The Beauty From Ryan Murphy and Matthew Hodgson, exclusively on Disney+/FX
The series Beauty (Disney+/FX), created by acclaimed producer Ryan Murphy and co-creator Matthew Hodgson, reveals its intentions from the very first scene. Amidst glamorous models on the Paris catwalk, one character, Ruby (played by Bella Hadid), becomes dangerously desperate for hydration, resorting to shocking measures to quench her thirst.
This plot twist may intrigue some viewers, but may also deter others. Murphy’s established fame for groundbreaking shows like Glee and American Horror Story sets a high expectation for this series. In Beauty, FBI agents uncover a deadly drug and a new sexually transmitted disease within the fashion industry’s glamorous facade. However, the series ultimately falls short.
Murphy’s work has long been associated with body horror, revealing uncomfortable truths hidden within its provocative themes. Unfortunately, Beauty merely glosses over these issues, reducing its critical commentary to superficial critiques, especially regarding the use of medications like Ozempic.
The series struggles to embody the transgressive essence of body horror. Its unoriginality stems not only from its comic-book origins but also from its predictable narrative.
Comparisons can be drawn between Beauty and David Cronenberg’s iconic film The Fly, despite their differing storylines. In The Fly, scientist Seth Brundle (played by Jeff Goldblum) embarks on romantic and scientific pursuits, ultimately leading to horrifying transformations.
Jeff Goldblum as Seth Brundle in David Cronenberg’s The Fly
Photo: 20th Century Fox/Album/Alamy
The Fly masterfully explores themes of intimacy and horror, deftly blending romance with the grotesque, while also addressing underlying societal issues. In contrast, although Beauty attempts to engage with similar themes, its execution often felt forced and lacking in depth.
Characters in Beauty navigate discussions about health and identity, reminiscent of Seth Brundle’s plight, yet the messaging comes across as overly didactic.
In conclusion, while Beauty touches on vital topics, it lacks the profound narrative power found in Cronenberg’s work, ultimately emphasizing the necessity of original storytelling in tackling contemporary issues.
Recommended: Material…
Material Coralie Ferguito
While I had mixed feelings about this film, a standout scene featuring Elizabeth Sparkle (Demi Moore) transforming through the titular drug makes it worth a watch. Despite its shortcomings, it revitalized themes of beauty that were otherwise faltering.
Bethan Ackerley is an associate editor at New Scientist. Passionate about science fiction, comedy, and all things spooky. Follow her on Twitter @inkerley
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On November 25th, Santa Ragione, the celebrated Italian developer known for acclaimed titles like MirrorMoon EP and Saturnalia, will unveil their latest project “Horses”, which faced a ban from Steam, the largest digital marketplace for PC games. Shortly after, Epic Games Store also pulled the game just days before its intended release on December 2. Additionally, Horses was briefly removed from the Humble Store, though it was reinstated the following day.
This stirred-up controversy thrust the game into the spotlight on various digital platforms. Teeth sells it on itch.io and GOG. Nevertheless, the pivotal question lingers—why was it banned? Horses tackles various highly sensitive subjects (the introduction notably warns of “physical violence, psychological abuse, graphic brutality, depictions of slavery, physical and psychological torture, domestic abuse, sexual assault, suicide, misogyny”), making it both disturbing and unsettling.
Controversial…horses. Photo: Santa Ragione
The storyline is straightforward but soon takes a dark turn. You step into the shoes of Anselmo, a 20-year-old Italian man who is sent to spend his summer on a farm for personal development. It rapidly becomes clear (so much so that I let out a startled “ha!”) that this is no ordinary farm. The “horses” present there are not real horses but naked humans with horse heads seemingly affixed to them.
Your task is to tend to the garden, the “horses,” and the “dog” (a human with a dog’s head). Throughout Horses’ three-hour duration, Anselmo engages in tedious and painfully slow daily chores, such as chopping wood and gathering vegetables. However, these mundane activities are peppered with disturbing tasks. On the first day, you stumble upon the corpse of a “horse” hanging from a tree and must assist the farmer in burying it.
While undeniably unsettling, Horses provides little in terms of horror nuance, and when it does, the severity is lessened by basic, crude graphics (when a farmer lashes a human horse and subsequently applies hydrogen peroxide to its back, the resulting marks on its skin appear blurred and unrealistic).
Anxiety…horses. Photo: Santa Ragione
The genitals and udders of the “horses” are obscured. Slaves are prohibited from fornicating, yet we observe they still partake in such acts (depicted in a simplistic and animalistic manner). You are compelled to “tame” them by returning them to their pen, but your interactions with them are limited to button presses, leaving what you’ve done to them ambiguous.
Valve, the owner of Steam, informed PC Gamer that Horses underwent content review in 2023. “After our team played the build and reviewed the content, we provided feedback to the developer regarding why the game cannot be published on Steam in accordance with our onboarding rules and guidelines,” reads their statement. “After some time, the developer requested we reassess the review, leading our internal content review team to discuss it thoroughly and communicate our final decision to the developer not to publish the game on Steam.”
According to IGN, the Epic Games Store told Santa Ragione, “Upon investigation, we found violations of the Epic Games Store Content Guidelines, specifically in our ‘Inappropriate Content’ and ‘Hateful or Abusive Content’ policies, and as a result, the game cannot be published on the Epic Games Store.” Santa Ragione asserts that “the specifics of the contested content have not been clarified.”
The gameplay in Horses is grotesque but not without purpose. The horror is psychological, rooted in the unsettling sensation of performing mundane tasks in a hellish environment without understanding the reasons behind such bizarre occurrences. There’s minimal sound beyond the constant whir of a film camera (the game presents itself akin to a nearly silent Italian arthouse film), with sporadic cuts to ultra-close shots of mouths talking and chewing, disconcerting character models, and real-world visuals of water being poured into glasses or slop filling a dog’s bowl.
While there’s no explicit gore or overt violence, the discomfort, annoyance, and unease pervade throughout, exposing primal human fears without severely disturbing your lunch. Though this serves as an intriguing reflection on violence and power dynamics, it does not embody a shocking or excessive experience. The discussions it has sparked about video games as an art form and the censorship of art ultimately seem more profound than the game’s actual content.
Video games in 2025 offered a plethora of unique and spectacular experiences, from a whimsical world brimming with magical creatures to an impressively detailed depiction of feudal Japan. Yet, as the year winds down, some intriguing highlights emerge. The psychological horror title “Sleep Awake” centers around synth rock innovator Gary Numan, who takes on the rather dull role of a colossal floating head known as Hypnos.
This unexpected cameo doesn’t fully represent the overall tone of the game. The hours leading to Numan’s appearance are filled with melancholy rather than chaos. Players navigate through the decaying streets of what may be the final city on Earth. This setting showcases a remarkable level of creativity. The story unfolds through the perspective of a young woman named Katya, who traverses rooftops, surveys the desolate wasteland, and delves into convoluted alleyways. The darkness and surreal logic echo the haunting underground engravings of Italian artist Piranesi.
How did Earth become so uninhabitable, leading to the extinction of life? That’s a mystery we’ll never uncover. Instead, Katya grapples with immediate dangers. Falling asleep poses a threat of vanishing into a bizarre, unreachable realm due to a condition known as Hush. Like others endlessly fatigued in this world, Katya instills arousal serum drops into her eyes. Instantly, she is flooded with psychedelic visions and a riot of colors. It appears her plans are slipping away, much like everyone else’s. The remnants of society have been obliterated by the sleep-deprived paranoia of rival factions.
