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The Plague (Redux) Reviews
Author: Laurence Moore
Date: 2005

Reviewed by Dan Shiovitz

Ok, seriously, this is 2005 and there is no excuse for inventory limits. Or weight limits. On the other hand, there is every excuse for including zombies, because zombies are totally awesome. This game doesn't really do anything special with the zombie formula — you're a hot woman trapped in a building, there are a bunch of zombies, you have to kick their ass and get out — but that's fine, because zombies are totally awesome. 

There are a few rough bits in The Plague (Redux), in addition to the aforementioned inventory/weight limits (on the other hand, the resource limit of needing cash for the vending machine is great, since it gives you something to work on). There are way too many rooms — you could have trimmed a good quarter of them out and ended up with a much tighter map. The intro is pretty silly, and goes on way too long with not much happening (plus, it's got the problem that the help tells us from the beginning that it's a zombie game, so then the PC looks like an idiot when they can't figure this out; either don't tell the player in the beginning, or make the PC catch on faster). 

There's not quite enough plot guidance — at the beginning I was wandering around looking for cash for the vending machine, not because I knew why I needed the water, but because there was nothing else to work on. And the searching can be weird: sometimes >LOOK UNDER or >LOOK BEHIND finds something when >EXAMINE claims you've searched it and found nothing. It was also a little weird to have the issue of the main character's hyper-combat-competence raised and then dropped: there is clearly something unusual going on when you can kill, like, ten zombies while armed only with a length of pipe, and there are hints that it is turning you into a crazy killing machine, but nothing is ever done with it explicitly. Anyway, if you like zombies, you will probably like this game fine, and if you don't, you should, because zombies are awesome. 

Reviewed by Sam Kabo Ashwell

Title Suggests: Bubonic plague sweeps another town in French-controlled Morocco, leading to another classic tale of resolute humanism in the face of uncontrollable horror and isolation.
Actually, it's less of a rip-off of Camus and more of a rip-off of 28 Days Later. Shortly after the game starts, you have to start running away from 28 Days Later-esque carnage; there's nothing you can do for seven or eight turns but run, which is reasonably effective but not great gameplay. Particularly since, after running for a bit, you climb some stairs to reach a completely blank room from which you can't get out, and nothing further happens. This happened twice; I should have given up after the second time it failed in exactly the same way, but I'm a sucker for Wyndham-style apocalypses and hence continued. I mean, c'mon, it's the Underground. Few places are more suited to the apocalyptic. I may have to petition the Mayor's office to have some contagious zombies imported, because London was basically designed for it.

Trying to get a drink of water, boring: trying to get a drink of water in the aftermath of society's bloody collapse, healthy fun for all the family. Since this is a game largely about searching through the debris, it's good that search-fails responses are implented and described effectively; there are things I tried that weren't possible, and these mount up over a while, but overall I was pleasantly surprised quite a bit. The environment generally works pretty damn well, though admittedly it does so largely through drawing on the already-pretty-sinister Underground. Prose is, well, over-the-top, but subtle understatement is a problematic tone to adopt when describing zombies eviscerating a panicking mob. There are very hefty cutscenes, but they don't break up play much.

At the very start, you're given the option to read the introduction or not; however, typing 'y' gives the reply 'Please type Y/N only!', so you can't actually read the introduction. There are a lot of obvious actions that are left unimplemented. The waiting-room's description mentions you waving a torch around when I don't have one. Many locked doors can be walked through without their key-equivalents. The pole could be taken without the gloves that the walkthrough indicates should be necessary. The listing-exits thing is ugly, but makes for much smoother play. There's an inventory limit, though, which is a gigantic pain in the ass, particularly since the map is pretty big. And finally, at a point when (walkthrough says) I'm meant to give water to an injured survivor in order to advance the plot: 

> give water to kate
Please be more clear, what do you want to give? The wall or the bottle of water?
> give bottle to kate
Kate doesn't seem interested in the bottle of water.

Why am I referring to an unconscious stranger by her first name? Because that's what the parser calls her, and it's shorter than 'woman'. >GIVE WATER TO WOMAN is what I eventually hit on, in desperation, because ADRIFT is looking not for a parsable sentence, but for a specific text string; the hallowed technique which enables your favourite AIF games to handle FUCK DEBRA AND JOELENE RAPACIOUSLY WITH DOUBLE DONG without requiring the author to employ two hands for coding.
It's really frustrating, in a game which I am otherwise enjoying a great deal, to come across so many jarring (and in some cases game-killing) bugs. The temptation to blame ADRIFT is strong. For the Kate Puzzle I fucking know it's merited.

