There’s a lot to unpack in that paragraph, so let’s get started.

Yes it’s April 1st

And yes, this is also 100% real. I want to state that without any ambiguity. While much of what we are doing is silly, it isn’t a joke.

We have a longstanding tradition of producing silly yet earnest content on April Fools Day.

We truly made a 44 page cookbook and party guide completely devoted to throwing a black light dinner party. It contains 17 different recipes ranging in complexity from anyone can do it to… a pathological level of commitment to the joke.

Why Do a Black Light Dinner Party?

Years back, Brett Kuehner and I learned how beautifully tonic water glows under blacklight. This led to us experimenting with shining black lights on all sorts of different foods and beverages. We found that a small but not insignificant amount of food either glows or reflects black light.

Unrelated to this, my parents had a cooking club for decades. Every 6 weeks, they and 5 other couples would assemble in one of their kitchens for a day and cook a meal set to a theme chosen by the hosts. I literally grew up around people getting together to communally take on cooking challenges.

Finally, black lights are an iconic symbol and trope of escape room design, for better and for worse.

These three ideas collided to inspire the Black Light Dinner Party. I loved the idea of gathering a bunch of local escape room friends who could really cook to have fun together and share a strange meal.

Also… my parents joined in, and that was special.

What’s Included in the Cookbook?

A lot. As I said… this got silly. If you aren’t familiar with our work, we have a tendency that lean towards overkill with just about everything that we do.

In addition to 17 recipes that all glow under black light and taste great, you’ll receive a hosting guide that includes all sorts of interesting tidbits about the oddities of hosting a party flooded with black lights.

Here’s a sample recipe:

How Am I Getting a Free Cookbook?

The Black Light Dinner Party cookbook is a project to fight hunger.

We will email you a PDF of the Blacklight Dinner Party Cookbook if you make a donation of $40 or more to World Central Kitchen and fill out the form below including a screenshot with confirmation of your donation.

Why $40? Think of this as like buying an escape room ticket’s worth of food. Our friends at Morty sliced the data from various angles and found that on average, for a standard group of 4, players pay about $40 per person. This data is based on a pricing sample from 25% of the venues in the US in 2026.

That’s it. We will use your email to send you the cookbook, and nothing else. This isn’t marketing bullshit and we will not giveaway or sell your contact information.

We’re asking you to make your donations directly (1) so that you know exactly where your money is going, (2) because we aren’t setup to properly pass this money through to a charity without having to pay taxes on it, and (3) because we aren’t trying to steal your tax deductions. We’re just trying to use a fun idea to raise money for a good cause.

If you can afford to donate more, we absolutely encourage it. That’s what we did.

Why World Central Kitchen?

The world has no shortage of problems, and one of the first things that’s needed when a crisis sets in is food. Given that we were having fun with food, we felt like the most appropriate way to honor our abundance was to support people for whom food is scarce.

“Founded in 2010 by Chef José Andrés, World Central Kitchen (WCK) is first to the frontlines providing fresh meals in response to crises. Applying our model of quick action, leveraging local resources, and adapting in real time, WCK has served hundreds of millions of meals around the world.”

My parents like supporting World Central Kitchen, and that fact mixed with the organization being well run and highly rated (Charity Navigator) sealed the deal.

To get things rolling, we have donated $500 to World Central Kitchen:

Also… we did try to find a black light charity, but failed to find one. So we settled on food.

Purchase

Share an image of your receipt, including the date, donation amount (at least $40), and name of the charity (World Central Kitchen).

Note that responses are not automated. A human will read your email and send you back the cookbook within 24 hours. Please excuse any time delays.

This response time (24 hours) is only available from April 1st – April 9th, 2026.

Black Light Dinner Party Cookbooks will still be available at this link later, but usually with a slower response time.

Thank you!

Thank you to everyone who cooked for our blacklight dinner party: Lauren Greene, Brett Kuehner, Denise Kuehner, Andrew Reynolds, Joan Spira, Marc Spira, and Madeleine Welch.

Thank you to Steve Ewing for his photography and videography documentation of the fesivities.

Thank you to Theresa Wagner for her graphic goblin amazingness.

And especially, thank you to Brett Kuehner, who not only cooked for the party, but also helped us turn this insane idea into something real, and put so much extra effort into making the cookbook exist.

The post We Hosted a Black Light Dinner Party and Made a Cookbook (yes this is real) appeared first on Room Escape Artist.

Back in the day, escape room owners would ask us, “How do I get you to come review my games?” and our answer was, “Have one of our friends get married in your city.”

We had near encyclopedic knowledge of the escape rooms our home market.

These days, we’ve more or less played out our home markets, so we find ourselves playing escape rooms far less frequently, instead traveling on reasonably tight budgets and playing in escape room destination cities.

Both modes of play have their joys and struggles, and I’m going to explore them.

Local Escape Room Play

When I say “local play” I am taking a slightly broad definition as, any region that you either live in or visit regularly, and play enough that you really know the market.

Most every avid escape room player is a local player somewhere.

Deep Knowledge

Avid local players tend to have extensive knowledge of their local market, having played just about everything that’s average or above… and they frequently have played a lot of the weakest stuff either out of curiosity, completionism tendencies, morbid curiosity, or as a joke.

A Sense of History

Local players develop a sense of history within their region. They see individual companies develop and progress with each subsequent game, watching that company’s style grow or refine over time.

The more curious and involved they are, the more gossip they absorb from within the community.

Newness Bias

They also tend to play games when they are new… and this can lead to skewed perspectives on those games.

Sometimes this means that local players are experiencing a game before it gets beat up or falls into disrepair.

Other times, local players experience a game before it has matured. This happened with the iconic game The Dome from Mama Bazooka back in the day. The local Dutch players visited while the creators were struggling to make everything work perfectly. Those of us who traveled to play months after it had opened saw a fully realized and complete experience. This led to some confused online discourse between the locals and the travelers.

Regional Flavor Part I

Most regions have a regional flavor to their escape rooms. The big chains and franchises don’t adhere to these, and there are always outliers. However, we see it in the rules, the gamemastering, the hint systems, the level of difficulty, the types of puzzles, and the way that story is expressed. What’s interesting is that most local players don’t know this.

It does present itself when extremely experienced local players from different regions get into arguments with each other in online spaces. For each player, the norms are slightly different, but they don’t have a great way of knowing this.

