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The Deadseat places the player in the backseat of a moving vehicle. The world outside is passing by, but the player’s attention is centered on a portable game console. The game inside the console starts simple, but something doesn’t feel right. As time passes, the difference between the in-game world and what happens inside the car begins to fade. The space becomes tight, and the sense of control becomes more uncertain with every passing moment.
The player is required to manage both the in-game device and the car interior. Some actions need to happen on the screen. Others depend on what’s happening outside the screen. The game does not wait. Ignoring either side of the experience results in missed cues or direct consequences. The space is limited, but the pressure grows quickly. Attention must shift constantly, and the player is never sure which space is more dangerous — the game or the car.
These elements combine into a format where presence matters more than action.
The further the game progresses, the more the surroundings begin to shift in ways that are hard to explain. What was once background becomes part of the active challenge. Lights behave differently. Sounds arrive before events. The player’s hands stay on the console, but their awareness must stretch beyond it. Every movement or silence in the car can mean something. There is no clear warning before things change — only signs for those paying close attention.
The Deadseat ends, but does not explain. The journey finishes in silence, leaving the player with more questions than answers. What happened may be part memory, part simulation, or something else. The game offers no final scene to explain the cause. Instead, it leaves the player with the weight of their own reactions. The boundaries between where the game started and where it ended stay unclear — and maybe that was always the point.
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