The Blair Witch Project opens with the infamous title card announcing the disappearances of three student filmmakers. What follows is the discovered footage of what went on during the fatal trip, culminating in their mysterious and unexplainable vanishings. Legend has it, the trio’s bodies have never been found…
In 1993, film students Daniel Myrick and Eduardo Sánchez began to recognise a pattern – they found documentaries on the paranormal far surpassed the fear factor staged by traditional horror cinema. After years of passing the idea of a scripted supernatural documentary around, they (along with Gregg Hale, Robin Cowie and Michael Monello) started the production company ‘Haxan Films’, which, for those who picked up on this detail, yes, Haxan comes from the infamous docu horror Häxan (1922).
With the production company garnering a small money pot from producing corporate and commercial videos, the crew set ahead to get the ball rolling on the long-awaited pseudo-documentary. The premise of something strange, dark and mysterious being real, particularly within its presentation, is terrifying.
Fiction is escapable and, more often than not, non-threatening past the screen. However, the immersive, replicative, and first-hand perspective of vérité cinema can provoke the viewer to suspend their belief and mediate reality into the fictitious narrative. Whilst the contemporary commonality of reality-coded horror falters the chances of the cinematic events being perceived as real, in 1999, this was groundbreaking and convincing to audiences. As such, Myrick and Sánchez weaponised the diegetic camera brilliantly utilised by previous filmmakers such as Shirley Clarke, Ruggero Deodato and Satoru Ogura and created one of the most infamous horror movies of all time.
At the start of production, the focus characters, Heather Donahue (now Rei Hance), Michael C. Williams and Joshua Leonard, were all informed that this was not an archetypal experience. The screenplay was 35 pages long, but the content was more stage directions, with the directors opting for the dialogue to materialise from improvisation. The footage was primarily shot by the three characters on a Hi8 camcorder, enhancing the amateur feel and consequently embedding the sense that these personalities on screen are genuinely filming a documentary. Further detaching the cast from the facets of their actions belonging to a broader project is the actions of genuine contention arisen by the crew behind the scenes.
As the actors would essentially be left alone to record the loose script, the cast would be given clues as to where their following location would be via secret messages located inside 35mm film cans. This would often lead to the trio becoming lost and hostile with one another about their directions. A few of these squabbles were left in the final cut of the film but cut around to match the context of being lost amidst the horror of the plot. The directing duo would also make the characters traverse extensive journeys throughout the day, heightening the already low mood and making them irate. As one last push to both blur the lines of fiction and reality and weaponise what the filmmakers coined ‘method filmmaking’, when the night drew close, and the cast could unwind, the crew would show up unannounced and play creepy pranks, all before whittling down their food supply each day.
The sick, twisted, and undoubtedly cruel tactics resulted in raw footage that, regardless of the scripted mythos of witchery, was an authentic portrayal of people reaching the brink, hitting their peak and unleashing wraths of turmoil and anger over the dreaded scenario. With such a defiant approach to achieving the filmic goal, it is no surprise that the immediate reception was primarily one of praise, with many outlets applauding the innovativeness and ‘less is more’ approach towards the antagonistic force.
On the other hand, the media also reported on the buzz the film received at its premiere at the Sundance Film Festival (1999), where audience members were fainting and vomiting at the dizzying handheld, motion-sickness-provoking cinematography. However, as any horror fan knows, festival drama and antics over the gruesomeness of horror is a good sign of quality gnarly, horrid and shocking filmmaking. As the film’s now notorious reception was building, a secondary force of conversation was budding amongst audiences.
A key detail in The Blair Witch Project’s reputation is its marketing campaign. Prior to the premiere, the film launched a website which featured fake police reports and newsreel-esque interviews seeking to find the ‘missing’ students. However, the most ‘alarming’ snippet showcased a missing poster of Heather, Michael and Josh, complete with the standard height, age and weight typical to a genuine missing person flyer.
It was one thing that the film purported its diegesis to be one of pure authenticity, but if there were any ‘unconvinced’ spectators were not buying the ‘truth’, Myers and Sánchez would keep up the act off-screen, pretending that the film’s festival screenings were motivated by wanting to get the message out there about the disappearances; even going as far to distribute print outs of the missing poster to audience members. The final flourish regards how the official IMDB page listed the performers as “missing, presumed dead”! Although the internet did not have the colloquial sharing aspect nailed to a fine art in terms of sharing and speculating as it does today, the film managed to go ‘viral’.
