Okay, here’s my analysis of Wraith that no one asked for. The things that it excelled at and the ones that, I believe, need improving.

Let’s start from the combat system since the game offers us a tutorial for it right away. Right away, I had some problems with the tutorial: the text fades out faster than I could read it, especially when, concurrently, trying out what its teaching me and keeping an eye on the freaky eyed silhouette approaching me.

Nonetheless, Wraith’s combat system is without any hyperbole absolutely brilliant. It’s just so fitting for a 2D horror game that it’s kind of shocking to only have seen it in an indie game.
It’s surprisingly realistic in that it allows us to only see what is in front of the character and this works wonderfully for a horror game since few things are more scary than knowing something is crawling up to us from our blind spot. I also love how, for a good part of the game, your only reasonable option in combat is to run and how this is performed: first you have to turn in a direction where there’s no enemies then attempt to run by jamming the up arrow. Not knowing exactly when it’s going to work but having something to do frantically works wonders towards creating a feeling of panic especially because (again, realistically) turning tail and attempting to run leaves you blind and defenseless to the enemies on the other sides. This is genius!

However, that’s not to say that there isn’t room for improvement. This applies mostly to the controls. Cycling through the items can be time consuming and confusing (I don’t know how often I ended up pressing X one time too many and overshot the item I wanted to use). I don’t know what kind of limitations you were dealing with using RPGMaker, but I really thought it would be preferable to have each of the four items assigned to a different button. By the time I had a gun, I had to teach myself to press X twice as soon as combat starts. If RPGMaker does not allow for that many buttons to be assigned, then just allowing the player to choose what item to start out with in battle and having a second button to cycle back through the items (in case you overshoot the one you need… or if you just need to backspace once) would have helped immensely.
By the way, I believe the tutorial may have instructed me to use X to use the items and Z to swap them.

Another thing that I had a hard time getting used to was aiming. Pushing down to aim at something in front of you is terribly counterintuitive. Since it isn’t possible to run when there’s enemies in front of you, then it would have been better for up to be used alternatively to aim (if you are faced with enemies) or run (if no one’s in front of you). Would have made more sense than the protagonist stupidly approaching the enemies since there’s never any benefit in doing so.
Down could have been used to do a 180° turn, which would have been very useful at times.

Lastly and this may be a nitpick but… was there ever any point to knowing what cardinal direction you were facing (N, W, E or S)? I didn’t see any use in that, so the letter in that box was just needlessly distracting to me.

Moving on, the (skippable) introduction for the game is pretty much perfect except for one thing, something that will haunt the player much worse than the Wraith throughout the entire game: the inability to fast forward dialogue. Right now it doesn’t seem much, but it becomes increasingly traumatic as the game progresses.

After the lengthy intro the first thing that bothered me was: why did you deliberately prevent the save point from appearing in the inner garden? It would have been an excellent time to let the player save… and I very much needed to as well. Something had come up and I had to stop playing and leave. The tutorial and the help files hadn’t told me anything about how to save and I hadn’t run into a save point yet… so I thought, maybe if I select quit from the menu I’ll be offered the option to save. I decide to try it and without even asking me if I’m sure I want to end my game I’m kicked back to the title screen. Good thing the introduction was skippable!

While on the topic of the menus… it’s kind of weird that you can use items not just from the item menu but also from the status menu. This has on occasion lead to me fumbling and using a light stone by mistake, forcing me to reload my last save. But it’s not a big deal.
And the help files mention that physical damage can be healed… but don’t say how. I’d assumed it would require consumable items or maybe sleep, only MUCH later into the game did I figure out that time alone is sufficient. I ended up having no need for any syringes after that, but the ones I did use before were pretty much wasted *lol*

As was brought up several times in the comments, the time given to save friends and servants from the Wraith is really generous. I wasn’t even aware it was possible for any of them to die at all (I also read it’s possible to avoid getting Lily to slap Kana… how? I didn’t see any way for Kana not to be a friend-endangering fool).
I actually think gathering survivors to the safe room should have been a much larger part of the game as it was one of the most enjoyable since it gave me a clear objective with something at stake and with the titular Wraith to contend with.