And for myself, one of the strange things about the New York City escape room scene is that it had a classic NYC melting pot vibe because early on we had companies from Russia, China, Hungary, Japan, and Israel. So we just walked down the street and played completely different styles. It was neat, and it was the thesis of our first Escape, Immerse, Explore Tour way back in 2017.

TERPECA Challenges

A common challenge for local players is that in most places (outside of a few hotspot cities), there are only a few rankable games in TERPECA, and even fewer nearby winners.

This leads to players wondering, “Are the games in [insert escape room hotspot] really that good?” And the answer is usually yes (as long as the local flavor is to your taste).

Local Pride

A common trend of local players is a deep pride in local favorites. You tend to find yourself recommending the same list of “must plays” to people and that list rarely changes.

Something that I love doing is getting to know the owners of my favorite games, and asking if they are open to me entering for free with my paying friends, when they buy tickets to the game (assuming I have the time to join them). This is a win-win scenario because the company gets my regular recommendation… and I get to hangout with my friends and watch them play my local favorites.

The Driving Radius

While some people jump straight to hopping on planes to hit escape room destination cities, most people in the US tend to slowly expand their driving radius for escape rooms. The path to becoming a traveling escape room player isn’t always a straight line, and it’s subject to a wide variety of outside factors, but it creeps up on most of us.

Travel Escape Room Play

Traveling to play escape rooms wasn’t something that we had considered until we were deeply involved in this community for a couple of years. For us it started with tacking on short layovers while traveling for work and life… and then slowly escape rooms became the thing that made us want to travel.

Astonishing Experiences

Our desire to travel for escape rooms is driven by the astounding quality of the games that we get to play when we travel. I assure you, if the games weren’t as compelling as they are, we wouldn’t do it.

We play far fewer games per year than we used to, but the average level of quality of what we play these days is sky high. Playing mostly while traveling is the only way for us to achieve this.

Regional Flavor Part II

I mentioned regional flavors earlier… but I want to impress upon you just how varied escape rooms can be when you travel.

Some of the more extreme examples will come from international travel. Tokyo, Beijing, Amsterdam, Barcelona, Paris, and Athens all offer vastly different styles of games both from each other and from games that you could find within the United States.

And even within the United States: San Francisco, Los Angeles, Orlando, Charlotte, and Boston all have distinctive styles from one another. The differences may not be as extreme as the difference between Tokyo and Athens, but they are very real.

Regional flavors is a deep topic, and something that we’ll inevitably write about in more detail.

Treading Where Tourists Don’t

Traveling for escape rooms tends to send us to far more interesting places that are devoid of tourists. This means that we aren’t usually eating at restaurants built for tourists. As an example, New Yorkers don’t eat in Times Square. Honestly the only time that I have visited Times Square for anything other than a show was for a friend’s birthday party a couple years back.

Times Square is overpriced and under-qualitied… which is a common outcome in tourist-focused neighborhoods. Getting away from these places is far more fun, interesting, tasty, and affordable.

Planning & Cost

The inherent downside of travel is that it’s costly in terms of money, time commitment, and planning. It just takes more out of you than popping downtown to play a couple of games.

For our part, we do everything that we can to cut costs. We fly cheap, pack efficiently, use mass transit wherever possible, and stay with friends as often as we can… but there is no denying that travel costs money. We budget and save in other parts of our lives to make sure that we can do this responsibly.

Intensity

On top of the travel itself and seeing the sights, travel for escape rooms is inherently intense, because unless you’re blessed with an abundance of time and money… you gotta play lots of games in a short span of time.

There are different schools of thought, and we have lived most of them.

You can go hard and pack in as many games as possible each day. While it has been years since we’ve done this, it was common for us to play 8-10 games in a single day for multiple days in a row. We had to forgo good meals to make this happen, but it was doable.

These days we play half as many games, sometimes less, and prioritize having 3 good meals per day.

The choice is a value judgement. Packing more games in reduces the odds that you’ll miss something great, but it comes at the cost of comfort and opportunity to reflect. Slowing down provides more comfort, and lets us spend more time basking in the moment after a great game.

We used to play more at once, in part, because it was difficult to effectively research which games we were most interested in. There weren’t resources to tell us which games would be high quality. These days, we (and by we, I mostly mean Lisa) can and do put in a lot more research prior to planning a trip.

In my opinion, there’s no right or wrong option here. Just make sure that you’re leaving enough time in-between your games to arrive on time for each game. Stuff happens occasionally, but if you’re regularly showing up late or missing bookings, you’re being disrespectful to the companies.

A Privilege

I want to be very clear about that travel for escape rooms is a privilege, and it’s one that we don’t abuse.

A lot of people don’t realize that Lisa and I still work regular jobs on top of putting nearly all of our free time into Room Escape Artist and the escape room community.

Our dream is to grow our community to a place where escape rooms are a meaningful part of the broader culture. That’s what we’ve been working towards here since 2014, and it’s what drives us to continually build our knowledge, expand our capabilities, care for our team, and refine our work.

Whether you’re a local player diving deep into a specific region or traveling the world, you’re helping to support this powerful and rapidly expanding medium of escape rooms, and we appreciate you for that. Just as we appreciate everyone who supports us on Patreon, whether it’s $2 per month or more. Every single person who contributes to our work is doing a huge thing for us. We hope that all of the content – both free and exclusively for Patreon – is bringing joy and value to your life.

Thank you to our Patreon backers.

Special shout out to those who joined this month: Pants, Angela Ward, Marti, George Inglis, Василий Кумаев, Tiger Oakes, Keith Dozois, Simon Rühl, Hayden Sawyer, and Lennard Manke

To those of you reading who have the means, we hope you’ll consider joining this wonderful group of supporters.

Support Room Escape Artist’s Mission

There are lots of ways to support Room Escape Artist, like buying from Amazon or Etsy after clicking into the links included in this post or backing us on Patreon.

The money that we make from these helps us to grow the site and continue to add more value to the community that we love so much.

The post Playing Escape Rooms: Local vs Travel appeared first on Room Escape Artist.

For the herd

Location: Kissimmee, FL

Date Played: February 15, 2026

Team Size: 2-8; we recommend 3-5

Duration: 90 minutes

Price: $57.99 per player

Ticketing: Private

Accessibility Consideration: None that we are aware of

Emergency Exit Rating: [A+] No Lock

Physical Restraints: [A+] No Physical Restraints

“Doldrick’s Escape Room has made another hilarious and novel escape room. They packed Galactic Beef: The Cosmic Adventures of Star Cow with character, comedy, and fantastic team-based gameplay.“

REA Reaction

Doldrick’s Escape Room has always had a comedic bent to their games, and with their previous game, Crazy Train, they set a new bar. In their latest game, Galactic Beef: The Cosmic Adventures of Star Cow, they have truly seized the crown. Our team laughed our way through this hilarious experience.