In any case, if I hadn't run across such a host of bugs, this would be getting a 7; if all the puzzles worked as they were meant to, it would be getting an 8. However, in the shambolic state it's in at present, it gets a 6. 

Rating: 6

Reviewed by N. B. Horvath

Score 8
Over-the-top: F**k yeah!
Pros: Immersive experience. Character development for the PC at some points - the PC's attitude changes during the game. I would like to see more of this kind of thing in IF.
Cons: I was irritated by the amount of running-around-between-locations that I had to do; I was also irritated by many of the puzzles.

Reviewed by Timofei Shatrov

So, another Adrift game. I couldn't read the introduction because of Scare's weirdness (keeps replacing "y" with "yes"). Hopefully I didn't miss anything useful. The largest part of the game involves running around metro station to find enough money to buy bottled water. As you can guess it's quite boring. I was following the walkthrough until the point where I had to return to the vending machine and buy the damned water. Imagine my surprise when it turned out that had not enough money! At this point I was quite bored and I didn't have the patience to go through 20+ locations and find where the coins could be, so I quitted the game. Even though I didn't play the entirety of the game, I already found a bunch of bugs. I must say the story is quite good (with some hints of political satire) and the opening sequence is well executed. But the rest of the game seems quite boring. 4 points.

Reviewed by Jake Wildstrom 

This was not a truly wretched game. There was nothing about it that jumped out and said "hate me". There were many little things which struck me as subideal: the relentless linearity of large sections, the sparseness of the map, and my character's inconsistent motivation (the only human survivor I meet after a horrific event I dismiss as a 'turn-off'? Priorities, damnit). I could've done without about 50% less mood if it were only better. Bloodspatter, death, decay, we get it, try to do something a bit more original.

Rating: 4

Reviewed by Sidney Merk 

Survival Horror is less scary when you’re taking care of a wailing infant. I admit I struggled with the first two hours of this game more than I might have otherwise, due to splitting my attention between the game and the baby. Later, I put on some Silent Hill remixes (from www.ocremix.org), which helped the mood.

I had less trouble with the Adrift parser for this, the second Adrift game in my list. It still felt a little off, especially when Adrift is parsing multiple commands out of my ongoing commentary. Otherwise, it works pretty well. There were a few instances where the game thought I was referring to a completely different object, or where disambiguation was a problem. One instance kept asking me if I meant the “wall” or the “water bottle.” Neither answer would disambiguate. This is key to solving the game, as it turns out. After some frustrated repeating and undoing, the command somehow worked. This kind of thing can be a problem in other IF language, so I don’t think this is the fault of Adrift so much as just a bug in the game.

Strangely enough, the “about” and “score” commands were mapped the same as “help”.

The Plague (Redux) uses a first-person voice. Not to rest there, it’s also written in the past tense. I assumed the author was going for a narrative in which the PC, a twenty-year-old girl among the zombie hordes, is relating her experiences to someone at the end of the game. This didn’t happen (and later, I’ll talk about the ending bits), so I’m not sure if this was just meant to make the game stand out from the traditional second-person present tense or what. It slips a few times, where single events happen in the present tense seemingly by mistake, but overall it flows pretty well.

I suspect that beta testing was either a low priority, or else the author just didn’t finish with time to respond to beta feedback. The “water bottle” disambiguation is just one among many bugs. You can enter the stall in the women’s bathroom, where a [F]ight or [E]scape choice is given. However, neither option works, and the brief room text makes no mention of the zombies quite plainly described as being in there earlier. They’re back, and the two options are gone (the fight is automatic), once you get a weapon. Names are given to NPCs before the PC should know. Toward the end, one puzzle requires learning an NPC’s name to build trust, which is difficult to follow when the game has already given her a name in reference to attempted actions. Late in the game, I began to experience an inventory limitation that kept me from carrying almost anything – even stuff I previously had. This too seemed unintentional.