So let’s talk about the Wraith. First off, I quite enjoyed the bit when hiding from it behind the shower curtain. I was expecting more moments like that to occur later but sadly they never did.
But generally, the Wraith is an incredibly fitting concept for a horror game, a perfect match!

In and of itself, the fact that you never know when it’s going to appear would be enough to keep the player on edge. Then there’s the fact that it can “accidentally hide” behind southern walls. Let me tell you I quickly learned to be wary of those walls as well as all entrances when wandering the mansion’s corridors. Hugging the northern and outer walls soon became second nature and that’s precisely the sort of anxiety and paranoia that a horror game should inspire!
If it was just that though, it wouldn’t be effective for very long. Like, suppose the Wraith instantly kills you if it catches you. That would soon become just an annoyance forcing you to re-do things. Fortunately the Wraith’s mechanics are much deeper and more ingenious. Having it deal damage to a separate health bar that does not -ever- regenerate was a stroke of genius. 
This is what really keeps the player on edge, the awareness that if they get caught by the Wraith too many times this can completely wreck their game (either by saving after losing too much soul to get through what’s coming or by getting a bad ending in which Kana becomes a Wraith… at the time, I thought this would be a thing. Kind of sad that it wasn’t).
But the reason this actually works out is the way that this health bar is displayed: the mirror. It was very wise of you to only show in the help file how to translate the physical health meter into percentages, while just saying that the mirror gradually gets darker without actually showing the various phases it goes through… and even more brilliant to have it constantly glow. I found myself intently peering into that mirror, trying to figure out if, after an encounter with the Wraith in which the screen flashed red three or four times, the mirror had changed at all. If it was just slightly darker, or if the glow had become more rapid.
The vagueness of this meter played a huge factor in making me wary of the Wraith. If it had been more clear, I would have just been able to shrug it off if I could clearly tell that there had been no change in it, or consider reloading a previous save if I could spot a change. At the same time, we know from the health meter that you can take small amounts of damage without it being shown (since the different conditions shown in the meter encompass wide percentages of health), so you’re always led to believe that those red flashes did affect the mirror just not enough to show yet… but you’re never sure.

This was amazing and it all contributed toward making the Wraith one of the most threatening entities I’ve ever met in a videogame and keep a constant feeling of anxiety while exploring the mansion and its garden that could quickly turn to sheer panic as the Wraith sprung up from a door or from behind a wall. I loved it!

What I did not love was the out-of-battle running mechanic. I absolutely agree that the character should get tired and stop running… but it was really annoying that I couldn’t get her to stop running before she gets tired. Again, I don’t know if this was due to some limitations of RPGMaker, but it would have been much better if I had to hold down shift in order to run, slowing down when either my character ran out of stamina or when I let go of the button. This would have prevented many occasions in which I had to make a precise turn to get to an exit only to collide against a wall instead.

I was similarly disappointed by the flashlight… or “hand for Wraith” as I’d rather call it. Just like the hand, it’s kind of useless. Early on it’s more convenient to just turn tail and run from the wraith rather than take the time to first select the flashlight, turn it on and finally try to point it at the wraith, which only wards it off briefly… and later on when the Wraith can actually do some serious damage to you while you try to run, the flashlight hardly even affects it as it immediately resumes attacking from another side. So yeah, I almost never used it.
Not a big deal though.

I did really enjoy reading about the Wraith in the library. You’ve really created a rich background for this creature that was very internally coherent and quite believable. Unlike stories such as the Grudge, in which I was left wondering “Wait, so how come this seemingly world threatening curse never happened before in the history of humankind?” with the Wraith I could consider it quite possible that a creature like it could exist since the beginning of the human race while at the same time being regarded as a myth since it has such a short life span, looks simply like a shadow and can’t exist within light (often just dying immediately due to being born in sunlight). And a believable back story goes a long way in helping the sense of immersion.

