While Limbo was purely two-dimensional in its mechanics, Inside incorporates objects and set pieces in the background and foreground into the gameplay. You can run left or right, you can jump, and you can grab onto things. Like Limbo, Inside puts you on a two-dimensional plane with a minimum of controls. Puzzle Solving Inside's gameplay is simple and satisfying. To describe any of the things you see beyond the facility itself would spoil things, but Inside's a steadily intensifying, constantly weirdening experience from beginning to end. This approach could easily have become a jumbled, surreal mess, but there's a consistency and a cohesion in the presentation that gives the procession of novel horror a concrete grounding. It keeps piling on new, bleak imagery that is free of any context outside of the game itself. One of the best things about Inside is that it constantly raises new questions as you move forward.
Why are you there? Why are they there? Why is that there? And, as countryside gives way to a mysterious and massive facility, the unanswered questions only grow more numerous. Without words to spell anything out, Inside constantly invites you to decipher what is going on.
From the very start, Inside implies the presence of a heartless, driven power structure, with both morality and purpose that is at best indistinct and at worst utterly alien. Every screen is filled with dark imagery that begs to be interpreted by the player, with every character's position and animation a wordless story about the nature of the world you find yourself in.
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