Tony D’Aquino’s The Furies reminds me, once again, the best video game adaptations aren’t based on actual property adaptations. Scott Pilgrim Vs. The World, Hardcore Henry, and so on. Those who’ve played Friday The 13th: The Game will find D’Aquino’s Australian slasher quite familiar, as victims flee and hide from pursuing Jason Voorhees lookalikes. Yes, that description could fit *many* slasher frameworks – but The Furies tests higher for genetic gamer DNA than comparable titles. From first-person camera angles to rules that add fundamental obstacles versus straightforward “kill or be killed” violence.
The game begins when Kayla (Airlie Dodds) wakes up in a box labeled “Beauty #6,” surrounded by nothing but forest landscape for miles. She bumps into other frantic women, and then anonymous murders appear with their own unique weapons. Survival plans are simple: don’t get caught. Easy to say, but Kayla’s epileptic blackouts add layers of difficulty that places her at a disadvantage. Who would kidnap innocent females, stream their hunting as a sport, and lust after such brutality? Kayla’s operating table flashbacks give her an idea, but that won’t matter until she’s the last scream queen standing.