The humor alone would make Galactic Beef an easy recommendation… but the greatness didn’t stop there. Doldrick’s packed Galactic Beef with characters and dialogue well past the point of what I had thought an escape room could handle… and they landed it. The story was as funny as it was followable.

To top it all off, Galactic Beef played extremely well. The gameplay was focused on team-based action. It did a fantastic job of keeping our full team engaged from start to finish.

The one big adjustment that I hope comes for Galactic Beef is providing clearer feedback when players get something wrong. As it stands, when we got something wrong, nothing happened. It wasn’t game-breaking, but it was an opportunity to make the ship feel more responsive.

Galactic Beef joins Crazy Train as an Orlando-area must-play escape room. With this latest game, Doldrick’s Escape Room is now a full venue, but I hope that this isn’t the last creation we see from this team. They are really damn good at this escape room thing.

Who is this for?

• Adventure seekers
• Story seekers
• Puzzle lovers
• Sci-fi fans
• Comedy lovers
• Best for players with at least some experience
• Players who don’t need to be a part of every puzzle

Why play?

• It’s hilarious
• Compelling, team-focused gameplay
• An abundance of endearing characters

Story

Join Star Cow’s legendary crew on an intergalactic adventure to help deliver a mysterious stranger to greener pastures.

Setting

Galactic Beef: The Cosmic Adventures of Star Cow was a deliberately designed game. The aesthetic felt a bit like a 90s arcade with black walls and colorful neons glowing under blacklight.

Beyond the physical design of Galactic Beef, there was a shocking amount of content within the game’s many screens: a universe full of unique characters and witty banter. It’s impossible to disentangle the set from the contents of the screens in the best possible way.

Gameplay

Doldrick’s Galactic Beef: The Cosmic Adventures of Star Cow was a narrative-driven escape room with tons of characters and a moderate level of difficulty.

Core gameplay revolved around making connections and solving puzzles. The puzzles relied heavily on communication and teamwork.

Analysis

 Galactic Beef had more characters than any escape room we’ve ever played. It shouldn’t have been possible, yet we cared about them all. We were delighted each time a character appeared or re-appeared. Each was distinct, with their own personalities and motivations. They were memorable.

 Galactic Beef was marbled with a seemingly endless string of references, puns, and wordplay, and it still told a coherent and engaging story. Moreover, the story was easy to follow.

 Doldrick’s invested judiciously in Galactic Beef. The set was minimalist: black paint and neon tape. It was just enough detail to make us feel like we were on a spaceship. Doldrick’s saved the maximalist details for the animation that delivered the characters and story.

 The animation was out of this world.

 The set was packed with button-y buttons and switch-y switches. And we used them all. The set didn’t just give the facade of a spaceship. It was fully interactive. The hardware felt good and worked well.

 / Doldrick’s relied heavily on their animation skills, and most of these delivered. There was one specific instance where animation didn’t quite deliver on the video game-y interaction. This dissonance made the solve feel less satisfying than the tactile interaction should have felt.

 Galactic Beef didn’t give any feedback on wrong inputs. If we were wrong, nothing happened at all. We would have appreciated a thematic audio effect, just to let us know we’d done something, even if not quite the right thing. This type of non-responsiveness can slow momentum, especially early on. When one early input device had extra tight tolerances and we had the right answer, but just a hair off, we could easily have stalled. Notches or grooves would go a long way.

 There was an unusual cadence to Galactic Beef: a constant back-and-forth between story scenes and puzzle missions. With this flow, it was obvious where to focus our attention at any given time. The story didn’t compete with the puzzles. It was always clear (narratively and physically) what we needed to solve next. When we were solving puzzles, it was always the puzzles themselves and not figuring out what the game wanted from us. Furthermore, we had the option to parallel puzzle or solve linearly, but either way, we’d come together for the story beats before breaking out into puzzles again.

 During the story segments, we were standing on hard concrete watching a screen. Strange as this sounds, standing without moving can be more physically tiring than actively solving puzzles. Given this, while we loved the humor and the references, we can understand some players feeling that too much time was devoted to the story segments.

Galactic Beef culminated in a boss battle. This delivered the heroic moment our adventure demanded.

Tips For Visiting

• There is a parking lot.

Book your hour with Doldrick’s Galactic Beef: The Cosmic Adventures of Star Cow, and tell them that the Room Escape Artist sent you.

Disclosure: Doldrick’s provided a complimentary game.

For more about Doldrick’s listen to our interview with creators Mike Dold and Rick George on The Reality Escape Pod.

The post Doldrick’s Escape Room – Galactic Beef: The Cosmic Adventures of Star Cow [Review] appeared first on Room Escape Artist.

Stalked by the Stalker in the maize maze

Location: Orlando, FL

Date Played: February 16, 2026

Team Size: 2-16; we recommend 4… that’s the ideal, but 3-5 is good

Duration: 90 minutes

Price: $209.97 total for teams of 2-3 players, pricing scales with larger teams

Ticketing: Private

Accessibility Consideration: All players need to be able to step up and duck.

Emergency Exit Rating: This game has been approved by the Orlando Fire Marshal.

Physical Restraints: [A+] No Physical Restraints

“Cornstalkers: Lost in the Maize was The Escape Ventures’ largest, most ambitious game to date. Blending American and European styles of horror, they created something that was as entertaining as it was expansive.”

REA Reaction

Cornstalkers: Lost In The Maize is one of the only games of its kind in the United States. It’s a horror style common across Europe that downplays jump scares and gore while centering the experience around a menacing character that pursues the players. In The Escape Ventures’ take on this style, the horror had less psychological depth and instead leaned more into the haunted house-style decor and scares that will be familiar to American audiences.

The Escape Ventures has been releasing new games in central Florida at a rapid pace. Cornstalkers was their most ambitious build to date and a huge step up in atmospheric immersion. It boasted a larger set, longer play time, and more actor interaction. They dialed a lot of knobs way up.

I appreciated the pacing of this experience. Some scenes focused on puzzles, and other scenes were built around pursuit by a menace. Adrenaline spiked and then waned as we became comfortable with a new space. We didn’t need to be on edge for every minute of the experience. In this way, Cornstalkers will be approachable to those who are more nervous but intrigued enough to play. Though, to be clear, it was most definitely a horror game.