It took Myrick and Sánchez seven years from the initial idea to the premiere at Sundance, proving that whilst independent cinema can involve intensive labour that is a marathon, not a sprint, indie horror can turn passion and creativity into payoff. In the last twenty-five years, The Blair Witch Project’s reputation is still thriving, with the film spawning comic books, video games and two sequels, Book of Shadows: Blair Witch 2 (2000) and Blair Witch (2016), as well as an array of parodies, including the criminally underrated Scooby Doo Halloween Special – The Scooby Doo Project (1999).
What comes with such notoriety is a sense of familiarity. Even if a non-horror fan were to come across imagery from the film, they would immediately recognise where the callback originated. It could even be said that those who have never seen the movie can distinguish the continuous references made to the film in pop culture. Think of the infamous extreme close-up of Heather trembling with fear, looking straight into the lens, essentially saying her goodbyes, or the shot of Mike standing, staring at the wall as if in a trance, with Heather screaming bloody murder in the background.
The Blair Witch Project is akin to a landmark, standing proudly in a brimming genre, with its history and legacy granting it a place against all of the greats before and many of the classics yet to come.
You can catch the film Friday 27th September at this years festival, tickets here!
Written and directed by Michael Houston King is Lake Jesup, which brings back the rip-roaring, ultra-violent and brutal creature feature. This monstrous exploration chronicles the havoc wrecked upon Jesup City, Florida, circa 2003 as a deadly alligator named Bonecrusher escapes from its home at Gator Galaxy, owned by the greedy Angus Sullivan (Jeff Benninghofen), who is content with the missing, colossal reptile as long as he is profiting off of the mayhem. The increasing body count reaches headline news as the people of Jesup City are killed off one by one, leading Mayor Sam Neuhauser (Houston King), along with Jim Fisher (Essex O’Brien), the city’s Fish and Wildlife Commissioner, to bring in the only man skilled enough for the deadly job, ex-convict and ‘gator hunter Bubba Coggins (Derek Russo).
The film’s namesake and inspiration originates from the real Lake Jesup, located in Seminole County, Florida, known as one of the most alligator-infested lakes in the U.S., with the estimated number of species being upwards of 13,000. The terrifying quantity is thanks to the draining of Floridian wetlands in the late 1960s to make room for the tourist infrastructure, resulting in thousands of alligators having to be moved to the shallow backwater swamp of Lake Jesup. As the title card rightly affirms, the term ‘moved’ or ‘rehomed’ is too gentle; in reality, the creatures were “displaced and dumped like trash”. This element of being treated as refuse, disposing of ‘problems’ for the sake of profit and greed is precisely what the film so brutally, effectively and movingly captures.
Whilst the on-screen gator-mania is a pure rollercoaster of thrills, exciting and ferocious kills and energising sequences of bloodied waters, what Lake Jesup does is unveil a layered subtext to the plot that reveals an emotional story of monopolising tragedy. No nitty gritty spoilers below, but as the film progresses, it is clear that Bonecrusher’s fugitivity exposes the harsh reality of the characters. Subsequently, as Houston King evidently knows, a stellar lineup of performers is essential to flesh out the comprehensive story.
Lake Jesup’s lead and bayou huntsman, Bubba, played by the commendable Russo, is equipped with a brilliantly dark yet incredibly traumatic backstory that provides plenty of ample moments for Russo’s raw talent to shine through as the audience is witness to his portrayal of a man willing to do anything to fight for his and his family’s freedom. Equally praiseworthy is Houston King himself, who plays the Mayor desperate to get reelected for another four. Joining the cast is the seedy Gator Galaxy owner Angus Sullivan, who plays a corrupt business owner like no other. The contextual-heavy plot shines at the hands of its actors, who truly act as the ideal vessel for the delicate and narratively rich film.
The spirited Lake Jesup is further glazed with an abundance of stellar cinematography. Endless shots of lush green landscapes, bodies of muddied water, images of characters deep in contemplation, and the impressive angles of alligators in their various habitats all radiate on the screen, transporting the viewer from their position right into the depths of Lake Jesup. Not to be overlooked is how the film interprets its thematic palette against the aesthetics within the visuals. The dense swampland that features throughout is quaint on the surface, but underneath the facade of serenity and stillness of the water lies trouble, lying in wait to cause destruction. Similarly, this embodies what Bubba is made to endure, with his liberty being at stake if he does not capture Bonecrusher before it is too late.
This engaging, riveting and arresting independent horror is not simply an unmissable feature, it is a surefire crowd pleaser that starts conversations, prompts powerful reactions and will have you wanting more.
