Writing about any sort of thematic implications of play or ludic tone that Neon White puts forward would, even if accurately restated and taken without malicious audience, kind of damn the game in the evaluation. The play, as anyone who has paid attention to the game at this point, has a perfect arrangement in matching facades of what the player thinks they are capable of, what the game demands of them, where they may fail to, and how high they can go; it works on all levels of engagement from just arriving at the finish line to calculating each jump and turn with geometry. But, the play is just that: a beautiful equation which is austere and elegant on the blackboard but more implacable as the chalk used to write it up there. And that’s just the play. The writing and narrative of the game, if anything in relation to the play, are an equation written up on the chalkboard with diagrams of conspiracy theory, dance steps, and Lamarckian prognoses of evolution; in short, it doesn’t add up and couldn’t add up due to there being nothing of cogency or interest or depth within the writing of the characters or their journeys. Jacob Geller called it delicious cringe in his review, I call it inedible.