Mirecut
Everybody in this town is lying. One of them about the murder.
Free PS1-style detective game. Drive a foggy logging town at night, search a murder scene, break seven alibis and prove who did it.
Eight games rendered in the PlayStation 1 visual language — wobbly polygons, dithered fog, 256-color textures.
The PS1 look — wobbly affine-textured polygons, no perspective correction, vertex snap, dithered fog, low-resolution 256-color textures — became a horror language of its own in the late 90s. Resident Evil, Silent Hill 1, Echo Night, the Clock Tower series: they were all working within the same hardware constraints, and those constraints turned out to be a perfect engine for dread. These eight games are built on the same shared PSX render pipeline and run entirely in your browser — no download, no installer, no launcher.
Everybody in this town is lying. One of them about the murder.
Free PS1-style detective game. Drive a foggy logging town at night, search a murder scene, break seven alibis and prove who did it.
Don’t let him hear you.
Free browser horror game. Recover three relics from an abandoned English town while a faceless figure listens for your footsteps.
After hours, after closing, after everything.
Free browser game. Explore a mall evacuated in 1998 the night before demolition, past private security, and photograph what happened. PS1 style.
The neighborhood is indoors.
Free browser escape game. You wake in a cul-de-sac built inside a warehouse. Work the office, three model homes and the mailboxes to get out. No download.
Suit up. Cycle the airlock. Get off the rock.
Free browser escape game. Solve four lockers for an EVA suit, cross a real lunar surface on a ticking oxygen tank, and reach the lander. No download.
Fix the van. Beat the funnel.
Free browser tornado escape game. Scavenge a suburban street for van parts, repair your getaway van, and outrun an F5. No download.
Fly the line. Break the Cinder fleet.
Free browser space-combat sim. Fly a lone fighter through a branching campaign of dogfights, escorts and capital-ship runs, PS1 style.
Loot on foot. Smash with the car.
Free browser zombie survival game. Scavenge a strip-mall lot by day, barricade against sieges by night, and smash the dead with your car.
Mirecut is the newest and the longest. A first-person detective game set over one night in a logging town in the Pacific Northwest: a timber scaler is found dead in the cab of his own truck four hundred metres up a logging spur, and the county's theory falls apart the moment you look at his boots. You drive the town in a county sedan with the fog closing at ninety metres and headlights you steer by, search nine interiors by hand, and break seven alibis — six of which are hiding something that is not the murder. It ends with an accusation you have to prove: who, why, how, where, and three pieces of evidence that carry it. About ninety minutes, and no glowing outlines anywhere in it.
Tallowmoor is the deepest cut. A first-person PS1-era horror set in an abandoned 19th-century English town on the moors. The Gentleman patrols the lanes in a top hat and long greatcoat, faceless and silent, and he hears every footfall — sprint and he comes running. You have to recover three relics from buildings around town (a verger's locket, an iron nail, a vial of communion wine) and place them on a stone altar in the church courtyard to perform the rite of departure. Daily omens randomize the difficulty. Roughly 5–10 minutes per run, brutal replay tension.
VACATED: The Mall is the urbex one. Marrowick Galleria, a PS1-aesthetic 1990s mall evacuated on the last Saturday before Christmas 1998 and sealed ever since: a two-storey food court with a gallery, escalators and a cracked skylight, long corridors of gated storefronts, a back of house behind the restrooms, a derelict rainforest café and an eight-screen multiplex. You photograph eleven pieces of evidence while two security guards patrol, and the photographs, the paper left in the offices and the last CCTV tape tell you what happened. Throw the main breaker and the building wakes up around you.
The Showroom is the liminal escape one. You wake up in a residential cul-de-sac that's somehow indoors — astroturf lawns, painted blue sky walls, foam clouds dangling on wires from a fluorescent-lit ceiling. One of the houses is unlocked. Read the clues, decode the keypad, find a way out. No monster, no threat, just the wrongness of the place itself. Short, and the most quietly unsettling.
Tranquility is the other liminal escape — same dread, traded for vacuum. You wake in an abandoned domed moon base with the crew gone and a lander waiting on the surface, but the airlock won't cycle until you're in a full EVA suit and the four suit parts are locked away. Read the crew's notes, solve four lockers (a quarters-roster keypad, a breaker bank you reset in sequence, a pressure dial, and an O₂ master code built from the others), then cross the regolith in low gravity on a ticking oxygen tank and board the lander. The run is timed, so once you know the codes it becomes a race against your own best.
Hook Echo takes the same renderer somewhere the PS1 rarely went: broad daylight, outdoors, with weather. You have one warning window before an F5 tornado comes down on a suburban street, and you spend it searching houses for three parts to a getaway van — a battery, a fuel can, spark plugs. Every house on the block opens, with real floor plans and a two-car garage, and only the three hiding a part have their porch light on. The funnel travels a fixed storm track rather than chasing you, so danger is geometric: read where it is going, not where it is. The sky runs clear to green to black while you search, the roar tells you range, and storm cellars will survive a pass but never win you the run. The van is the only way out.
Cindral is the outlier — the same low-poly language pointed at space combat rather than horror. A branching five-mission campaign flying a lone fighter against the Cinder fleet: dogfights, convoy escorts to a jump gate, salvage recovery on a grappling tether, capital ships with subsystems you can target individually, and gravity wells that drag your flight path. It has three endings depending on how the campaign branches. If the rest of this list is dread, Cindral is the arcade cabinet in the corner of the same room.
Dead Lot is the pulpiest use of the look. A holdout in a parking lot as the dead close in: you drive a car with real weight to it, run down what you can, board up what you cannot, and manage noise — because engines and gunfire both pull more of them in. It runs day into night with an escape at the end, and it is the only game here where the PS1 aesthetic is doing B-movie work rather than dread.
All eight games share the same Three.js-based PS1 renderer with vertex snap, low internal resolution, point-filtered textures, and configurable fog. The visual identity is consistent across the catalog — if you like the look in one, you'll feel at home in the others. All eight run on desktop and mobile with full on-screen touch controls. Tallowmoor and VACATED have audio cues that benefit from headphones in a dark room.
Start with VACATED if you want a short focused session you can finish in one sitting. Move to Tallowmoor when you want to actually be scared. The Showroom and Tranquility are the palate cleansers between runs — short, strange, no pursuit — one suburban, one in vacuum. Hook Echo is the one to play if you want the PS1 look without the dread, Dead Lot if you want it loud and stupid in the best way, and Cindral if you want it without the ground.
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