You can catch the film Sunday 29th September at this years festival, tickets here!
Bursting with tales of losing control and challenging reality, all entwined with a hint of familial trauma and ladened with a haunting gothic aesthetic that bodes stunning imagery and a grippingly tense atmosphere is Sophie Osbourne’s The Monster Beneath Us.
Yorkshire, England, 1898, sees Lord James Abbington (Jack Forsyth-Noble) of Doloridge House turn a gun onto himself, leaving his wife Grace (Becca Hirani) and their son Charles (Marshall Hawkes) to leave the bustling city of London and return to the quiet countryside to settle affairs. However, they soon realise that they are not alone inside the grandiose manor as Charles develops a strange bond with a mysterious entity below the house.
Writer and director Sophie Osbourne shows no qualms in creating valiant horror that shies away from the bold and sharp barbaricness of slashers and body horror. Alternatively, the film opts for a tremendously eerie slow-burn aura that creeps up on the viewer one haunting moment after the other before completely enveloping you into the maddeningly nightmarish world that is meticulously crafted throughout this British horror. The Monster Beneath Us’ cunning ability to rouse great terror inch by inch is a testament to the film’s sundry charms, from the evocative performances and the thoughtful milieu of designs that echo the time period all the way through to the atmospheric soundscape that conspires with the harrowingly toned cinematography. Take the first act as an example; at this point, whilst we expect malevolence and understand the ominous threat of the situation, Osbourne ensures that we are not entirely privy to the full extent of the torment just yet – essentially, the film knowingly hoodwinks us, throwing any chance of predictability far away.
Simultaneously, as the intricate and complex story unravels, the screen brims with scenes lit with a glow reminiscient of the film’s 1800s zeitgeist, adding to the visually arresting gothic pathos that screams darkness, melancholy, romanticism, tragedy and a plethora of other fantastical elements that The Monster Beneath Us utilises. Further saturating the film with an air of suspense is the array of performances put on display, namely lead Grace Abbington, portrayed by the excellent Becca Hirani, who slips into the cleverly written role with commendable ease.
Last but not least, in the long line of ovation is The Monster Beneath Us’ setting. It is no secret that British horror is remarkable, particularly when it comes to shadowy, macabre period pieces due to the naturally eerie forestry settings and longrunning folklore, with The Monster Beneath Us skillfully adopting this first element. Yorkshire is alive with countless landmarks, woodlands and, of course, ‘The Moors’, which in the light of genre cinema can provide atmospheric tones of gloominess, a cold, distinct dusk where expressive and powerful ghostliness can creep in. Consequently, the film that has an equal measure of the visual uncanny and a spectral uneasiness that is typically hard to capture on screen.
The Monster Beneath Us artfully moves the goalposts of what one is to expect when entering the world of a monstrous story. The result is a film that delves deep under the surface and extracts themes of grief, alienation and despair to conjure a narrative that is persistently vast and one that makes The Monster Beneath Us a horror that deserves a place on a watchlist.
You can catch the film Sunday 29th September at this years festival, tickets here!
Drowning in sordid secrets and lies, hellbent on delivering devilish antics and driving tension to a delightfully unbearable peak is Kill Victoria.
This thrilling rollercoaster follows a group of friends composed of couples Paula (Sara Canning) and Pete (Michael Xavier), Jacky (Gia Sandhu) and Nigel (Robin Dunne), along with the incessantly single Nick (Aaron Poole). The familiar dynamic soon changes when Nick finally becomes engaged to Victoria (Laura Vandervoort). Upon the group’s chemistry changing with Victoria’s arrival, the foursome begin joshing as to how they would kill Victoria in order to get prior-engaged Nick back. However, when the whole group departs on their annual weekend trip, secrets arise and trouble begins as Victoria uncovers a horrifying secret that changes the course of their lives forever.
This wickedly devious film weaponises an iceberg approach, where the surface level is host to a barrage of entertaining and gripping sequences filled with edgy escapades and enthralling twists and turns. However, diving beneath the exterior reveals various levels of sophisticated plot points that work to meticulously craft a fleshed out, complex piece of cinema. Beginning with the peripheral factors: Kill Victoria equips a vivid visual palette that truly captures director Robin Dunnes (who also stars as Nigel) and cinematographer’s Justin Yaroski’s talents of creating a world that immerses the viewer into the compelling nature of the film.
