
“Probably the best downloadable title on the market right now.” 9/10 – Eurogamer.se
Modeled estimate, not a reported figure. How we estimate →
Prices
Each in the currency that store quoted — not converted: the gap between two rows is the publisher's pricing, not an exchange rate.
14 of 15 markets; the rest we haven't asked for this title, not markets where it is unavailable.
Availability
We put this game to every storefront we collect. A market that answered not sold has told us something about the game; a market we never asked has not, and the two are never drawn the same.
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Each DLC is estimated with the same model as a game, then summed — a modeled figure, not reported DLC sales.
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Build ids and update times come straight from Steam's PICS — the same source SteamDB reads. Patch history grows as we record new builds.
Engagement
Reviews
Themes across 814 recent reviews and how positive each mention is. A keyword signal, not full sentiment analysis.
Reviews
Ambientación tremenda. La jugabilidad no es perfecta, pero me gustó el juego. Y es cortito.
E' un'avventura in 2D in un mondo post-apocalittico dai toni cupi, infestato da zombie. La formula è molto classica, senza strane divagazioni dal genere, ma proprio grazie a questo, al suo stile fumettoso e alla narrazione in prima persona, potrebbe piacere. Anche se sono passati alcuni anni, è invecchiato abbastanza bene poiché non richiede molto se non esplorare come un platform-stealth e cercare di uscire da situazioni difficili utilizzando l'ingegno o, moderatamente, la forza.
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14 on sale1 answered “not sold”0 we did not ask
The 1 “not sold” market is read from the Steam price pass of Sep 9: that day the store answered for this game elsewhere and gave no price there. The 14 priced markets are the same rows as the table above — each the latest price we hold, dated here when it is older than that pass. The 0 marked “not asked” were not put to this store at all — either it has no storefront there or we do not collect it yet, and neither is a statement about the game. A refusal is a refusal on one day; a store can list a title again tomorrow.
Stats
All-time low is the lowest price we've recorded for this game since we started tracking it.
Languages: English*, German, French, Italian, Spanish - Spain, Japanese*languages with full audio support
Hours played at review time, across 814 reviews with recorded playtime.
positive critical· bar length = how often the theme comes up
Platforming and combat are clunky and game can be buggy. Couldn't play in nightmare mode because of how clunky the controls are. Game story is interesting.
5/10
I enjoyed it but for some reason I just couldn't get into this game. I'll have to try it again.
Play it twice, the second time after a few years, and both times it was a great experience.
Deadlight is a somber, atmosphere-driven survival platformer developed by Tequila Works and published by Xbox Game Studios that distinguishes itself through restraint, tone, and visual storytelling rather than bombastic action. Set in a bleak, post-apocalyptic vision of Seattle, the game deliberately slows the pace of the zombie genre, focusing on vulnerability, environmental navigation, and psychological tension. From the opening moments, Deadlight establishes itself as an experience about endurance and loss, framing survival as a constant struggle rather than a power fantasy. The story follows Randall Wayne, a former park ranger searching for his missing family in the aftermath of a catastrophic collapse of society. Rather than unfolding through lengthy cutscenes, the narrative is delivered through internal monologue, environmental cues, and collectible diary pages that reveal fragments of Randall’s past and the broader disaster. This minimalist storytelling approach reinforces the sense of isolation that permeates the game, allowing players to piece together the emotional weight of the journey at their own pace. The focus remains personal and grounded, emphasizing grief, hope, and desperation rather than grand explanations for the apocalypse. Gameplay centers on 2.5D side-scrolling traversal that blends platforming, light puzzle-solving, and survival mechanics. Movement is deliberate and weighty, requiring players to carefully manage sprinting, climbing, wall-jumping, and rolling in order to navigate crumbling buildings, collapsed highways, and treacherous traps. The environment itself is often the greatest threat, with falls, collapsing structures, and timed hazards demanding precision and planning. Deadlight frequently asks players to read the terrain and anticipate danger, turning traversal into a tense, methodical process rather than a fluid sprint forward. Combat is intentionally limited and often discouraged. The undead enemies, referred to as Shadows, are dangerous not because of their numbers alone but because of the toll they take on Randall’s stamina and resources. Melee combat with the fire axe is risky and exhausting, while firearms—introduced later—are scarce and impractical for frequent use due to limited ammunition. As a result, avoidance, stealth, and environmental manipulation are often the smartest choices. This