A half-human / half-zombie hybrid with powers from both sides, Reid must balance the human side of himself – that allows acceptance from other humans – with the undead, zombie side that grants superpowers in combat. Admittedly, the sheer amount of in-game items and upgrades that can swing the pendulum both ways mean that it’s never really a massive concern, although it does allow the player to loosely approach the game as they wish.
With the main focus of the game being the fact that you are keen to find your way back to the little sausage that caused you all the hassle during the introduction sequence, the vast majority of Deadcraft is all about incremental progress, more specifically, needing certain items to proceed and completing quests in order to obtain them.
Whilst not onerous, these quests feel very ‘fetchy’ and, combined with the relatively rigid style of gameplay – combat is one-dimensional and the micro-managing of your various fading status bars can get slightly grating – it never felt a game that I could ‘session’, more one I would dip in and out of for an hour or so, before the inherent ‘task management’ sensibility would wear me out and I’d need a break.
The quirky cast of characters, over-the-top voice acting and dusty, occasionally almost Ry Cooder-Esque expansive guitar and environmental music is ok for a few hours, but the natural grind of the game robs it somewhat of the initial fun factor in exploring and discovering, as you seem to have to hang around the areas just a touch too long.
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