…uuuunfortunately, this weakness that makes the Wraith believable, soon comes around to bite the game’s own believability in the butt. Specifically, as I mentioned in a previous PM, when you’re given the task of warning Victor and Ramius.
I thoroughly enjoyed exploring the mansion and its garden in search for the third floor keys, all the time being wary of the Wraith (by the way, I’m really surprised the Wraith never shows up in the hedge maze. I figured that’s be the perfect place for a long and tough chase). I knew there was a puzzle to be solved in the mausoleum, but I told myself that it was most likely for later since Kana had no reason to be trying to solve said puzzle right now, not when she was looking for a misplaced set of keys.
Of course I soon enough ran out of alternative options to progress into the game. I did not want to give in and accept the notion that someone with a soul devouring monster on her tail would, for no given reason, go solve puzzles inside a crypt, so I checked the walkthrough. Turns out that’s exactly what I was supposed to do. Ugh.
So I solve the puzzle and do I get the misplaced keys? No, I find the entrance to an underground laboratory full of zombies (yeah, mutants, but come on you know everyone was going to think of them as zombies :p) and a gas that may prove very harmful to the protagonist months after the game’s finished.
This is where I kind of flipped and stopped playing for a few weeks. My suspension of disbelief had been shot to bits with a machinegun. Why would Kana, on a quest to find the missing keys to the third floor, decide to look for them in a place like that? I know they are eventually found in there, but she has no reason to think they’ll be in the lab.
She may be brave, but even a brave person would say to themselves “Well, I tried. It sucks for Victor and his son but I have no reason to think I’ll find the keys by getting past the mutants and breathing this gas, so I’ll just go back to the fireplace room, sit down and wait for dawn to come.”

Like I said before, sense of immersion is very important to me, especially in a horror game, and I was left with pretty much none here.
If Kana had any concrete reason to think that the keys would be in there and decided she had to soldier on for the sake of little Ramius (not so much his father since the entire situation was on his hands), then I would have been ok, but the plot had just gone off the rails there.

Eventually, I decided to lower my expectations at least for this part of the game (the plot could always get back on its rails later) and went to explore the parts of the laboratory that had no mutants in it. That didn’t help much. With a sigh, I accepted that my character would be willing to get past the mutant infested rooms without incentive and I tried to explore those.
At the worst possible time, the game glitched and in a way that I couldn’t quite be sure was a glitch. When (nearly inevitably) I found myself in combat with the mutants, I found myself completely surrounded (meaning that without a gun I was completely boned) and ALSO confronted with a different Wraith that had a head! That’s right, I found myself fighting mutants on all sides AND the last phase Wraith which I wasn’t even supposed to have seen yet!

Unaware that this was a glitch and completely disgusted with the one touch = inescapable death situation, I went to check a let’s play to see what I was doing wrong. That’s when my vague suspicions that I had run into a glitch were confirmed. It wasn’t easy to get the game to behave properly, I think it was only after I returned to the mansion and had a run in with the (regular) Wraith that the final phase Wraith in the lab and the excessive mutants stopped popping up.

Once that was solved, I’ll say I actually found it rather enjoyable to dodge my way through them zombies, finding an opening and running away when they managed to get to me. The tension was actually a bit excessive because I did not yet know that I would heal over time… but I managed to take so little damage that I think I only wasted one syringe here. Also the lingering doubt that spending too much time in the gas could have some effect (perhaps on what ending I’d get) was another incentive to be quick on my feet. I liked that.

What I did not like very much was that some of the rooms with mutants had lengthy documents in them for me to read and they wouldn’t stop moving while I was doing so. I suppose that’s realistic… but then until I was done reading they wouldn’t attack me, so not all that much (maybe they’re polite murderous mutants?). Now I could suggest a number of overly convoluted solutions to this issue… or I could just say how about putting the files in separate rooms PAST the ones with the zombies, plskthx? :p

So long story short: I have to kill a kraken. Because.
Second table flip moment. Especially when, before attempting this, Kana says “I don’t want to do this, but there’s no other way” which had me screaming at the screen “YES THERE IS! GET YOUR A-- BACK IN THE FIREPLACE ROOM AND WAIT THE NIGHT OUT!! WHY ARE YOU EVEN DOING THIS???” (And yes, her line ended up with “to get to the control room”, but the question still applies: why does she want to get to the control room? She doesn’t know Cyrus is there).
Killing the Kraken was more stressful (due to the unpredictable triggers of the fish) than horrorific… but it would have been fine if I just had a believable motivation for going through with it.