Initially driven by a desire to care for an aging relative, Katya navigates the game’s haunting, decaying environments from a first-person viewpoint. At one stage, you find yourself on a cultist’s territory, wearing a gas mask, prompting you to sneak past them by crouching under walls or surfaces to stay out of sight. But the tension is minimal; enemies follow predictable patrol paths with extremely wide detection ranges. Ultimately, this makes for a lackluster game of hide and seek.
“Sleep Awake” further disappoints in its gameplay innovation. Tasks include rolling a cart to short-circuit an electrical breaker and locating conveniently placed keycards to unlock doors. Gradually, the city’s illumination fades, revealing that you are progressing through a beautifully adorned tunnel. Surprisingly, this tunnel resembles an amusement park ghost train—light, engaging, but not particularly frightening.
This is unfortunate because “Sleep Awake” is visually striking. The exploration is interspersed with dark yet gorgeous FMV sequences, showcasing eerie silhouettes of trees against a blood-red sky and showcasing bubbling liquids in extreme close-up. At times, these unsettling visuals blend seamlessly with actual 3D environments, achieving a beautifully surreal arthouse aesthetic. This surreal vibe extends to the death screens, where being struck in the head by an enemy causes you to step out of darkness toward a brilliantly lit door. As you do so, the space morphs in real-time, resembling a hallucination, culminating in an auto-save.
The death screen stands out as a rare instance where “Sleep Awake” captures something reminiscent of dream logic and the peculiar, blurred moments between states of wakefulness and sleep. Most of the time, this narcoleptic nightmare merely showcases its psychedelic aesthetics (complete with the floating Numan), lacking interactive depth. Overall, it’s too straightforward and lacks intrigue in critical areas. You might find yourself ready to sleep now.
The haunting sound emerged first. Inside the Bart Railroad tunnel in San Francisco, Don Veca recorded the piercing metallic screech of a train. “It was both beautiful and disturbing, like a demon in torment,” he reflects. This haunting audio became one of the most iconic elements of 2008’s Dead Space.
“We unleashed that industrial shriek at full volume right after a vacuum of silence, creating one of the most impactful sonic contrasts in gaming,” Veca recalls, having made a name for himself as the audio director for the Dead Space series. “Our game designers were not fans, but our higher-ups embraced it. Eventually, it became legendary.”
Nearly twenty years since Dead Space first had players gripping their controllers in fear, horror game designers worldwide continue to pursue that same thrill. So, how do they discover new methods to terrify gamers, and what drives our relentless attraction to horror?
sounds of fear
Ask anyone involved in developing classic horror games, and they will likely agree: authentic fear begins with sound.
Veca highlights that it starts at a psychological level. “It stems from the mind: not the fear of what is, but of what might come,” he explains. “The genuine fear isn’t from a thief with a weapon. It’s the shadow lurking behind the door, the unnerving silence, the certainty that something approaches… yet the timing and nature of it remain unknown.”
This element of unpredictability became a cornerstone of Dead Space’s audio design. “We created suspense like a rising tide,” Veca describes. “Something might happen… Something might happen… and then nothing occurs, just the household kitten. You laugh, the adrenaline fades, and moments later, there’s a burst of claws, blood, and screams!”
Infection…Dead Space. Photo: EA
Jason Graves, the BAFTA-winning composer behind Dead Space and 2015’s Until Dawn, concurs. “Sound and music set the stage for fear. It’s about the build-up, the tension, and the moment of release when something appears.”
Graves even regarded the score as a form of infectious entity. “In Dead Space, something corrupts the crew and transforms them into monsters, so I ‘infected’ the orchestra,” he explains. “No peculiar techniques, no instrument tapping, no chords, just clusters and tension.” When a player thinks it’s silent, it could be each of the 60 strings playing a note softly. This creates a dynamic, constantly evolving soundscape.
If there are any doubts regarding the significance of sound, Graves offers a challenge. “My daughter played ‘Until Dawn’ and was frightened throughout. I suggested muting it, but she completed it anyway. This illustrates how our brains function; we can perceive an atmosphere even without visuals. Monsters lurking under the bed, shadows in the water—our imaginations amplify the dread. It’s ten times more terrifying than anything we show them.”
human element
For cult game developer Swery (real name Hidetaka Suehiro), horror transcends cheap thrills; it delves into the essence of humanity. He began pondering what truly frightens players when his mentor, Resident Evil creator Tokuro Fujiwara, posed the question, “What constitutes fear in games?”
Hidetaka Suehiro, known as Swery, is a game developer. Photo: White Owls Co., Ltd.
“I was in my twenties and simply said, ‘Game over,’” Swery recalls. “He responded: ‘So, isn’t a game without a “game over” scary? What about a haunted house that doesn’t inflict damage?’ I was stumped. I’ve been searching for the answer ever since.”
This curiosity laid the foundation for 2010’s Deadly Premonition, a surreal horror experience set in a small town that combines absurd humor with existential dread. “Before we created the horror aspect, we established a clear vision: to construct a town and its inhabitants. We developed the story post-creation of the town,” he recounts.
“At the core of fear lies humanity,” Swery added. “Human beings possess inner complexity and suffering, are fragile, and can succumb to evil… that’s the essence.”
While monsters may symbolize our fears, for Thomas Grip, game director of the critically acclaimed 2015 deep-sea horror game Soma, horror is also about exploring the human experience rather than merely the malevolent.
“I believe it embodies a different type of fear,” he says. “There are no grand plot twists or constant frights. The focus is on compelling players to confront uncomfortable inquiries: What does it mean to be human? What does it mean to be conscious? What renders life worthwhile?”
Dismissing gore and dark surprises, at Soma, silence and philosophical inquiry become central to the experience. “The key to horror narratives across mediums is allowing the audience to draw their own conclusions,” Grip emphasizes. “If the narrative merely declares, ‘There’s something eerie, please be scared,’ it lacks depth. The most effective horror provokes deeper contemplation.”
Terror of the deep sea…Soma. Photo: Friction game
The unknown and a twist on the familiar
Another element of delight is the fear of the unknown, with anxiety often stemming from what remains unseen. “You shouldn’t reveal everything,” Grip states. “Players are granted only a glimpse, allowing their imaginations—filled with personal fears and anxieties—to fill the void. That’s where genuine horror resides.” The creatures in Soma embody that notion. “The key lies in familiarity,” he explains. “The best monsters evoke the thought, ‘Something is off…’ and the more they are seen, the more chilling they become. People respond strongly to things that appear infectious and unhealthy, triggering a primal fear.”
In the 2021 indie horror sensation Poppy Playtime, horror takes on a playful twist within a charming yet deadly toy factory. “Nostalgia is inherently vulnerable. When we reflect on our childhoods, we often associate them with safety, but when those memories are distorted, we experience a visceral reaction,” comments Zach Belanger, CEO of Poppy Playtime Studios, Mob Entertainment.
“The effectiveness of Huggy Wuggy lies in our inquiry, ‘How can something feel both delightful and unsettling simultaneously?’” he declares regarding the game’s fluffy antagonist.
Pixels are scary…loop // error. Illustration: Coropixel Studio
Psychological horror in 2025’s loop // error invokes dread through suggestion, leveraging a blocky black-and-white pixel art style that leaves details to the imagination. “Utilizing pixelated visuals and a conscious absence of color creates an unusual atmosphere; your mind visualizes something that isn’t actually present,” says Koro, an independent developer. “It’s reminiscent of recalling a nightmare: hazy and incomplete yet emotionally potent.”
