Get Even

Get Even is a first-person psychological thriller built around a single haunting premise: you are Black, a man who wakes inside a decaying asylum with one fragmented memory clutching him - a girl, a bomb, a choice that may have gone wrong. The Farm 51 built this game around a technology called the CornerGun, a smartphone-like device that lets you peek around corners and scan environments for clues. But the gun is almost beside the point. What the game really wants is for you to sit with discomfort, piece together a fractured narrative, and question whether the protagonist - and by extension you - is trustworthy. The structure is genuinely unusual. You move between present-day asylum corridors and reconstructed memory sequences, the two timelines bleeding into each other in ways that feel intentional rather than gimmicky. Environments shift, walls crack open into other rooms, and the game uses visual distortion not as a technical limitation but as a storytelling tool. The pacing is slow. There will be stretches where you are walking, reading notes, listening to a conversation replay in an empty room. If you came here for a shooter, you will leave frustrated. If you came for a game that takes its atmosphere seriously, you will find something that few studios - indie or otherwise - attempt with this much commitment. The CornerGun system adds a light stealth layer. You can subdue enemies rather than kill them, and the game subtly rewards a quieter approach without forcing it. Enemy AI is not the strong suit here, and the combat encounters that do exist feel like interruptions rather than core design. The real reward is the investigation loop: scanning crime scenes, collecting thermal echoes, reconstructing what happened in a space. It is closer to environmental storytelling than action, and the game is most alive when it leans fully into that. The soundtrack, composed by Olivier Deriviere, is one of the most carefully constructed scores in recent memory for a game this size. It shifts between industrial ambient textures and quietly devastating vocal pieces in ways that tell you exactly how to feel about a scene before the visuals confirm it. This is a game worth playing with headphones, in a dark room, without distractions. The sound design and the music together do as much narrative lifting as the script. The mixed Steam reviews are understandable if you go in expecting action. Get Even is not always graceful - some transitions are clunky, the late-game twists pile up slightly faster than they land, and a handful of combat sequences feel borrowed from a different, less interesting game. But the ambition is real and the craft is visible in every warped corridor and carefully placed audio cue. For a certain kind of player - one who still thinks about the ending of a game weeks later - this is worth the time it asks for. Kai, Scout Team