So, it turns out that the coveted keys to the third floor are in Cyrus’ possession (kind of expected Kana to go “how lucky, I had no way of knowing they would be here!”). I dare hope that with the underground laboratory of randomness dealt with, the plot may start making sense again. And for a bit it does. Unsurprisingly, the guy that set up a laboratory for illegal human experimentation turns out to be villainous, but Ramius shoots him dead. This is good.
My first thought now is “Ok, so naturally Kana will want to get the overgrown child and Cyrus to the fireplace room so they can wait for dawn. That was the plan after all.” But it turns out Ramius wants to kill the scientist. Kana’s response? “I’m coming with you” …*facepalm*

I don’t even have the time to figure out if she wants to tag along to help him on his murder spree or to dissuade him before I’m thrown into a room and locked in. And I don’t even have time to look around the room (other than to pick up the first aid kit next to the door) before the Wraith 2.0 charges in.
Caught off guard I took substantial damage and ragequit here. See, I know you put the “black wind” sound effect to warn me about the Wraith’s arrival… but literally zero seconds went by between the sound effect and the Wraith showing up and that sound effect had only been heard once before, at the start of the game right after the introduction when the Wraith attacked Kana and Lily in front of the elevator. Ever since that, I had grown used to the Wraith being quiet, especially indoors. When the effect played I thought it was a draft coming from a secret passage (I did naturally figure out right away that I was to look for one, especially since the maid mentioned such a thing earlier on) so rather than run away from the door, I walked past the first aid kit to check the wall behind it and got cornered. I managed to escape but before I could turn the corner was caught by the Wraith again and decided I had to retry. I make it sound rational but, sorry to say, it was more of a “F--- THIS SH--!!” moment.
…and only seconds after quitting I realized this meant I had to sit through the long conversation between Victor, Kana and Ramius again. You really should have offered us the chance to save immediately before returning control of the character to us after being locked in the security room, much like when talking to Lily and later Cyrus.

Knowing what I now know, I should have simply given it a second try. But at the time I was mad and I told myself: “how am I expected to investigate the room for a secret passage with Super Wraith chasing me around?”, so I went to check a let’s play. I really hadn’t thought the Wraith would still be too stupid to get around the corner if I managed to get there before it shows up.

After all, Wraith 2.0 does seem a bit more skillful in navigating around obstacles. In fact let’s talk about Wraith 2.0.
Though I agree it was time for the Wraith to up the ante, I think you pushed it too far. It’s good that you now really can’t escape a fight with the Wraith without either taking some damage or using a light stone and it’s good that it moves faster outside of battle (although maybe a little bit TOO fast). However, I feel that the frequency of its appearances was increased far too much. While with the first Wraith you were constantly wondering if the Wraith would suddenly show up, after the upgrade the question no longer is “Will I run into the Wraith?” but rather “How many times am I going to run into the Wraith?”
This may, at first glance, seem like a good thing, that the player would be even more pressured than before… however, combined with its increased speed that makes it harder to dodge the Wraith and the fact that when it does touch you you’ll either take some damage or have to use a light stone, this all turns the Wraith precisely into what it should not have been: something that makes you re-load the moment you fail at evading it, because if you don’t it’s going to cost you… so unless one really is hardcore about playing the game like it was really, without exploiting saves, this will be the natural course of action of the average player. And as revealed later, this “strategy” really does pay off near the end.
But the bottom line is that these all too frequent appearances of the Wraith, often followed by a reload, quickly transform all the anxiety and paranoia that the Wraith previously induced in the player into stress and irritation.
You KNOW the Wraith is going to show up much sooner rather than any later, so it’s very unlikely to catch you off-guard (as you literally don’t have the time to drop it) and rather than the panic inducing mashing of the up button, failing to evade the Wraith results in a “Oh dammit, I’ve got to reload again. F you Wraith.”
…and it really discourages the player from spending any time at all in rooms with only one exit (which by this point is fortunately not really necessary… but it kinda kills the fun in exploring floor 3).

So yeah, all the awesome aura of fear the first Wraith had is utterly destroyed by the second one which becomes just a pest.
Although I did like that it sometimes follows you after you leave the current room. That was a nice addition to its modus operandi.