Harder to identify, but equally frustrating, are the problems that are attributed more to bad design than to bad coding. I hate calling anything “bad”, especially since I’ve done much of this in my own past games (although it was bad those times, too). When searching boxes in one area, the PC finds nothing. I tried moving the boxes, but couldn’t. Stuck later, I referred to the walkthrough (ultimately, I did so several times). You can look behind the boxes. It’s a spoiler, but you’ll thank me for it. The PC then shifts the boxes around to see what’s behind. If you pick a half-dozen beta-testers, at least one would probably have caught this. As it stands, I thought I had exhausted my options. It’s frustrating to see the PC described as doing something you explicitly tried, in response to a different action. Knowing this at least makes later parts easier. The game requires quite a few unprompted and unclued actions. Sometimes this can work, but at times I had to repeat actions I did before, without any indication that I might get a different result this time (finding the screwdriver, learning the girl’s name, returning to the subway exit). Again, sometimes this can work, but not without some kind of clue or hint that I should try again later.

The game also requires close examination of everything. Maybe I’m exaggerating, but failing to investigate every piece of scenery can leave you stuck. Again, I don’t think that’s always a bad practice. With a large area to explore, though, it becomes a pretty big task to even identify each piece of scenery in every room. If I had been limited to a room or two, this would probably be a non-issue. Looking at everything becomes obvious.

Then, there are the quirks that are neither bugs nor design problems. Okay – possibly design problems, but I’m not lumping them together because I understand the point of a puzzle game. First, the smell of decaying flesh is described. The plague struck only a few hours earlier. Does flesh decay that quickly, or was it brought in from elsewhere? I was sure the cigarette pack and the lighter (and perhaps the roll of tape) could help me make a torch. I don’t mind that it didn’t, except that it would have been nice for the game to tell me why not. It seemed pretty obvious. Perhaps the lighter could have been empty, and the PC discards it as useless. I don’t know. The great thing about beta-testing is that you don’t have to change everything testers try, to accommodate such varied solutions to the puzzles. You can leave the game and the story untouched, and simply add meaningful, legitimate reasons why those things won’t work. It will also help you identify where clues are lacking, to help direct the player to the proper path.

What happened to the other three girls at the beginning? I expected to meet them again in Zombie form, if nothing else. What about Nick? Did he stay dead because he was never attacked by a Zombie? Carnage was all around, but the zombies were confined behind doors and in the train. Some might have reasonably stuck around, right?

At the end, I realized how some of these earlier problems were introduced. The author had more planned for the game. The map (thank goodness for auto-mapping – I love that about Adrift) shows an exit “out” with no branch westward, yet the room text describes the exit as being to the west. I did that first, winning the game. I backed up. I went out instead, and found a whole new area to roam, complete with an unimplemented barrel and hose. The problem is, you can’t get back “in” when you do, and every way is a dead end. One branch leads to an empty room with no way back. Another room with no text can at least be exited. I think the author meant to seal off this unfinished portion of the game. This might also explain why the [F]ight or [E]scape bit earlier seemed totally unimplemented. The author made some last-minute decisions, to finish by the deadline.

Other than that – and yeah, that seems like a lot to complain about – it’s a fine game. The writing is vivid and the game feels urgent when it needs to be. With some work, The Plague (Redux) (was there a first zombie plague?) could be a great game. I have a transcript with plenty of notes, available to the author at his request. I wanted to base this at 6.0 on my scale, but it slips a little more into frustration for a 5.5. I should skew down half a point because it’s too big for the competition. I won’t, because I didn’t do the same for the earlier games. What happened to all the short games, though? The half-point downward skew is because the game is apparently unfinished, and bits of the incomplete design still remain.

Reviewed by James Hall 

Before this game begins, you are asked if you want to read the introduction. I wanted to, but couldn't- selecting "yes" or "y" just starts the game, as if I'd said no. Never mind, I'll let that one pass. Despite that, the game looked very promising to begin with. It was a little weird having it written in the first person, but the scenery was alright and the characters seemed realistic enough. There are a few spelling mistakes and punctuation errors in there, but those are forgivable. Unfortunately, two minutes into the game I encountered a bug that placed me in a completely blank room with no means of escape (i.e. the game was rendered unwinnable). Strike one. I emailed the author about this problem and he told me how to get around it. It worked, and I was able to continue. Okay, I'll be fair and give it another chance. In Plague -Redux, you play a young woman stuck in a zombie-filled London (think of the movie "28 days later") and presumably, the goal is to escape alive. You wake up in a mall (why wasn't I eaten like everyone else?); everything is covered in blood and no one is around to help you. That was when it all went to pot. First off, let's establish one fact: Blood and gore are wonderful attention-grabbing devices, but only when used occasionally. When they are thrown around like confetti and put in almost every single location of the game, they start to lose their pizzazz very quickly. 

