Worth making and worth playing, with issues but more importantly, with real gameplay and involvement.
You spend most of your time trying to sneak around in the shadows to pick off Nazis in occupied France for the benefit of the Resi-staunce (pronounced the French way even in the middle of German dialogue), the idea being that this is more tense and immersive than shooters, where encountering an enemy becomes pedestrian very quickly. It does succeed in this to some extent, sneaking up behind someone and having them turn around when you don't expect them to will probably make you make noises, and they had some interesting ideas to mix up the mechanic.
One idea was broken glass on the floor, which makes you create an ear-crunching amount of noise advertising your exact location to anyone in the room. These obstacles are about the size of a slab of concrete and quite easy to see, but if you get fixated on the back of someone you're following, you can catch yourself out and it's a moment that can make you jump. You can defend yourself a little, in most missions with a pistol, but you can't walk around with it equipped, and if you're not careful with your aiming (or very close) you'll use up your ammo' in two encounters and have to do the rest of the level properly, so even using your gun, it's stealth that will get you through.
It all sort of seems to fit in the world war 2 setting, using lots of concrete buildings with leaks and cracks, a Fay Wray hairstyle and some surprisingly stylistic visuals in gas-filled industrial areas, with of course Nazis in gas-masks, something it's hard to get tired of killing. Any time you sneak attack someone from behind, a little cut-scene style animation shows the kill and leading up to it there are some audio and visual effects, including a steadily reddening screen, which give the game a visceral feel, and keep you thinking that the protagonist is a normal person caught up in the war, and question the effect the killing is having on her. There was one animation where she repeatedly stabbed her victim in the chest like a baby playing in the bath, and at the end of it opens her mouth like your girlfriend does when you're doing things she didn't know were possible. I got a real thrill out of this, like watching the Exorcist or a Hideo Nakata film, but not to that extent.
There were things that got in the way of this, for example if you aim your gun while hidden, everyone in the room suddenly points their weapons straight at you as if they knew you were there but didn't think you were going to cause any problems. There is also the option to get into an Schutzaffel (SS) uniform a walk around in plain sight, but only keeping your distance from Nazis, who will realise you're not legit' if you get too close. This made me wonder why I would wear any other kind of clothes, but when I tried sneaking up on anyone, their SS sense would start tingling, and even if I was behind them and crouching in complete darkness, they would start shooting as soon as I got within "you don't look like a Gretel" distance.
There's also a lingering awareness that your silenced pistol should be able to shoot out these light bulbs which are causing such problems, and that being in the shadow of a car while outside during the day wouldn't actually hide much from a patrolling soldier several metres away. I'm not sure why they chose to have day-time outdoor sections in the game (other than involving the SS uniform), they didn't make me feel more vulnerable, actually the soldiers with torches had that effect on me more than any. Worst of all, you end up relying on the light metre to know when you're hidden, because it's so hard to tell from the light. Sometimes a dim light won't expose you at all, and sometimes a glimmer between two shadows will make you a walking target.
These aren't huge problems, but a real thorn in this game's side is the check-point save system. The game is designed like a PC game, with resource management, proper controls and gameplay, and a real gameplay premise. Not having a quicksave, or any manual save, therefore means that all saves are a compromise between having a chance to backtrack and pick up resources or change weapons (early), and being able to quickly resume attempting a problematic encounter (late). I had two instances in the game where an encounter that was giving me difficulty, was preceded by two rooms between it and the checkpoint, which I was getting thoroughly sick of. In another instance, I found myself in a place from which I couldn't backtrack, equipped with a weapon which was useless for getting through the next part of the level. Speaking of that, back back on the minor niggles, a few sections are possible to complete just by running through them.
The game did hint at me to change guns several times, but I was trying to stick to my silenced pistol with limited ammo and didn't realise that while pistols share a slot, pistols and rifles/shotguns are separate. I also, as this was early, had the apprehension that the weapons were mainly there if I needed them, and that the super-skilled awesome way to do everything was to kill without being seen, and better yet leave people alive just to show how swish I was. The level sum-up screens seemed to agree with this, giving me high ratings, although this turns out to be at the expense of actual tangible rewards, as killing guards you don't need to often gives you access to secret items which give you points towards the obligatory upgrade system.
The upgrade system was a bit of a slap in the face, though I mainly put it down to consoles tainting everything in gaming nowadays. I spent all but the last two levels putting my upgrades on "Stealth", making my sneaking faster (trying to sneak up behind someone is bloody difficult when you're actually SLOWER than than they) thinking that upgrading anything else would be like upgrading your door-opening ability in a shooter. This was met with a Bethesda-style "wrong choice" punishment when the last one and a half levels were all extremely difficult gun-fights. Having gone through the whole game getting the super-elite fantastic ratings on levels, I had no idea how to get myself through a gunfight, and certainly hadn't upgraded to favour them. The finalé was a cover-based shoot-out with several waves of enemies, with a Call of Duty style feeling of dogged resilience, but I was about as prepared for it as someone facing an end boss from a Half-Life game after fifteen hours of Duck Hunt.
That said, it was in the last two levels that I really started feeling involved with the characters, and that directly translated to better gameplay. The game starts with the apprehension of reading letters by people you've just killed, to the ambivalence of catching a ship captain sleeping and hearing your character say "I could stop him waking up, one less experienced captain", to being committed to get rid of every one of the bastards after seeing a Warsaw ghetto, having them come after you personally, and being in the middle of them burning a village. There is still a tone of maturity where you don't actually feel anyone can get on the moral high-horse, but your involvement in it doesn't really in that, it relies on your personal investment, and that ambivalence is, I think, part of the statement.
I liked this game and hope that people play it. I'm glad it was made and though the development company is sadly insolvent, I hope the involved take their ideas on to other games. It is worth playing, there are issues with it, but it's still the kind of game I may one day come back to, to play through on hard.