“The horror in Loop//Error is not reliant on clichés,” Koro adds. “It springs from deep within the human psyche, observing your mental collapse and realizing that the most terrifying place you can be trapped is within yourself.”
interactive elements
Lastly, another significant component that heavily influences horror in video games is interactivity.
“In games, you’re not just passive observers; you’re immersed in the experience, which heightens your emotions. Your heart races, yet you retain control,” explains psychologist Kieron Auckland, a cyberpsychology expert at Arden University.
Daniel Knight, creator of the 2020 ghost-hunting multiplayer game Phasmophobia, concurs. “The game fully engulfs you in fear,” he describes of the title that captivated Twitch audiences upon its release. “When you open a door or step into a dark space, you’re the one who feels the terror. You bear the consequences of what unfolds.”
Grip also believes this aspect contributes to the genre’s sustainability. “In video games, you make choices that lead you toward peril,” he states. “It’s personal. The fear arises from you being the one stepping into a dimly lit passage.”
Ultimately, horror films revolve around actions taken in darkness, whereas video games afford players a chance for exploration.
Horror fans have been painted with the same broad, bloody brush for decades: labeled as cold, emotionless thrill-seekers who delight in the suffering of others. Movie critics describe the movie’s fans and creators as follows: Friday the 13th and Saw as “very sick people.” Flat among scholars, a common explanation for why some people love horror is that they lack empathy or are simply adrenaline junkies. In my new book, I argue that all of these assumptions are wrong.
One of the most persistent misconceptions about horror fans is that they must lack empathy to enjoy a movie this painful. This claim is intuitive and, until recently, was ostensibly supported by evidence presented in a meta-analysis. But a meta-analysis is only as powerful as the studies it summarizes. In this case, the variables were poorly defined. For example, the two studies that showed the strongest associations with low empathy examined whether participants enjoyed short clips that ended in torture or brutal murder and had no satisfying resolution. These measures probably don’t tell us much about horror fans, but they may tell us something about sadists. Deep in the discussion section, the authors of the meta-analysis acknowledged that if these studies were removed, the link between empathy and the enjoyment of fear disappeared. Unfortunately, that warning wasn’t mentioned in the summary.
In 2024, a series of research studies directly addressed issues of horror fandom and empathy. The results were amazing. Using standardized ratings measuring empathy and compassion, we found no evidence that horror fans were lower on either scale. In fact, they scored higher on empathy and compassion on several measures.
Even if they don’t consider empathy, conventional wisdom suggests that horror fans are just looking for an adrenaline rush. Some old research will even show you the proof. However, the truth is more complex.
My colleagues and I looked into it. When we investigated the motivations of horror fans who visit haunted attractions, we found that “adrenaline junkies” are only a subset of horror enthusiasts. We also discovered a group we call “white knucklers.” They find horror really scary and hate feeling scared. Our research shows that horror offers these fans an opportunity to overcome their fears and learn something about themselves. We also found a group called “Dark Copers” who use horror as a way to process difficult emotions and experiences. They find a sense of catharsis in imaginary horror. These three types of models make it clear that many horror fans are not motivated solely by adrenaline. However, they have one thing in common.
My research has identified the following personality traits: morbid curiosity as the most powerful predictor of horror fandom. The tendency to seek information about dangerous, threatening, or death-related phenomena leads to a fascination with horror media. And that may be good for you. Research shows that people with high levels of morbid curiosity are better prepared for real crises and demonstrate increased resilience during stressful life events. Horror fans may practice emotional regulation—a time to toy with fear through terrifying entertainment.
This evidence paints a picture of horror fans as empathetic, curious, and psychologically sophisticated. Horror is a testament to human adaptability and our uncanny ability to find meaning, connection, and even growth in the face of our deepest fears. Recognizing this not only helps us understand horror fans more accurately but also reveals something deep about human nature itself.
Coltan Scribner is the author of Morbidly Curious: Scientists Explain Why You Shouldn’t Look Away.
The century-old oak crashed down on the very first day of his vacation. James and his partner Andrew had just finished breakfast moments earlier, causing a ruckus with tables and chairs that ended up damaging the windshield of a rental car on the terrace.
Their Airbnb cottage in Provence, France, was entangled in branches that shattered the living room windows and breached the roof. “I was convinced there was a ceiling above us,” James remarked. “If it had fallen moments earlier, we could have been seriously hurt or killed.”
A day was needed for the host to clear the tree from the cottage and make temporary repairs, but the shaken couple opted to book a hotel for the remainder of their vacation, concerned that their accommodation might be structurally compromised.
Airbnb showed little concern. “I understand this has caused you inconvenience,” was the start of countless identical AI-generated replies before the comical, unresolved case was ultimately labeled as “keep safe.”
The host also seemed unbothered. “All that happened was you heard a loud noise and saw the tree on the terrace,” she responded to their refund request. “You chose to remember worries and trauma instead of celebrating unique experiences.”
Now that summer has passed, the tale of Holiday Horror Story is overflowing on Guardian Money.
Unfortunate travelers report being stuck or locked out of accommodations—whether real or not—and facing issues during mysterious nights in unknown cities. Accounts of dirty rooms, unsafe items, and illegal sublets abound. A common binding factor for these ruined trips is that they were booked via online platforms that deny refunds.
The rise of services like Airbnb and Booking.com has encouraged travelers to plan multiple getaways. These companies showcase their expansive global real estate in efforts to fulfill wanderlust on a budget.
However, consumer protections have not adapted alongside this growing industry.
The 100-year-old oak, which struck during James and Andrew’s stay in Provence.
Package deal customers have legal protections for travel nightmares as outlined in Package Travel and Linked Travel Arrangements; however, those booking accommodations through third-party sites often find themselves at the mercy of the host.
While some platforms promote extra protections, your agreement lies with the accommodation provider.
James and Andrew had spent £931 for a week at Proven Zal Cottage. Feeling unsafe upon returning, he switched to a hotel. They remain unsure if the damaged rental car liability falls on them. Nonetheless, Airbnb’s Air Cover pledge to refund customers in the event of serious rental issues, indicated that it was up to the host to grant any refunds, according to the host who insisted that Airbnb made the decision.
After 10 weeks of automated responses to James’ complaints, Airbnb decided to close the case, stating that the matter had dragged on for far too long. The host concluded that repairs totaled 5,000 euros (£4,350) and offered no reimbursements. Instead, she suggested the couple should celebrate their survival and “turn the event into a beautiful story.”
Eventually, Airbnb issued a full refund along with a £500 voucher after scrutiny of its health and safety policies. A spokesperson expressed, “We apologize for the initial handling of this case, which did not meet our usual high standards. We will conduct an internal review.”
The sightseeing time for one Booking.com customer was cut short due to a broken lock. Photo: Alejandro García/EPA
I was trapped
Kim Pocock booked a flat through Booking.com for a two-night stay in Barcelona. She and her daughter found themselves locked inside for almost the entire duration of their only day in the city due to a malfunctioning front door security lock.
“The host sent a maintenance man, but he couldn’t assist,” she recalled. “Eventually, a locksmith arrived, attempting to access the lock from the outside. He even had to purchase rope, which he used to hoist tools up to our window.”
