After trying the demo I wasn't sure I was gonna get it. As a M/K user I didn't like the sprint mechanic as it was and the lack of mobility during sprint was rough, but I read they added more options for that so I went for it. And even then, it was probably an hour before I reeeally felt like I was seeing something interesting. Then, as far as im concerned... It Exploded

For the price I paid for it, I was just looking for something to make me jump out of my chair for a couple nights. And I liked that you could FIGHT. The straight run and hide is only fun if the story/atmosphere can carry it, like SOMA did, so i figured, what the hell, lets bash some zombies with pipes. And what I got was this bizarre mash up of other game mechanics, and genres. Including an open world style map similar to METRO EXODUS. Each area had its own themes AND they really looked good for such a small group to put together. A good amount of detail in the levels, atmosphere and music. Then i figured, well it'll be a sweet short experience, but I (just now) got to (what I think is) The End, and it's been 16 hours, which is a very respectable timeline for an FPS campaign. (Shadow Warrior 3 could take notes on that)

(Again it's action resembles something like EXODUS) Slower, but steady. The action moments really ramp up as you go though, and to me it absolutely takes elements from RE / PREY / AMNESIA / CONTROL / OUTLAST and much more, and fuses them into a fun experience that gives you a taste of everything. And the farther into the game you get, the less you worry about keeping ammo, and the more you start putting ammo into everything that moves.

You discover POI's by wandering through London. And you never know what you're going to get. (Again.... like EXODUS) you find a place, you climb on in, and see what it throws at you, loot it, clear it, and head back to the street. Not that the streets safe, those SILENT HILL sirens are no joke, (and I loved that too. Air raid sirens just instill fear) And the environments really change it up moving from War Torn, to Dark Carnival, To Gothic, all the way to Labs that look you're on the Nostromo. And before I knew it the melee mechanics felt normal. I turned up the turning ability while sprinting and you dont have stamina to worry about so you can move when you need to... if... nothings listening...

The creatures are actually pretty fun as you move through it. I mean most take mechanics right from other games, but they're some of the most memorable creatures I've encountered in other games over the decades I've played, so it was a riot dealing with a lot of them. My favorite types of creatures are the ones that are mischievous, and this was loaded with them. (I won't spoil the surprises here, though many can be seen in glimpses in the trailer.) Melee vs smaller critters was a bit of a pain at first but.... minor issue. The games more than just a slash fest anyway.

The voice acting in almost every recordings was very well done, some even perfectly disturbing. The notes themselves you read are disturbing in their own right, and seeing what these people were doing in context to the scenery you were in is worth learning, because it efficiently creates the horrors of what someone can do with a little science, money and an undergound agenda not properly monitored by the government. Surprise! People are awful, lol. Humans... am I right?

I got it for $13, and if I knew it was more than a just another half assed horror, (which I expected 4 hours out of), I would have paid full. The music, the art, and the atmosphere all worked together. Theres jump scares, and then theres just the pure dread of walking in the dark with red lights that give a bassy thump with every pulse (... like a heart beat. This was one of my favorite things) Overall the game was just BIGGER, and more creative than it even needed to be, and I congratulate the whole team who put it together.

You will likely never get to see the things that are great about it, if you bail early. It's bigger and better than you might expect.

Steel Arts is on my radar now, I will be waiting for more.

A Promising Horror with Rough Edges

From the outset, Beyond Hanwell proves to be a game that dares to unsettle. The jumpscares deliver genuine, spine-tingling moments, and the storyline unfolds with a captivating blend of mystery and dread. The voice acting infuses the narrative with emotional depth, and the boss encounter stands out as a memorable peak in the experience.

However, while the core narrative elements shine, the gameplay mechanics tell a different story. The controls feel clunky, creature animations lack fluidity, and transitions often disrupt the immersion—elements that collectively leave the overall experience rather rough around the edges. It’s clear that these technical aspects need refinement, especially as they currently hinder the game’s full potential.

That said, the passion behind Beyond Hanwell is unmistakable, and it’s refreshing to see a new-ish developer take bold creative risks. With a focused effort on tightening mechanics, enhancing animations, and smoothing out transitions, the game could evolve into a standout title in the indie horror scene. The existing narrative brilliance, voice talent, and atmospheric scares promise a future where the gameplay matches the ambition of its storytelling.

Overall, Beyond Hanwell is a promising project—a raw, unpolished gem with considerable room to grow. For players who appreciate innovative horror with genuine heart, this game is well worth exploring. I look forward to its evolution and am eager to see how the developers refine and build upon its bold vision.

The game feels cheap and boring. Not worth the money – even that little.