There was an opportunity for The Escape Ventures to develop the narrative through the puzzles themselves. While Cornstalkers was epic and exciting, we didn’t feel as connected to the story as we could have been had each of our actions furthered the plot and cemented our role in it. The puzzles were well-clued and solved cleanly, but they could be something more.

When I stepped back and thought about the brilliance of Cornstalkers after playing, I was most impressed by the logistics. One performer played every character, moving undetected behind the scenes to always be in the perfect place for the next scene. They hit their timings impeccably. They changed fluidly between personas.

This game represents a huge step forward for The Escape Ventures, and fans of their earlier work will find more of what they already love blended into this new style. You should book Cornstalkers: Lost In The Maize because there aren’t many games this side of the Atlantic that share its DNA. It’s something special.

Who is this for?

• Adventure seekers
• Scenery snobs
• Horror fans
• Any experience level

Why play?

• An expansive set with many scene changes
• Strong acting
• A rare European-style horror game in North America

Story

The Clearview Fall Fair was opening soon, and they had invited a bunch of us social media influences to see it first. From the carnival midway to the haunted corn maze, we’d be live-streaming the whole thing. Don’t forget to like and subscribe for more.

Setting

Cornstalkers was set in a fall fair with a distinct Halloween flair. The set was as lovingly built as it was expansive. Each space that we visited clearly conveyed what it was supposed to be and really sold the fiction.

This was The Escape Venture’s most extensive build, and it was great to see that they could deliver a fantastic environment at scale.

Gameplay

The Escape Ventures’ Cornstalkers: Lost In The Maize was a horror escape room with a moderate level of difficulty.

It took us through different scenes, some centered on puzzles and others more on scares.

In the puzzle-focused sections, core gameplay revolved around observing, making connections, and solving puzzles.

In the maze, the puzzles were less challenging, and gameplay centered around searching, communicating, and avoiding the menace.

Interacting with in-game characters (on their terms) was a big part of this experience.

Analysis

 The introduction to Cornstalkers was hilarious. The character we met was a funny stereotype… albeit annoying and a bit cringe, by design. Impressively, The Escape Ventures went all in on the intro, in a way that could take on a life of its own. We embraced the silliness of influencer personas and had fun with this scene. This might be awkward for some folks, but let loose and go for it! Know that this character won’t overstay their welcome.

 The second character we met was reserved, safe, and endearing — a perfect balance to the character who greeted us, and to the menace yet to come. We loved how integrated this character was to the puzzle solving in the section of the game that they presided over. Their involvement added variety to the puzzles, including one we really bit into and savored.

/ The Escape Ventures cares a lot about safety. To this end, they have clear rules of engagement with the scare actor playing the menace. They spend time making sure players understand how to safely interact. However, we met multiple characters throughout this experience, and they didn’t all follow the same rules of engagement. There was some immersion-breaking cognitive load when we asked ourselves, “is this interaction allowed?” (It was.) We appreciate that The Escape Ventures wants to be safe and spoiler-free, and we challenge them to continue workshopping the onboarding for clarity across characters.

 The gameplay was balanced, with some scenes leaning into puzzles and others keeping us on edge as we moved through unknown space. I appreciated that the puzzle scenes felt safe, and we could solve without looking over our shoulders every few minutes. I liked the heightened adrenaline of the scarier scenes, where it was clear that our main objective was to avoid the menace and the rules of engagement were clear.

The sets looked great. Cornstalkers was a huge step forward in immersion compared to The Escape Venture’s previous builds. Each space within the set was big. The Escape Ventures used angles and height to make the spaces feel realistic. The decor in the fall festival itself made for a particularly enjoyable environment.

Furthermore, the set was dynamic, opening up spaces for dramatic scenes and spatial solves. This made the scarier parts more intense and the experience overall more exciting.

Menace-driven gameplay is challenging. The Escape Ventures was able to create perceived stakes and build tension around this character, without veering into the territory of capture.

The Escape Ventures minded the details. Every surface was designed and finished, even in some places where they didn’t need to be. We loved how costuming and set dressing blended as part of the story.

/ The puzzles solved cleanly and flowed well. They were tangible and satisfying. That said, there was an opportunity for the puzzles and the narrative to be more intertwined. In some scenes, our in-game actions didn’t support the overarching experience. For example, why were we counting?

 In-game video and audio were hard to hear. This made it hard to follow any specifics of the narrative.

The finale was underwhelming. We craved a boss battle where we defeated the evil, or perhaps even became it.

Cornstalkers is run by one gamemaster who plays every role. I was impressed by the behind-the-scenes logistics that enabled this, and the performer themself. The gamemaster was an active participant in so much of our experience and elevated it in many ways.

Tips For Visiting

• There is a parking lot.

Book your hour with The Escape Ventures’ Cornstalkers: Lost In The Maize, and tell them that the Room Escape Artist sent you.

Disclosure: The Escape Ventures provided a complimentary game.

Check out our conversation with Curtis Ratliff and Derek Townsley, founders of The Escape Ventures, on the Reality Escape Pod.

The post The Escape Ventures – Cornstalkers: Lost In The Maize [Review] appeared first on Room Escape Artist.

Long-time member of our community, Simon Edwards, explained their situation on this Go Fund Me page, and I cannot bring myself to write their story… it’s too heartbreaking. Truly.

I will not in good conscience ask anyone who isn’t financially stable to help another, but if you are, please read their story, and consider sending a little support their way.

Escape Room Community Auction

April 2 Update: The raffle is now closed. Due to the extraordinary generosity of this community, the format is now an auction, which will raise significantly more for Sarah and Sharan. If you already donated to the closed raffle, this money will be used for any of your winning bids. If you donated to the raffle and do not use or succeed in winning any items, your donation will remain as part of the fundraiser, unless requested otherwise.

The escape room community has come together in an extraordinary way to support Sarah Dodd, who is fighting terminal cancer. Over 50 owners worldwide have donated an extraordinary collection of prizes — including some truly once-in-a-lifetime experiences. All proceeds go directly to her treatment. Bidding opens 2nd April.

March 11 Update: Escape room owners around the world have donated prizes for a community raffle supporting Sarah Dodd’s cancer treatment fundraiser. Prizes include escape room vouchers, online games, puzzle boxes and more — with new prizes being added regularly.