Back to the plot. Ramius dies like a fool and I get a limitless ammo gun. Sweet. Now to help Cyrus so we can go huddle up by the fire.
…he wants to rescue the scientists. You know, the guys that experimented on human beings, turning them into monsters and recently locked Kana outside of their little safe haven leaving her to be killed by said mutants.
This is the moment where you should have given the player a “fly off the island with Kazuma” option. I should have been able to tell Cyrus to get stuffed and go spend the night with my friends, with my only punishment being not knowing how things turned out (basically, they’d hear an explosion from below, and leave the island come morning, never knowing for sure whether the Wraith was vanquished or managed to hide somewhere to survive the day and continue haunting the island.

Anyway, before that, he wants to help heal the mutant. I’m cool with that, she is a victim and seems nice. Now at this point I was still operating under the belief that health could only be restored by those syringes and that I should run from mutants, so finding where to get the goo was somewhat daunting (would have been easier if Cyrus allowed me to go to the other lab, but nooo… also I later noticed in the walkthrough that you say the goo can be found at any of the open pipes, but I believe only one is accessible at this point).

So I go get them scientists. They won’t open the door and I don’t know what to do. Kill all mutants is a thought that had never crossed the mind since so far the game had been very effective in leading me to believe that running is always the right choice when available (and that when I isn’t I should open a path shooting then run).
…and really, that was a good thing. That’s how a horror game is -supposed- to work. Not make you feel completely and utterly powerless but at the same time make it preferable to avoid confrontations by any means rather than take combat head on.
I check the walkthrough. Gotta kill all mutants. Well crap.
STILL operating under the belief that only syringes heal me, I grit my teeth and engage the mutants outside the room with the scientists. I win the first fight and… what the hell? All the mutants in the room are dead? I only took on one… and it is only now that I finally realize: when touching one enemy you wind up fighting all the enemies in the room. Up to then I thought it was like Earthbound, with each enemy on the “map” representing an individual group of enemies. You can imagine why cleaning up the whole room seemed like a huge undertaking! *lol*

So I tell myself “Okay, that was an interesting boss fight”, I go check on the scientists and… they’re still not coming out.
No way. Nooo way. I’m actually supposed to kill all the mutants… on this whole floor?

There goes the horror element. Between the Wraith having become more annoying than frightening and the mutants having turned into something I am to hunt down and exterminate, any remaining sense of fear and powerlessness completely abandoned me.
Now don’t get me wrong, once I managed to teach myself to press X twice as soon as combat begun, it was actually kind of fun to kill the mutants off… but not really a good tradeoff in my book. The game functions well enough as a bug hunt, but there’s plenty of good ones out there. A truly good horror game is far harder to come by and this was one, up to a short while ago.

Oh yeah, while on the topic of fighting mutants… I don’t mind having to deal with reload time (though it does make me wonder where the bullets keep coming from), but it would have been nice to at least be able to point the gun at a different target and turn around. Having to just stand still was very frustrating. Especially if one decided to be done with the gun and just wanted to run away or use a light stone. Nope, gotta re-load first, even if you don’t plan on shootin’ no more. Again though no biggie, and I suppose it could have been a limitation imposed by the game engine.

So I get the scientists to let me in (not before dealing with a glitch that made Cyrus appear in front of the door, preventing me to interact with it and which I could only solve by, again, returning to the mansion and getting into a fight with the Wraith)… and this is where, sadly, the plot completely falls apart and stops making any sense whatsoever.

Up to this point, it had been emphasized several times that all we had to do was sit by the fireplace and wait for day to come. The Wraith still wandering the mansion would be destroyed by sunlight and everyone would be fine and dandy. Suddenly, without any reason as to why this is no longer The Plan, it is instead decided to lure the Wraith underground (where it should be safe from the light of day) in order to destroy it with the machinery in the lab, something which will put the protagonist in great danger with extremely low odds of survival.

Not much of a point in getting mad anymore so I just sigh and go with it. Gotta get the parts first though… which are in a lab swarming with mutants. And Cyrus won’t come along because he has to keep an eye on Snyder.
No problem, I figure, I’ll just kill them myself. I get my a--handed to me.

Here’s I’ve got to give you credit where credit is due: I’m actually quite amazed by how finely balanced the battles in the game are. They go from nearly impossible (but NOT impossible) to very much doable depending whether you are on your own or with an ally.
I wish this had been used to make it so that some areas still required you to just shoot a path through the enemies in order to run, but sadly that wasn’t the case (it actually would have worked great to make you feel all the more alone and powerless when lacking an ally to watch your back and could have gotten us back into horror territory).

