Summer rain, a car, and one second you would take back forever if you could.

The profile is brutally lopsided. On gut instinct, when people are simply asked which of two games they prefer, Last Day of June only gets ahead of 6% of titles. That is low. Really low. And yet its sound environment places it ahead of 91% of games, one of the finest lines you can hope for. Connection follows modestly, a little above the bottom quarter, and art direction sits around the average, but on only two duels, so treat it as unconfirmed. The rest collapses: controller feel ahead of 6% of games, fun ahead of 9%, desert island ahead of 5%, and the wish to rediscover it right at the bottom. That is the real tension here: the music devastates, the story lands, but when it comes to picking it over something else, the community barely hesitates.

That is the paradox of grief games and contemplative pieces. They are not built to win a duel, they are built to leave a hole in you. Next to more embodied narrative adventures, this one bets almost everything on emotion and the soundtrack, and pays full price for the rest.

So, who is it for? For you if you like a game that takes two hours and leaves you silent, if a soundtrack alone can justify the purchase. Much less so if you want something to play, to replay, to talk about.