Pocock sought a full refund for the stress and ruined trip. Booking.com informed her that it was up to the host to decide. Not only did the host refuse, but they also deducted a deposit of 250 euros to cover the replacement lock. Although that sum was eventually returned by Booking.com, Pocock felt the burden of the 446 euro rental fee.
“Had there been an emergency during our confinement, our lives would have been at significant risk, yet the hosts blamed us for using the lock,” she lamented.
Another Booking.com customer, Philip (name withheld), found himself locked out of a London flat he had booked for £70 just as he was about to check in. The owner informed him that he was abroad and suggested Philip find alternate accommodations for the night. Consequently, he spent an additional £123 at a hotel, only to face four months of futile efforts to obtain a refund.
“Booking.com essentially claims there’s nothing they can do because the owners are unresponsive,” he remarked. “I can’t comprehend how businesses can function this way without any accountability. The additional twist is that the property is still listed on the platform.”
Following intervention from Guardian Money, Booking.com refunded both customers. The platform confirmed that the host who had locked Philip out of the rental could not be reached. When questioned about why problematic accommodations are not delisted, the response was that they rely on guest feedback to ensure property suitability.
Reviews do not always tell the complete story. A consumer group reported last year that Booking.com’s default system shown reviews classified as “relevant,” which makes it easy for users to miss a surge of recent reviews that indicate a listing might be a scam or unavailable.
Booking.com responded by stating that it allows customers to sort reviews by newest or lowest ratings to facilitate informed decisions about the property.
Is it the same? The report noted that listings frequently flagged as fraud were still present. Booking.com responded by affirming that it relies on hosts to adhere to their terms of service and maintain up-to-date availability.
Booking.com insists that customers must review guest feedback to ensure the property is “suitable.” Photo: Dado Ruvić/Reuters
Grey Area
The issue for travelers who receive substandard services is that their contracts are with the accommodation providers rather than the booking platforms.
Both Airbnb and Booking.com claim they will assist in finding alternative housing during emergencies, but securing compensation for a problematic stay is a more complicated battle. Both platforms generally rely on hosts to act responsibly.
Consumer advocate and journalist Martin James argues that the sector requires stricter regulations. “With online platforms essentially policing themselves, if a dispute isn’t resolved, your only option is legal action,” James explains. “But who would pursue that? There’s a contract between you and the host, meaning you need to initiate legal steps in your own country.”
He adds, “You might contend that the online marketplace has failed to manage your complaints adequately, but pursuing this is a legally ambiguous matter. Both companies are registered abroad and have substantial resources.”
The Digital Markets, Competition and Consumer Act, which came into effect in April, mandates online platforms to “exercise professional diligence” concerning consumer transactions promoted or conducted on their platforms.
A DBT spokesperson stated: “This government supports consumers and has implemented stringent new financial penalties for breaches of consumer law to safeguard people’s money.”
They further stated: “Companies providing services to UK consumers must adhere to UK legislation. We have strengthened their competitive stance and market power to ensure they face significant penalties for non-compliance.”
bThe Polish developers behind the overlooked psychological thriller The Medium from 2021, along with last year’s impressive Silent Hill 2 remake, clearly grasp the almost rhythmic essence of survival horror games. It’s perplexing to witness this latest release shine in many aspects while simultaneously stumbling in some of the genre’s foundational principles.
Players take on the role of travelers sent to investigate a catastrophic outbreak that has turned the residents of a town named New Doon into nightmarish figures, typical of Science Fiction-adjacent survival horror. Delve into the ruins of a beautifully devastated scenario and seek out places to spend your time traveling. The narrative unfolds slowly through a familiar mix of audio logs, chaotic elements, and signs of harsh environments, often depicted with bloodstains on the walls.
Unfortunately, this intriguing premise cannot uphold the weight of Chronos’ series of baffling missteps. Instead of cultivating a sense of claustrophobic dread, it opts for overwhelming, frantic impulses, sparking a need for creative expressions of frustration.
Moody Blues…Chronos: A new dawn. Photo: Bloober Team
The superb sound design effectively instills a sense of waiting in the dark, plagued by hunger. The problems arise when you confront the monsters. One of the initial foes ambushes you in a tight space, and you’re downed in mere hits. Your only defense is a weak weapon and an aim that seems to flail in every direction, making you realize how to cheese your way through until you meet your demise—only to repeat the cycle. This maddening dance persists throughout the entire 14-hour journey.
This complaint is somewhat alleviated when ample ammunition and health-restoring items are provided, creating a semblance of having narrowly escaped death. However, you’re often thrust into battles with overwhelming monsters armed for combat, with limited health and resources, leaving no viable strategy. Attempts to introduce challenges devolve into frustrating designs riddled with issues.
The inventory system doesn’t help matters; even the most dedicated survival horror fans will find themselves sacrificing precious bullets to carry keycards to progress or waste time moving between storage points to retrieve items. This doesn’t build tension; instead, it fosters tedious tasks.
The most exasperating aspect is the presence of a striking core. Despite its time travel themes, Chronos: New Dawn isn’t wholly original. I find I’ve navigated these dark hallways of hospitals, factories, and apartment buildings before; however, they exhibit stunning visuals and often engage when upgrading your weapons. When everything aligns, it delivers the gruesome body horror experience you seek. Yet, it too often shoves you into another overly punishing fight against resilient foes, replacing fear with sheer frustration.
THere are two categories of fears. One will leave you stunned with an unexpectedly original way of cowering under a pillow. The other, slowly seeping beneath your skin, gently pricks the back of your neck, haunting you for weeks. The break etiquette seance fits into this latter category, exuding an atmosphere reminiscent of an Irish murder mystery set in the 1890s.
You will take on the role of a detective dispatched to the esteemed Blake Manor to investigate the mysterious disappearance of Evelyn Deane, which occurred just two nights before the Seance. Mystics from around the globe have gathered at the dilapidated mansion to reach out to the deceased regarding all the treasures Evelyn possessed, but can they truly connect with the other side? And what is the source of the shadowy presence? Numerous secrets await unraveling.
You need to be in the right place at the right time… Gameplay of Blake Manor’s Seance.
Photo: Spooky doorway
“Think of it as Gothic or folk horror,” states Dave McCabe, the lead storyteller. “Being in a location you shouldn’t be invokes a creeping dread, and each step you take feels perilous.”
As you navigate the house and converse with each guest, time slips away. You’ll need to strive to comprehend what’s unfolding. Solving the puzzles may require moving objects or discovering hidden codes. Furthermore, you’ll need to be alert and present to catch crucial information.
The mystery is steeped in Victorian spiritualism, reflecting the Maelstrom of Irish folklore. “We selected a pivotal moment in Irish mythology to set our narrative,” explains Paul Conway, the lead artist and CEO of developer Spooky Doorway. “This specific place serves as a conduit between ancient magic and supernatural occurrences, though I can’t divulge too much without spoiling the surprise!”
“We are definitely exploring various Irish myths, pagan traditions, and ghost tales,” McCabe adds. While these elements may not always have a direct influence on the storyline, otherworldly entities linger just beyond the veil. Traditional Irish motifs, such as turnips—far more ominous than today’s Halloween pumpkins—are scattered across the estate. Expect to encounter a sudden flash of light something early on, as the library brims with ancient stories and legends for your perusal. However, don’t dawdle; time is of the essence in solving the mystery.