So, while I overestimated my ability to fight by myself, I am well aware that I’m expected to get help from the mutant… but I’m STILL working on the assumption that I can only heal with syringes, so I decide to play it smart: I reload a previous save, after helping the mutant but before going to the scientists. I go to the scientists (killing EVERY mutant there is mandatory so I want to get that done first) then before entering the room with the scientists, I go back to the lower lab and with a team of three clean out every mutant infested area I can get to.
It is only now that I FINALLY realize that health spontaneously recovers over time *lol*

Four out of five parts are now easy as pie to get. The last one turns out to be the most difficult part of the game. The mutant won’t follow me there (for no given reason since it’s not like I need to leave the labs altogether, meet other people or that the lack of gas would cause her to die) and Kana alone can’t win the fight.
I try and try again. Still wishing for the game to recover its horror element, I grow convinced that I am, in fact, supposed to blast a side open with my gun then run. I keep dying. I resolve to keep them away long enough for me to run by any means necessary… and I actually succeed by wasting up 5 light stones (again, I’m impressed: I was starting to think the fight was simply scripted so that it was impossible for me to run, but it was just really, really hard). I’m nearly dead though, so I retreat save on a different slot and go check if the number of enemies decreased (figuring I could kill them gradually while healing up between fights). It hadn’t.

I abandon that strategy and go back to my previous save to get my light stones back. I start to wonder if this is another glitch making me fight way more enemies than I should and it is only then, checking a let’s play that I find out I was supposed to get the mutant there.
Maybe it’s a shortcoming of my own, but I never thought I could give the mutant any verbal commands. I figured it had the intelligence of an untrained dog and wouldn’t really be abel to understand anything it was told, helping me out just based on instinct (telling it that the normal looking human was once kin and deserving of help/protection).
Anyway yeah, maybe it’s just me and I should have figured it out without any further hints (though I do question why Kana can wade through the purple substance with fish in but not the one in the corridors).

And another possible nitpick: is the soap side quest -supposed- to be a fool’s errand? Because that’s what it appear to be to me.
You go get the soap to obtain more light stones since you’ll have to survive a lengthy encounter with the Wraith… but in collecting the Soap, you have to go inside one exit-only rooms where the Wraith will no doubt get you. So either you use a light stone, or you take some damage (which, as established, does not heal). Either way you lose what you set out to gain.
Fortunately, the game actually rewarded my stingy packrat nature: throughout the entire game I probably used only three light stones (one experimentally against the Wraith, one against the fish that attack me when collecting one of the parts and one mandatory against Victor).

So okay, time for the final battle. Time to settle the score once and for all. Time for CYRUS TO EFFIN’ STOP TALKING.
What in the name of God is an unskippable TEN MINUTES LONG dialogue doing in front of the final boss without any chance to save after it?? 
Just… why??? Were you thinking something along the lines of “if they wanna see the end of my game, they have to take their damn time to get there”? The first time around it isn’t so bad (and thankfully I won on the first attempt) but following that, it’s just ten minutes of mashing the space bar wishing for the text to go faster. I feel like I almost got carpal tunnel going through that dialogue.
With all the blunders that may have occurred along the way, this was definitely the most painful moment throughout Wraith (and I do mean painful: my wrist started hurting).

Anyway, yeah I survive the elevator without even exhausting my 7 light stones good. And naturally Snyder ruins the plan. I don’t know if this was intended to be campy/fun but I couldn’t help laugh at Cyrus here going “You sent a young girl to fight hordes of mutants by herself to keep an eye on this guy. You had ONE JOB!” *lol*
I’m not complaining really, just thought it was funny and wanted to share.

So again, survive the Wraith. Check. Scientists that killed tons of people go end of Jedi Darth Vader. Check. Escape non-specific self-destruct timer. Check. Kana and her friends make it out alive and can go on to have happy lives. Check.

Well that was a good ending. And there’s an even better one? Gotta see that.

Incidentally, I was lucky to see the “bad end”, I only did because I thought I’d read the human mutants file when I’d only seen it in a let’s play when trying to overcome the “huge enemy horde” glitch (and sadly Kana doesn’t’ have the option of saying “Screw this I’m outta here” once tasked with saving the Wraith).