For instance, throughout Kill Victoria, the camera often shows Individual close up shots of each character in moments of contemplation and understanding, piecing together the gravity of the situation they find themselves in. Not only do these moments of individualism look absolutely stunning with the almost Chiascuro-esque lighting burning a sense of emotional intensity onto the screen, but it also speaks to how the film unveils the uncomfortable reality of self-serving relationships.
Dunne, also serving as the writer, took inspiration from his own life experiences to write the script, with him brilliantly, boldly, and bravely being open about how his own encounters with past relationships helped form the basis for the film. In Dunne’s director statement, he notes how a partnership in his mid-twenties resulted in his friends and family drawing back from him, not because of disdain, but because he had changed at the hands of his kinship. In a beautiful way that is admirable from Dunne, this film replicates a universal experience that many will appreciate as a life lesson, a plight that touches on themes of personal-centeredness, self-doubt and the lies that we tell ourselves that twist and conform until they resemble the truth.
Such a dense film relies on the vitality that excellent performances provide. In the case of Kill Victoria, this entirely true. Every single actor thrives in this dramatic character study, employing dimensionality to their on-screen personas and perfectly portraying gutsy yet hearty characters. Coupling this is the film’s applaudable way that it slowly reveals its true colours. Not everything is laid bare and spelled out, alternatively, we are slowly fed information piece by piece, building a slow burning tension that erupts when the real ferocity of the story is revealed.
Kill Victoria is an intricate and nuanced piece of genre cinema that will continually leave the audience guessing and wanting more, leaving a lingering mark on the lucky viewers.
You can catch the film Sunday 29th September at this years festival, tickets here!
Scopophobia: the daunting fear of being watched. This anxiety-inducing sense of being eyeballed by someone or something is what filmmaker Aled Owen’s feature chronicles and captures throughout the intense, cryptic and thrilling Scopophobia.
Rhiannon (Catrin Jones), Erin (Emma Stacey), Mia (Ellen Jane-Thomas) and Sam (Bethany Williams-Potter), a once tight-knit group of friends, reunite in their home town of Milton, Wales, ten years after tragedy struck the group. However, amidst the merriment of the reunion, secrets arise, and terror ensues.
This grassroots horror feature is an independent horror in every respect. From the fundraising campaigns to the budding cinema-centric crew (all of whom are a group of passionate, talented individuals), along with the production being filmed on home soil, is all part of what makes Scopophobia the authentic, creative horror it is. The film weaponises the freedom that comes with indie filmmaking, with Scopophobia flaunting an innovative remixing of traditional narrativisation, throwing viewers onto the unbeaten path more than once, conjuring masses of grippingly suspenseful sequences where riveting unpredictability thrives.
The rampant twists and turns are best kept stowed away until the lucky viewer watches them unravel on the big screen. As a rule of thumb – leave any expectations at the door and enjoy the electrifying ride from start to finish.
Just one of the many ways Scopophobia excels is the film’s epic scoring. Featuring throughout is a powerful synth-focused sound, mixed with a pulsing beat that is reminiscent of that nostalgia-driven 1980s sound, but without being an imitation. In fact, the music has an entirely original undertone that compliments Scopophobia’s organic distinctiveness.
This retro but futuristic style was produced and composed by Welshmen Lloyd Morgan, also known as DJ Keltech, whose noteworthy arrangements work to propel the electrifying film to an even higher level. Joining the soundtrack is GG Fearn, a dark pop musician whose shadowy, Celtic-driven songs permeate Scopophobia and provide a source of punchy, haunting and baroque flair to the film.
Both artists were found either through previous connections or social media, which speaks to the entire homegrown quality that Scopophobia rightly prides itself on. The film is heavy on its regional talent, with many of the cast, like the sound artistry, being acquaintances in some form prior to filming.
Scopophobia’s female driven cast with fleshed out, complex characters, gnarly (and unbelievably gory) practical effects, powerful scoring, immensely captivating visuals and directorial dynamics all amalgamate together to create one hell of a horrifying and wicked elixir pot that is a testament to the brilliance of independent horror filmmaking.
Catch the film Saturday 28th September at the 2024 festival, tickets and details here.
The Stickman’s Hollow resembles a multifaceted labyrinth, feeding its complex story bit by bit, acting like a serpentine. It is the slow feed of a terrifying story, the intricate weaving of eerie details and the intimate mode of filmmaking that make this found footage horror unmissable.
The film chronicles three connected chapters following a series of people who learn the hard way about the mysterious and horrific truth behind the terrifying ‘Stickman’s Hollow’, a seemingly quaint lake that brings about hell for anyone who dares to trail its path.
