The One We Found

I want to be an advocate for this one. I really do. Solo developer Josh Loveridge built an entire first-person survival horror game from the ground up in Unity, set inside the Whisperwood mental institution, and that alone earns a moment of honest consideration before the critical notes pile up. You play as James Ledgewick, a psychotherapist who arrives at the asylum only to find that a recently unearthed cave network has dragged something terrible into the light. Notes and scattered files dot the corridors, piecing together a story that a few reviewers have called genuinely interesting in its bones. The premise has enough atmosphere to earn its place alongside low-budget genre entries from a decade ago. The mechanical reality, though, is difficult to defend with a straight face. The campaign runs across roughly ten to eleven chapters, and the complete journey clocks in well under three hours if the game's friction does not slow you to a crawl. That friction is everywhere. The flashlight system, a battery-managed torch that illuminates only a tight circle in front of you, sounds tense on paper but in practice it becomes a source of genuine annoyance: environmental details and key items blend into poorly lit surfaces, and collectible batteries are scattered so abundantly that the intended resource tension never materialises. Puzzle solutions, typically keypad codes or padlock combinations, are written nearby in plain sight, which strips any sense of discovery from the exploration loop. The shooting, which takes over in the later chapters, feels weightless. Guns carry no audio punch, enemies react minimally to hits, and the control layout adds unnecessary awkwardness to every encounter. The survival mode, unlocked after finishing the campaign, offers a wave-based horde experience with a points economy for purchasing additional weapons and ammo, spread across three maps. It is the part of the game with the most direct momentum, and some players have found it passable in short sessions. But it borrows so visibly from Call of Duty's Zombies structure that it reads as homage at best and placeholder at worst. The broader technical side of the package compounds things further: framerate spikes in open areas, long load times, text that contains spelling errors, and environmental bugs that some reviewers noted encountering repeatedly throughout their playthroughs. What is genuinely sad about all of this is that the foundational intent is readable and worth something. The asylum setting carries a quiet dread in its darker corridors. The note-based storytelling, a staple of old-school horror, pulls at the right threads when it is working. There is a sense that someone who loved the genre deeply sat down and built the version of a horror game they wanted to play. The craft of that ambition, however, outpaced the polish, and the resulting experience is one that tests patience far more than it stirs fear. For the horror-genre completionist who finds meaning in small solo-dev projects, there is something here worth squinting at. For everyone else, the genre has far better homes to explore. Kai, Scout Team