BlueSuburbia takes you to a place that is filled with a lonely kind of menace – an oppressive fear that crushes you as it tells you that no one will come save...
The post ‘BlueSuburbia’ Stirs Up a Deep, Solitary Fear appeared first on Indie Games Plus.
Blackout explores for items and tools through a house filled with corpses and unsettling creatures, but maybe things aren’t quite what they seem to be. Marilyn is a witch who finds herself...
The post ‘Blackout’ Follows a Teenage Witch Through a Creepy (Maybe?) House appeared first on Indie Games Plus.
It's been nearly four years since Tarsier Studios waved goodbye to Little Nightmares after being snapped up by Embracer Group, giving developer Supermassive a crack at the much-loved Bandai-Namco-owned horror series. So what's Tarsier been doing since then? Well, it turns out the studio hasn't quite shaken off its fascination with spooky kids in scary places, as one look at its latest project, the newly unveiled Reanimal, makes clear.
Reanimal's gloomy nightmare-fairytale aesthetic, its gangly-limbed monsters, and its two young protagonists - all evident in its announcement trailer - are unquestionably reminiscent of Tarsier's Little Nightmares series. And while that's certainly no bad thing given the studio's oft-brilliant work on those games, it's not entirely clear after a half-hour press briefing, just how substantial a departure - beyond two key features - Reanimal will be from what's come before.
Reanimal tells the story of an orphaned brother and sister trapped in hellish version of the island that used to be their home, as they embark on a quest to rescue their three friends. It's a violent world of gloomy forests and decimated buildings, where empty bags of skins hang from trees and hideous, animalistic creatures roam. It's also one that's aiming for a "darker and grittier" tone compared to Tarsier's previous horror games.
Hunt: Showdown 1896 - the huge new update that necessitated an engine upgrade and introduced all new UI - has just hit an all-new concurrent player peak of over 60,000.
Up until the 1896 update dropped on 15th August, the extraction shooter's simultaneous player record - set back in October 2023 - sat at a modest 42,000ish players.
Konami has dropped a brand new story trailer for its highly-anticipated Silent Hill 2 Remake.
The teaser essentially matches the original's acclaimed 2001 E3 trailer, and the script is almost identical, too, all set against a fabulous reimagining of (one of) Silent Hill 2's end themes, Promise.
The Remake trailer is below. For comparison, here's the 2001 E3 trailer for Silent Hill 2:
A new "modern camera" mod is now available for Silent Hill 3 and Silent Hill 4: The Room on PC.
Modder ZealotTormunds has developed a mod that gives Silent Hill players both a first-person perspective and a more contemporary over-the-shoulder camera.
Both Silent Hill 3 and 4 typically use fixed camera angles. By freeing up these locked perspectives, Zealot provides players with the chance to get a closer look at the game's textures, enemies, and environments.
Nintendo is dropping a free three-part demo for its upcoming horror, Emio - The Smiling Man: Famicom Detective Club from next week.
From Tuesday 20th August, players will be able to grab the prologue and chapter one.
Chapter two will drop on the morning of the 23rd August, and the third and final freebie, chapter three, will be available on 28th August.
Genvid's experimental choose-the-outcome, episodic Silent Hill series, Ascension, has won an Emmy.
Genvid CEO Jacob Navok marked the award with a heartfelt post on Twitter/X, stating the Creative Arts Emmy Award for Outstanding Innovation in Emerging Media Programming for Silent Hill: Ascension was a "testament to the dedication" of the team.
Security: The Horrible Nights is a pixel art horror adventure where you’re a security guard in a hospital and every time you die an entirely new story begins.
Currently in development by Professional Villains (creators of The ER and Anglerfish), Security: The Horrible Nights is a horror game about a security guard in a hospital where anything can happen. Your job is to monitor … Read More
The post Security: The Horrible Nights – Beta Demo first appeared on Alpha Beta Gamer.Worshippers of Cthulhu is an eldritch horror colony sim game where you build a city and perform rituals to awaken the almighty Cthulhu.
In Worshippers of Cthulhu you are a cult leader who is seeking to bring about a cosmic rebirth at the hands of Cthuhu and other maddening eldritch entities. After your ship washes up on a strange land with a giant pit that … Read More
The post Worshippers of Cthulhu – Beta Demo first appeared on Alpha Beta Gamer.Feed The Gods is a multiplayer card-battling roguelike where cultists attempt to fight their way out of a pit of doom before they’re eaten by an ancient god.
Playable with 3-6 players, in Feed The Gods you are a cult leader who uses cards to help guide a loyal cultist to freedom from a pit below the Tower of Doom. Matches take place on a … Read More
The post Feed The Gods – Open Beta first appeared on Alpha Beta Gamer.Project T is a co-op multiplayer horror shooter that takes place in the world of Dead by Daylight.
Playable with up to four players in online co-op, in Project T you will take on the role of Trespassers who are trapped in an area of The Entity’s realm that’s called The Blackraker. You’ll need to scavenge for weapons, vehicles, talismans and other useful objects, … Read More
The post Project T – Alpha Sign Up first appeared on Alpha Beta Gamer.MISTERY is an isometric multiplayer horror action game with social deduction where the monsters may be some of your teammates.
Playable with up to eight players, MISTERY is an SCP inspired asymmetric multiplayer horror game set after a catastrophic containment break at a secret facility. Players will need to arm themselves, blast hordes of monsters, unlock psionic powers and complete objectives. Things might not be … Read More
The post MISTERY – Beta Sign Up first appeared on Alpha Beta Gamer.Scarlet Deer Inn is a beautifully animated narrative-driven cinematic platforming advertise where the character sprites are made from embroidery.
Drawing inspiration from Slavic folklore and the works of Studio Ghibli, Scarlet Deer Inn is a cinematic platforming adventure where a mother of two finds herself locked in a dark dungeon. The demo features an extended town-based section where you can talk to residents and complete … Read More
The post Scarlet Deer Inn – Alpha Demo first appeared on Alpha Beta Gamer.Five Laps at Freddy’s is a Mario Kart style mascot kart racing game starring Freddy Fazbear and pals.
The karting gameplay in Five Laps at Freddy’s is pretty similar to most Mario Kart style racing games. You can choose from a selection of FNaF characters, select which kart you’d like them to drive and then you use a mixture of driving skill, power-ups and luck … Read More
The post Five Laps at Freddy’s – Beta Demo first appeared on Alpha Beta Gamer.
Little Nightmares DNA runs strong in Tarsier Studios’ new game. So much so, in fact, that I’d assumed the trailer I watched during an online preview event last week was for a new entry in the horror cinematic-platformer series, right up until the name Reanimal appeared on the screen - shortly followed by a snippet of voiced dialogue.
It’s not just the horror setting, but the Grimm’s fairytale threat, the distorted adults-made-monsters through the trauma-tinged lens of a child’s imagination. A long-limbed man riding a bicycle in a threadbare suit chases children down an alley. A gangly, bowler-hatted pursuer scuttles down a long table like a spider. It's familiar enough territory, at least at first glance. But when Tarsier have a body of work subconsciously scarred by phantasms this vivid, recurring nightmares are just as potent.
Earlier this week there was some minor Discourse about the removal of the Erotica photography tag from the Dead Rising remaster. Some readers characterised this as a familiar species of cultural hypocrisy regarding video games - emphasising violence is A-OK, but for the love of god, don't mention sex. Good news, those people: Dread XP's latest horror signing The Lacerator has both. It casts you as hirsute 1980s porn star Max - surname not given in press release, but presumably something like Jackin' or Girth - who has been abducted by a large scary individual called the Lacerator.