The puzzles in this game (or at least the few I saw before I quit) were contrived and poorly implemented. For example, picture this: anarchy has broken out and zombies are running around eating what few people are left in the city. You encounter a task that involves you trying to get a bottle of water from a vending machine in a blood-stained room. You need some money to get it, but don't have any, so what would *you* do in this situation? Go on, be honest. You'd break into it, wouldn't you? I tried it and here's the response I got: 

>You know, I might just need the vending machine. 

What on earth would I need the vending machine for? Presumably, I'm now expected to go hunting around for money to put in this vending machine (try finding it without the walkthrough) instead of following the most obvious, logical solution of simply putting my size six though the front of the damned thing and just taking what I need. Sorry, I'm not buying that. Strike two. 

So I explored this blood-covered place a little bit more and ended up in a blood-covered toilet (noticed a pattern developing yet?) where some zombies were busy munching on someone from inside a closed, blood-covered cubicle (the parser didn't understand "open cubicle", but understood "open door"). I opened the door and the zombies came after me. I then tried to fight them off, or at least I *tried* because I was asked to choose between "[F]ight" or "[E]scape" and it didn't understand the command "f", so I then typed in "fight" and was greeted with: 

>That wasn't the answer. 

So I tried "escape" instead, but the parser didn't understand that either. I then (L)ooked, and to my amazement the zombies had apparently disappeared(!). I couldn't be sure if they had or not, because e(x)amining the zombies gives the same response in every location in the game, whether there are zombies around or not. I moved out of the blood-covered cubicle and lo and behold, the zombies were back inside it again (did I mention that this cubicle was covered in blood?). It didn't matter, though; by this time, I'd already had enough of this blood-soaked comedy of errors, so I quit. "Plague - Redux" certainly lived up to its name, because the game is bug-ridden and judging from the fact that nothing in it has been edited since May 2005, lack of time cannot be considered an excuse for this. "But isn't the game scary and atmospheric?" you ask. Read the above review and tell me- would it matter? 

Strike three; you're out. 

3/10 (Might have got about 5/10 if there had been fewer bugs.)

Reviewed by David Whyld

The idea of zombies attacking the living seems a popular theme for the past few years, what with the remake of Dawn Of The Dead, a pastiche Shaun Of The Dead and then George A. Romero’s (very disappointing) Land Of The Dead, and here the idea makes its way into a text adventure. With pretty impressive results, too.

You play the part of Stacie, out for the night with some of the girls, who gets caught up in all the chaos at a subway station when the undead start turning on the living. Your friends become lost and you are trapped in the subway station, weaponless. It’s just you…and a horde of ravening zombies.

The bulk of The Plague: Redux takes place in the subway station as Stacie, the aforementioned damsel in distress, struggles to get out in one piece. Along the way, she encounters a few other survivors (including some pleasant chap who tries to rape her (not a game for kids clearly)) and, yes, zombies galore. The writing is excellent for the most part and does a good job of evoking the scene of a terrified young woman in mortal danger of being killed by zombies.

Unfortunately there are some serious errors that let things down. I found some zombies feasting on a corpse in a cubicle and options were displayed on screen to either [F] Fight or [E] Escape. Neither worked. Nor did attacking the zombies work. In fact, I wasn’t able to do anything at all about the zombies, and worst still, when I typed LOOK, I was alone in the cubicle without the zombies. Worse was the fact that when I left the cubicle and re-entered, the zombies were back. This time, however, I wasn’t given the option of [F] Fight or [E] Escape, but just killed them straight off with a weapon I was carrying.

Elsewhere I found a woman who had been mauled by zombies. Even though I didn’t know her name, the game helpfully referred to her as Kate. After some struggling to help her, I figured out what needed doing but ran into a problem in that the game wouldn’t accept my GIVE [OBJECT] TO KATE but only GIVE [OBJECT] TO WOMAN.

