Ire: A Prologue

Wasn't really sure what to expect going into this, but overall I wasn't the biggest fan sadly. [h3] So firstly, pros: [/h3] - The game does have a sort of story mechanic which I do think was genuinely neat which is [spoiler] the looping mechanic where the character goes through the ship again and again with things slightly changing each time as you get more of the ship unlocked. [/spoiler] I think it was just a neat thing with the game, so props there. - Fairly good animation in a few parts with the cutscenes and such. - The environment is very well made. It may be a rather 'small' area, but with the pacing and progression of slowly unlocking more and more of it made it pretty fun to traverse through. - Runs pretty well on my computer, I had pretty much no slow down or anything like that. I think I only had like one moment where the game slightly slowed down close to the end of the game, but it wasn't much to be too noticeable. So it's pretty well optimised. [h3] And then... Cons. [/h3] - Sweet lord the monster is frustrating. Not in the tense way you'd hope from a game like this. I understand stealth is a big focus for the game, since running away isn't really a valid option (since the main character runs at the pace of a tortoise on a treadmill) which is fine... But when it's contrasted by the monster being able to spot you at even the smallest hint of your presence and moving at mach 10 the moment it does, it just becomes a bit unfair at a point. The ships map is basically 2 massive straight line corridors with rooms lining them, so trying to navigate without being seen by playing to the stealth elements of the game takes absolutely ages, since unless it actually spots you, it moves almost as slow if not slower than you, and it checks [i] every single room it passes, sometimes even doubling back. [/i] And what makes it even worse is, the game does give you methods to lure the monster... for about 2 seconds. And then it's making a beeline straight to you. - This is gonna come as a bit of a contrast to the above, but another thing is the hiding system. Which has a similar issue with any form of tension for the game as it suffers from the same issue FNAF: Secret of the Mimic does. That being that the monster has the object permanence of a koala. Even if it sees you dive ontop of a bed or under a desk or into a locker, it can't reach you, and just patrols around where you are. But arguably, I'd say this game has it far worse than FNAF:SOTM as it basically makes it so if it ever does see you, there's no running from it, so you have to gamble on either A) There being a hiding place or vent within 3ft of you, or B) Die. So this combined with the above issue basically killed any tension and made it feel more like just needing to hope and pray you get lucky. Admittedly, I'm not sure what the exact building blocks to an enjoyable experience for horror where stealth is the ONLY option with no chance for running as a backup in case of emergency, but this ain't it sadly. - Smaller issue, but the main character somewhat suffers from the burden of being a non-silent protagonist in a horror game of... they just keep yapping even when in the middle of a stealth sequence. Which also led to a moment which admittedly made me burst out laughing where the Monster was nearby and I just hear "Need to be quiet..." followed by her just screaming "OH THERE IT IS-" or something and just getting jumped 5 seconds later. Which I really hope was just me being a bad gamer and not the monster ACTUALLY being lured by that, because on one hand, that is so funny, but also, sweet lord- Overall, I do like the aesthetic of the game, and it does have a good amount of polish in the visuals and animation. But gameplay wise, it was just a slog to get through. I'd give it a good 4 or 5 outta 10.

Сходу ставлю максимальную оценку едва начав играть. Эмоции зашкаливают, так как и сердце из груди выскакивает. Открыв только первые три двери на корабле из тринадцати, уже можно получить кучу инфарктов и психической нестабильности. Невероятная жуть в высокотехнологичной обертке. Переведу дух и буду проходить дальше. Интерес ко всему, что происходит на заброшенном и найденном в Бермудском треугольнике корабле, нарастает. А полный обзор напишу позже. Если доживу до конца...)

The enemy is enough of an annoyance for me to not want to play this game.