Writer and director Jack Cox is an expeienced filmmaker who began his years behind the camera working on small-budget cinema with New Horizons, the Roger Corman founded company, before moving onto a successful career in animation. Having spent years in the animation field, Cox has traversed back to horror, and with The Stickman’s Hollow, its evident that the horror genre will be all the better for it.
The film’s ambitious premise of dissecting the lore of ‘The Hollow’ into three parts, is part of what grants the outcome as being a standout piece that thrives in originality. In other words, not at one single moment does the threat of a predictable ending arise. The first of the triptych-like structure follows a young family who venture off camping, settling at the ominous Stickman’s Hollow for some recreational fishing, however, it’s not long before strange whisperings and disturbing events culminate into an almighty finale.
The second entry takes us on the journey of a priest who is tasked with treating the roots of a family whose daughter appears possessed, which ends in a genuinely startling, fierce tragedy, and a series of questions as we begin to piece together the enigma behind the ‘urban-legend-esque’ terror of The Stickman’s Hollow. As the film nears its boiling point, we are delivered the third and final act that boldly connects the three episodes, and offers a gut-punch of an ending that leaves you craving more and more of this striking horror.
Composing the heart of the film is all of the plentiful mystery, mythology and lore, which is made all the more effective due to its detailed backstory. The Stickman’s Hollow is based on a chilling true story from Cox’s childhood of girl who became lost in the local Vancouver woods. And the story goes… the lost child was presumed to be dead, but after a year had passed there were reported sightings of a feral child roaming the forest and eating the remains of animal carcasses. Found near the spotted sightings were strange carvings of male figures, which all point to sinister misdeeds.
Whilst The Stickman’s Hollow is a fictional story, Cox based the tale on the countless, spine-chilling questions that arise when one thinks of a story of such calibre. What happened to the missing girl? How did the carvings come about? And why do missing persons cases in the backwoods go unsolved? Fictional or not, this is nightmare fuel!
Amplifying the intensity is the fact that the filming location is that of where the backstory occurred, conjuring a level of dread that is often difficult to capture on screen. Adding to the unease felt is the film’s found footage fashion that immediately immerses and stirs a level of uncomfortable immediacy. The suspense brought forth, the anxiety formulated and the foreboding alarm mould together throughout this noteworthy expedition into The Stickman’s Hollow.
You can catch the film Friday 27th September at this years festival, tickets here!
All This Time chronicles the infinite time loop that Grace (Emily Rose Holt) has found herself trapped in. Joined by an elusive vampire, Elias (Dan de Bourg), Grace must unravel a string of veiled secrets to escape the treacherously eerie time glitch and return to normality.
Writer and director Rob Worsey delivers a standout, complex and thought-provoking second feature that, alongside his zombie-themed feature debut, Among the Living (2022), proves that Worsey is a talent to be watched. Worsey’s uncanny ability to stir tension and assemble well-crafted scares that linger like a troubling night-terror are at an all-time high throughout All This Time.
The film dabbles in equal amounts of trepidation, theatrical drama, and gothic horror to form an unholy trinity of emotively triggered fear. For instance, as we see Grace come to terms with the disturbed histories that lie in wait, not once does the film become gimmicky in its scares; instead, bouts of unease are stirred, and waves of darkness are weaponised, collectively espousing a film that is as tonally rich as it is visually impactful.
As teased above, All This Time is steeped in a gothically minded atmosphere where the isolation of grandness meets a shadowy, stunningly designed sense of unmistakable dread. In its iconographical form, All This Time employs its grandiose setting, impressive costume design and haunting, moody lighting to showcase its gothic roots, which all combine to create a film that is worthy of watching with the volume off just to absorb the sheer ‘look’ of it all.
Matching the mysterious ambience is the film’s brilliant performances from the likes of Rose Holt and de Bourg, alongside the excellent Emma Pallant. Independent cinema has a habit of bringing about the most spiffing of exhibitions of talent, with All This Time being no exception to this rule. Throughout the entire runtime, the executions are all acted out with such compelling authenticity that draws the audience in and has them hanging on to every last word.
Shifting onto the horror elements, All This Time makes use of its groundhog-like narrative to conjure a sting of anxiety that innately wizzes up an unnerving sense of being trapped, contained and unable to make sense of everyone and everything.