If there are any faults with The Plague: Redux (gameplay faults, that is, and not outright errors or bugs like those mentioned above), it’s that the early parts are far too linear. The intro seems to take an age to get through and involves little more than the main character and her friends fleeing from a horde of zombies. There's also the problem that, despite zombies running around and killing people all over the place, it’s possible for the player to take as long as they want in getting anywhere. And the threat of the zombies themselves is somewhat weakened by the fact that the player – a young woman armed with a metal pole – is able to kill them without too much difficulty. How has the zombie threat progressed this far if they're so easy to kill? (Then again, it never made much sense in the films that unarmed, shambling corpses who can’t think for themselves could overpower soldiers armed with machine guys…)

A large portion of the game has the player wandering around the subway station trying to find some money for a bottle of water from a dispensing machine. Why? Because she’s thirsty. This struck me as a pretty flimsy excuse for what is – due to the way the money is actually found in half a dozen or so different places, some of them not very obvious – a very lengthy and time consuming puzzle. I must have spent a good hour wandering around the subway station searching for a few extra coins for the water… all the time wondering just why I didn’t simply go into one of the many shops scattered around the place and help myself to some. Unfortunately, the water is required for an event later in the game and without it you won’t get anywhere, so it’s not a case of you being able to miss it out if you don’t want to.

Examining items and looking under and behind them is often a different thing entirely in this game. Something that I discovered after examining just about every item in the subway station, not finding much, and then realising I had to go over the whole place again to find what I needed. A little README file indicating that examining items was different from looking under and behind them would have been a good idea.

But the problems with the game (aside from the errors with the disappearing zombies in the cubicle) are relatively minor ones and, with a bit of perseverance, can be overcome. Overall, The Plague: Redux is a great text adventure, and certainly the best ADRIFT game I've played this year.

8 out of 10 

Reviewed by Mike Russo 

I was going to write a disquisition on the pros and cons of adherence to genre tropes in order to justify my principal criticism of the Plague, but upon reflection, I think the point is obvious enough to not require extensive apologia: if you're going to write a survival-horror game about a zombie apocalypse, the zombies should be scary. While the game is overall fairly solid, its refusal to maintain a tension-filled atmosphere severely undercuts its effectiveness. 

Things do get off to an appropriately threatening start; the Brit-slang dialogue is authentic-sounding (at least to my ears, though I admit that most of what I have to go on is a couple of songs by the Streets), the inevitable disaster is a slow-motion horror which gives the player plenty of time to feel trapped, and the initial few moments of confusion are nicely drawn. I was well sucked-in by the time the game proper began. 

The only problem is, our protagonist - a slim twenty-something who's been out partying all night and then gets knocked unconscious - kicks more ass than John Bolton at the UN. Once she gets her hands on a makeshift weapon, she bashes her way through zombies a half-dozen at a time. There are certain circumstances where the zombies are overwhelming, but in these cases, they're used only to close off exploration - they block a tunnel, so another way around needs to be found, e.g. At no point are the player character's life, limbs, or sweet, sweet brains in any jeopardy, and while the zombies do devour the occasional NPC, the deaths are mostly shrug-worthy, since none of the victims have been established as characters in their own right. By the end the zombie horde elicits annoyance rather than fear. I'm generally not in favor of games which are too death-happy, but once the danger is removed from this particular scenario, not much is left. 

On the other hand, the Plague does manage to appropriately model another, er, salient convention of the B-movie aesthetic: there are breasts everywhere, from the main-character's "small but perky chest" to the 16-year-old NPC's "full cleavage." Post-zombie attack, the player character's first interaction with another human involves an attempted rape - admittedly, it does fit the genre, but I found it rather unpleasant to play through. It doesn't help that the protagonist once again proves herself to be frighteningly competent in a fight, and her method of dispatching her attacker is somewhat ridiculous - I know they're called stilettos, but still, offing someone with a pair of heels? 

Other than these admittedly rarefied genre concerns, the game is playable and solid. My fears were pricked - in a bad way - by the ABOUT text's warning that there would be a lot of locked doors, but fortunately my dark visions of Resident Evil-style lock-related silliness failed to materialize. Most of the puzzles proceed logically - collecting gloves to grab a sharp object, giving water to a wounded survivor, bribing another with a packet of cigarettes - modulo a few minor hiccups (X NOTICE BOARD initially returns a "this isn't important" response, but a subsequent re-examination is necessary to progress, without any clue to the player that anything's changed). The writing is generally strong as well, though it is marred by a few typos: "looked me up" for "locked me up," "smear-like" for "spear-like." Still, while the prose does begin to establish the tension appropriate to a zombie apocalypse, the gameplay lops it off at the knees. 

Reviewed by Michael Martin 

In attempting to play the first scene of this, I was dropped  into an unimplemented room with no exits or descriptions. I then checked the walkthrough and it looked like I'd done everything right. I then experimented more with the intro and didn't seem to be able to do anything to avoid that  room.