Bummed about it because I like the general premise of the story, but this game is not good. The visuals look nice but are hurt by the forced motion blur and poor lighting decisions. The game likes to use darkness to make lighted areas really pop, and they do, but the game overall is way too dark, with the obligatory flashlight only being usable when: 1. You're not holding anything else in your hands 2. The monster isn't close because it drains all light it is next to And the cone of light it projects is very small, so if you're like me and the vignette effect in games bothers you/hurts your eyes, this game is like the extreme version of it. The monster is presented as a living, moving being in the game much like the monsters in SOMA or the Xenomorph from Alien Isolation, but it often walks in a much more rigid and tight path based on where the developers want it to be to create tension or difficulty. The game provides a few tools to use to try to manipulate the monster, but most of the time the tools either didn't work, or resulted in the monster doing the opposite of what I was intending (I put a walkie-talkie in a room on the opposite side of a hallway, turn it on to lure the monster that was between me and the other walkie, and the monster instead walks out of its room and walks towards me!). The monster is a one-hit-kill kind of thing on the player, and is near impossible to escape once it knows where you are unless you're really close to a "safe zone" such as a locker. It wasn't fun to interact with or sneak by. The story has its moments, telling an interesting tale that ends in an unsatisfying way. The voice acting is good, and there is some fun writing on the sidelines with sticky notes and such. The most interesting parts are all in hidden collectable notes and cassette tapes that aren't always in obvious places, meaning you need to scour the same 7 rooms on 2 floors on this tiny boat while a monster that is not fun to avoid is stalking around usually too close. This means that the most interesting parts of the game require you to interact with the bad parts, and the game isn't good enough to waste the time or your patience. It's a shame, but if you follow a guide it might not be too bad. And I recommend following a guide. I spent too much time walking back and forth, opening empty lockers and drawers looking for the good stuff. Overall, not a great game and I cannot recommend it, even to horror game players. This is a prologue game but the world they set up isn't interesting and the developers have not demonstrated an ability to make interesting gameplay. It's a bummer because I love horror games and I hate saying no.

Incredibly annoying AI "monster" to the point where it is unplayable. Was looking forward to the story but the mechanics of the antagonist (and poor check-pointing system) really did the gameplay look zero favors. Will pick back up if there is ever a patch launched to temper the "monster".

Eigentlich ein gutes Spiel. Hab es abgebrochen, da das Monster mich stämdig erwischthat, es zu dunkel war, um etwas zu sehen. Nervig, immer wieder von vorne spielen zu müssen.