The developers take pride in their heritage and aim to foster a deeper appreciation for Irish culture and history. “I hope we can add another dimension to the awareness people have about Ireland and Irish heritage—beyond just St. Patrick’s Day or flat caps,” says McCabe. “And perhaps some visitors will be inspired to explore ghostly castles.”
A
The humidity in Tokyo has reached 35 degrees, and, unfortunately, so have the death tolls. Since the Edo period, summer in Japan has been tied to the emergence of supernatural entities. This season is notorious for a malevolent spirit’s presence. As temperatures rise, the boundaries between the living and the deceased start to dissolve, allowing trapped ghosts to potentially cross into our world.
Amidst this stifling atmosphere, I found myself exploring the mist-wrapped landscape of Japan in Silent Hill F. Set in the fictional town of Holy Island during the 1960s, players step into the dusty shoes of Hinako, a misunderstood teenage girl. Regardless of the summer season, Hinako’s journey begins in a dark setting as she escapes from her abusive, alcoholic father, wandering the intricately crafted streets of her homeland. Unable to live up to the beauty of her older sister, she faces ridicule from her peers.
“Gender is a central theme in the story,” hints series producer Motoi Okamoto. “We can’t delve into too much detail, but the 1960s marked the beginning of the women’s rights movement in Japan, which significantly influenced our choice of setting.”
Silent Hill F. Photo: Konami
Despite the town’s eerie ambiance, Evisugaoka presents a beautifully luxurious virtual environment. As we explore the streets, we’re compelled to inspect every cobblestone nook, slide open translucent bamboo doors, and admire the exquisite details of each Inazumi Shrine. This is a refreshing departure from the typical depictions of Japan in games, often portraying neon-lit Tokyo or the epic tale of an ancient samurai.
“Japanese horror games set in Japan haven’t seen any significant releases in the last decade,” claims Okamoto. “While Silent Hill has traditionally blended Western and Japanese horror, I’ve noticed Japan’s essence slowly diminishing. This is why Silent Hill F aims to enhance the Japanese theme more robustly.”
It doesn’t take long for the town’s unsettling charm to devolve into pure terror. As fog envelops Evisugaoka, Hinako is pursued by a puppet show, chasing the strikingly beautiful red tendrils sprouting from the ground. These crimson flowers can ensnare your feet during battles, leaving you helpless as a mannequin-like monster gazes upon you with judgment.
Dust coating…Silent Hill F. Photo: Konami
Notably, Silent Hill F does not feature firearms; instead, Hinako wields various makeshift weapons: daggers, baseball bats, and even magic. The gameplay consists of intense melee combat, with perfectly-timed dodges and counters replenishing Hinako’s stamina for follow-up attacks, evoking a dark, Souls-like survival horror atmosphere.
“One of my early goals for this game was to incorporate more action,” explains Okamoto. “However, being a horror game, we can’t fully commit to action without balancing it with tense moments. I believe we’ve achieved a delicate equilibrium.”
At first, I was doubtful. The initial hour of Silent Hill F felt cumbersome and repetitive, with attacks and dodges that lacked precision, resulting in disorienting early deaths. But as I persevered through the frustrations, I eventually found myself more engaged during a heightened battle—a sign that the combat rhythm is there. While the uneven difficulty in this preview build may need adjustments before release, I’ve experienced a late demo boss that killed me over 30 times, yet the brutal battles meld seamlessly with survival horrors.
Stress built into the system…Silent Hill F. Photo: Konami
“Many people say they enjoy the thrill of horror games, but I believe what they truly appreciate is the tension,” remarks Al Yang, the game director from Neobaldo’s Konami. “The fear of the unknown is one aspect, but constant jump scares quickly become tiresome.”
Instead, Silent Hill F embeds stress into every system. Drawing from Lovecraftian elements, players must monitor a sanity meter and make offerings at shrines to stabilize Hinako’s mental state. “You need to keep track of how close your candle is really,” Yang emphasizes. That creates tension.”
As I navigated through the compact alleys, the tightly arranged streets transitioned into misty rice fields and eerie abandoned farms. Yet, despite the horrors lurking in Evisugaoka, every monster carries a relatable human thread in Silent Hill F. As the town descends into chaos and Hinako searches for her friends, flashbacks and poignant dialogues keep players invested in her journey across time. Like previous installments, each encounter possesses a dream-like quality, further grounded by the meticulously crafted 60s setting.
“When navigating historical periods, if you delve too deeply, it can become disconnected from our familiar reality and veer into fantasy,” states Ryukishi07, the screenwriter for Silent Hill F, regarding the 60s setting. “While rooted in reality now, there’s little space for interpretation. I’ve always appreciated the possibilities that arise from the interplay between past and present—that’s right where fantasy and reality converge.”
It feels fitting to revisit Silent Hill during Japan’s equivalent of Halloween. This franchise, once thought to be lifeless and buried, now rises again, much like the spirit of Japan.
“When I became involved with Silent Hill, my vision was to deliver more than just a remake,” Okamoto shares. “We could have merely appeased old fans with nostalgia, but I was hopeful for progression. I believe fans can place more faith in Silent Hill’s revival…and that this journey will continue.”
Silent Hill F is set to release on PC, PS5, and Xbox on September 25th.
IIt’s an interesting oddity in video game history that one of the greatest horror titles of all time debuted on the Nintendo GameCube, the toy-like console known for some of the cutest titles in the Zelda series and Animal Crossing. But in 2002, Capcom announced five exclusive titles to shore up the struggling platform. That included Resident Evil 4, which is technically the 13th title in the franchise. This title would be considered its pinnacle when released three years later. It was an exciting new breath of life for the survival horror genre.
You wouldn’t guess all this from the game’s very pedestrian setting. Six years after the collapse of Umbrella Corporation, smoldering police officer Leon Kennedy is sent on a mission to retrieve the kidnapped daughter of the U.S. president, who has been found in a small village in rural Spain. For some reason well known to the Secret Service, he is aboard alone.
But with this B-movie premise, the film fundamentally challenged the conventions of the Resident Evil series and the survival horror genre itself. By moving the action from the rainy Midwest of Raccoon City to the Spanish countryside, Capcom thrust Regifan (and Leon himself) into an entirely unfamiliar environment. This sense of chaos is amplified by the traditional limp zombies (obviously inspired by George A. This continued even when the nobles were infected with parasites and replaced by axe-wielding, savage, swift countrymen. These feisty creatures more closely resemble the infectious maniacs depicted in Danny Boyle’s modern zombie film 28 Days Later, and are no doubt an influence on “Register 4” director Shinji Mikami. there is no. The Texas Chainsaw Massacre and the obscure Lovecraftian horror film Dagon, which was actually set in Spain, have also been cited by fans as possible inspirations.
The action feels frighteningly close to… Resident Evil 4 (2005).
Photo: Capcom
Producer Hiroyuki Kobayashi said in an interview that the theme of this work is “collective fear.” Throwing swarms of ganados at players instead of small groups of zombies increased the pressure, causing outright panic on more than one occasion. The game’s rudimentary AI allowed enemies to sneak around behind the player instead of mindlessly tripping straight up.
But most importantly, Resi 4 pulled the player’s gaze downward from a floating third-person perspective to an intense over-the-shoulder perspective. This made it easier to aim at enemies compared to earlier Resident Evil games, which were frustratingly insensitive, but more importantly, it emphasized a sense of specificity and proximity. . The action is graphic, with teeth and ax blades coming terrifyingly close together. Mikami then said that while he never expected this to be such a revolutionary feature, it’s a feature that has inspired all generations of brawler adventures, including Gears of War (and 2018’s God of War reboot). He said he was an inspiration.
