RETSNOM

I have a soft spot for the games nobody covers, and RETSNOM is exactly that kind of quiet, strange thing. Solo Korean developer Somi built the entire experience while working a day job as a lawyer, carving out two or three hours each night to make something he couldn't find anywhere else. That context matters, because the game itself feels handmade in the best and the most frustrating senses of the word. The central mechanic is a genuine novelty. You carry a mirror that lets you flip a section of the level around you, left to right, repositioning walls, platforms, and gaps on the fly. A wall blocking your path? Flip it behind you. An empty pit? Fold a platform across it. The game is structured across five worlds, and each introduces a new mirror property: the first world handles horizontal flips, the second causes flipped blocks to fade like a fogged mirror in rain, the third brings concave mirrors that invert the world vertically, and later chapters stack these properties in increasingly demanding combinations. There are also three hidden stages that bend the rules further. The color-coded grid overlay that previews what will move helps enormously, though on larger, busier levels it can turn the screen into a maze of pink and blue tiles that requires a moment of stillness before anything makes sense. The puzzle half of the game, when it clicks, genuinely earns that click. Reasoning your way to a solution in a handful of flips, or spotting that a jump mid-air can reposition a block you couldn't reach from the ground, produces the specific satisfaction that only spatial puzzle design can. The platforming half is wobblier. Mid-air flips that accidentally catch you inside a repositioned wall, controls that feel slightly imprecise under pressure, and a difficulty curve that steepens abruptly around world two have frustrated plenty of players who gave up before the story resolved. There is a dedicated suicide-reset button, which is either a considered design acknowledgment that you will dig yourself into impossible positions, or a quiet admission that some puzzle states are unrecoverable without it. Possibly both. The atmosphere deserves its due. Somi used music as a narrative language throughout: the opening chapters carry cello and piano in a register of exhausted grief, and the tone shifts as the father's circumstances shift. It is a small, instrumental score, not a showpiece, but it stays in register with the story in a way that bigger productions sometimes fail to manage. The pixel art is minimal and does not try to compensate for its budget. What it does do is keep the visual read of each level clear enough that the mechanic can breathe. The story is a zombie-cure premise worn lightly; what lingers is the moral texture under the surface, a few notes and exchanges that suggest consequences beyond the platforming. The title itself is monster spelled backwards, a clue, not a spoiler. Who is this for? Puzzle-platformer devotees who have already filed through the obvious genre landmarks and want something smaller and odder. Players who find a comparison to FEZ reasonable, at least in the sense that the world-manipulation feels similarly authored and particular. Players who will not resent a steep climb before the game stops fighting them. Casual action fans or anyone expecting the platforming to carry the experience should probably look elsewhere. Kai, Scout Team

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