On a theoretical plane, this inability to flee has the power to be suffocating and grim, but Worsey boldly propels this notion by infusing a vampiric spin. Fanged fiends, bloodsuckers, ‘The Count’, Dracula – however these immortal creatures have been cinematically developed before, All This Time, decides to take a unique spin on the vampire tale through its utilisation of a character-study based approach to storytelling. Keeping spoilers tightly under wraps – what can be commended is how the film continuously toys with the motives of the characters. Rarely do we know what to believe and who to trust throughout the running enigma of it all.
In total, All This Time will both move and provoke, pervade and resonate. Ultimately, this is not a film to be missed.
You can catch the film Friday 27th September at this years festival, tickets here!
We’re thrilled to announce that Mad About Horror will be an official sponsor of our Film Festival event in York 27th – 29th Sep 2024!
Mad About Horror are the leading online retailer in the UK and Europe for specialist horror masks and collectibles. As the largest official European retailer of Trick or Treat Studios, they bring the latest US releases to the UK and Europe, offering a wide array of masks, collector’s items, and replica props.
In addition to their partnership with Trick or Treat Studios, Mad About Horror showcases a vast selection of leading collectible brands including NECA, Mezco and Sideshow as well as niche brands such as Black Heart Models, Pallbearer Press, Infinite Statues.
They also have a huge range of Halloween animatronics, masks and decorations. Renowned for sourcing the latest Halloween props and animatronics from the US, Mad About Horror pride themselves on retailing items that are rarely available this side of the pond.
With an extensive product range specialising in all thing’s Horror and Halloween, Mad About Horror serves as the ultimate one-stop shop for horror fans. Their passion for the genre is evident in their commitment to staying up to date with latest releases and engaging with the horror community.
Looking to bring the thrill of the big screen home? Explore their Horror-movie section, featuring a wide array of collectibles, officially licensed masks, and an exclusive selection of Waxwork Records for soundtrack enthusiasts. Whether you’re expanding your horror collection or hunting for the perfect gift, Mad About Horror has everything you need to recreate the cinematic horror experience.
Picture this: an ordinary day is thrown into pandemonium as gargantuan, near-indestructible creatures descend upon you, waiting to pounce at even the mere whisper of the slightest sound. This is the premise for the previous instalments within The Quiet Place franchise. Whilst this shuddersome concept is by far effective, the novelty of the series’ principles is not far from wearing thin; what else could possibly be thrown into the mix to prolong the film’s lore without becoming tedious? How many times can the same battle come forth? Director Michael Sarnoski might have the answer for that!
A Quiet Place: Day One is a spin-off within the soon-to-be trilogy within the franchise, with the film focusing on a new set of characters in a setting we have yet to encounter. The film takes us on the terminally ill Sam’s (Lupita Nyong’o) journey across a wrecked New York City in the bid to survive. Joining Sam is Eric (Joseph Quinn), a British law student, and Sam’s cat, Frodo (panic aside, he survives the whole ordeal).
As the title suggests, the film’s action begins on ‘day one’ of the eventual apocalypse, showcasing the city landscape in a ruckus as humanity grapples with the worst threat mankind has ever seen, whilst simultaneously having to remain as silent as possible to avoid triggering one of these audio-activated beasts. Consequently, the film wrestles with copious intense scenes showcasing Sam and Eric narrowly attempting to avoid making a peep. One brilliantly tense scene calls to mind where the survivors must dislodge a stuck briefcase from a revolving door without creating an almighty crash. These moments of pure muted silence, coupled with the threat of looming and dooming noise, have viewers sitting on the edge of their seats.
Aside from the narrative structures, Nyong’o and Quinn’s standout performances make Day One’s appeal stand out. They create a powerful duo worthy of their own spin-off cinematic series when shown together. Nyong’o is no stranger to the horror genre with her roles in the Aussie zombie flick Little Monsters (2019) and Jordan Peele’s doppelganger nightmare Us (2019), both laying the grounds for her epic delivery of one of A Quiet Place’s most depthful characters yet. Nyong’o’s performance of Sam is praise-worthy, with her ability to navigate such fragility and horror simultaneously creating a character that is engaging and sensitive but strong enough for the audience to root for the entire time. Adjacent to Nyong’o’s leading portrayal is Quinn’s equally as emotively rich performance of Eric.
Similar to his co-star, Quinn’s talents in the likes of Overlord (2018) and the iconic role of Eddie in season 4 of the hit show Stranger Things (2016-) all set the stage for his appearance of the anxious law student Eric. Throughout the film, the pair of survivors form a unique bond that is empathetically dense as they band together to endure the end of the world, stirring that familiar sense of the emotional impact that has become synonymous with the Quiet Place world without becoming replicative of soap opera dramatics.