design reinforces the game’s survival theme, making every confrontation feel costly and reinforcing the idea that survival does not always mean fighting back. Visually, Deadlight is one of the game’s strongest achievements. The art direction uses layered 3D backgrounds combined with stark silhouettes in the foreground, creating a striking contrast that enhances both readability and atmosphere. The ruined cityscape is painted in muted tones of gray, brown, and rust, giving Seattle a lifeless, abandoned quality that feels oppressive and authentic. This visual restraint allows moments of light and motion to stand out dramatically, whether it’s the flicker of fire, the collapse of debris, or the slow approach of Shadows in the distance. Sound design plays a crucial role in reinforcing the game’s mood. Ambient noises—wind through broken structures, distant creaks, and the unsettling sounds of the undead—often replace music entirely, letting silence heighten tension. When music does appear, it is subtle and melancholic, underscoring moments of reflection or emotional weight rather than driving action. This careful use of audio helps maintain immersion and keeps the player constantly aware of the fragile state of the world. The pacing of Deadlight is deliberate and, at times, divisive. The game alternates between exploration-heavy segments and sudden bursts of danger, creating a rhythm that emphasizes caution and anticipation. Some players may find the experience too short or too linear, as the narrative unfolds over a relatively compact runtime with limited deviation from its intended path. However, this tight structure also ensures that the game rarely overstays its welcome, delivering a focused experience that prioritizes atmosphere and thematic consistency over mechanical sprawl. Deadlight is not without its shortcomings. Controls can occasionally feel stiff, particularly during precise platforming sections, and some mechanics lack the refinement found in more polished platformers. Additionally, players seeking deep combat systems or extensive replayability may find the game’s scope limited. Yet these issues are often outweighed by the strength of its presentation and its commitment to a clear creative vision. Ultimately, Deadlight succeeds as a survival platformer that values mood, restraint, and emotional storytelling over spectacle. It captures the loneliness and fragility of life after collapse with striking visual design and thoughtful pacing, offering a somber journey that lingers in memory even after it ends. For players drawn to atmospheric experiences, cinematic platformers, and narratives centered on survival rather than domination, Deadlight stands as a memorable and distinctive entry in the genre. Rating: 7/10
[SPOILERS!!!] This port is absolutely awful. i'm sure the game (that's probably been optimized for xbox and it's controls) is fine, but on steam, everything from controls, mechanics and the numerous bugs that occur to the story, dialogue and environment this game just is not good. I encountered so many bugs, one of which soft locked me at no fault of my own, another got me killed when it shouldn't have happened at all. (for specifics, Randall and Stella in ACT III right near the ending, stella crawls through a vent and randall climbs through the window, when you hop to the other side while still hanging, the window drops and gltiches out because (i assume) the ledge becomes a wall and the physics glitches.) I have swung the axe NUMEROUS times at a "Shadow" (theyre zombies and that's what i'm calling them from now on) the axe will not connect many times when it absolutely should, causing me to needlessly lose health and/or die on multiple occasions. the traps in the sewers were confusing for the most part, you could call it a skill issue but it felt like some traps had to be done with one certain move when jumping while running suffices. on multiple occasions there were sections where you sprint into a breakable barrier and the building begins collapsing and if you don't maneuver in time you immediately die. the issue (as it is with multiple sections in the game) is the weird delay/controls for parkour and the extremely tight timing between moves makes it impossible to assess what's happening the first time, and impossible to pass the subsequent 2nd and maybe 3rd time. Even when you expect it, it's still difficult to make it out first try. during the section where you're being gunned down by the helicopter with Rat man's son, there's a section where you go to sprint out of a window and there's a stack of paint cans that you *CANNOT* run into or else you'll die instantly and you'll have to redo the whole 3 floors every. damn. time. jumping timing feels extremely off. when jumping from one side to another across a gap, it feels like you're jumping at the exact right time when the game registers it as too early, this is seen with the stack of paint cans in the running section with the huey. For this game, you'll basically want to ever so slightly jump a little later than you should most of the time, and you'll be on the spot. running and jumping feels variable in the worst way, when a jump shouldn't be variable, it should be the same jump everytime. when running and jumping sometimes it feels wrong, given that it's such a simple input. but it is the correct solution often and it comes down to (again) an issue of timing your jump, even when running, timing the jump sometimes makes it so you jump higher sometimes?? some grabbable ledges feel out of reach and the parkour doesn't feel fluid for some movements. some ledges feel too far out of reach or not part of the solution until you stand perfectly still, just under it then jump straight up. it breaks the flow of some of the parkour that the game should be about. hidden areas are hard to distinguish from the way forward, i missed so much thinking the way forward was a hidden area that then blocks you off (yes jumping the concrete rafters from the underground garage tunnel). 