Infinity Runner

I have a soft spot for the kind of game that pitches itself with a single absurd line and somehow almost pulls it off. Werewolves. In space. On a crumbling generation ship. Wales Interactive had something genuinely strange on their hands in 2014, and for about the first twenty minutes of Infinity Runner, that strangeness is quietly thrilling. The setup drops you, a nameless prisoner, out of cryo-stasis and immediately into a full sprint through the corridors of The Infinity, a vessel so large it carries forests inside its hull. A mysterious woman named Riley speaks into your head, urging you forward. The first-person perspective is a smart call for a runner: it turns a genre usually played from a birds-eye thumb-swipe into something that carries a faint pulse of Mirror's Edge anxiety. You jump, slide, and strafe left or right around obstacles, manually steering corners rather than having the game auto-rotate for you. There is a wolf levelling system and periodic werewolf transformations that let you smash through walls and auto-collect data packets scattered across the corridors, which sounds exciting until you realise the game mostly takes the controls away from you during those sequences. The arcade mode offers a randomly generated infinite run with leaderboard competition, and up to 32 players can race the same corridor simultaneously in the multiplayer mode, though finding an active lobby at this point in the game's life is unlikely. Here is the honest accounting. The story mode spans 14 levels across seven distinct environments, including the Brig, Docks, Monorail, Ship Exterior, and Bio Dome, and the level-to-level variety is more thoughtful than the genre typically bothers with. The soundtrack does genuine work: it drives pace when the running clicks, and a few set-piece moments, a collapsing bridge, a gravity-well section, a sprint through the exterior hull, land with real pulse. When the rhythm locks in, Infinity Runner reminds you why this genre gets made in the first place. The problems are just as consistent. Combat encounters break the momentum completely. They arrive as slow-motion quick-time events, press a sequence of buttons in order, miss one and die, restart from the last checkpoint with one fewer life. Three lives gone returns you to the level start. The werewolf mode, billed as a surge of monstrous power, largely removes player agency rather than amplifying it. Tutorials are sparse, early obstacles teach through death rather than signposting, and the presentation shows its budget in mismatched audio sync, the occasional crash, and visuals that read closer to late PS2 era than to the mid-2010s PC space it was sold into. The story ends on an unresolved "to be continued" that never actually continued. For a certain kind of player, none of that is disqualifying. If you have ever sat through a gleefully cheap sci-fi horror film and found something to love in the mess, Infinity Runner is the interactive version of that experience. The running, when uninterrupted, is genuinely enjoyable for its brief runtime, somewhere around two hours on a first pass through story mode. Arcade mode adds modest replay value for score chasers. The concept alone, schlocky and committed, carries more warmth than most polished-to-nothing mobile ports. Just go in knowing what it is: a short, rough, oddly charming sprint through a broken ship, not a statement about the genre.

Kai · Scout Team

Indie & narrative

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