Demon of the Well
Map 12 -- Rotten Orange - 100% Kills / 100% Secrets
Apart from the nasty sky cutoff that the player starts out looking at, this is a fairly attractive map, with an interesting dirty/damp color palette and an effective juxtaposition of horizontal and vertical expanses, yet it also feels terribly unfinished. Most of the other speedmaps in the set, while often tiny and occasionally downright trivial, nevertheless feel like complete offerings despite their diminutive stature, whereas Rotten Orange seems like a fragment of a larger map that was left half-done.
The action is basic but not unreasonable fare featuring a doorway surprise or two, some ledge-snipers, and then a modest teleportation wave that serves as a delayed response to the player getting the red keycard. All fair enough, but the map just dies after that, with the player going down into the very lightly-guarded ravine to pick up the blue card....and then nothing. Nothing at all. Just an incident-free backtrack to the blue door from earlier (which has the red door right behind it), and then the exit. The fact that the red key's inclusion is so utterly pointless, and that the player gets a combat shotgun and a bunch of ammo down in the ravine that s/he'll never get to use, strongly suggest that the author had more planned for this map, but presumably ran out of time to include any of it. As such, I reckon this map probably would've come off better (from a player's perspective, I mean) if it had been even smaller/shorter than it already is--and I say this as one of those weirdos who often prefers big/long maps to short/punchy ones--probably ending after the teleporter wave near the chainsaw. As it is, that the map keeps going after that, seeming like it's building to something before it abruptly comes to a sudden dead stop, just ends things on a sour note.
Map 13 -- Inside Your Mind - 100% Kills / 100% Secrets
Now, call me crazy, but I really liked this. Except for one fight and a certain dick chaingunner in the starting area, the combat is paltry to nonexistent, but it's not that kind of map; it's a whimsical little psychodrama that trades on atmosphere and pacing instead of traditional action.
That approach being the case, it's imperative that the map effectively establish a mood, and it does that very well, not only as an individual offering but also in the context of its place in the mapset. We see a fresh batch of textures here, most of which are not to be found in any previous map (or in the original Whitemare, for that matter)--some tiles from Blood, grotesque iron wall-reliefs from Quake, dingy rotting drywall from I don't know where, and so forth. The lighting work is very simple but quite effective; there's very little in the way of sector gradient or other aesthetic niceties at work here, but the light levels themselves are well-chosen and contrast subtly and effectively from area to area, a fine example of why I'm always bellyaching at mappers not to be afraid to make their stuff more persistently dark/dim. Hell, I even really dig the BGM here, the start of the song sounds like it's not going to fit the level very well but it has some unexpected transitions into moodier breaks that work quite well. Anyway, the overall picture is like some quaint townhouse sort of setting that's been raped and twisted by eldritch powers into a hollow mockery of its former self, heavily reminiscent of some of the stuff in BlueEagle's "Unloved" (which I am personally very fond of), now that I think about it....in fact it wouldn't surprise me if the author was consciously making a nod to that project, although some of those characteristic Russian scene tropes are here as well.
As I said, the gameplay is mostly pretty sedate, focusing more on teasing you and keeping you guessing via the actual level geometry and path progression than on delivering much in the may of interesting battles. I particularly like the leap of faith into the mouth of the maze, and I'll even play the apologist for the maze itself to some degree--yes, it's a long, orthogonal maze of switchbacks and viewports with the occasional specter in it (AND one point where an unobservant player could become perpetually lost), and yes, for the most part that's about as thrilling as it sounds, but I think it works because it effectively lulls you into a state of complacency before the blue skull trap springs and gives you a blast in the ticker. A cheap trick, perhaps, but an effective one that puts a nice adrenaline-fueled punctuation mark on an otherwise slow-paced map.
I'm not familiar with Iron Hand, either, but I certainly hope to see more maps from him in the future.