Conan Throwbrien welcomes its host to the stage with discordant jazz and uncanny colour bars glitches. It feels eerie. Desperate. A crushing inevitability. Four joke topics appear at the bottom of the screen. Ridiculous celebrity kids names. Action figures for news anchors. Diet water sales boom. You cautiously slide that last one over to the microphone. Throwbrien emits a string of chirps, like a flame-crested lyre bird with a wounded voicebox trying to mimic human language. “Have you folks heard about this one…”
There is an implied terror in this seemingly friendly opener. What if they have heard this one? What will Throwbrien do then?
Little Nightmares DNA runs strong in Tarsier Studios’ new game. So much so, in fact, that I’d assumed the trailer I watched during an online preview event last week was for a new entry in the horror cinematic-platformer series, right up until the name Reanimal appeared on the screen - shortly followed by a snippet of voiced dialogue.
It’s not just the horror setting, but the Grimm’s fairytale threat, the distorted adults-made-monsters through the trauma-tinged lens of a child’s imagination. A long-limbed man riding a bicycle in a threadbare suit chases children down an alley. A gangly, bowler-hatted pursuer scuttles down a long table like a spider. It's familiar enough territory, at least at first glance. But when Tarsier have a body of work subconsciously scarred by phantasms this vivid, recurring nightmares are just as potent.
Earlier this week there was some minor Discourse about the removal of the Erotica photography tag from the Dead Rising remaster. Some readers characterised this as a familiar species of cultural hypocrisy regarding video games - emphasising violence is A-OK, but for the love of god, don't mention sex. Good news, those people: Dread XP's latest horror signing The Lacerator has both. It casts you as hirsute 1980s porn star Max - surname not given in press release, but presumably something like Jackin' or Girth - who has been abducted by a large scary individual called the Lacerator.
Conan Throwbrien welcomes its host to the stage with discordant jazz and uncanny colour bars glitches. It feels eerie. Desperate. A crushing inevitability. Four joke topics appear at the bottom of the screen. Ridiculous celebrity kids names. Action figures for news anchors. Diet water sales boom. You cautiously slide that last one over to the microphone. Throwbrien emits a string of chirps, like a flame-crested lyre bird with a wounded voicebox trying to mimic human language. “Have you folks heard about this one…”
There is an implied terror in this seemingly friendly opener. What if they have heard this one? What will Throwbrien do then?
You're a long time undead. 7 Days To Die was shuffling along in early access for 11 years, until version 1.0 finally burst through the windows. In that time, many other survival games have sprouted, blossomed, and gently faded away. I first visited the burnt-out ruins of this zombie-infested world a decade ago and I returned to it this week to find a tree-puncher that, despite bearing the pockmarks of early access, retains much of what made it enjoyable back when the survival genre was still wearing its baby onesie. Instead of a review, I figured I'd scribble together a mini starter guide for new (or returning) players. Partly because the game is a proper time sink and it was taking me so long to get through everything. But mostly because I wanted to use that numberful headline. So, here you go: 7 dos and 7 don'ts in 7 Days To (7) Die.
You're a long time undead. 7 Days To Die was shuffling along in early access for 11 years, until version 1.0 finally burst through the windows. In that time, many other survival games have sprouted, blossomed, and gently faded away. I first visited the burnt-out ruins of this zombie-infested world a decade ago and I returned to it this week to find a tree-puncher that, despite bearing the pockmarks of early access, retains much of what made it enjoyable back when the survival genre was still wearing its baby onesie. Instead of a review, I figured I'd scribble together a mini starter guide for new (or returning) players. Partly because the game is a proper time sink and it was taking me so long to get through everything. But mostly because I wanted to use that numberful headline. So, here you go: 7 dos and 7 don'ts in 7 Days To (7) Die.
At some point every proud ruler must ask themselves the question: what should I do with all this stupid, tiresome civilisation I've built? Do I let it spin on forever, a gleaming machine of prosperity bathed in an eternal twilight, or do I, as the case may be, unleash a horde of voluptuous hellwomen to gather spirit energy for the resurrection of my tragically slain beloved? If you picked option B you should probably play My Lovely Empress, a plush empire management sim with a dastardly twist, from Indonesian team GameChanger Studio. Find a trailer below.
Tarsier Studios has announced Reanimal, a co-op adventure horror game that may instill fear in even the biggest of animal lovers—but I might just be projecting. With a spooky trailer shown off at Gamescom Opening Night Live, I guarantee anyone who loved Little Nightmares & Little Nightmares 2 will be excited for what the game has to offer.
Reanimal Seems to present a visually dark world inhabited by enemies I'm already struggling to describe. In the background of one scene, a long-limbed man with a twisted face (and an iconic big hat we've seen in both Little Nightmares games) is dragging something into the cinema. In another scene, the protagonists are being chased down by a sheep. Except it's not a sheep, because its body seems to extend and it has far more legs than necessary. Basically if you think of something that would've petrified you when you were a kid, there's a chance that Reanimal has brought it to life. Even though we've only had a single look at them, I know playing the game will probably keep me awake for at least one night.
Although it isn't a part of the Little Nightmares series, Reanimal seems to wear its inspirations on its sleeve. I've spent hours in the world of Little Nightmares, so I'm pretty confident in saying Reanimal draws a lot of its gameplay from the series. From its hauntingly gangly and inhuman enemies, to the thick layer of smog that forces you to question whether or not you really did see a shadow in the distance, there's a lot of similarities that are bound to help make it equally as haunting.
Fortunately, if you are easily scared when it comes to spindly beings or being chased by possessed animals, you don't have to do it all alone. Reanimal offers co-op to embark on the adventure both online and splitscreen. Players will have to work together to solve the labyrinth of puzzles that await on the hellish island you're trying to escape from. But mostly, I'm excited to have someone to hide behind when one of these not-quite-human beings comes hurtling toward the screen.
Reanimal currently has no release date, but hopefully it isn't long before I have to comprehend what other horrors this game might present. What we've seen is limited, but that hasn't stopped me from already speculating what could possibly emerge from the shadows of the new diabolical world from Tarsier Studios.
© Tarsier Studios
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John Krasinski’s A Quiet Place franchise expands its terrifying universe this October with the release of a new video game, A Quiet Place: The Road Ahead.
In a surprising turn of events, another film franchise is being adapted into a video game and hitting players this fall. It involves aliens and a lot of silence, introducing A Quiet Place: The Road Ahead, a new horror title that seeks to raise your blood pressure, just like the Netflix series of films headed by John Krasinski. Publishers Saber Interactive and Stormind Games have released a trailer for fans, which can be seen below (the gameplay shown is a mix of gameplay and cinematics) and, most importantly, a release date.
A Quiet Place: The Road Ahead features survival horror gameplay from a first-person perspective, akin to Outlast Trials or even the more niche Maid of Sker. But, instead of having a dedicated button to hold your breath (like in Maid of Sker), it appears accidentally stumbling across the obstacles in the environment can spell your doom at the hands of the alien menace present throughout the horror series.
While the title has only just been announced, Saber Interactive is not wasting any time getting it into fans’ hands. It is already up for pre-order, and a release date has already been confirmed. What’s interesting is that although the release date trailer had only just dropped today, A Quiet Place: The Road Ahead has had an X (formerly Twitter) account since July 2021, a jarring notion considering the subject material.
