Set, as the name suggests, inside an old cabin, the game sees players take on the role of hikers seeking shelter from a wild storm – but this cabin holds many secrets, and as the game continues the idea that you are not alone becomes an increasingly disturbing possibility.
With 60 minutes on the clock, players must find the clues, solve the puzzles and race to freedom or risk being trapped inside with whoever – or whatever – lurks in the shadows.
The Abandoned Cabin is fully immersive and visually stunning, taking escape rooms to a new level with an incredibly detailed stage design ripped straight out of a horror movie. Both awe-inspiring and unnerving, the set is filled with macabre and disturbing objects which may or may not help you on your mission, with the already eerie atmosphere of the game further compounded by an ominous soundtrack of disembodied voices and strange noises.
Unlike most escape rooms, The Abandoned Cabin also features a few jump scares, which will certainly raise the heart rate of unsuspecting players; the addition of this feature adds a new level of fun (and fear) to the game. As it is horror-inspired, the experience is rated PG and there are a few references and images which may be disturbing to younger players (or easily frightened adults); that said, you’re free to exit at any time if it does become overwhelming.
With an escape rate of just 15 per cent, The Abandoned Cabin is one of Adventure Rooms Adelaide’s most difficult games, and the ingeniously crafted puzzles will challenge players’ critical thinking skills and creativity. As with all escape rooms, teamwork, good communication skills and the ability to think outside the box are vital to your team’s success (although nerves of steel will also come in handy).
With its beautifully detailed set, imaginatively designed puzzles and intensely creepy atmosphere, The Abandoned Cabin is a must for horror fans and puzzlers alike.
The Abandoned Cabin is playing at Adventure Rooms Adelaide until March 18.
Read more Adelaide Fringe reviews and previews here.
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This article is supported by the Judith Neilson Institute for Journalism and Ideas.