Get to Know Sarah Yourself

In late 2024, Peih-Gee and I recorded a beautiful podcast episode with Sarah, exploring her history with escape rooms as well as her health struggles. I’ve been proud of this one since we recorded it and was so pleased to have the opportunity to help Sarah share her story.

Please give it a listen, I think that learning more about Sarah will help you understand why she deserves our help.

It breaks my heart that Sarah and Sharan even need this help. Honestly, it’s just hard to even write this. I hope that if you have the means, that you consider lending them a hand.

The post Helping friends Sarah & Sharan who are going through hell appeared first on Room Escape Artist.

Location: Tokyo, Japan

Date Played: October 28, 2025

Team Size: 2-4; we recommend 3-4

Duration: 60 minutes

Price: 3300-3900 yen (around $21-25 USD) per player for public solo tickets; 12000-14400 yen (around $77-83 USD) per private group of up to 4 players

Ticketing: Public with an option for private (see Tips for Visiting)

Accessibility Consideration: None

Emergency Exit Rating: [A+] No Lock

Physical Restraints: [A+] No Physical Restraints

“A Challenge from the Crafting Genius was a masterpiece of puzzle art. With innovative gameplay, perfect flow, and a jaw-dropping finale, this was a groundbreaking reinvention of the hall-type game format.”

REA Reaction

I don’t use the word “genius” lightly, yet A Challenge from the Crafting Genius more than lived up to its title. From a humble heap of crafting components — some wooden boards with strange markings, scissors, masking tape, colorful sticks, and various other bits and bobs — emerged one of the most mind-blowing, multi-layered puzzle experiences I’ve encountered in any format, of any duration, anywhere in the world.

A Challenge from the Crafting Genius was designed by Takao Kato, the founder of SCRAP, who created this “inspirational crafting experience” in order to distill the joy of the creation process itself into something that players could also experience. In discussing the game’s development on SCRAP’s website, Kato wrote, “I find that the most beautiful kinds of excitement are the moments where one experiences a flash of inspiration while creating something… If I could make a game where others could feel the same way, then maybe I could change the way everyone thinks about games, work, and even life as a whole.”

For me, A Challenge from the Crafting Genius fully succeeded at this lofty meta-mission, truly changing how I view the world in small but profound ways. Furthermore, as a puzzle designer myself who regularly experiences the joy of creation through my own creation process, it was novel to experience this feeling of creation so directly from the solver’s perspective.

Reimagining the Ballroom Game

Falling somewhere between an escape room and a puzzle hunt, A Challenge from the Crafting Genius was an outlier even within its genre of hall-type games.

The classic Japanese hall-type game involves some formulation of solving paper-and-pencil puzzles at a table as a small team, as was the case with many older SCRAP games like Defenders of the Triforce. Over time, the genre has developed to become somewhat more immersive, with more physical components and actor interactions. Even still, A Challenge from the Crafting Genius shattered any possible expectations from the opening moments of the game. For starters, where even was our table?!

Hall-type games can be characterized by various properties: multiple teams playing simultaneously in a large shared space, a focus on creative puzzles over experiential immersion, a “black box theater”-like layout that many Japanese puzzle companies have come to embrace, or even certain design patterns and conventions specific to the puzzles. However, none of these properties are set in stone, and increasingly, hall-type games also include public puzzle performances with regularly bookable slots just like standard escape rooms, not only large-scale events that often attract a broader player base with exciting IP collaborations.

In the case of A Challenge from the Crafting Genius, the game was in fact originally run for dozens of teams simultaneously as a special, limited-time event, but it’s now running in a smaller, more permanent space for up to two teams at a time. It’s still a hall-type game, resulting from its distinctive gameplay style, regardless of how many teams are playing at once.

Difficulty Deepening Discovery

A Challenge from the Crafting Genius was one of the most unique experiences amongst SCRAP’s current offerings, and also one of the most difficult. There was a high density of puzzles that progressively layered on each other, facilitating a near constant stream of satisfying aha moments and culminating in some unforgettable final revelations. Kato is a true master of misdirection, and the brilliance of A Challenge from the Crafting Genius largely lay in the myriad ways that the gameplay repeatedly recontextualized various unassuming elements, as well as its creative use of basic materials.

There’s much wonder to be had in the magical transformation of the mundane.

While the gameplay was challenging, there were also plentiful affordances to make the majority of the experience accessible to players of all puzzle abilities. Each puzzle was broken up into multiple steps, most with clear instructions and intermediate confirmation. Tiered hints were available via a built-in tablet hint system for all but the final puzzle sequence, and an in-room game host was also available for further assistance.

For teams of two, one puzzle was modified to be less work for fewer hands, yet there was still a massive amount of hands-on “crafting” to be had, so much so that the experience felt a bit more rushed than ideal. A modified time limit for fewer players (perhaps increasing from 60 to 75 minutes) could have allowed us to more fully savor the clever construction of each puzzle along the way without diminishing the way in which time pressure is intentionally designed into the ō-nazo mindset.

A Puzzler’s Puzzle Game

To any players or creators questioning whether an escape room can stand out for its puzzles: look no further.

A Challenge from the Crafting Genius demonstrated that ingenious puzzles in a closet-sized space with basically no set or story can be just as memorable as any more experiential game.

This style of experience is not for everyone — and if you’re only playing escape rooms for the immersion, adventure, or set design, this is probably not the game for you — but for puzzle lovers who would eagerly opt into an afternoon of building IKEA furniture, A Challenge from the Crafting Genius was truly a dream come true.

Tips For Visiting

• If you book “solo tickets” in English, then there is a chance other solo players who also book the English version of the game may be added to your team. However, a “group ticket” guarantees a private booking, and for a full team of four players, it’s actually cheaper than four solo tickets. There may still be another team in the room playing the Japanese version at the same time, in which case all videos and verbal explanations will include English subtitles. There is no interaction required between the two teams.
• A Challenge from the Crafting Genius is fully adapted into English. A tablet that guides much of the gameplay has an English mode, and most puzzles involve little to no language.

Book your hour with SCRAP’s A Challenge from the Crafting Genius, and tell them that the Room Escape Artist sent you.

The post 👑 🔒 SCRAP – A Challenge from the Crafting Genius [Reaction] appeared first on Room Escape Artist.

This is not the first time that my DMs and random encounters with escape room owners have come with the question, “Hey… umm… were you calling me out?”

The answer is unequivocally: No. I am not lowkey calling any of you out specifically.

If I was asking anyone to change with last month’s post it was enthusiasts, not escape room owners. Go back and re-read it.