Although the new Saber Interactive title is linked to the same universe as the film franchise, it remains to be seen how closely connected they are and where The Road Ahead sits on the official timeline. Saber Interactive promises more information soon.
A Quiet Place: The Road Ahead launches on October 17, and it is currently up for pre-order on digital marketplaces.
BlueSuburbia takes you to a place that is filled with a lonely kind of menace – an oppressive fear that crushes you as it tells you that no one will come save...
The post ‘BlueSuburbia’ Stirs Up a Deep, Solitary Fear appeared first on Indie Games Plus.
Blackout explores for items and tools through a house filled with corpses and unsettling creatures, but maybe things aren’t quite what they seem to be. Marilyn is a witch who finds herself...
The post ‘Blackout’ Follows a Teenage Witch Through a Creepy (Maybe?) House appeared first on Indie Games Plus.
INVERSE, a survival horror VR game from developer MassVR, drops on the Meta Quest today. We’ll have a full review soon, but we got a sneak peek at the game and mechanics. We’ll give you the rundown on what you’ll be in for with this twist on the innovative asymmetric gameplay genre.
INVERSE is not just a simple solo or multiplayer VR game. While yes, it does offer players the choice to embark on their own as either a lone monster hunter or to play as a team, the agents you play must survive defenseless until power control terminals throughout the creepy facility are activated.
All the while, a twisted, monstrous entity called the Nul attacks at every opportunity. But who is this destructive creature… could it be one of your own?
MassVR is a team of horror and sci-fi enthusiasts, so INVERSE offers a ‘spine-chilling and cinematic experience’ that immerses players in a relentless fight for survival. In a press release, Chris Lai, CEO and co-founder of the company, said: “INVERSE brings the essence of survival horror to VR, offering players an unmatched experience of fear, thrill, and strategic gameplay.”
The game makes a solid bold claim that ‘horror enthusiasts’ and ‘virtual reality aficionados’ should prepare themselves for a ‘chilling journey into the depths of fear and discover what awaits in the shadowy realms.’ And the visual setup certainly delivers. The look and feel of the abandoned station is quite creepy and just enough of a maze to keep players looking over their shoulder.
The game supports up to four players working together as agents locating and unlocking weapons terminals and defeat the evil Nul. But that’s where the fun twist comes into play. One player actually assumes the role of the Nul, using unique abilities to hunt down and eliminate the agent!
But don’t worry if you don’t know enough people to fill a team. AI players can seamlessly fill in to make sure the experience is immersive regardless of the number of human players.
Players begin by completing tasks and surviving Nul attacks. Once your weapon is unlocked, it’s time to go on the offensive in Monster Hunt mode. INVERSE is unique in that all players play offense and defense in each match. This ensures that you must master both offensive and defensive tactics to succeed.
The solo player experience has been quite well thought out, too. During single-player matches, INVERSE presents players with plenty of challenges that test players’ skills. But they also offer a deeper exploration of the game’s lore and terror-filled world. The story the game is built around takes center stage.
Plus, the progressive leveling system allows players to unlock new skills and perks. These added bonuses keep the game interesting and allow players to be better equipped when facing the growing challenges as well as enhancing survival chances.
MassVR has stated that they’re going to provide a “continuously evolving experience for players.” INVERSE is expected to receive bi-annual content updates to ensure players have new experiences. This will keep the game from getting monotonous, hopefully. Since the company started out in the physical VR space, console games certainly seem to be adding more versatility and the ability to grow to their repertoire.
Lai says, “We wanted to create a game that captures the intense emotions of playing a horror game with friends in real life while still delivering engaging gameplay for both solo and cooperative play styles in VR.” Time will tell if they succeeded, but INVERSE is certainly off to a good start.
The game is available on the Meta Quest today, Sept. 7. We’ll have a full review shortly.
Are you excited for this new horror multiplayer experience? Let us know in the comments.
The post PREVIEW: Hunt or be hunted in INVERSE [Meta Quest] appeared first on Mega Visions.
In less than a week, Game developer MassVR will be releasing their new horror themed multiplayer game INVERSE. But who are these dedicated game designers, and how did they get to where they are today as a company?
MassVR was established in 2017 as an independent VR gaming studio dedicated to creating immersive VR gaming experiences. Like a lot of companies in the early 2010s, they started by developing location-based VR arenas. Gamers could play with or against each other in a designed 8,000 square foot physical free-roam space.
This was during a rise of such venues like the Void and Dreamscape Theaters. Indeed at that point in time, it looked like these group playing areas were going to become the next evolution of where the movie theater would go.
The space the company created in a former department anchor store immediately brought them into the local public’s eye. Their initial game space in Skokie Illinois’ Westfield Old Orchard Mall was immediately popular. There other location in Bloomington was equally successful. And of course there were a variety of licensed and in-house designed VR experiences for everyone.
Up until that point the company had released two IPs for their proprietary platform, a game called VR Champions which was a team-based first-person-shooter, and Hallow Realm which was an asymmetrical horror game. It SEEMED that continued success was on the horizon…
Then, 2020 happened, and the pandemic hit.
Since the company’s goal was to create active, cooperative and accessible VR experiences that ‘engaged true kinetic motion and offered unbounded exploration,’ according to their press release, they went all in on VR for the home console.
Using the same development pillars that led to their initial game creations, MassVR took the stance of creating immersive VR games that would “go beyond the joystick for at-home users.” Having already worked in the open arena world of VR this was an easy leap and would lead to what would soon be called INVERSE.
Inverse is a survival horror game that provides a twist on the genre. It’s made to offer players an innovative asymmetric gameplay. First off, players will get the choice to play as a team of Agents or as a lone monster. But that’s all we’ll be mentioning right now as we don’t want to ruin too much until release day.
INVERSE is slated to be released September 7 on MetaQuest VR, although early access is already available in the App Lab.
Are you excited to experience this twist on the VR-multiplayer genre? Let us know in the comments!
The post INVERSE: The evolution of MassVR appeared first on Mega Visions.
Alan Wake 2 was my "Game of the Year" winner, and this is from a gal who enjoys horror games and movies. I've made my opinion after playing its predecessor and this one, and if you have an idea of both, meaning if you played them then you will probably have a better understanding of the evolution of this franchise. Everything about Alan Wake 2 made it fantastic and I could stay here praising it for a long. However, I have some favorite aspects: its graphics are some of the best I've seen, and its reference to Twin Peaks - in particular The Return - was truly exceptional (if you get it). Just play both games and don't be let down by the bad reviews before making your own idea: I guarantee it will be worth it! You won't be sorry you did purchase it.
The story of Alan Wake 2 is impressive, after all, this is a cinematic experience packed as a video game, so we should expect a great story/script and excellent visuals. But nothing prepared me for what I found: expect unexpected plot turns that you won't anticipate and an immersive dark, mysterious atmosphere to keep you guessing and constantly on edge. It is easily one of the apex Xbox horror games and nobody can deny it. Graphics? Simply stunning. Like entering into an immersive nightmare. Seriously, lighting effects alone should receive recognition. Alan Wake 2 is an immersive experience in a mysterious and nightmarish first-hand experience that excels in its way.
