story, you're kicked to the main menu and left to wonder what to do next. What's worse, the single player can be completed within 8 hours, and that's despite the fact I died about 200 times.

I enjoyed my time with the game, but whether I would recommend this game or not is a tough decision. Despite the interesting teleporting mechanic, it doesn't compensate for what feels like an incomplete game needing more time in development.