So yeah, now we’re saving the Wraith. We’re literally trying to save the soul of the thing that’s been trying to eat ours. And still is. Problem is, I’m not really clear on what I’m supposed to do. I assume the solution is getting the Wraith to meet Regina, so I go pick Regina up and willing or not, the final Wraith catches me. And I die.
The End.
Kana’s soul was devoured by the very thing she was trying to save. Honestly, I can see why the sequel is titled as it is: this woman is a saint for willingly going through all this.

So, getting Regina to the Wraith is not the solution. Okay, walkthrough time.
Let’s see, I have to push the Wraith into a certain room… then get Regina to it. And that’s that.
FFFFFFFFFFF---

Hold on, hold on: having seen the ending, I can understand why seeing Regina in that room would jog the Wraith’s memory (it is the last place she saw her daughter in).
But the plan was to TRAP the Wraith in there. That never came to pass. Was it simply an unnecessary step? I don’t know, I’m kind of confused. Than again, it’s not much different from destroying it underground rather than letting it be destroyed by sunlight above ground.

Luring the (very disorientated, apparently) Wraith was an interesting challenge, though I never would have figured out exactly how to do it without the walkthrough …and I shudder to think what it would have been like if I hadn’t killed all the mutants beforehand.

So okay, we managed to save the Wraith’s soul, Regina very reasonably gives her mother’s final wish the middle finger by deciding to blow up with the lab rather than “live out what little life she has left to the fullest” (Yeah I’m sure there’s plenty of happiness just waiting her outside the lab. Like starvation) and otherwise it’s pretty much the same as the other ending, except we get to watch a movie about “the whole story” in which it is finally revealed… nothing, we’d pretty much pieced together the whole thing already.

Alright so, it IS revealed that Victor had been blackmailed by an evil organization. Doesn’t really make him any less of a monster. Already he had been conducting experiments on humans and he had to choose whether to go to jail or experiment on his children as well as kill his way in such a way that she’d be so filled with hatred she would turn into a Wraith possibly to have her soul destroyed forever at a later date. I can kind of understand Snyder’s reasoning that saving a single soul is worth snuffing dozens of lives (though he’s still an hypocrite because he’s sacrificing Kana’s soul for it as well), but Victor was a monster and Kana is an utter imbecile for going “He never meant to…” making me want to punch her in the face for being so forgiving… instead what I get is that she is kidnapped and never seen again by her friends and family. A little harsh a punishment for a stupid comment.
But seriously, this is the good ending? I think you’ve mislabeled them. Though this seems to be a thing with RPGMaker horror games. The aforementioned Witch House and Mad Father also have true endings that end up being worse than the regular endings. I’m not a fan of that.

Of course, after finding out that there’s a sequel with a returning familiar face, I understand this is a sequel hook (probably connected to the lingering question “what did Victor want kana for?”), but at the time I thought it was just you giving the player a giant middle finger for no reason whatsoever. You probably should have left it a little more mysterious, like “but the search party was unsuccessful”. Wrapping it up with “but Kana was never seen again” simply has too much finality to it, leads the player to just assume that the Order used her for their experiments and she died, end of story.

Well I’m just about done (if you’re sighing in relief then you know how I felt when getting Cyrus’ pre-final battle speech over with :p) a few closing thoughts:
After reading in the library that Wraiths gradually model their appearance on their designated victims, I was surprised that by the end of the game the Wraith barely had formed a head. I honestly expected a fake kana to lure her friends to their deaths, resulting in much suspicion and resentment. Kind of sad you didn’t explore that. Was it the original intent but then you decided to cut that part out of the game?

Finally, I’ve been bitchin’ and complaining a lot through this, but believe me: early on I absolutely adored this game and all in all I still had lots of fun.
I don’t mean to be presumptuous but I kind of hope that this document can inspire you to work on an improved remake, because once again, if you fixed some of my grievances above I am really confident that this has the potential to become one of the very best 2D horror games ever made.
I could go on but this has already reached ten pages, so I believe you’d rather I wrap it up than keep offering generic compliments.

I just want to say one more time: thanks, it was a great experience :)