Some fans of the original game are complaining about how different its combat is this time around; but here's the deal, sweeties: this time around the story takes center stage - think of it like an interactive thriller with just enough combat to keep things interesting - which was ultimately true of its counterpart's fights as well. Plus... you remember it wrong as in the first Alan Wake, it wasn't exactly spectacular either. I'll say that from the narrative and atmospheric points of view, Alan Wake 2 is hard to match, in any case, one of the two three games that are way above the others. At the same time, I can understand why action-driven players who were looking for a "Last of Us" kind of adventure are not fulfilled. It is not that kind of game.
Alan Wake 2 is more like Resident Evil: Village but much stronger in visuals and even if the gameplay is not taking central stage in either one of them, I feel that Alan Wake 2 comes better in comparison. I know you want to be sure before you get it, and this is good practice anytime you buy Xbox games. But the bad reviews are so much off the point. About Alan Wake 2, some reviews have expressed displeasure with it for being too "woke" or racist, however, these complaints shouldn't be taken too seriously; these trolls are simply trying to stir things up; real gamers, those who appreciate an impressive narrative experience with stunning visuals love Alan Wake 2. Simply stated.
Once again, Alan Wake 2 has proven its mettle by keeping my pulse racing! I have already experienced more thrilling moments than I can count, making me jump more often than necessary and loving every scary minute! For fans of suspenseful stories with stunning graphics Alan Wake 2 should not be missed; don't let the critics dissuade you! Just remember this is a story-driven experience so buckle up for one helluva ride; easily one of my top games played this year (trust me: this blonde bombshell has seen many games!) I highly recommend it ;).
The Outlast Trials isn't your usual horror game; rather it offers an extreme sensory deprivation chamber full of human darkness for players to endure. Three minutes in, and I felt as if I'd stepped straight into a nightmare: naked bodies sprawling everywhere were hidden by sheer horror... Sexual imagery? Check. Every form of abuse? Yep! These developers didn't hold back in throwing every insult at us to see which would stick - trust me; many do!
It's a strange game. But here is the thing: it works. This barrage of depravity doesn't feel empty; rather it serves a greater purpose: creating an unpredictable reality where nothing makes any sense and paranoia reigns supreme. This is the way it goes and you should buy The Outlast Trials. Where no matter who we trust or what's real around the next corner it could lead to something truly horrific originating in twisted scientific experiments conducted by Murkoff Corporation during Cold War times - we were lab rats used as part of their experiments!
Paranoia runs deep; you never know who or what horror could spring forth next from the experiments by Murkoff Corporation during Cold War times with whom nobody trusted and never knowing who could trust or what could come out of scientific nightmare experiments in mind of Murkoff Corporation during that era Cold War times we saw some truly horrific things and monstrosities produced within, from scientific nightmare abound.
Its true charm lies in the first-person perspective: everything is seen through your character's terrified eyes as every creak of floorboards or flicker of fluorescent lighting could spell disaster for them. There's no Ramboing your way out here; survival relies upon cunning, resourcefulness, and remaining rational as soon as possible. It makes you feel the pain and scare... it feels personal. If you buy PS5 horror games, The Outlast Trials is there, at the top, with the best! Desperation can be palpable as other test subjects cling desperately to any hope Murkoff offers, even if that means participating in horrific "therapies". It's an unnerving commentary on human resilience - or lack thereof.
The Outlast Trials may not be for everyone; its brutal, disturbing gameplay may leave you questioning both your own sanity and that of your character. But for horror enthusiasts looking for an immersive horror experience that forces them to confront humanity's darker forces head-on then this should definitely be played; just ensure your schedule allows enough playback time, or have someone on speed dial for assistance should something arise that may need therapy afterward.
Atmospheres of desperation reeks with fear, yet are haunted with longing. Acts so repugnant to our humanity make one part of ourselves recoil in horror while another part can't tear itself away, riveted to what's unfolding horrors around them. We stand witness to acts so revolting they bring tears of horror down on ourselves yet we still cannot look away; some things simply cannot be turned off our attention!
The Outlast Trials presents players with an unparalleled cinematic horror experience as they plunge headlong into their personal darkness, forcing them to explore every twisted corridor of human psychology and confront its shadowy depths head-on. There is no way fans of survival horror games will skip this game, even those who usually buy cheap PS5 games will have to consider playing it. A visceral encounter beyond mere entertainment; its unforgettable impact will remain with all brave enough to experience its dark depths.
Alan Wake II emerges in the aftermath of some previous events, after a thirteen-year interlude, and its narrative tendrils reach from its predecessor's vague echoings into the present. Now inhabiting Bright Falls is Saga Anderson - an FBI agent caught between malevolent cult activity and macabre murderousness; herein resides an exploration of Alan Wake II's unique attributes where its menacing atmosphere merges seamlessly with next-gen gaming technology.
Alan Wake II stands among the best horror games as an atmospheric masterpiece ready to create yet another engaging adventure full of fear that is better than ever. In the traditional horror genre, Alan Wake 2 seems not content to simply focus on a few scare tactics alone as many competitors do. Alan Wake II explores all manner of disquieting emotions with each subsequent step through its labyrinthine depths - fear in various guises is presented one after the next - all the while treading carefully along an ever-shifting tightrope between horror and intrigue - something no other game dare attempt!
Alan Wake II opens with an unsettling shockwave so you will know from the start how the game stands. Its opening scene serves as an abrupt awakening, it's meant to shock you, and is no surprise that hits like an electrical current to all five senses. This is not an ordinary introduction, clearly, but a visceral experience meant to intrigue and scare you, sending this way the right message for the rest of the game. The opening scene draws players directly into its world of mystery and action - a great narrative device that hits the right notes, and if you buy PS5 games, you will admire its accurate psychological gameplay designed to set players on an unforgettable adventure ahead.
Alan Wake II stands apart thanks to its visual delight and is an epiphany of next-gen potential that shows quickly that it's not a commonplace anticipation. Alan Wake II on PlayStation 5 not only boasts impressive graphical capabilities but manages to build a captivating bleak and mysterious world with each pixel adding another brushstroke on a canvas of desolate magnificence - providing us with not just another step forward in gaming but also taking us a quantum step towards aesthetic opulence, where virtual and real realities merge into an indistinguishable tapestry of aesthetic grandeur.
Alan Wake II's narrative alchemy, maybe less observed, rests in good measure upon its Non-Playable Characters (NPCs). Their mesmerizing facial animations not only capture player attention; they offer subtleties of life that bring Bright Falls residents to life digitally. Their emotions play out like masks; each expression adds color and depth. These facial animations transcend the mundane; they represent how far storytelling technology can take us.
Alan Wake II features an intricate combative design not easily translated to its counterpart in other games, even if combat is not the primary reason to get this game. It's an ever-shifting ballet of nervous tension that keeps players gripped and on edge from start to finish, so if usually buy PS horror games for their atmosphere and narrative, you will like it (less for everything else). Fights don't simply involve physical clashes but psychological duels where every encounter has an underlying sense of unease attached. Furthermore, its combat doesn't indulge in gratuitous violence but rather acts as a calculated strategic ballet with each move planned out as a calculated gambit; and nervous tension is not simply an aftereffect but instead deliberate choice that turns every skirmish into an immersive exploration of survival!
Alan Wake 2 pushes forward its predecessor's menacing atmosphere by venturing deep into survival horror's terrifying depths, offering players an exhilarating, yet terrifying, journey through its macabre landscapes. Alan Wake 2 is a survival horror game that ranks best at storytelling and atmospheric horror, taking players beyond mere creepiness into its depths of horror! By far, Alan Wake 2 is one of the scariest horror games available now!