Score: 1

Reviewed by The Dominant Species TDS (Reviews Exchange 7)

The following text adventure contains scenes of graphic violence, gore and strong language

From the get-go I am delivered a very resident evil-esque message, letting me know I'm in for something sinister by playing this game. Great presentation from the start, not wasting any of my time with too many unneeded options and hinting at what the game is going to be about without slapping me in the face with infodumps. I wish more games would be like this.

Things suddenly turn bad for Stacie, Catherine, Andrea, and Rachel when zombies invade an underground train station. Stacie, the protagonist, eventually loses contact with her friends in the middle of the chaos. She awakes back in the station at night when all the infected has disappeared and there isn't a soul in sight. This is where the game really starts. Unfortunately, this is where the game starts to fall flat.

After you regain your senses and take a look around you run into your first puzzle. Collect change to buy a bottle of water. You spend the next 20-30 minutes trudging through every room looking for change. This involves examining every object you come across. It's a very tedious process, especially when examining some items you get this:

> x walls
There was nothing absorbing or even remotely interesting about that.

Then you'll examine something else considered unimportant and you'll end up picking up change! The situation is aggravated by the lack of room titles in the status window. I may be old fashioned, but I don't find it stylish to make the title of room names in the status window invisible, considering this basically disables using goto on the map. Using the goto command is valuable when you're having to balance inventory. There came a time when I had accumulated so much crap I didn't know what to drop and what to keep because all of it may have been useful. So I dropped something and later found out I needed it for a puzzle. Then I travelled all the way back where I had stashed it and brought it to the person that wanted it. It's as fun as it sounds.

It isn't too hard to find your way around with descriptions like this:


I flashed the torchlight about as I walked slowly along the tracks, the noise of the flesh eating zombies growing louder and more fearsome as I neared Bond Street station. I could head southeast (tunnel) or west (tunnel). 

As you can see, the room lists its directions at the end of its description. This is great, but it takes away from the atmosphere quite a bit by injecting interface in the game. Some will argue "It's just a game for God's sake! You'll never forget it's a game!" but I want to be immersed into the game as much as possible, and interface in the room descriptions takes a little away.

The game also has descriptions that say plenty but only have two or three objects you can examine. Some descriptions haven't had any effort put into them.

> x torso
It was too unspeakably gory for words... 

Can you say "cop out"?

One thing that really killed the enjoyment for me was the puzzles. They are ridiculous. The one where you have to find change for a vending machine isn't the only one. There's one puzzle where you have to look under an object. First I type "x object" and my character searches through the object. Later I try to examine it again and it only says "You've already searched the object." Then I try to "move object" and "search object" to no avail. So I think "well, there's nothing important here" and move on. About five or ten minutes later when I am frustrated I look at the walkthrough I find out I have to "look under object". Are you kidding me? That's not all; you also collect batteries for a flashlight and collect weapons to kill zombies! And collect gloves to hold spiky objects and collect cigarettes for a man to help you. Yes, zombies are running rampant and a guy denies to help you unless he has his cigs. At this point the game's atmosphere has been completely stripped away and you start playing "Treasure Hunt: Zombie Underground". 

The zombies in the game are pathetic, unscary, and all-around unneeded. I would've been more scared if there were no zombies in the station and were trying to get in than having a girl in a mini-skirt beat down on them without suffering a scratch. By the time I managed to get myself killed by them they were no longer scary. There is no suspense or build-up past the introduction. There's no feeling of zombies chasing you or even the slightest bit of terror. After realizing you'll never die, survival is the least of your worries(even though the game is billed as a survival horror).

The nail on the coffin are bugs. There's a bug in the beginning where "up" wasn't an acceptable command to move up steps. A couple days later I asked about it and found out I need to use "u" instead. In one area I entered a bathroom stall with zombies inside and am given the option to fight or flee. Neither options worked. By this time I am pretty unforgiving from having put up with bad puzzles and boring story. How could you miss these bugs in beta testing? Was it even beta tested? Again, why are the room titles invisible???

In the end, I thought about why I didn't enjoy the game. First thing that came to my mind were the weak puzzles. Then I asked myself "Is this story even worth being told?" and decided the answer was "no". Finally, I took off a point for the bugs that made the game below average. The only thing it has going for it is the writing, and sadly that isn't enough to make a good game.


Reviewed by MathBrush

This game has an intro involving you escaping from and surviving a terrible disaster, separating you from your friends.

It then opens up to an open world where you have to gather money, clothing and weapons to survive the apocalypse.

One of the better Adrift games.

Reviews should be considered copyrighted by their respective authors.


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