The Drifter is a good old-fashioned thriller

It’s a point-and-click adventure that tells a twisting mystery.

It’s a point-and-click adventure that tells a twisting mystery.

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Jay Peters
Jay Peters is a news editor covering technology, gaming, and more. He joined The Verge in 2019 after nearly two years at Techmeme.

Point-and-click adventure games often tell silly, lighthearted stories. For me, the mishaps of the pirate Guybrush Threepwood in the Monkey Island series come to mind. The nature of the genre — wandering around, talking to people, and trying to solve puzzles — lends itself well to humor, as every interaction with a person or object offers an opportunity for a joke. The Drifter, a new point-and-click game from Powerhoof, cleverly uses the format to instead tell a dark, twist-filled thriller, and it sucked me in like a gripping novel.

In The Drifter, you play as Mick Carter, who you meet shortly after he hops aboard a train as a stowaway. Within moments you’ll witness a brutal, unexplained murder and be forced to go on the run, and the story quickly becomes a complex web of characters, pursuers, and mysteries to poke at.

Mick serves as the game’s narrator, often describing what he’s doing in a grim, first-person tone with full voice acting by Adrian Vaughan. Mick’s tone sometimes feels a bit heavy-handed and overdramatic, but I enjoyed Vaughan’s performance anyway — it really sets a pulpy tone that’s fun to sink into. The game’s gorgeous pixel art helps, too, and locations have dramatic lighting and moody shadows.

This being a point-and-click adventure, the primary way to move the story forward is by solving puzzles, often by using the right object at the right place at the right time. The game is usually pretty good at suggesting where you need to go through conversations or through a list of broader story threads you’re investigating.

Actually doing the investigating is straightforward. I played The Drifter on Steam Deck, and it has a smart control scheme seemingly inspired by twin-stick shooters that shaves off a lot of the clunkiness of old-school LucasArts adventure games. You move Mick around with the left control stick, but when you move the right control stick, a little circle pops up around him with squares that indicate things nearby that you can interact with. You can select things you want to look at with a press of a trigger button. (You can, of course, use a more traditional mouse to play the game, too.)

More than once, though, I got completely stuck, and I often just brute-forced every item in my inventory with every person I could talk to until I found a way to move forward. I also occasionally leaned on online guides to figure out where to go next or if I missed something while investigating. When I hit walls, I really wished there was some kind of direct in-game hint system to give me a push in the right direction — this is an old-school issue with the genre, but a lot of modern games have figured it out.

Pushing through those more obtuse head-scratchers was worth it, though: in the later parts of my eight-hour run of The Drifter, the narrative threads all started to come together in some truly mind-bending ways. More than once, I stayed up way past my bedtime as I raced to figure out what would happen next.

I’m glad this story for Mick is over, but part of me hopes he runs into trouble again so I can cozy up with another point-and-click thriller.

The Drifter is available now on PC.

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    “The common denominator of all of them is they live in the real, physical world,” CEO Nadav Orbach told TechCrunch. “They need to understand the surroundings in 3D and based on that, take and plan actions right in the world. And for that, they need a real-time, high-accuracy ability to understand the surrounding in 3D. And that’s what we do best.”

    Orbach joined Intel back in 2006 as a CPU architect in Israel. He started working on vision technology in 2011 before becoming the general manager of incubation and disruptive innovation in 2022 and moving to San Francisco last year.

    “We knew and understood that 3D perception was going to be big,” Orbach said about the early days of RealSense. “To be honest, we weren’t quite sure in which domain. We tried that across different market segments and different applications, all the way from gesture recognition with computers, phones, until we really found our sweet spot over the years, mostly in robotics.”

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    RealSense has more than 3,000 customers and has seen a surge in new interest over the last three to four years as AI has improved. With that, the applications for robotics, especially, have scaled.

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    The company realized it may have a better chance keeping up with demand — and scaling itself — if it spun out of Intel and raised its own capital, Orbach said.

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    “For me, it was exciting, to be honest,” Orbach said. “I’m a veteran executive in the company, but it’s first time that I’m, you know, I was on the other side of the table. It was a very humbling experience for me as a first-time CEO to go and and raise money.”

    RealSense will put the capital toward building out its go-to-market team and making improvements to its technology. The company is particularly focused on improving the tech so it can help improve safety during humans and robot interactions and to improve access control.

    “There is a learning curve of, you know, stepping out,” Orbach said. “I’m extremely excited about that. I’m fortunate to have a very strong team with a lot of people in my team that that have entrepreneurial experience. I feel that with my background, together with with some strong teammates, I think we have the right mix for success. And for me, it’s a dream coming true.”

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