Alan Wake 2 achieves an unprecedented balance by artfully merging Full Motion Video (FMV) and in-game content into an artful symbiosis. more than simply a random juxtaposition, this dance includes live-action sequences and interactive gameplay combined into an exquisite visual feast. Alan Wake 2 was designed to survive time, I'll say an iconic video game made for players who buy PS5 horror games more than anything. The symbiosis between the narrative power and FMV is complete, and the result is a realistic experience (I don't even know how to name it, but you get the gist - it feels alive).
FMV breathes life into characters by giving an uncanny realism that blurs virtual and tangible realities - this is why it feels alive/realistic (and I know, it sounds odd to use "realistic" in a game with supernatural beings). When you buy cheap PS5 games, you do not get the kind of FMV and storytelling Alan Wake 2 offers (nor gameplay, characters, or atmosphere for that matter). Alan Wake 2, more than anything, creates an unforgettable emotional experience (in the sense that it immerses you and convinces you) through haunting imagery combined with interactive elements coexisting in perfect harmony evoking emotions long after the controller has been put down!
I would like to compare Alan Wake 2 with Resident Evil 7: Biohazard to detect their distinct approaches to horror because they seem similar but there are nuances. Resident Evil 7, with its immersive first-person horror and atmospheric tension, finds an unlikely partner in Alan Wake 2, which features third-person survival horror gameplay. This aspect elevates the horror experience to another level.
Resident Evil 7 immerses players in an oppressively-confined mansion while Alan Wake 2 offers expansive environments requiring careful navigation and strategic thought. If I had to choose, I would buy Alan Wake 2. Both games excel in inducing fear, but Alan Wake 2 stands apart with its distinctive take on survival horror coupled with its outstanding presentation - making an indelible mark on the horror gaming landscape.
Alan Wake 2, in a way, a detective sim video game, deviates from convention (of action survival horror games) with its puzzle-solving mechanics forging new paths in intellectual challenge. Some puzzles are not that good and many would not be into puzzle-kind of gaming, however, Alan Wake 2 finds a way to provoke players and keep them engaged. It seems a cerebral dance where puzzles become part of Alan Wake's dark ballet; these challenges require not just strategic thought, but force players to immersion into its unique universe! Puzzle-solving becomes art and serves a purpose in Alan Wake 2, offering players a tantalizing taste of something unconventional amidst horror!
Alan Wake 2 turns survival horror into an art form: an alluring dance of shadows and narrative intricacies that captures players' attention with its dark embrace. Boasting an unparalleled blend of FMV/in-game mastery, spectacular environments, innovative puzzle-solving mechanics, and storytelling mish-mash, Alan Wake 2 stands as an outstanding title in today's ever-evolving landscape of horror gaming - it offers up something truly original while appealing to braver souls looking into its depths of darkness! It's more than a sequel; Alan Wake 2 offers up something truly unforgettable: it beckons players deeper into its darkness!
Daymare 1998 stands as a testament to the golden age of survival horror games, evoking the spirit of the original PlayStation era. The game pays homage to iconic titles that defined the genre, such as Resident Evil and Silent Hill. Its intention is clear: to transport players back to a time when eerie atmospheres, gripping narratives, and spine-chilling encounters were the hallmarks of gaming excellence.
While Daymare 1998 successfully hits certain nostalgic notes, it falls short of fully capturing the essence of its predecessors. The game shows promise and potential, but its execution leaves much to be desired. With further fine-tuning and optimization, it had the opportunity to become a standout addition to the survival horror genre. However, as it stands, Daymare 1998 remains a bittersweet experience, simultaneously triggering nostalgia while eliciting frustration.
Daymare 1998's shortcomings are evident, hindering its ability to reach its full potential. The game's mechanics, while reminiscent of the classics, lack the refinement necessary to deliver a truly immersive experience. The controls, at times, feel clunky and unresponsive, detracting from the overall gameplay. Stepping into the world of 'Daymare 1998' is like entering a dark abyss of fear and adrenaline, where every step you take sends shivers down your spine, reminding you why you love to buy PS5 horror games that push the boundaries of terror. Additionally, the pacing and level design could benefit from further attention, as certain sections tend to drag on, impeding the player's engagement.
Despite its flaws, Daymare 1998 does offer glimmers of hope. The attention to detail in capturing the aesthetics of the original PlayStation era is commendable, immersing players in a familiar and atmospheric world. If you crave an adrenaline rush that transcends reality, 'Daymare 1998' is the ticket to a heart-pounding experience, one of the best PS5 games available. The narrative, though not groundbreaking, manages to keep players engaged, thanks to its nods to the beloved survival horror tropes of the past. With the right adjustments, the developers have the potential to transform this homage into a compelling and unforgettable experience.
Daymare 1998 serves as a mixed bag, teetering between nostalgia-inducing delight and irksome disappointment. While it successfully evokes memories of classic survival horror games, it fails to deliver a fully realized experience that matches its inspirations. As players journey through its haunting environments and face off against its menacing creatures, they may find themselves torn between moments of joy and frustration. Even if it's not one of the new PS5 games published, it is not old either - 2020. Ultimately, Daymare 1998 remains an intriguing testament to the power of nostalgia, leaving room for improvement and the potential for future success.
Daymare 1998, while paying tribute to the survival horror games of yesteryear, falls short of its lofty aspirations. Though it possesses glimpses of brilliance and captures the essence of the original PlayStation era, the game fails to deliver a fully satisfying experience. It may be one of the best PS5 games for some with a particular taste. With further refinement, optimization, and attention to detail, Daymare 1998 could become a true standout in the survival horror genre. Until then, it serves as a reminder of what could have been—a hauntingly nostalgic journey tinged with both delight and frustration.
The eerie psychiatrist Dr. Hill will return in the Until Dawn film adaption, once again played by Peter Stormare (Fargo, John Wick).
A report from The Hollywood Reporter confirmed Stormare’s return, confirming even more casting additions to the Until Dawn film. Alongside Stormare, the film is adding Maia Mitchell (The Fosters, Teen Beach) and Belmont Cameli (Saved by the Bell), although their roles aren’t being revealed yet. The trio joined the already-announced cast of Ella Rubin, Michael Cimino, Ji-young Yoo, and Odessa A’Zion.
Until Dawn, announced earlier this year, will be directed by David F. Sandberg, who last worked on Shazam! Fury of the Gods. Annabelle: Creation writer-producer Gary Dauberman is also working on it.
In the original game, Dr. Hill is a psychiatrist who appears in short scenes throughout the story, known in-game as “The Analyst.” He’s used as a sort of fourth-wall-breaking character who talks directly to the player about the story and their decisions, later being integrated more directly into the story itself. Because of his sort of “meta” role in the game, it’ll be interesting to see how he’s adapted into a film version.
Until Dawn, released in 2015, follows a group of young adults who take a vacation to a remote cabin on snowy Blackwood Mountain. There, the group is forced to face not only supernatural events but also a serial killer. The game featured an array of actors at the time, including Rami Malek, Hayden Panettiere, and Noah Fleiss.
While the original developer, Supermassive Games, went on to create The Dark Pictures Anthology, a remake of Until Dawn is planned for release on PS5 and PC this Fall from Sony Interactive Entertainment and Ballistic Moon.
The Until Dawn movie doesn’t currently have a release date or window, stay tuned to CGMagazine for more details as they develop.
