They Are Here: Alien Abduction Horror arrives from DEKLAZON with a flashlight, a camera, and a farm that has already seen too much. It is a first-person horror game for Xbox Series X|S, PC, and PlayStation 5, and it puts you in the boots of Taylor Fox, a journalist who comes to Grayswood farm to shoot a photo documentary about the strange events reported there.
That premise is the whole pitch. The farmer’s family has seen bright lights in the sky, violent behavior in the animals, and other odd events. Fox shows up to document them. What he finds is worse.
Trailer, via DEKLAZON.
Taylor Fox and the Grayswood Farm
The setup is lean and it knows it. You play a journalist, not a soldier, not a survivor with a shotgun. Your tools are a flashlight and a camera. The camera is not a weapon. It is the point of the trip. Fox came to Grayswood to take photos of evidence of alien presence, and the game builds its loop around that errand.
That is a smart frame for a horror game. A reporter has a reason to walk toward the thing everyone else is running from. A camera gives you a mechanical excuse to stop, aim, and look closely at something you would rather not see. DEKLAZON does not waste the idea. The game is single player, first person, and it keeps you at eye level with the farm the entire time.
The family’s reports are the spine of the story. Bright lights. Animals turning violent. Odd events that do not add up. Fox is there to shoot a documentary, which means the horror has to arrive through what he can photograph. That is a constraint, and constraints are where horror games either get sharp or get soft.
A Flashlight and a Camera
The genre tags are Adventure, Indie, Science fiction, Horror, Mystery. That is an honest list. This is not an action game wearing a horror mask. There is no combat loop described here, no upgrade tree, no arsenal. You explore the area armed with a flashlight. You take photos. You get to the bottom of the horrifying truth.
The first-person perspective does the heavy lifting. Horror in first person works because you cannot see behind you, and a flashlight makes that worse by design. It gives you a cone. Everything outside the cone is a guess. Grayswood farm, by the sound of it, is a place with a lot of outside-the-cone.
The camera mechanic is where the game stakes its claim. Taking photos of evidence is not a collectible chore on paper. It is the journalist’s job, and it turns the player into a witness. You are not there to fix anything. You are there to record it. That distinction matters, and it is the most interesting thing They Are Here has going for it.
“Take photos of evidence of aliens presence and get to the bottom of the horrifying truth.”
What Grayswood Does With the Idea
The storyline keeps its cards close. Fox arrives, the family has a list of complaints about the sky and the animals, and then the game confronts him with far more horrifying things. That is the whole arc as stated. DEKLAZON is not selling a plot twist in the marketing. It is selling a descent.
That is the right call for an indie horror game. The genre lives on the gap between what you are told and what you see. Grayswood farm is a classic setting for it. Rural, isolated, already strange before anything alien shows up. The farmer’s family is not a cast of heroes. They are witnesses, and their reports are the first layer of evidence Fox collects.
The mystery tag earns its place. Bright lights and violent animals are not answers. They are symptoms. The game’s job is to make you want to know what is causing them, and the camera gives you a reason to keep looking when your instincts say leave.
Where the Fear Actually Lives
The horror here is not built on gore or on a monster with a name. It is built on the ordinary tools of documentation. A flashlight and a camera are what you bring to a wedding, a crime scene, a school play. Bringing them to Grayswood is the joke, and the game knows it.
That is why the first-person perspective is not a technical detail. It is the entire effect. You are looking through Fox’s eyes at things he came to photograph. The game does not need to tell you he is afraid. It needs to make you reluctant to raise the camera, and if it does that, it has done its job.
The single-player mode is also the correct choice. Co-op would turn Grayswood into a theme park. A journalist alone with a flashlight and a camera is a different animal. The isolation is the mechanic.
The Limits of the Premise
Here is where the review has to be honest. They Are Here is an indie horror game with a narrow toolset. A flashlight and a camera. One location. One character. That is a small box, and small boxes get old fast if the game does not keep finding new ways to make you afraid of the same two objects.
The premise also carries a risk. A camera-based horror game lives or dies on whether the photos matter. If taking evidence is busywork, the whole frame collapses and you are just a person walking around a farm in the dark. If the photos change what you understand about Grayswood, the game works.
DEKLAZON is not promising more than it can deliver. The store copy is short and specific. That is usually a sign of confidence in a small idea, and small ideas executed well are how indie horror earns its reputation.
What DEKLAZON Is Selling
Strip away the genre tags and They Are Here is a game about being the person who documents a thing instead of the person who stops it. That is a real idea, and it is not common in horror games. Most of them hand you a way to fight back eventually. This one hands you a flashlight and a camera and tells you to get to the bottom of it.
The Grayswood farm setting does a lot of work for free. Farms are already places with animals, darkness, and distance from help. Add bright lights in the sky and violent animals and you have a location that is wrong before the aliens even arrive. The family’s reports are the proof.
The journalist frame also solves a problem horror games usually have. Why is this person still here? Because it is his assignment. Fox came to shoot a photo documentary, and a documentary needs footage. That is a better reason to keep walking than most games manage.
The Verdict on They Are Here
They Are Here: Alien Abduction Horror is a first-person horror game with a clear, modest idea and the discipline to stick to it. Taylor Fox, Grayswood farm, a flashlight, a camera, and a family’s reports of lights and violence. That is the whole machine, and it is a good machine.
It will not satisfy players who want combat or a large world. It is not that game. It is an adventure about evidence, and its best asset is the tension between wanting to know and not wanting to look. The camera is the whole bet.
What matters most is whether the photos carry weight. If they do, They Are Here is one of the sharper indie horror releases of 2026. If they do not, it is a walk in the dark with a nice premise. The premise is strong enough to earn the benefit of the doubt.
They Are Here: Alien Abduction Horror is out for Xbox Series X|S, PC, and PlayStation 5. It is a single-player game, first person, and it wants you to be afraid of your own camera. That is a specific and worthwhile ambition, and DEKLAZON deserves credit for chasing it without padding the pitch.
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