Also: Dead Space designer Ben Wanat
Referenced EA’s Cosmic Horror Shooter Joins ‘Resident Evil 4 in Space’ and ‘The Last of Us’ Designer Ricky Cambia
talked about And looking at it now, the sense of interdependence between Leon and Ashley certainly foreshadows the fragile relationship between Joel and Ellie.
The new shoulder camera has changed the tempo of the entire Resi experience, with an emphasis on action and gunfights. A tense silence still prevailed for several minutes as we explored the farm and castle grounds strewn with dank corpses. But then a bloody siege ensued as huge waves of warriors surged through muddy lanes and dimly lit industrial tunnels. The set-piece encounter became the stuff of legend. From ferocious dogs lurking in an ornate garden maze to giant snake beasts in a lake, this game has a thrilling menagerie of boss enemies to contend with. Surprisingly, players are even reminded of inventory management, with fond memories of relentlessly refilling attaché cases to contain more goods purchased from shadowy traders.
In 2023, Capcom released an amazing updated version, bringing thrilling Grand Guignol fun to a new generation. But going back to the original still works. Every now and then a video game comes along that fans love, but game designers love even more. And these games will ultimately change the approach of the entire industry. Super Mario 64 was one of them, and so was Doom. I have to add Resident Evil 4 to that list.
ILooks like it’s going to be a fun vacation. A week spent tending to the absentee landlord’s garden in a remote village in the Netherlands. Birds chirping in the trees, a picturesque church just across the path. But there’s something wrong with designer Tom van den Boogaart’s surreal and quietly creepy puzzle game. All the tools are missing and the villagers are strange and have been warned not to go out at night. Additionally, the sky is a hallucinogenic red and orange haze, and you can sometimes see someone watching you from behind a door or through a window. What the heck is going on?
Grunn is somehow part gardening sim, part point-and-click adventure, and part survival horror thriller. Once you’ve found your scissors and trowel, you can spend your time sorting hedges and digging up molehills, but you can also explore small hamlets and their lonely haunted places. You can often find discarded Polaroid photos that provide photo clues as to where the next tool is. You may find tools and puzzle items. There is a day/night cycle in the background, and as you venture out into the darkness, strange glitches and ghostly beings can be glimpsed at the edge of your vision. As you explore, you will have to fight against dangers that can cost you your life. Then I start all over again, relying only on my memories and photos.
As a result, you feel like you’re trapped inside an Alejandro Jodorowsky movie. Ominous and strange, yet beautiful and compelling. Everywhere you look, there are eerie images, from skeletons lying on riverbanks to strange children sitting alone in bus stops and ferry cafeterias. The puzzles are clever and challenging, and the blocky, discordant visuals make the entire environment feel like the uncanny valley of the mind. If you’re looking for a completely different kind of challenge in a decidedly unnatural open world, Grunn offers more than the gentle rural idyll it was initially promised.
SHepton Mallet Prison in Somerset is the world’s oldest correctional facility. It is also reportedly one of the most haunted places. From its opening in 1625 until its closure in 2013, it housed hundreds of inmates, ranging from Victorian street urchins to wayward American GIs to the Clay twins. Although it is now a tourist attraction, it is sometimes opened for a fee to guests who wish to spend the night behind the bar. Some are paranormal investigators, some are intrepid travelers, and some are video game journalists with a stupid idea. “How scary would it be to be locked in a haunted prison and play the latest five horror games all night?”
Armed with just a flashlight, an electromagnetic field (EMF) detector, and a laptop, we roamed the prison looking for chilling locations to play these immersive paranormal masterpieces. What happened here…
Exit 8
I feel unbelievably anxious…Exit 8. Photo: Kotake Create
position. B wing level 3. The largest of Victoria’s prison wings at Shepton, it was designed to hold 94 prisoners in small cells that did not have toilets until 1998. Cell 30 is said to be infested with an inmate known for tapping inattentive guests on the shoulder. game: A cult psychological thriller from indie developer Kotake Create. Wander through the seemingly endless tunnels of a Japanese subway station, spotting anomalies around you and trying to find your way out. The visual realism is incredibly unsettling, especially when the lights flicker and other lost passengers begin to pass by silently. Fear factor: Although more disturbing than frightening, playing in a prison wing with an equally desolate, soulless, and rural feel definitely increased the sense of marginal anxiety.
In My Head
A terrifying adventure…in your head. Photo: JustTomcuk
The place is an execution hut. This was where death row inmates would spend their final days before heading to the noose, if they were lucky, under the supervision of renowned hangman Albert Pierrepoint. game: Designed like an old VHS horror movie, this frightening adventure requires you to explore a dark, dingy building in the woods where ancient artifacts are said to be waiting to be discovered. The dilapidated Gothic interiors, constant radio static and crying children are familiar horrors, but the game evokes an incredible atmosphere thanks to detailed locations and soundscapes. Not for the picky eater. Fear factor: In My Head would have been scary enough at home, but this place had a heavy, doomed atmosphere that honestly only lasted a few minutes. Just before fleeing, I met DS Hampshire Horns ghost hunters Darren and Jay. They told us that on his last visit, Darren saw two disembodied legs passing by. We made our excuses and left.
Panicore
The Blair Witch Project meets Alien Isolation…Panicore meets. Photo: ZTEK Studio
position: playground. Built over a mass grave pit, it is reportedly haunted by the ghost of Captain Philip William Lyall, who was imprisoned at Shepton during the First World War. He threw himself off a roof overlooking the garden, and people said they saw a ghostly figure lurking there. game: As a paranormal investigator, you explore a series of abandoned buildings and solve puzzles while being chased by AI-enabled monsters that react to every sound. Yes, it's a combination of The Blair Witch Project and Alien Isolation, and it's as terrifying as it sounds. We played solo, but you can also choose to play co-op like Phasmophobia. That would be preferable under the circumstances. Fear factor: The fact that the buildings in the game's abandoned facility look exactly like Shepton Mallet Prison, with peeling paint on the walls, rubble everywhere, and doorways leading into complete darkness, make this a truly frightening experience. I did.
“Did you feel that?'' Keith and Rich play the Panicore in the exercise range at Shepton Mallet Prison. Photo: João Diniz Sánchez/The Guardian
position: of Gatehouse. Built in the 17th century, this building is one of the oldest parts of the prison in existence, and you can sneak into two of its original cells nearby. Unsurprisingly, this is a hotbed of paranormal activity. There is a ghost named Bob, the gatekeeper, who appears to run his fingers through the hair of female visitors. No, Bob. game: The Complex is another of the current indie trending horror games set in “back rooms” such as endless tunnels and passageways. You are part of a research team sent to the titular facility to investigate strange occurrences. Most of the time, players wander through a vast maze of empty rooms and hallways, viewing through the lens of a VHS video camera. This gives the game a kind of hyper-realism that is strange and unsettling. Fear factor: The stark modern architectural setting made the game feel oddly safe while playing in a haunted 17th century dungeon. we didn’t want to leave.