There are some activities that should only be experienced in a bottomless pool of darkness (ideally after the witching hour unless prescribed by the author otherwise). Listening to Nick Cave; one night stands (if you're lucky and are not a suspender-snapping, fedora-wearing fan of Tom Waitts' music - he's okay as an actor, though); reading "House of Leaves", the pinnacle of creepypasta; drunkenly dancing in your kitchen, or watching every 'Disturbing Things from Around the Internet' video, to name just a few. Then, of course, there are horror games, the ultimate adrenaline rush simulator which leaves even the bravest of souls resting their finger on the "Esc" button as if it was some sort of virtual escape hatch.
Listen, I love horror. I might not be the bravest kid on the block nor am I young enough to be able to survive multiple jump scares without calling it a day (or an ambulance), but I watch Ari Aster's films religiously and have a tendency to scare off potential soulmates by telling them about Sad Satan (which was the basis for my dissertation, nonetheless). Like the nightmare-inducing stories by H.P. Lovecraft for the generation who kicked rocks for fun or "consulted" an Ouija board to pass the time, Amnesia games played a big role in fostering my love for screaming in a pitch dark room.
Those who are not familiar with the Amnesia series by now should, to begin with, know that it did as much to the survival horror genre as Dark Souls did for action RPGs or David Bowie for glam rock. That goes well beyond launching careers of numerous YouTubers who were first to realize how lucrative screaming at your monitor can be.
What the brilliant madcap minds at Frictional Games did with Amnesia: The Dark Descent back in 2010 was remove the only means of protection (i.e. weapons) from the standard equation, emphasizing "Capital-S" Survival Horror. This made horror gaming fans willingly and regularly change their pee-stained undies, and while that might not sound like a big deal today, back then it felt as revolutionary as putting Solid Snake in open-world Afghanistan or getting to fight a sadistic, overlord A.I. using only physics, science and Companion Cubes.
Fast forward 13 years, with a number of horror franchises spawned in the wake of the popularity of Amnesia: The Dark Descent - including my favourites, Outlast and Layers Of Fear - and nothing much changed. We still have our amnesiac protagonists, as dictated by the franchise's cursed title. We still hide under tables in the hope that the game's Lovecraftian monstrosities won't be able to smell our fear. You'll do all that while slowly losing your sanity - both in-game and IRL - a fantastic scare tactic that Frictional Games, like some Frankensteinian scientists, have been experimenting with ever since The Dark Descent.
However, Amnesia: The Bunker, the newest installment in the franchise, does something different. Scratch that: The Bunker does a lot of things differently compared to its forebears. That's especially astonishing considering that, just like Assassin’s Creed Mirage or Fallout: New Vegas, this project was born as a DLC, originally intended for Amnesia: Rebirth.
To understand how The Bunker became its own thing, and how on Earth developers managed to raise the bar for interactive horror by including a gun (a series-first), I reached out to Fredrik Olsson, the Creative Lead behind The Bunker and co-owner of the studio, who was happy to indulge me in my quest for answers.
To my surprise, I wasn't met with some hooded, shadowy mastermind in a room lit only by candles and a single, dangling lightbulb, as I imagined most horror creatives to be. Instead, Olsson turned out to be a jolly, immersive sim enthusiast who, besides getting his kicks out of coming up with new and terrifying ways to give us heart attacks, also happens to be an avid streamer, which makes The Bunker even cooler somehow. That doesn't mean I'm stepping back into those monster-infested, maze-like bunkers that make Battlefield seem like a vacation spot anytime soon, though.
Can you tell me what was the first horror game that you ever played?
Oh, it has to be Resident Evil. The first one, I think. I haven't been that much into horror games myself. It's not like I've been a big horror game or movie buff at all. But I played a few of them and that was the first one that really stuck.
I remember giving my friend the controller and having him walk down the corridor where the dogs jump through the window, and he just handed over the controller back to me... It's very terrifying! I remember playing it when I was little – it's just unnerving.
Do you remember how old you were at the time?
I think it has to be when it was just released... I think I could have been 19 or 20 years old? I'm getting old... [laughs]
You know, I had Commodore 64, I even had a built-in TV console – that's really old stuff. So if you call Dungeon Master (1987) a horror game, that probably must have been my first one. I don't know if it counts as a horror game any more. But I remember us playing Dungeon Master a lot.
You said that you didn't play horror games that much, nor did you watch a lot of horror films. Were there any other impactful horror experiences that you had like Stephen King or John Carpenter’s The Thing, then?
Yeah, I read a lot. I've read a lot over the past 10-15 years. I'm really bad at remembering names but there’s a lot of Stephen King books. I think one of the books that I really liked actually was "The Mist". I liked that a lot. It wasn't too long... When I started reading "It", it was such a long book that it kind of lost me halfway through. [laughs]
One of the books that really had an impact on me was "The Terror" [by Dan Simmons]. It's basically 1800s and [there's] a big ship that's supposed to try and get around the continent but then get stuck in the ice. There are tons of men on this boat and they start getting killed off by some kind of monster.
It had a bit of an impact on me because you never really see this monster. It’s more about the people living on this boat stuck in the most horrible situation. I like that type of horror where you have relationships but also have some kind of ominous being that always creates this kind of uncomfortable feeling throughout.
Actually, one of the recent movies with that guy from The Office - A Quiet Place – I really like that they based it around sound. There's one scene where they have zero audio which is very rare in movies...
It's kind of like the psychological aspect of what we did with The Bunker: when the generator is running, we have this kind of Shepard's tone that runs in the background. You can't really hear it, but if you listen knowing about it – you will hear it. It's an illusion basically of sound going downwards constantly. It creates this, 'Oh, the fuel is going out, the fuel is going out!' feeling. The second that the generator dies, the tone also disappears.
So like some Christopher Nolan kind of mind-trickery?
Yes! And Christopher Nolan has that quite a lot in his movies. I think in Dunkirk there was a lot of focus on time. And so, that's where the idea came from.
Is it true that The Bunker was supposed to be a DLC for Amnesia Rebirth? Also, how did you land on the idea to set it in a WWI setting?
Let's start with the second question. During the development of Rebirth, someone suggested it would be fun to have the WWI trenches. I think it might have been the writer on the previous game just mentioning [that] during a meeting. And we might have revisited it once or twice after that. The idea just stuck with us.
Then we came to a point where we came out from Amnesia Rebirth; I was supposed to start off the pre-production on a bigger project. But then I took over the creative lead role of Rebirth halfway through [the development], which meant that I came out of it having not been part of the initial design or story [development], feeling like I wasn't really done. I had more ideas. One thing I wanted to try was: 'Why don't we have a weapon?'
That kind of connected with the WWI setting, which was a setting that was not high-tech in any way. So I suggested that we make a DLC for Amnesia Rebirth. I pitched this idea because we had tried out stalking behaviour before; we tried it out on the ghouls in Rebirth, but it was such a linear story that stalking behaviour didn't make sense. (Actually, we had a version of this stalking behaviour where [ghouls] came out of holes. But we never used it in Rebirth.)
So that also tied into this idea of a bunker – now with a gun, one stalking enemy, and with WWI [setting], which was the previous idea. It all just came together that way. Everyone liked it, so we said, 'Let's try and do that!'
Very early we made a prototype and realized this is so different from Rebirth. Also, very fun. Honestly, not many weeks into the development of The Bunker as a DLC, we realized, 'No – this needs to be on its own thing.' Because we were having so much fun with it and seeing the potential, we kind of just allowed the scope to grow a bit.