1 part stuck out to me. the scene where you get medicine for ben. there's no option to check the ambulances for aid? you find medicine and aid in 1 random locker room/storage room and some other place in the hospital? other parts of the game just feel unnecessary or don't make sense to be there given what's happening at the moment. game/level design. the design of the game is hard to enjoy, some of the movements are hard to follow. some puzzles and fighting sections etc are pretty linear, and other times you're lost for a solution as the glow around certain destructable/interactable blends in with the rest of the art style and camera shots etc. recurring movements and "tactics" that are not so recurring, start of the game very early on the game tells you to use the side keys to move on the ladder from one side to another. i've only seen this (from a casual playthrough) ONCE. if you plan on introducing a mechanic, and it's within the first bit of the game when many other mechanics that *are* used more often are introduced. it'll stump you on 2 or 3 occasions. the parkour and movement timing of certain time sensitive sections. the huey section and collapsing building sections suck because of how *fast* they catch up to you, if it was running with an occasional vault (which is a basic ass parkour move that any parkour game should have. it's the most basicest move to have?!?!) it'd be fine, a jump here, a dive roll there etc. but the game has you doing wall rebounds vertically when youre being run after horizontally, crawling, sliding slowly down etc. you'll die multiple times no matter what. the story and dialogue aren't the best either, doesn't feel very "seattle" all the characters have a character to them and that's all they stick to, randall speaks in such a corny cheesy "batman justice" way, stella speaks whiningly all the time when she speaks. some dialogue plain doesn't make sense (randall, trying to get through to stella that the safe haven doesnt exist but is a trap by rogue military agents, says at some point "that blood on your mouth is all we have left that is real" like what does that even ♥♥♥♥♥♥♥ mean?) and the story is extremely cliche but there could've been a different better story set in place instead. all in all, no hate to the makers of the game and those who contributed and worked on it, but the game overall (this port at least) in my eyes is a 4/10, from the mechanics to the story to the sheer frustration of the game basically robbing you of a fun fair experience and good parkour and story. there's too many improvements that this should just be revamped into a different game, same gist (of genres like zombies, parkour and setting of pnw) but maybe more pnw? and better/more parkour mechanics. i gotta say, the John Wayne Gacy I.D collectible was pretty cool and some of the environmental story telling was kinda cool, but gold leaf won't save a turd from being what it is. do i regret buying this? Yeah i kinda do, i wish it was just a bit better than what is available on steam currently.
[h1][b]「1986年、シアトルは死んだ。残されたのは死者たちと、逃げ続ける男だけ」[/b][/h1] [h1]ストーリー[/h1] 1986年、シアトル。謎の疫病により死者が蘇り、生者を襲う「影(シャドウ)」が支配する世界。 森林警備員だったランダル・ウェインは、生存者グループと共にカナダへの脱出を目指していたが、崩落事故により仲間とはぐれてしまう。瓦礫の山となった都市、迫りくる影の群れ。ランダルは離れ離れになった家族と仲間を探すため、単身、死に絶えた街を駆け抜ける。 [h1]概要[/h1] 荒廃した1980年代のアメリカを舞台にした、2D横スクロールのサバイバル・アクション。 『プリンス・オブ・ペルシャ』のようなパルクールアクションと、ゾンビサバイバルを融合させた作品。主人公は超人ではないため、スタミナには限りがあり、銃弾も極めて少ない。真正面から戦うのではなく、地形を利用して敵を回避したり、罠に誘導して一網打尽にするなど、頭脳を使ったプレイが求められる。 [h1]感想[/h1] 「最高のゾンビ映画」として始まり、「微妙な死に覚えゲー」として終わる惜しい作品。 序盤の体験は素晴らしいの一言に尽きる。まさに「2D版『Dying Light』」と呼ぶにふさわしく、崩壊したシアトルの街並みや、背景の細部まで書き込まれたディテールは圧倒的だ。フェンスを飛び越え、窓を破り、迫りくる大量のゾンビ(影)をギリギリでかわすスリルは、アポカリプス世界への没入感を完璧に演出している。 「戦えば死ぬ」というバランスも絶妙で、発電機で敵をおびき寄せたり、車を落として圧殺したりといった「知恵を使ったサバイバル」には独自の面白さがある。 しかし、その高揚感は中盤で水を差される。 舞台が下水道に移ると、敵はゾンビではなく「即死トラップ」へと変わり、ゲーム性が一変してしまうのだ。初見殺しの罠を死んで覚えるだけの展開は、まるで劣化版の『LIMBO』をやらされているようで、序盤のスピード感と緊張感を著しく削いでしまっている。 [h1]評価[/h1] 【GOOD】 ・『Dying Light』を2Dプラットフォーマーに落とし込んだような、パルクールとゾンビサバイバルが高い次元で融合したアクション。 ・圧倒的な物量の死者に対し、力押しではなく環境利用や回避といった「知恵」で生き残ることに特化したゲームデザイン。 ・ゾンビ・アポカリプスという設定が活きた、背景の書き込みや空気感など、圧倒的な世界観の構築。 【BAD】 ・中盤の下水道パートから、ゾンビサバイバルではなく「即死トラップを死んで覚える」という『LIMBO』の劣化版のようなゲーム性に変貌し、著しくテンポが悪くダレる。 ・世界観の広がりやビジュアルの壮大さに比して、ストーリー自体はよくあるクリシェの域を出ず、結末も含めて凡庸で尻すぼみな印象が否めない。
hocam ben oyunu bitirdim kabus modunu daha oynamadan keyifli bir hikaye oyunu oynadım ve 5.2 saate bitirdim sıkılmadım zorlandığım oldu bu oyunu 4 tl aldım 30 tl bile velirir net.
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Where this game's players are, estimated from review languages.
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