Even this piece isn’t calling out a specific person or company because so many of you have asked me about last month’s post… and this is part of a larger trend.

Watching Trends

When I write pieces about larger trends, I am not calling out specific people… I am highlighting and analyzing what I see happening in our industry at large. In some cases, yeah, you might be one of the people who falls in line with the trend (sometimes for better, by the way).

If we’re calling out something specific at a particular company, then we cite the source. Richard Burns loves doing this in his writing… but you’ll note that when we’re highlighting a specific company in a thought piece, it’s pretty much always positive unless you’re lighting players on fire like an idiot psychopath.

Shining a Spotlight vs Waving a Flag

There are so many escape rooms out there, and there is so little time. We cannot play them all. More than 10 years ago we shifted from trying to cover everything to a model where we strive to shine a light on great games rather than wave a flag about mediocre ones.

Sometimes we seek out bad reviews, but that’s usually when someone has cultivated a reputation for doing terrible things.

More often than not, when we stumble into a negative review, it’s because the owner asked us to play it (often emphatically and repeatedly). We’re like Beetlejuice, say our name enough times and we will show up.

Coming From A Place of Love

A dozen years into Room Escape Artist, the only way that this all works is if its coming from a place of love. Love for the games, the players, and the creators.

But the funny thing is that if you only ever say positive things, then your words slowly become meaningless. If we like everything then our reviews are meaningless. And if we only highlight positive trends, then we are ignoring critical information.

We have a vast network of players and owners within our Patreon community that help us keep our finger on the pulse of the escape room movement, not just within our region, but all over the world. It’s an incredible group of people, and we could not do the work that we do without their knowledge, support, and funding.

Special shout out to those who joined this month: Emilio Garofalo Neto, Leslie Chong, Heather Logas, Matt S., Mitchell Otis, Mike Hamel, Natalie, Sam Sharpe, Brandy Agerbeck, and Stims24

To those of you reading who have the means, we hope you’ll consider joining this wonderful group of supporters.

Support Room Escape Artist’s Mission

There are lots of ways to support Room Escape Artist, like buying from Amazon or Etsy after clicking into the links included in this post or backing us on Patreon.

The money that we make from these helps us to grow the site and continue to add more value to the community that we love so much.

The post This Post Isn’t About You appeared first on Room Escape Artist.

To be fair, setting aside real life escape rooms, we review quite a range of tangible products. We primarily review tabletop escape games and puzzle video games, but we don’t box ourselves in. We’ll review other collaborative, puzzle-y tabletop (or video or VR) games that aren’t really like escape rooms at all. They just need to be experiences we think an escape room player audience will also enjoy. Or, they need to be experiences exploring some interesting side of game design that we think our creator audience will be interested in us unpacking in a review. And that’s not even getting into reviewing individual products and props for use in real life escape rooms.

To make it easy for you, here are the steps to take to request a product review. If you follow them, we will be much more likely to play and review your product.

How to Contact REA

Please reach out through our contact page or by emailing contact@roomescapeartist.com.

Do not send a message via social media. This might seem counter intuitive, especially if your main way of seeing our content is on Facebook or Instagram. However, it’s easy for us to lose messages on these platforms. They just aren’t build for effective B2B communications.

Do not send a direct message to the individual you hope will write the piece (especially David). This is a sure way for your message to get lost in a sea of other messages, or never get to the right person.

Prerequisite: A Finished Product

You must have a product that you can send us. This feels obvious, but past experience tells me that it’s not.

If you only have a rough prototype, or the first chapter of a longer experience, we’re not interested.

If you expect to have your product ready to send us on an unspecified date in the future, we’re not interested until you have that product in your hands and are ready to ship it to us.

You must be done playtesting. We do not playtest at Room Escape Artist.

Some REA writers enjoy playtesting and will happily playtest products for friends, but if they playtest a game, they won’t write anything for REA. They are not allowed to cover anything they’ve playtested.

Plus, you do not want us reviewing your unfinished product. Finish testing and iterating on your game design before you reach out.

Provide Product Information

At minimum, your outreach should include the following information:

• Product name
• Type of product
• Website link
• Estimated play time (including setup and breakdown)
• Recommended number of players

Depending on your type of game, we might need the following information as well:

• Necessary supplies – It’s helpful to tell players they need scissors or tape, for example. More importantly, if your tabletop game requires, say, use of a freezer, the reviewers need to plan to play the game in a space that has a freezer, so make sure you tell us this. We are fine with minor spoilers to make sure we are able to play.
• Device type – Do the players need a certain type of device (like a VR headset) to play?
• Intentional time delays – If your game asks players to play in multiple sessions, perhaps because they are waiting on an email response from an in-game character, we need to know.

Level of Detail

You should be able to describe your product in one sentence. I also appreciate a pitch on why your game is a good fit for our audience, but limit this to three sentences, at most.

I do not want to read your press release. I just want to know, succinctly, why the REA audience will be interested in this game. Bonus points if your pitch makes it clear to me that you have any idea who we are and what we cover.

Timing

We don’t move quickly. I’m really sorry about this, but it’s not about to change.

The REA publication calendar is scheduled weeks ahead of time, often months ahead of time. This lets us travel, work, be there for our family, and live our lives, while still publishing daily content.

It typically takes about 3 months from when you contact us to when you see a review. This accounts for figuring out which writer will cover the game, the time they need to receive the product (if it’s shipped), play, and review. Then there is additional time for editing and for us to find the review a space in the publication calendar.

That said, we will rush content through to publication if there’s a good reason to do so. We’re not monsters… but you should at least understand that rushing comes at a cost for us when it is even possible.

About Kickstarters

If your Kickstarter has already launched, it’s too late.

If your Kickstarter is launching within the next 4 weeks, and we think our audience will really like your product, we will do our best, but it’s likely too late, especially for a day 1 review.

If your Kickstarter is launching in 8-16 weeks, this is the best time to reach out.

You will need to send us a finished prototype. The closer it is to the product you plan to ship to the backers, the better.

Please include a note about anything that’s not finalized (i.e. the box art, the material of a certain prop will change, the hints website.) If the game design is not finished, that’s not good. Maybe you’re not ready for a Kickstarter yet.

Let us know the planned Kickstarter launch date in your initial outreach. This is important. We need to decide if we can complete the review in time for your launch, or during your campaign.

If your launch date changes (because it moves later), that’s fine. We’ll adapt. Just be communicative please.

