By Fletcher Wilkinson 
Adapting comics into films or video games has always been unpredictable. For every breakout success, there are just as many projects that struggle to capture what made the original material special. While some franchises eventually find their rhythm, others never quite land the tone or execution fans expect. That’s what makes any new adaptation a bit of a gamble.
With that in mind, I Hate This Place a survival RPG inspired by the Image comic series steps into the spotlight. The question is simple: does it deliver a compelling experience, or does it fall into the same traps as many adaptations before it?
You play as Elena, who, alongside her friend Lou, accidentally unleashes a supernatural force known as the Horned Man during a ritual gone wrong. Things spiral quickly Lou vanishes, and Elena is left stranded in a bizarre and hostile world. Her mission becomes clear: find Lou and make sense of the chaos unfolding around her.
The setting is anything but ordinary. It’s filled with eerie creatures, cult-like figures, and odd sci-fi elements like alien encounters. Rather than aiming for grounded horror, the game embraces a pulpy, B-movie tone. This works well most of the time, though the sheer volume of strange events can occasionally distract from the central storyline.
Gameplay blends several systems: survival mechanics, stealth, combat, and resource management. A day-and-night cycle plays a major role in shaping your experience. During the day, you’re relatively safe to explore, scavenge, and prepare. Nightfall, however, brings far more dangerous threats, turning survival into a constant struggle.
Hunger is another key mechanic. Keeping Elena fed isn’t optional as if her hunger worsens, her stamina drops, making it much harder to evade enemies. It’s a familiar survival trope, but one that can feel frustrating at times given how essential stamina is.
Your base of operations is a family ranch, where you can craft upgrades, build useful stations, and improve your chances of survival. The system is functional and helpful, though it doesn’t go particularly deep.
Encounters often reward patience rather than aggression. Many enemies rely more on sound than sight, meaning careful movement is essential. Stepping on glass or splashing through water can alert nearby threats, while distractions can be used to manipulate enemy movement.
This creates tense, strategic moments where avoiding danger feels more satisfying than confronting it. The game shines most when you lean into these stealth-focused mechanics.
While stealth feels deliberate and engaging, combat is less polished. The lack of a dodge mechanic and the fixed camera can make fights feel clunky. Getting grabbed by enemies results in heavy damage, and taking down foes often requires more resources than expected.
Because of this, combat tends to feel more like a last resort than a viable option. You’ll likely find yourself hitting enemies briefly before retreating, which can become repetitive. In a game where resources are scarce, this imbalance pushes players toward avoidance rather than engagement.
Where the game truly stands out is in its presentation. The art style mirrors its comic book origins with bold colours and stylised environments. One particularly clever touch is how sound is visualised on-screen text like “Thud” appears as you move, mimicking comic panels.
Audio design is solid overall, with occasional voice work and a soundtrack that enhances key moments, even if it’s not consistently memorable. Together, the visuals and sound create a strong sense of identity.
I Hate This Place offers a unique world packed with personality, backed by striking visuals and an intriguing premise. Exploration and storytelling are definite highlights, and the game’s commitment to its campy tone gives it charm.
However, the gameplay doesn’t always match that creativity. Combat feels awkward and overly punishing, and some survival mechanics may wear thin over time. While stealth provides a better alternative, it doesn’t fully compensate for the rougher edges.
Even so, there’s enough here to make it worth checking out, especially if you’re drawn to offbeat horror with a comic-book twist.
Jordan Campbell