All entries of A Quiet Place have faired well, particularly due to this mention of poignant emotional resonance. Whilst this expressiveness is a key value across the films, particularly Day One, many still value the films ability to raise the stakes and create moments of pure terror – think of the opening scene in the first entry or to be repetitive, the equally as intense opening scene in the sequel. As a horror contender, Day One is bountiful in its scenes of nail-bitingly tense creature sequences.
Day One is a must-see, well-executed advancement into the mythology of the Quiet Place domain. The film expands our understanding of these creatures while still leaving that sense of disturbed wonderment that makes the sound-sensitive beasts so formidable.
Want more top horror lists and reviews? Check out our blog here..
The ultimate classic game Space Invaders is often coined the definitive forerunner for horror gaming. Its fixed shooter design and sci-fi scenario generate a legacy that has stood the test of time. The chase and survival aspects involving an alien invasion that gradually obliterates the terrain are, at their root, the core premise for many horror arcade games that came to fruition only a couple of years after Space Invaders arrived.
Haunted House (1982)
The action-adventure game Haunted House made history as one of the first games to use a scrolling mechanism that allowed the screen to be moved as the player moved across spaces. Whilst this tech may be the standard now, 42 years ago, this was a revolutionary factor to gaming that permitted the user to traverse with speed across the game, where they must collect pieces of a mystical urn with powers that are situated across a total of 24 rooms of a haunted house. Along the way, players will be confronted with a mirage of horror mythology from bats to tarantulas, all the way to spooky ghosts.
Castlevania (1986)
Many horror video game fans will remember playing the Japanese classic Castlevania growing up. The game’s absorbing and user-friendly gameplay, coupled with the countless appearances from the genre’s favourite beasts, from the dreaded Grim Reaper to the intimidating Frankenstein’s Monster, are all that make Castlevania a must-play 38 years later. However, while praise is certainly owed to the game’s ‘monsterific’ charm and nostalgia-ridden interface, the most worthy factor of applause is how Castlevania became a benchmark from which future horror games derived. The game did not invent the Metroidvania platform where users can roam an expansive, connected map, but it did aid in the popularisation of these iconic mechanics. Castlevania’s seemingly endless land to traverse in the game creates many instances for battles to ensue and a barrel of horror fun to emerge.
Alone in the Dark (1992)
The 1920s Louisiana setting sees the player trapped in a haunted mansion where supernatural forces run amock. To proceed to the next level, the user must complete an array of puzzles and tasks while evading the wrath of the sinister ghouls. Alone in the Dark took inspiration from the likes of horror auteurs such as the zombie king Goerge Romero and giallo champion Dario Argento. What was quite unique at the time for the game was how the creators used a fixed-camera setup where the 3D character’s actions and events would shine against the 2D backdrop. This mechanical creativity, alongside the dramatic music and ambience, earned the film immediate applause from critics and players alike, with the game even going on to be lauded as the very first 3D survival game in the horror subset.
Zombies Ate My Neighbours (1993)
Zombies Ate My Neighbours delivers on its promises of being precisely what the title indicates, with the plot following two friends, Zeke and Julie, who must rescue their neighbours from hungry monsters created by the evil scientist, Dr. Tongue. The humourous game was not necessarily winning any prizes upon its lukewarm release, but over the years, Zombies Ate My Neighbours has rightly become a bonafide cult classic. The two-player mode, coupled with the archetypal 1990s graphics, continuous references to beloved horror movies and comedic outlook, has made the game a staple.
Phantasmagoria (1995)
Phantasmagoria is a classic adventure horror that features a point-and-click mode of playing that follows the story of a writer who, after moving into an isolated mansion, encounters supernatural forces hellbent on terrorising her. At the time of the game’s release, interactive movie games were all the rage, where live-action characters, footage, and cinema-like sequences were featured throughout the gameplay. Phantasmagoria took inspiration from these features and made a game that can only be described as an interactive horror movie. Particularly for the time, the content was theatrical and screen-worthy, with the game’s script even consisting of over 500 pages. Most of these spectacles were heavy on both violence and sexual content, which garnered praise from audiences who admired the boldness of the game and equal dismay from censors, with some retailers refusing to sell the game due to the graphic content. Despite the hurrah, the game proved successful, grossing over $12 million within its first weekend.
