I finally got around to playing Stasis, an isometric point-and-click adventure game that caught my interest the moment I saw the screenshots and tried the free prequel, Cayne, back in 2017 (according to my Steam logs). After sitting in my backlog for years due to other priorities, both in life and gaming, I eventually dived in this year on my Steam Deck. Like most point-and-click adventure games, it proved ideal for handheld play, with the interface working flawlessly and no awkward remapping required. Stasis was originally released in 2015 by The Brotherhood, a small South African studio founded by two brothers, Chris and Nic Bischoff. Chris handled much of the art and design, and the project was funded via Kickstarter, taking roughly five years to develop. Their aim was to blend old-school adventure mechanics with the tense atmosphere of modern sci-fi horror films, drawing heavily from classics such as Alien and Event Horizon. The game also features a soundtrack by Mark Morgan, known for his work on Fallout and Planescape: Torment, which alone hints at the mood they were aiming for. Stasis eventually expanded into a series, with the free prequel, Cayne, that I mentioned, and a full sequel, Stasis: Bone Totem, both of which further explore its universe and themes. The game places you in the role of John Maracheck, an ordinary man who wakes up disoriented and in pain aboard the massive, derelict spaceship Groomlake, which orbits above Neptune. John had been travelling with his wife Ellen and daughter Rebecca, all in stasis for what was supposed to be a routine corporate transport run, but he emerges alone and confused. The Groomlake is a dark maze of blood-streaked hallways, ruined laboratories, malfunctioning machinery, and shadows broken by emergency lighting. As John, you explore the ship, scavenging clues from PDAs, computer terminals, and environmental details that gradually reveal the nature of the experiments conducted there under the Cayne Corporation. Rather than relying on jump scares, the story favours slow-burn tension, where the horror comes from discovery and from confronting what is already known rather than what lurks around the corner, whilst still including occasional twists. Along the way, you interact with a few key characters; John himself is an everyman caught in terrifying circumstances, motivated primarily by the hope of finding his family alive, whereas, Te’ah, a scientist who contacts John via radio, offers guidance whilst keeping her motives ambiguous enough to create tension. The shadow of Dr. Malan, the main antagonist, also hangs over everything. His logs reveal his gradual descent into madness, painting him as a researcher warped by ambition and isolation. Frankly, at times, the game feels like a hybrid between Dead Space, with its isolated ship horror and body horror, and Sanitarium, with its psychological unraveling and sometimes dreamlike sequences. As previously mentioned, it also clearly takes inspiration from films such as Alien, though unlike Alien, there is no stalking creature chasing you through the corridors. True, for players who are very picky about originality, this reliance on familiar source material might make parts of the game feel derivative, but ultimately, the execution is compelling enough to keep you engaged. The game’s strengths show the passion behind this small-team project. The atmosphere is thick and oppressive. The isometric visuals are finely detailed, with every corridor and lab rendered in a way that feels both lived-in and decayed. Flickering lights cast distorted shadows, rusted metal drips with fluids, and rooms filled with the remnants of grotesque experiments are unsettling to explore. Sound design reinforces this, with distant clangs echoing like footsteps, whispers carried through vents, and the hum of failing machinery making the ship itself feel hostile. The puzzles mostly integrate well with the environment. Many involve using items in unsettling ways, such as repurposing medical tools for grim problem solving or rerouting broken circuits to progress. Optional crew logs and PDAs add depth, humanising the tragedy by showing how ordinary lives were warped by corporate negligence. Furthermore, the voice acting for John and Te’ah is solid, with John’s pain and desperation coming through in subtle details, and Te’ah’s voice hinting at her own trauma. Additionally, Mark Morgan’s score gives everything a cinematic edge, combining ambient drones with bursts of tension that kept me engaged. That said, Stasis is far from flawless. Some puzzles can be frustratingly unintuitive, a classic point-and-click curse, requiring peculiar item combinations that feel unnatural. At times, progress can rely more on blind trial and error than clever deduction. The lack of a hotspot highlight makes pixel hunting in dark areas an occasional issue, which can also sometimes prove particularly tiresome on the smaller Steam Deck screen compared to a PC monitor. The writing also falters slightly with Dr. Malan, who leans too heavily into the archetype of a ranting mad scientist, spouting lines about “playing God” that clash with the otherwise grounded tone of the story. Furthermore, the game’s structure is more linear than I anticipated and can demand a fair amount of backtracking across the Groomlake’s decks. This becomes monotonous when combined with some trial-and-error puzzle solving, as you might check one room, then a floor above, then another, only to be wrong repeatedly. Without fast travel or some clearer objective markers, tense exploration can sometimes slip into repetitive wandering. There are also aspects that sit somewhere in the middle. As previously alluded, the game involves reading, with PDAs and computer terminals filled with logs, crew profiles, and corporate memos. I personally enjoyed diving into them, as they fleshed out the world, but I can see how they might overwhelm players who just want to push forward. The gore is extremely graphic at times, full of mutilations, body horror, and failed augmentations. It fits the theme and story, but will undoubtedly put off anyone sensitive to that kind of imagery. There is also a touch of dark humour, such as Steam achievements that reward you for dying in gruesome ways, for example venting yourself into space or tampering with unstable machinery that kills you. Moreover, the game is fairly short, around six to ten hours depending on how much time you spend reading optional logs or exploring. That length works well, keeping the pace tight, though it left me wishing for more side stories or branching paths given the richness of the setting. The pre-rendered backgrounds are mostly static compared to fully dynamic environments in modern games, but I found the retro style charming and fitting for the isometric perspective. In conclusion, I genuinely enjoyed Stasis despite some flaws and its heavy reliance on familiar inspirations. It is a moody, atmospheric horror point-and-click adventure in an isometric perspective that fully immerses you in its world. The detailed visuals, haunting sound design, and strong narrative hooks make it feel far larger than its indie budget suggests. Some puzzles can be frustrating, backtracking repetitive at times, and perhaps one or two characters slightly underdeveloped for my liking, but the strengths clearly outweigh the weaknesses. The game builds its horror through discovery and atmosphere rather than cheap scares, leaving a lasting impression in my opinion. Sure, the pixel hunting at times can be a minor nuisance in darker areas, but even on the Steam Deck, the experience remains smooth and engaging. I am now looking forward to try out the sequel, Bone Totem, at some point, as of writing this. Stasis is well worth playing, alongside the free prequel, Cayne, for additional story context, even if not essential. Comes recommended for anyone seeking an impactful (sci-fi horror) point-and-click adventure game.
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