Should I ask about the gun(s) or about the randomization element first? Let's go with the randomization because that's a pretty unique feature that hasn’t been done in an Amnesia game before. Just to add, maybe you will agree, but Soma and previous Amnesia titles couldn't pull it off because they were more story-centric.
I think it's fair to say that if you replay Amnesia Rebirth or Soma, you replay it for the story. If you play The Bunker again – you play it for the challenge. That's why we have a Safe Mode for Soma. The narrative is that important.
So, yeah, randomization is there to make it more challenging. If you came in a second time and said, 'Okay, I need to get into that room because there’s a grenade in that drawer,' you wouldn't have to explore all of the environments anymore. Also, the codes are randomized [every time] – you can't look them up on internet and find out what's the code for that locker. You need to find a corpse with the right dog tag. Otherwise, you would have a very optimized path through the game and that would immediately kill replayability (for me, at least).
The core of The Bunker is to challenge the player. It's a fairly small environment, but we mix things up within that environment to make it fun. Especially with the dynamic monster as well. Which means that if the stalker had been scripted, that would also take away [from horror] because you’d know, 'Okay, when I step around this corner, he's gonna enter this room.' It's very rare that it pops up in the same place.
"Very early we made a prototype and realized this is so different from Rebirth. Also, very fun. Honestly, not many weeks into the development of The Bunker as a DLC, we realized, 'No – this needs to be on its own thing.' Because we were having so much fun with it and seeing the potential, we kind of just allowed the scope to grow a bit."
Fredrik Olsson
Executive Producer
Now, I want to ask about the gun. In one of his early blogs, Thomas Grip, the creator of the Amnesia franchise, wrote that there’s a prototype version of Amnesia: The Dark Descent with guns, and apparently it was "too fun." Like it distracted the players from getting scared...Now you returned to this idea but managed to pull it off. Can you explain how you came up with this idea of 'It’s time to give players the gun again'?
I think the very first small prototype that we had, you were able to fire the gun at a padlock. It was very early that we said the bullets are not going to kill the monster – it's going to be a tool. Then, of course, it's going to be very few bullets, so they will be valuable. As soon as you put a value to that, you have a whole different scenario. Add that firing the gun at the Stalker once will [make him] come back and take two bullets next time... That's like you just sacrificed something just by firing the gun at him.
What it does is that it gives you a tool that is much more fun. I mean, it is fun to use the gun. But it's also very much anxiety-inducing. [laughs] There's one place in the maintenance, for example, where there's a hole in the back wall. You can shoot the padlock through it. '[But] should I use it here?’ Should I use this bullet here on this padlock??'
Look at horror movies: if you have few bullets left, it's not a fun situation. I'm kind of surprised it's not been used that way before, to be honest. This way, what we could do with the gun now is that it doesn't only become this game about hiding – especially with the generator, which is running on time.
I love the fact that during design, every single mechanic we came up with we started looking at the Stalker behaviour. 'Can you just hide under a table for a while? Is that still the solution?' No. Because when you sit there, you hear the Shephard tone running in the background and you go like, 'No, no, no, no! I can't sit there for too long. The monster is here walking around. Maybe I could just shoot him and run.' That gives you more opportunities, different ways to approach the problem.
I think early on it was like images in my head that became [the Central Bunker]. Some people were saying, 'The generator might become this kind of shore that you need to fill up over and over again.' And playing the first prototype, it was a very small environment. We couldn't backtrack. We couldn't be far away from the generator. But I had this moment in my head, like video playing in my head, of you walking there having done certain things, having this progress with the save room way back there. And [then] boom! It goes dark... You hear the monster coming out. And that moment was what we wanted to achieve.
There were multiple of those moments actually with how you can shoot it. For example, loading the gun: you're sitting behind the shelf, you hear the Stalker coming closer and you go, 'Did I load that bullet I found??' Then you have to take [the gun] out and check if you have a bullet in the gun, then back and then up. It creates these kinds of [moments] you've seen in horror movies. All of those moments, they are dynamic. They're created in that sense.
Have you seen a movie called No Country for Old Men by any chance?
Yeah, I've seen it.
Do you remember the scene where the guy's sitting on his hotel bed and he's slowly turning the light off and reloading his shotgun before the psycho guy comes to the door? He's doing it all silently. So this kind of brings to mind The Bunker because you are forced to take notice of how much sound the reloading [of your gun] does.
Yeah, that’s cool. But I don't remember that. I've actually thought I need to rewatch that movie because I don't remember too much about it... [laughs]
Well, it's great! Great use of tension there. Anyway, you might have heard this critique that Amnesia: Rebirth feels more story-centric compared to The Bunker, which is more gameplay-oriented. How do you balance both of these qualities without losing the best aspects of one or another?
I think it's very difficult. To make a story like Soma, that’s very difficult to do with systems and mechanics – it has to come from one or the other as a core. Hopefully you can find ways where the narrative can blend in.
The Bunker is gameplay-centric – it comes from that seed. We've kind of added the narrative on top of that. The setting was already there to begin with and that helped the gameplay. The narrative – the friend, the Stalker, all those things – came afterward,. Whereas in Soma, the story came first.
And I agree with you. Unless you are super lucky that they just come together, I think it's super difficult to create something that has both. When you have gameplay that is an immersive sim, the player’s mindset is like, 'I need to save this resource for later. Maybe I need this to open a door later on.' If you want them to be concerned and think about a deeper theme, for example, a philosophical theme, like you do in Soma, then you don't want them to start thinking about, 'How can I use this grenade to blow up a door later on?' You want them to focus on the narrative.
I think it's super difficult to get that strong theme and an immersive approach to gameplay. I can't really see myself like even trying that out, to be honest... [laughs]
"I mean, it is fun to use the gun. But it's also very much anxiety-inducing. [laughs] There's one place in the maintenance, for example, where there's a hole in the back wall. You can shoot the padlock through it. '[But] should I use it here?’ Should I use this bullet here on this padlock??' "
Fredrik Olsson
Executive Producer
In one recent interview, Thomas [Grip] said that for Frictional Games' next project, you are going to "cut back a bit" on horror games "in order to give greater focus on other emotional qualities." How do you personally feel about that? Aren't you afraid that you might alienate the player base that was so in love with The Bunker?
No. I mean, we have two projects in the pipeline. We always have that. The way we work as a studio is me and Thomas – we are co-owners. And also now we've become the creative leads on each project. So Thomas is working on his project now and that's going to be the next one that comes out.
We don't want to look at ourselves as genre-focused. I believe Thomas also mentioned in some [of his] blogs that there could have been fewer monster encounters in SOMA so that the narrative could've felt better. It would still be a horror game, of course, because of the setting and everything.
But for me, for the next project, I can't see going anywhere but more like The Bunker; More player freedom, player reward, and challenge. That's definitely what's going to happen. But that's further down the line. Even though it might not be a horror game, it's still going to have tension and all that.
That's very interesting. And I do personally love SOMA. It’s one of those horror games that sticks with you.
And it's really popular, still! And it’s not an immersive sim – in fact, it's very far from that. So I guess you need to look at our games not as a studio releasing games, but as its own identity. Especially now that The Bunker took a step outside of what we regularly do.
You could have asked me the same question after Amnesia Rebirth and said, 'So are you making immersive sims now? How are people going to feel about that?' [laughs] We like to take things wherever we find the inspiration and where we want to do things because that's usually where the good stuff comes out.
