首先说明，这游戏绝不是什么“恐怖游戏”，我不知道为什么所有的宣发（包括B站很多安利UP的前瞻评测）都把这个游戏称为恐怖游戏，这是彻头彻尾的宣发失败，而且会让很多潜在玩家望而却步。Steam页面简介写的非常明确，这是一部“电影式心理惊悚游戏”，又或者说其实就是一部“以步行模拟玩法为主，基于反乌托邦背景的，科幻悬疑作品”。硬要说的话这部作品和之前推荐的无人愿死（Nobody Wants to Die）属于同一范畴，不过后者在玩法里将悬疑要素贯彻的更为彻底。
Let me clarify upfront: this game is absolutely NOT a "horror game." I have no idea why all promotional materials—including preview reviews from many Bilibili content creators—keep labeling it as such. This is a complete misrepresentation that risks alienating potential players. As clearly stated on its Store page, this is a "cinematic psychological thriller"—or more accurately, a "walking simulator-driven sci-fi mystery set in a dystopian world." If I had to compare it, it falls into the same category as Nobody Wants to Die (which I’ve recommended before), though the latter executes its mystery elements far more cohesively through gameplay.

游戏的美术可以说是近年来，或者说从绿美迪（Remedy）的控制（Control）之后少见的具有独特风格的艺术品，这段时间内的另一个典型代表是无人愿死（疯狂安利）。从很多关卡的设计中能窥见好多在一段时间内讨论度超高的作品的影子，比如：控制、观察者（>observer_）、蔑视（Scorn）、艾迪芬奇的奇幻记忆（What Remains of Edith Finch）、史丹利的寓言（The Stanley Parable）后室（Backroom）、超阈限空间（Superliminal）、黑色洛城（LA Noire），如果我有遗漏欢迎补充。而技术设定上则很像盗梦空间（Inception），甚至后面演都不演的，查重率99%的脑控介入设备和时延场景直接拿来就用了（高情商：致敬）。
The game’s art direction stands as one of the most distinctive achievements in recent years—arguably since Remedy’s Control —with Nobody Wants to Die (which I’ll shamelessly plug again) being another standout example. Its environments evoke clear inspirations from several zeitgeist-defining works: Control , Outlast , Observer , Scorn , What Remains of Edith Finch , The Stanley Parable , Backrooms , Superliminal , and L.A. Noire (if I’ve missed any obvious influences, feel free to chime in!). On the technical side, the game borrows heavily from Inception —so much so that it barely bothers to disguise its “homages.” The brain-interface devices and time-dilated dreamscapes feel lifted straight from Nolan’s playbook (to put it generously: let’s call them “tributes” with 99% similarity).

剧情上我能理解为什么很多评论区的玩家认为这游戏不够完整，毕竟从“反乌托邦”这个定义来说，结尾好像才刚刚有点触到“反”的边缘。而事实上是，对于一部独立游戏处女作来说，即便不给予过多宽容，其在有限的框架下也已经呈现了一段足够令人感触颇深的故事，更别提还完成了非常鲜活多元的群像塑造，从叙事上来说这个剧本是成功的，绝对不是像某些人说的“平庸、陈旧、缺乏深度”。而至于对还需努力的“抗争（Revolution）”，好多人在评论中希望看到的是游戏内主角像2077的V在“残躯化烈火”线中一样轰轰烈烈的大干一场，或者像另一位V（V字仇杀队）一样来一场悲壮的“谢幕演出”。对于此我只能说别太理想化，而且恕直言，这种流于表面的抗争才是最肤浅和缺乏逻辑的。在因与果的世界观下，掌握意识潜入技术的主角完全不需要这种暴力冲突就能改变很多事情，故事的结尾也说明了这一点。更别提制作组其实已经在他们现实中所属的这个特殊的社会大背景下努力呈现出了好多极具讽刺意味的暗喻意象，其中最具代表的就是这个叫“Rule’s Follower”的解密盒子，我看好多人在评论区骂说这东西不就是行测题么，所以你品，你细品。同时你还能看到更多：逐利的父母用所谓的爱当成绳索捆绑住自己的孩子，反手将其作为商品任人宰割；利己的雇员图谋陷害同事不成半身不遂，反而将自己包装成受害者，用妻子孩子博取陌生人同情，等等。
对比来看，整部作品最科幻的部分莫过于，一位两鬓斑白的父亲像向自己的儿子道歉，恳请其原谅自己没有尽到一名合格的父亲的职责。不过这段还是挺催泪的，因为这位父亲说的话远不止道歉。
I understand why some players criticize the game’s narrative as "incomplete"—its dystopian themes only graze the surface of systemic critique by the ending. Yet for a debut indie title, even without leniency, it delivers a profoundly resonant story within its constraints, alongside remarkably vivid ensemble character development. To dismiss its writing as "clichéd, shallow, or mediocre" is unfair. As for the demands for a "grand revolution" in the plot: many clamor for protagonist heroics akin to Cyberpunk 2077 ’s "Don't Fear the Ripper" ending or V for Vendetta ’s explosive finale. Frankly, such bombastic rebellion would feel hollow here. In a world governed by causal logic, a protagonist wielding consciousness-hacking technology doesn’t need brute force to enact change—a truth the ending elegantly demonstrates. Moreover, the developers have embedded razor-sharp societal satire within their socio-political context. Take the Rule’s Follower puzzle box, derided in comments as "civil service exam questions" (exactly the point—it’s a scathing jab at institutional rigidity). Other highlights include: Profit-driven parents using "love" as chains to commodify their children; A scheming employee who frames a colleague, becomes paralyzed, then rebrands himself as a victim using his family for public sympathy. Ironically, the game’s most "sci-fi" moment isn’t tech-driven: it’s a gray-haired father apologizing to his son for failing as a parent. Heart-wrenching? Absolutely—because his words transcend mere remorse, exposing generational cycles of emotional neglect.

虽然理智告诉我这游戏可能不太可能会有续作，但还是抱有一丝期待。毕竟在这片特殊的土壤下能成长出这样的作品，实在太不容易，而有了第一个，也一定会有第二个。
对于剧情，为了不剧透，就引用这句话吧，基本上是本作的核心精神了：
克雷蒂先生，在这张面具下不仅是肉体，还有思想。而思想是不怕子弹的。
Logically, I know this game likely won’t get a sequel—but a stubborn part of me still hopes. In this unique cultural climate, where censorship and creative constraints loom large, the mere fact that a work like this sprouted at all feels miraculous. And where one blooms, others will follow. As for the story (no spoilers), let me borrow this iconic quote that encapsulates its ethos: "Beneath this mask there is more than flesh. Beneath this mask there is an idea, Mr. Creedy. And ideas are bulletproof."

不能说是神作，不过9/10的素质是有的，和无人愿死一样，是茫茫砂砾中的钻石。
Not quite a masterpiece, but a solid 9/10—a rare gem in the desert of mediocrity, much like Nobody Wants to Die .