Media Copies

If we reach out to you because we are interested in playing and reviewing your product, we’ll ask if you offer a media copy. We always appreciate a complementary or discounted game in exchange for the review, but we don’t expect it. After all, we reached out to you. If you say no, we’ll still purchase the product. Either way, this will not impact your review in any way.

If you reach out to us, we expect that you’re providing us with a copy of the game. You are under no obligation to do so, but we are also under no obligation to purchase the product because you reached out to us.

Review Types

We have two types of reviews: Hivemind and Byline.

Hivemind is our format that shares three perspectives in one piece. Each contributing writer writes their own short (1-3 paragraph) review, independently from the others. We typically use this format for video game reviews, where it’s easier to get our hands on multiple copies (or download codes). This is also a good fit for games with a lower time commitment.

Byline pieces are written by one writer. They usually follow our standard review structure, which is pretty similar for escape rooms and shipped products. However, depending on the type of product, the writer may work with the editor to stray from the structure. As stated above, we try not to box ourselves in.

We don’t do assignments. Our writers decide which games they are excited to play and review. Sometimes we offer games up to everyone and see whose interest is piqued. Other times we ask someone specific because we think they have the right background for the game. Either way, writers are free to decline.

It’s possible that you will reach out and we won’t have anyone with availability or interest. Our contributors are off leading busy lives. It doesn’t happen often, but it has happened.

Who’s Who?

Hi, I’m Lisa and I’m the Editor-in-Chief at Room Escape Artist. I’m the person reading your emailed pitch, the person you have to convince to take interest in your game. I write reviews, but rarely for tabletop games and never for online games. However, I read and edit every piece we publish. I’m in charge of the publication calendar.

Andrew Reynolds coordinates the REA Hivemind. Previously, I did this too, but now, if I think your pitch is right for the Hivemind, I’ll connect you to Andrew. He decides what the REA Hivemind will cover. Andrew also writes reviews.

If I think your game would be best covered by a byline piece, I will find the best writer for it, and I’ll introduce you to them. They’ll become your primary point of contact.

Heather Burns manages REA’s social media accounts. If you (accidentally!) send a pitch through social media, Heather will try to get it over to me. It might get lost. We are very sorry. If this happens, it is my fault, not Heather’s.

Will You Review My Escape Room?

Well, that’s a different question. I’m glad you asked. We are thrilled to be invited to play and review escape rooms anywhere in the world. The thing is, we might not have anyone based anywhere near you. But I will make a note. Seriously. I track anyone who invites us, and if we do end up with a writer traveling to your area, we’ll prioritize reviewing your escape room.

If your experience is location-specific, but not strictly an escape room, still reach out. Make the pitch. If it’s something that I think our audience will be interested in, I’ll make note.

When we travel, we prioritize games our community talks about, games that have won or been nominated for awards, creators who are engaged with our community, and creators who have invited us to visit, in that order.

We hope to get the opportunity to play and review your game soon.

The post How to Summon a Room Escape Artist Product Review appeared first on Room Escape Artist.

Location: Osaka, Japan

Date Played: October 9, 2025

Team Size: 2-4; we recommend 2-3

Duration: 60 minutes

Price: 4600-4950 yen (~$30-32 USD) per player depending on team size

Ticketing: Private

Accessibility Consideration: None

Emergency Exit Rating: [A+] No Lock

Physical Restraints: [A+] No Physical Restraints

“Shadow Zen was a love letter to Japanese history and culture. With a staggering level of narrative-puzzle cohesion and attention to detail, Studio Escape established a compellingly idiosyncratic approach to escape room storytelling.”

REA Reaction

As an interactive narrative with a distinctive cinematic flair, Shadow Zen was an outlier within Japan’s more puzzle-focused escape room culture. Yet, even in more narrative-centric escape room markets, this experience would still strongly stand out for embodying unusually high level of polish and cohesion throughout every layer of its design.

Building on the style and strengths of Studio Escape’s previous creations, Shadow Zen used light puzzles to directly drive forward the story. Each element and interaction was thoroughly justified. This approach frequently felt like a point-and-click adventure game, where one overarching objective cascaded into multiple smaller sub-quests, each of which led players to engage with the world in a new way.

Shadow Zen played with effective contrasts in time and texture as it transported us back to a beautiful temple in 1920s Osaka. The gameplay transformed history and ritual into respectful, playful, and well-researched puzzles. The set design was exquisite, and every tiny detail was thoughtfully considered to be appropriate for its time period. This extended to the building’s outer facade and lobby, which smoothly transitioned us from outside world into game world. Tying it all together, the lighting and sound design brought the world to life and organically guided us through it.

Shadow Zen was the first East Asian game to receive a TERPECA (2024), and while it is well deserving of all the attention and accolades, the other experiences at Studio Escape should not be overlooked. Each in their own way, Shadow Zen, Madame LeClaire and the Seance of Death, For Queen & Country, and The Dame and the Diamond (now closed) are the best versions of the different cinematic styles they embraced. Each game honed its craft and took interesting risks, and together, they make Osaka a rising escape room destination on the global stage.

For Tourists and Locals Alike

For me, Shadow Zen was the perfect game for escape room enthusiasts visiting Japan.

While traveling, I often experience a tension between playing all the noteworthy local escape rooms and actually seeing the sights in the city I’m visiting. Shadow Zen bridged this gap by creating a world that truly belonged in Japan, with a level of individual interactivity that exceeded what you’d experience out in the wild. Even after visiting hundreds of actual temples and shrines around Japan, Shadow Zen was arguably the most Japanese thing I encountered in Japan.

Similarly, Shadow Zen would be a stellar introduction to escape rooms for local Japanese players, or an inspiring peek into other escape room styles for players already experienced with SCRAP-style games.

Focused on Narrative

That said, for players who are used to escape rooms that provide a formidable challenge and require you to puzzle hard the entire time, this is a different sort of game. Don’t worry about the time — there’s no need to rush. Enjoy the puzzles and story, and let the experience guide your pace.

Additionally, stick together with your teammates the entire experience, even when the gameplay branches. This play style was explicitly instructed at the start of the experience, though if Studio Escape were to continue to push toward even more seamless immersion, there was an opportunity to design these sort of out-of-world instructions into the experience itself.

Book-ing Process

In addition to the usual range of merch — shirts, hats, and stickers — Studio Escape also sold a rather special item for each of their experiences: a beautiful hardcover book with photos and writings documenting the process of creating the game.