Can we talk about the blind shotgunner sequence? Because that's one of the more memorable sequences in the entire Amnesia franchise, at least for me. One aspect I really like about it – which was pointed out by the YouTuber called Purposeless Rabbitholes – is that if you put the gas mask on, you are going to have a completely different experience fighting the guy. Can you explain how you came up with that idea? Also, what inspired this sequence altogether?
We wanted to have something that did break up the gameplay with the Stalker, basically. Then we started thinking, 'Okay, if we can have a gunfight with a soldier, that would be absolutely fantastic. But we don't want to do it the regular way.'
That's where the narrative came in a way. By that point, we'd gone fairly far on in the narrative. We had written a lot of notes about people going crazy down there [in the Bunker]. So let's make a super crazy guy! I even suggested he cut out his eyes. I would say, 'We need more blood on the table. We need to see that he cut out his eyes.' So yeah, that created an interesting encounter with a blind enemy. Whereas the Stalker is not blind and can spot you.
Now, about the noise. If you go into that area, you can see there's tons of things you can throw. The idea of how that encounter could best be played is that you actually throw something at the other end of a room. He fires the gun, you see the flash and you know, 'Okay, that's the dude I need to take out.' But it became too easy...
We thought, 'We had already written about the fumes [in the Bunker]. We knew that the fumes were affecting the water that your friend drank and turned him into the Stalker. So let's do that type of gas.' We needed it seeping in through the walls to make it more interesting. It should affect the player as well. 'We can have silhouettes, too!' For easy purposes, I suggested that we add the Ghouls from Rebirth. And then we used just regular people as well. So you see those silhouettes because that makes it more difficult.
We took some creative freedom on the gas mask. In WWI, the gas mask wasn't actually covering the ears, but I said, 'We need to take that creative freedom because that changes the whole thing.' If you put that on, you get limited visibility and you get muffled hearing which made it more difficult to notice him. But you didn't see the silhouettes anymore. I mean, I don't think it ever starts as one finished idea. It's always a small idea that leads to something like this.
Also, one of the things I really wanted to do – since everything else is close combat – was an enemy that could actually fire at the distance. That also was an early part of the idea. That's where the soldier came in. Then we realized he should have a shotgun.
You can actually avoid him and not kill him. If you feel sorry for him and feel that he's better off just walking around, singing his song, or chanting his poem – then you can do that, too. But if you kill him, you get another tool. So yeah, everything fell into place nicely.
Love that! How much research do you do before giving a green light to a setting for the game? Do you research a couple of different settings and see which one has more potential gameplay-wise?
I think for this one, no. We didn't do that with The Bunker because we kind of felt that it's going to be a smaller thing. As the scope grew, we already knew enough about the early-tech setting.
Then all of a sudden we realized that fuel could be poured on the floor. Someone on the team mentioned that if you can pour it [in the generator], you should be able to pour it on the floor. If you fire at the fuel puddle, it'll set the fire and if there’s an explosive barrel close by, it will turn into fire. So we worked within that framework. We just said World War I. It was very simple.
During the project, there were times when I thought going with early tech was both a blessing and a curse. It was difficult to find more gameplay mechanics. Fire, burning fuel, for example, opened up a whole new thing. At the same time, WWI was very refreshing because you didn't have to think about crazy ideas. It was very limited.
Early on we found this this idea for the flashlight. When we found out about the dynamo flashlight, we were like, 'That’s it! It’s World War I. We'll sort out the rest later.' [laughs] That was pretty much how it was. We fell in love with the idea and went with it.
Will you continue on this path, taking an idea and going with it, then? Or you will research multiple possible settings for your next project?
It's probably the first [route]. Like, the idea is already set. I can't say much more. I hope it's going to be clear when you see it.
In a way, it's based on inspiration from literature and things like that. So you could say that there's been research done. But it's more like things that you picked up in your spare time – that becomes the research or the thing that indicates the kind of setting we will go for.
It's rather like, 'Oh, I like these types of aspects.' Then it starts to mould in your brain. You come to a conclusion where you can see the gameplay emerging and things like that.
Do you think it's more difficult to scare players now than back in 2010 when the original Amnesia game came out?
This is going to be my very personal opinion, but I think it probably is. If you look back when games were newer, people didn't understand scripted events the same way. The fidelity is also higher, which means that if something looks off, it can ruin the experience.
With the Stalker, for example, very early on we came up with the idea to have the flickering light around him. First of all, that's a benefit for the player because if they have the generator on and running, it helps them to know that the Stalker is getting close – kind of like the scanner in Alien Isolation. The flickering light also disguises the Stalker. So you don't get a clear view [of him]. There's probably certain aspects of his animations that could make the Stalker look a bit silly. But you don't see those. It's also a camouflage to put him inside the holes. That was big and actually came about halfway through [development].
Previously we had the Stalker out in lit areas. Let's say you had the lamp turned on in the barracks, and while you were roaming around in the other barracks, you could hear the Stalker going around there. That just didn't work because players were saying, 'The generator's on [but] it doesn't have an effect on the Stalker.' They didn't know where he was [because] he was just contained in those dark areas. The moment we said, 'Let's try and put him in the holes more,' and not care so much about the lit areas – that just ramped up the horror.
I actually went to Thomas and said, 'Hey, I think we might have made this game too scary.' [laughs] And he was like, 'That’s good!' But I actually felt this might be too much for many players.
Now, if you really want to scare people – and I hope we managed to do that with The Bunker – then you need to tie it into the players' actions more instead of adding trigger points on the floor. For example, when you go there and something moves at the end of the corridor. Even moving a crate in the bunker could have a potentially disastrous effect on you. And that's playing with your head. I hope more games will do that instead of being almost like a movie.
"We took some creative freedom on the gas mask. In WWI, the gas mask wasn't actually covering the ears, but I said, 'We need to take that creative freedom because that changes the whole thing.' If you put that on, you get limited visibility and you get muffled hearing which made it more difficult to notice him. But you didn't see the silhouettes anymore. I mean, I don't think it ever starts as one finished idea. It's always a small idea that leads to something like this."
Fredrik Olsson
Executive Producer
To be honest, I haven't played such a scary game since the original Outlast... It’s so scary that I couldn't play it without my lights off. And that never happens!
That's nice. We like to scare people. [laughs] It's a strange line of work but someone has to do it.
Okay, the final question: is there a feature/idea of yours you are most proud of?
The first thing I have to say is that every unique sequence that was created uniquely for the player – that's what I'm proud of the most. We managed to create a dynamic environment that creates war stories for the players. That was a big challenge for this project. I'm super happy with how it turned out.
If I had to pick a narrative point, I think it has to be the Pillbox. So many players go up there and say, 'Hey, I can climb out of this!' It's a very strong moment where people, looking down at the hole again, go, 'Oh, I need to get back there... This is not the way out. The sniper is ready to kill me.' It makes people think it's a safe area because the Stalker can't get there.
That shot is actually fun as well because the idea came from the audio guy who just put it in and said, 'I’d put an audio stinger here.' And everyone was like, 'Ooh, that's great!' Then we added on top [of it]: you can actually hold the helmet up, and if you do – it gets shot out of your hands. It's a very nice narrative moment where you get reminded of the setting.
I really like The Chapel in the maintenance area. I just love how people run back to the Safe Room, close the door, and then take a deep breath. You can hear it on so many playthroughs. [Laughs] That's the first time they take a breath.
We'd like to thank Fredrik for making time to sit down with us. If you'd like to read more in-depth developer interviews, check out our full interviews archive.
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