Ire: A Prologue is a first-person narrative horror experience developed and published by ProbablyMonsters. Released in October 2025, the game functions as the opening chapter of a larger planned horror universe and introduces players to a tense story centered on mystery, survival, and psychological dread. Instead of relying on traditional combat-heavy gameplay, the experience focuses on stealth, environmental storytelling, and a looping narrative structure that slowly reveals its secrets. Built using modern technology and immersive sound design, the game aims to evoke the atmosphere of classic horror films while delivering a contemporary interactive experience. The story takes place in 1986 and follows a teenage girl named Emily who finds herself trapped aboard a ship stranded deep within the Bermuda Triangle. Her father has mysteriously disappeared, and the abandoned vessel holds the only clues that might reveal what happened to him. As Emily searches the ship’s dark corridors and cramped cabins, she discovers that the entire crew has vanished without explanation. The deeper she explores, the more unsettling the environment becomes, as scattered notes, audio recordings, and environmental clues gradually piece together the story of the doomed expedition. Rather than presenting the narrative through long cutscenes, the game allows players to uncover the mystery themselves by carefully examining the ship and interpreting the clues left behind. One of the game’s most distinctive mechanics is its looping progression structure. Throughout the ship are thirteen locked doors that act as milestones in the narrative. Each time Emily unlocks one of these doors, the timeline resets in subtle ways, returning the player to familiar areas while altering key details of the environment. These loops create a layered storytelling structure in which each cycle reveals additional information about the ship’s fate, the missing crew, and the supernatural forces at work in the Bermuda Triangle. Because clues often appear differently during later loops, players are encouraged to pay close attention to small details that might change from one cycle to the next. Gameplay revolves around stealth and survival rather than confrontation. A terrifying creature roams the ship, relentlessly hunting Emily as she attempts to unlock the mysteries of the vessel. The protagonist has no means of fighting back, forcing players to rely entirely on hiding, sneaking, and distraction tactics. Lockers, vents, and dark corners become vital safe havens when the monster approaches. Players can also use objects such as wind-up alarm clocks or environmental noises to lure the creature away from important areas. This “hide and seek” dynamic forms the core of the game’s tension, as every movement carries the risk of attracting the monster’s attention. Atmosphere is arguably the game’s greatest strength. The setting of a deserted ship drifting through the Bermuda Triangle creates an inherently unsettling environment filled with claustrophobic hallways and eerie silence. Lighting plays a major role in shaping the experience, with flickering bulbs, deep shadows, and narrow sightlines reinforcing the sense of isolation. Sound design also contributes heavily to the tension. The game features fully spatial 3D audio that allows players to hear subtle cues such as footsteps, distant creaks, or the creature’s movement through the ship’s ventilation system. These audio details often serve as the player’s only warning before danger arrives. Complementing the atmospheric design is a haunting orchestral soundtrack composed by Christopher Wilson. The music blends melancholic melodies with tense, escalating compositions that respond to the player’s actions. When the creature is nearby, the soundtrack intensifies, layering ominous tones and rising orchestration to heighten the feeling of imminent danger. The score was recorded with a full orchestra, giving the game a cinematic quality that enhances its narrative focus and emotional impact. Visually, the game adopts a grounded and realistic style powered by modern technology, creating detailed environments that emphasize realism rather than stylization. The ship itself feels like a believable place, filled with cluttered living quarters, abandoned equipment, and environmental damage that suggests the chaos of whatever happened to the crew. Small environmental details—such as scattered personal belongings or partially completed tasks—help convey the story of the ship without requiring explicit exposition. This environmental storytelling approach encourages players to investigate every room carefully in search of clues. Despite its strengths, Ire: A Prologue is not without its limitations. The confined setting means that much of the gameplay occurs within the same corridors and rooms, which can make exploration feel repetitive over time. The stealth mechanics can also be punishing, particularly when the monster’s behavior feels unpredictable or when players are forced to repeat sections after being caught. Because the protagonist cannot defend herself, encounters often rely on trial and error as players learn the creature’s patterns and movement routes. These moments may frustrate players who prefer more forgiving survival mechanics. However, the game succeeds in delivering a memorable horror experience through its storytelling and atmosphere. The mystery surrounding Emily’s father, the fate of the ship’s crew, and the supernatural elements of the Bermuda Triangle provide strong narrative motivation for players to continue exploring. Each loop reveals new pieces of the puzzle, slowly building toward a larger mythology that hints at future installments in the series. As a prologue, the game serves as both an introduction to its characters and a foundation for a broader horror universe yet to unfold. Overall, Ire: A Prologue stands out as an atmospheric and narrative-driven horror game that prioritizes tension and mystery over action. Its looping structure, stealth-based gameplay, and immersive audio design create a persistent sense of dread that keeps players engaged throughout the experience. While the limited setting and sometimes unforgiving stealth mechanics prevent it from reaching the highest tier of the genre, the game successfully establishes a compelling foundation for the franchise it aims to build. For players who enjoy slow-burning psychological horror and investigative storytelling, it offers a gripping and memorable journey into the unknown. Rating: 7/10

Ire is a fun game that has had my heart racing at times (I may be a bit of a scaredy cat). I find the puzzles at times to be very challenging but fun. Would recommend!

一艘の漁船の中で何度もシーンを変えながらモンスターからかくれんぼするアドベンチャー。 怖さや面白さの前にめんどくささが勝る。 また日本語対応もしていないためおすすめできない。 同じ船の中で探索することになるので、何度も同じ引き出しを開けたり 代り映えのしないステージ構成で退屈な探索を強いられる。 アイテムはカーソルを合わせないとハイライトされたりもしない、 モンスターは仮に扉を閉めていても簡単に入ってくるたゆっくりと探索することも困難。 船の中は狭く、モンスターを避けられる脇道も少ない。モンスターの気を引くアイテムもあるが、 それで得られる時間的猶予はとても少なく、あまり意味をなさない。 必然的に隠れ場所で何十秒も同じ画面を見続けるという面白くない時間を過ごすごとになる。 モンスターの動きを見ようと見つめているとキャラクターが叫んでしまい見つかるという謎仕様。 余りに残念な点が多すぎた。

Спасаемся от каракуль в Бермудском өчпочмаке. P.S. А-ля Alien: Isolation морского разлива