I liked it! Lovely composition in the title+road scene and the visual chaos of the story-faithful ending.
Making the player character run automatically when the train timer ticks down is a very cheeky way to enforce linearity in a game adapting a story about multiple timelines!
I liked the garden puzzle. Simple, but satisfying.
Both the garden and the chess scenes ask the player to hit grid spaces at an angle, often occluded by tall objects in more foreground tiles. I kinda appreciate this in the chess scene, where unforced execution error helps to quickly reveal the exoludic lack of enforcement of chess rules, but it's a little irritating in the garden.
The use of the word "riddle," visual inclusion of chess puzzles and the mechanical importance of the garden scene to progression sets up an expectation that the chess scene affects the others somehow, that there's something to solve. It works narratively to show a version of the protagonist on friendly terms with Albert, but it feels less playful with the implications of a goal, since there are so many permutations the player can't be entirely sure if they're just missing something. (Going out on an analytic limb... the original story answers the riddle with the word "chess," as a way to show how a work can be defined by what the artist chooses to leave conspicuously out. So it is in this scene, where everything hints towards a strictly-defined puzzle but lacks any mechanics beyond moving pieces, placing pieces and allowing any piece to capture another. It's in thematic opposition to the idea of outside goals, and becomes irrevocably changed, broken after the player achieves an end state. Albert "[says] the same words, but [is] an error, a ghost.")
Love the ending, how it links the three scenes geographically, how the after-effects bleed through time and space.