A step beyond end credits, this was like the director’s cut of escape rooms. In addition to beautiful images of the final state of the room, these books showed all the steps along the way, from erecting walls to developing individual props. I’ve seen some escape room companies post behind-the-scenes photos like this on their social media, but I’ve never encountered another company actually turn this process into a gorgeous coffee table book worthy of display. While these books are full of spoilers, once you’ve actually played the game, they provide a valuable window into all the effort, creativity, and artistry that went into what you just experienced.

The name “Studio Escape” asserts escape rooms as a cinematic art form, and they truly walked the walk, innovating on and elevating the escape room medium both in and out of the experience.

Tips For Visiting

• Studio Escape has 2 locations. Shadow Zen is located in their Daikokucho location at 1-6-17 Shikitsu-Nishi.
• Shadow Zen is playable in English or Japanese. Select your preferred language while booking.
• As is common in Japan, you’ll take your shoes off and change into sandals at the door. A range of sizes were available.
• Just down the block, Scent Gallery Cafe Mikayama offers a range of delicious food options in a hip gallery setting.

Book your hour with Studio Escape’s Shadow Zen, and tell them that the Room Escape Artist sent you.

The post 👑 🔒 Studio Escape – Shadow Zen [Reaction] appeared first on Room Escape Artist.

Location: Amsterdam, Netherlands

Date Played: October 10, 2025

Team Size: 3-5; we recommend 3-5

Duration: 75 minutes

Price: from €147 per team for 3 players to €195 per team for 5 players

Ticketing: Private

Accessibility Consideration: There are a few small steps within the game and one uneven surface.

Emergency Exit Rating: [A] Push To Exit

Physical Restraints: [A+] No restrictive physical restraints. See the end of the review for details.

“Aurum: Order of Gold was built around an unusual mechanic that enforced fairness of play. The irony of extreme fairness in a world built around gold and greed was not lost on us.”

REA Reaction

Aurum: Order of Gold was a remarkably fair escape room, and I don’t just mean that the puzzles solved in a logical way. It was fair because it was built to engage each and every player equally. I’m having a difficult time thinking of a game that provides a more even experience to every single player.

Each player was given a wrist-bound device, and this contraption made it clear who was going to do what throughout the game. It wasn’t like having an in-game “superpower.” We all had the same capabilities within the game. Instead it was a means of distributing the fun and challenge, and it was extremely effective.

To top it all off, BackSpace Escape Rooms built an unusual game world, and filled it with nifty interactions that we were delighted to share with one another. Aurum: Order of Gold was a mechanics-forward game with an undercurrent of narrative, and it came together in a well-executed package. I highly recommend playing this game if you’re in Amsterdam.

Who is this for?

• Adventure seekers
• Puzzle lovers
• Scenery snobs
• Players looking for something unusual
• Any experience level
• Team players

Why play?

• Wonderful team-based gameplay
• Some interesting set-based interactions
• A novel story and setting

Story

We visited the Amsterdam Money Museum looking for information about the Order of the Golden Dawn: a secret society that went dark in the 1930s and had focused on alchemy, or the mythical process of turning lead into gold.

Setting

Amsterdam Money Museum was a strange place from a distant time that never existed. It felt a little steampunk, and a bit mystical with some more modern flourishes. It was a unique space that was well-constructed.

Gameplay

BackSpace Escape Rooms’ Aurum: Order of Gold was an atypical escape room with a moderate level of difficulty, and a heavy focus on teamwork, collaboration, and communication.

Core gameplay revolved around teamwork, puzzling, searching, and communication.

Analysis

 Aurum: Order of Gold had an unusual vibe that melded different aesthetics into something entirely its own. From thrifted antiques, to unique lighting fixtures, to custom built mechanisms, to choice wallpaper and outstanding vacuform work, the experience felt crafted, and part of a distinct and, perhaps, magical world.

 BackSpace Escape Rooms created an atypical, in-world onboarding. It allowed them to place the Magic Circle when we entered the building.

 In addition, this intro – sent as a text message, and completed as a text dialogue with a character – provided more than backstory and mission briefing. It offered “defanging” for nervous players, where they could have minor details spoiled (increasingly explicitly) to make them feel comfortable playing the game. The Netherlands is dominated by horror games, and Aurum: Order of Gold was decidedly not horror, but it did have one mechanic that can make some players nervous, so this onboarding let players self-select into as many spoilers as they needed to be comfortable. It also reminded all players that the game is not horror.

After the opening scene, it was a bit awkward to enter the game itself. We understand why blindfolds were used, but wished there was a better way. The start had us a bit tangled, which diminished our confidence in the game.

 Onboarding continued in the game with a simple puzzle to teach each player key information that would be continually recontextualized throughout the game. As we played, the puzzles became more complex, but we continually built mastery. The progression was immensely satisfying.

Teamwork was central to every solve in Aurum: Order of Gold. Each of us had our role, and it was critical. The game demanded participation, but in a way that gently brought everyone into the action. This design also made it impossible for the game to be unbalanced in favor of a dominant teammate; we each had the same amount of and quality of experience.

While we delighted in the mechanisms that were central to many of the puzzles, they didn’t always work in intuitive ways, but also not in ways that were meant to be puzzling. This added confusion, and also means higher risk of players inadvertently damaging the game. There were opportunities to refine handles, levers, and knobs.

/ BackSpace Escape Rooms used one scene change mechanic that never ceases to amaze us. They presented it in a novel way such that each of us could really take it in. That said, for some players the effect was tempered by lack of sound insulation.

 Late in the game a presumed ghost puzzle distracted us from focusing our attention on what mattered. 

 BackSpace Escape Rooms used lighting expertly as feedback for completed puzzles, and to gently guide us.

 One key set-based input was heavily damaged, detracting from the grandeur of the moment.

 Our actions in Aurum: Order of Gold built toward a decision point. The narrative was clear, and our place in it made sense. We understand what ramifications our decision would have. The ending had meaning.

Tips For Visiting

• This game is playable in Dutch or English.
• Make sure you communicate the correct number of players to the company before you arrive.
• Don’t forget to read the text message you receive before you arrive at the game. Your onboarding starts there.

Book your hour with BackSpace Escape Rooms’ Aurum: Order of Gold, and tell them that the Room Escape Artist sent you.

Disclosure: BackSpace Escape Rooms comped our tickets for this game.

The post 👑 🔒 BackSpace Escape Rooms – Aurum: Order of Gold [Review] appeared first on Room Escape Artist.