Chuksi
Jump scare machine…Chuxie. Photo: LCGaming
position: C Wings. The women’s wing of the prison is famous for one particular person. A white woman was convicted of murdering her fiancé and was asked to wear a wedding dress the night before her execution.She has been seen on the wing staircase, and visitors have even smelled her perfume wafting through the air. game: A huge hit on TikTok and Twitch, Chuxie is practically a J-horror jump-scare machine. You are a paranormal investigator exploring an abandoned hospital filled with ghosts, including a terrifying woman in a white dress – Mr. Ring, anyone? It may appear for seconds. The visuals are highly detailed, making the terrifying environments feel very realistic. Fear factor: Frankly, it’s off scale. This wing is in almost total darkness, not least because of the fact that a white female mannequin hangs above the ground floor. When I passed one particular cell, the EMF reader went crazy and recorded maximum readings for several seconds. We couldn’t wait to get out of there.
Extraordinarily scary…white woman at Shepton Mallet Prison. Photo: Keith Stewart/The Guardian
Conclusion: Walking around a quiet Victorian wing at 3am was the closest thing to actually being in a survival horror game. Did we see ghosts during the night behind bars? No. Could we have played a horror game in the dark cells and echoing hallways and totally freaked out? Exactly is. Furthermore, after returning home, I measured the maximum value of the EMF meter again. I waved it at my phone, held it next to the microwave and turned it on full blast…without even getting close.
F
Or, for those who remember the early days of the survival horror genre, its aesthetic renaissance in the independent gaming scene was a macabre delight. “Crow County,” “The Closing Shift,” and “Murder House” are all modern paranormal adventures with low-poly 3D visuals and blocky textures. It’s used not only as a visual hook, but as a way to reconnect with the things that scared the likes of Silent Hill and Clock Tower. Get involved first. Fear the Spotlight, the debut title from Cozy Game Pals and new horror-focused publisher Blumhouse Games, is another wonderful, warmly chilling example.
Two girls break into a high school library late at night, looking for specific items. It’s a spirit board that was locked in a display case as part of an exhibit on the occult. Vivian is a bit of a nerd and the library’s star volunteer, while Amy is a charming outsider with an interest in the paranormal. When the two decide to hold a seance in a vacant building, they come into contact not only with the dead, but also with tragic events from the school’s recent past. Then Amy mysteriously disappears.
Creepy atmosphere…fear the spotlight. Photo: Blumhouse Games
As Vivian, you must roam the nightmarishly transformed hallways, searching for your friends and learning more about what happened here 30 years ago. Developer Cozy Game Pals understands that night school is the perfect horror setting. The game features dark, locker-lined hallways, shabby bathrooms, and areas such as a gymnasium and pool that take on an eerie atmosphere when it gets quiet. Empty. As you explore, the game gives you small telltale signs of horror conventions. A creaking door, a flickering light, a glimpse of a face down the hallway, so you know something is watching outside. There’s also a nice use of 1990s technology, such as an overhead projector, a television with a video player, and an ancient PC, which not only provides the setting for the puzzles, but also lets you know that we’re no longer in the 21st century.
Particularly fun are the formal nods to Resident Evil and Silent Hill. Important items in the environment will glow, catching your eye and drawing Vivian’s head to interesting artifacts as you pass by. Puzzles also use familiar conventions and often involve mechanical objects, such as a generator that requires a fuse or a piano that requires a particular song to be played. The use of jerky, low-poly visuals is truly retro, but it has a self-conscious, artistic quality that elevates the look of the game beyond mere nostalgia.
This also applies to the story, which rises above the sometimes shoddy plotting and wooden voice acting common to old-school horror titles. At its core, Fear the Spotlight is a sensitive and emotionally resonant queer love story through which it explores themes of performance and observation. This is a game about the role we play in life and the role that imagination (for better or worse) plays in love and desire. The title Spotlight is both literal and figurative, offering a metaphor for the human gaze: love and bullying, desire and obsession.
This is a short game that can be completed in a few hours and has a slightly lower difficulty level, making it a great entry point into the horror genre for young adults. There’s a nice message at the end thanking players for their time and attention and acknowledging that the game isn’t perfect. Not really, but nothing really. The time I spent with the company was absorbing, eerie, and unexpectedly thought-provoking. Horror offers a distorted, shadowy lens through which to view our lives and learn new things about ourselves and the world, and it’s expertly utilized here. With its focus on love, Fear the Spotlight does more than just scare you.
2024 is already shaping up to be a banner year for horror movies, with Long Legs making over $100 million at the box office and Late Night with the Devil earning an impressive 97% on Rotten Tomatoes. However, the year’s breakout horror movie might be an $800 project that’s currently available to watch for free on YouTube.
Milk & Cereal is a 62-minute found-footage horror from YouTuber Cully Barker that’s brutally effective yet wonderfully authentic. It has garnered 348,000 views in the two weeks since its release, with rave reviews on Reddit and traditional media outlets like Bloody Disgusting calling it “one of the best-kept secrets of the year.” Barker even tweeted about it recently, Variety.
One reason for its success is the fascinating story behind Milk & Cereal: Barker is credited as the writer, director, producer, editor, cinematographer, composer, and star of the film. With a budget of just $800, most of which was spent on hiring actors and buying a camera, the film is on track to deliver a significant return on investment.
Milk & Cereal follows a pair of YouTube pranksters whose antics take a dark turn when one of them reveals a sinister capability. It’s a chilling and believable hour of horror that explores the disturbing world of online prank videos.
The film’s authenticity lies in its portrayal of the dark side of YouTube prank videos, showcasing the obsession with filming every moment and exploiting every opportunity for content. Milk & Cereal takes this obsession to a terrifying extreme, shedding light on the twisted motivations behind these videos.
As horror movies continue to experiment with new formats, Milk & Cereal stands out as a brilliant example of found-footage storytelling. With well-crafted characters and a compelling narrative, the film is a testament to Barker’s talent as a filmmaker.
Milk & Cereal not only showcases Barker’s filmmaking skills but also serves as a strategic move in his career. By offering the film for free on YouTube, Barker has attracted attention from industry professionals and is already collaborating on his next project. This bold approach could mark the beginning of a successful career in the film industry.
Ultimately, Milk & Cereal presents Barker with a choice: to follow the traditional path to Hollywood or to continue disrupting the industry with his independent spirit. Whichever path he chooses, one thing is certain – Milk & Cereal has cemented Barker’s status as a rising talent in the world of horror movies.
I
When the COVID-19 pandemic hit in 2020, it forced Krista Castro and Bryan Shin to rethink their lives. The couple, an animation director and programmer, had been working for major studios but wanted to create their own games. They decided to quit their jobs in 2021 and form A cozy gaming companion. They also became parents around the same time.
They set a goal to create a game in two years. By 2023, they had completed Fear the Spotlight, a ’90s-style horror adventure game. Although it received positive reviews on Steam, they struggled to market it and considered moving on. Then, Blumhouse, the successful horror film production company, approached them.
Blumhouse saw potential in Fear the Spotlight and offered to help. The couple was thrilled to collaborate with them as they shared a passion for horror. Together, they worked on an expanded version of the game set to release soon.
Fear the Spotlight captures the essence of ’90s horror with its atmospheric design and slow pace. Inspired by classic horror games and movies, the game aims to appeal to all horror enthusiasts, even those not typically into gaming.
The couple’s love for horror shines through in the game, incorporating elements from various horror media. With Blumhouse’s support, they look forward to sharing their vision with a wider audience.
IIt’s fitting that this latest Alone in the Dark game chooses a generational curse as its premise, as the series that pioneered the survival horror genre hasn’t had a good run for nearly 30 years. Its various misadventures include the disastrous 2008 game of the same name. The game included a blink-only button, among many strange design decisions. But it was terrible, at least in an interesting way, and that’s more than can be said for this boring and derivative re-imagining of the game that started it all.
Set in early 20th century Louisiana, Alone in the Dark follows Emily Hartwood (Jodie Comer), who is sent to a mental health clinic after receiving a worrying letter from her uncle Jeremy. It depicts a visit to Tokoro Delceto Manor. So worried, in fact, that she not only hires private investigator Edward Carnby (David Harbour) to accompany her, but one of the first questions she asks Carnby is whether he’s “waving a gun.” I expected that there might be a need for it, so I was wondering if he brought a gun. She is there to meet her uncle.
As it happens, you get to choose between Carnby and Heartwood to swing the gun, and that decision creates a slightly different perspective on the same story. This reimagining retains the general premise of his 1992 original, but its presentation and mechanics are heavily borrowed from Capcom’s remake of Resident Evil 2. Explore Delceto mansion in limited freedom and solve simple puzzles to unlock different rooms. This is interspersed with more action-oriented segments where you enter Uncle Jeremy’s dreams and fight monsters in locations inspired by HP Lovecraft’s stories.
Very boring most of the time…Alone in the Dark, 2024. Photo: Places Interactive/THQ Nordic
The southern Gothic manor house is fun enough to explore, and the puzzles it contains may be a little distracting. But for the most part, Alone in the Dark is pretty boring. The biggest problem is writing. The game aims for a snappy, noir-esque detachment, but it can’t match it with the fundamental silliness of a Lovecraftian mystery. The sudden switch in tone and location is more disconcerting than interesting. It also struggles to justify itself. Why do the dual protagonists spend most of the game apart, even though Heartwood specifically hired Carnby to protect her?
If Pieces Interactive was hoping that the star talent they hired would improve their writing skills, unfortunately the effect is quite the opposite. Comer seems confused as to what Heartwood’s character is. Almost every line she says is off-key. Simple filler phrases like “I need the key” sound like something a sarcastic teenager would say to her. Harbor sometimes sounds like he’s reading a script with one eye on the clock, but he does a somewhat better job of it.
It’s worth noting that the Resident Evil games aren’t narrative masterpieces either. But those people teeth Scary and exciting, the qualities of Alone in the Dark stumble past. Aside from a few instances, exploring the mansion lacks any sense of suspense, as combat and puzzle-solving exist in separate realms. Even in the dream world, encounters with monsters are surprisingly rare. Assuming you can’t stand enemies quaking in corners due to the game’s regular AI glitches, it might be fun to shoot them when they appear, but most other interactions are underwhelming or not at all It’s frustrating. Melee combat is sluggish, but opening doors and climbing ladders is excruciatingly slow.
The sudden change in sound is more disconcerting than intriguing… Alone in the Dark, 2024. Photo: Places Interactive/THQ Nordic
Moreover, for someone who is supposed to be lost in the abyss of madness, Jeremy’s dreamscapes are disappointingly mundane. These include Louisiana swamps, cemeteries, warehouses, and libraries (apparently ancient). You’ll visit some more exotic locations later on, but they’re too fleeting to have much of an impact. It takes enough effort just to hear real people talk about their dreams. If you’re going to force yourself to experience a fake person’s dream, you’d better make sure it’s very weird.
Where Alan Wake 2’s excellent surrealist horror offered a clear and compelling story while reveling in its weirdness, Alone in the Dark was too staid, too clumsy and, so haphazard that it evokes nothing more than a shrug. The mystery surrounding Jeremy’s madness isn’t worth the weighty unraveling, but the combat and puzzle-solving are just a shadow of Resident Evil 2’s excellent design. It seems the curse lives on.
That’s the joke Hanna Einbinder’s Gen Z character Ava plays to her baby boomer employer Deborah Vance in the first season of the HBO show Hux. “I had horrible nightmares about getting voicemails,” she says. Ha – Gen Z hates voicemail. Baby boomers can’t understand jokes without a punch line. “What?” Jean Smart’s Vance screeches. Ha, everyone gets fed up with it, and each generation refuses to give an inch to the other.
Sorry to mix up Gen X, but in the context of this particular Flashpoint, we need to talk about voice memos. (Or audio message, or voice text. Not to be confused with voice-to-text conversion, which is something else entirely. Okay, Grandma?)
For me, it started a few years ago when a friend left me a voice memo because she was driving and couldn’t respond to a text in the traditional way. This was a hassle, but it was done with safety in mind, so it wasn’t a problem. Over time, the goalposts shifted. Voice messages are now appearing in other contexts as well, often starting with a half-apology, “I can’t type,” or a coy plea for understanding because someone has their hands full. The pretext was efficiency, allowing the sender to communicate while walking down the street or unloading a stack of dishwashers, and if the tone was self-conscious, it was because of my generation. This is because voice memos are not native and could not be safely predicted. How the message medium is delivered.
Anyway, that was the beginning. Since then, of course, people have been seduced by the prospect of a bottomless bucket into which to throw their meager ideas and have quickly lost their minds. (I just looked it up and it turns out that when it comes to voice memos, the only limit is the amount of internal storage on your iPhone. And your imagination!)
I remember the moment several years ago when the first communication that followed what would become the standard voice memo protocol took place. The friend I hung up with left me 3 consecutive messages, each lasting over 3 minutes, and sent me more messages. Lost in her thoughts, she hung up and left another message, which she deleted, before launching into a three-minute finale. Then I stared at my phone in horror. This wasn’t a message; it was an audience for a one-woman show, a podcast I didn’t subscribe to. Sure, she was my friend, but this wasn’t even a friendship. This was a hostage-taking.
Given the similarities, it’s still strange that voice messages are embraced in places where voicemail has been phased out. Voice Memos’ interface and access points are more appealing than voicemail because they are embedded within the flow of an existing text conversation. And perhaps voice memos benefit from being a channel associated only with friendship. The bank won’t leave me a voice WhatsApp. And as far as I know, there’s no spam or robo voice memos either. And as, recent polls In the United States, more than 60% of Americans say they have sent a voice message, and the majority of users are under 30 years old. The number is huge. In 2022, WhatsApp will be approx. 7 billion voice messages Sent on the app daily.
It’s hard not to see all of this as a small expression of rising levels of narcissism in general. Aside from the completely uninvited invasion of time, the solipsism of one-sided conversations, and the fact that you have to wait for minutes at a time to get to the point of your message, the main problems with voice memos are quite large. The gap between the message sender’s idea of how interesting the message is and the reality of the person experiencing the 90-second set. Your whimsical flights are not as fancy or whimsical as you think. Also, other people don’t need to know your raw reactions to what’s happening in the city while you’re talking.
Anyway, this was all just my opinion, last week a dear friend left me three voice memos in a row and I decided to retaliate with one of my own late in the game. I’m not an early adopter. I’ve never left a voice memo before, and my first note was something like, “Is this on?”
Ha! I thought. How fascinating this looks! And then I left. my god. Have you ever done one of these? I started on point, but something in my kitchen caught my eye and I did it for 15 seconds. I got sidetracked by thoughts about mutual friends. Then my kids came in the door and started yelling at me about something – oh she’s going to love this I thought! That’s practically the audio truth! I ended with a joke. What a wonderful gift for the recipient! What a moment for me. What a performance!
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