House of the Dead (1996)
The iconic House of the Dead game series first appeared as a light gun-shooter arcade game, which has since gone on to become an entire franchise, equipped with a cinema-adapted trilogy (which is rather notoriously bashed upon). The late 1990s arcade game chronicles the player defeating a horde of zombies made undead by a mad scientist. Much of the initial acclaim derived from the game’s hyper-stylised graphics enriched with over-the-top verve – indicative of arcade-like flamboyance. Ironically, the devil-may-care merryness of the now harmless appearing graphics saw the game being taken to court by the city of Indianapolis in a bid to ban all and any violent video games, citing that House of the Dead was one of the worst of its kind. Retrospectively, the game is now championed for its cultural impact in booming the zombie subgenre at the turn of the millennium, particularly within the popularisation of fast-moving zombies that the game so frequently used.
Out of this World: Sci-fi Explorations
Doom 3 (2004)
Doom 3 acts not as a sequel in the Doom video game series but instead as its own reboot that strays away from its two predecessors, with the third entry forgoing the prior lack of storylines and opting for a more ample synopsis that would eventually go on to determine the game’s impressive acclaim. As such, the premise is more detailed, following a space marine who acts as the force preventing extraterrestrial creatures from entering Earth. The extensive backdrop also furthers the game’s overall presentation, particularly considering that the designers have more richness to play with.
Dead Space (2008)
The premise of a spaceship becoming overrun by undead creatures chillingly known as Necromorphs gathers sufficient spine shivers on its own, let alone the game’s riveting ability to harness the player and figuratively pull them right into the deadly action. In developing Dead Space, the creators took slight inspiration from the likes of System Shock (1994) and its sequel (1999), along with the ever-influential Resident Evil 4 (2005). Despite these games being entirely meritable, Dead Space wanted to abandon the typical run-and-shoot tactics that habitually take the player ‘out of the game.’ The result of this is a third-person perspective game that is genuinely effective and easily provocative of a taut tension that is hard to beat.
Alien: Isolation (2014)
Unlike many entries on this list of games that have since been adapted after their success, as the title suggests, Alien: Isolation did things differently. It is based and set 15 years after the 1979 Ridley Scott film Alien, following Ellen Ripley’s engineer daughter who boards the space station to investigate her mother’s disappearance. The gameplay allows for many abilities and tasks, with the first-person character being able to hide in abandoned lockers, duck under spaces, vent crawl, run ladders and break the line of sight. The freedom of movement remains a big attraction to the game, with the flexibility forcing a heavy immersive intensity where the mystery of the mission and the enemies’ threatening portrayal make for a game that will have the player fixated on the screen for hours upon end.
Fighting the Hordes: Zombies and Viruses
Resident Evil 4 (2005)
In Resident Evil, its fourth output is universally praised as one of the franchise’s best. Maybe it’s the sinister cast of morbid creatures that spring to life throughout the game or the intense gameplay coupled with the fleshed-out characters that make this survival horror game a standout feat. Either way, acclaim is abundant throughout this rip-roaring, frenzied play that showcases a detailed-oriented approach to its camera system, which namely popularised the over-the-shoulder angle that so many players are accustomed to now. It was an interesting take on the land within the game, the player essentially has the ability to immersive themselves into the action akin to the first person shooter view, but additionally have an almost gods view perspective on the action.
Left 4 Dead (2008)
On the surface level, this fierce zombie thriller may appear as yet another zombie riot to join the extremely packed subgenre, but as any player will inform, Left 4 Dead is a powerful, consuming voyage into the horrors of the undead, with the game’s zombies having devastatingly horrific traits that will get hearts racing in no time as you fight for survival. Left 4 Dead truly comes to life when the multiplayer system is utilised. The four-game mode offers a single-player mode, with the other characters being controlled via AI bots, and whilst this play does still elicit a spirited exercise, the game thrives when the four-player mode is enacted, and cooperative gameplay ensues. As a result of the multiplayer mechanics, Left 4 Dead is a classic social game that demands the thrills that come with interactive group sessions.
The Last of Us (2013)
In the scheme of video game adaptions, it is rare to find one that is as universally beloved by seemingly everyone, horror fans or not, video game enthusiasts and ones who have never touched a console. However, whilst prestige is owed to the 2023 TV series, the original source material is even more impressive and epic. Emotionally driven and melancholic in tone is this action-adventure game that follows the remaining survivors after a fungus-fuelled virus has spread amongst the U.S., leaving the landscape barren except for the god-awful mutated creatures and the last of humanity. With its stunning visuals and intense gaming choreography, what truly propels The Last of Us is the strikingly fruitful character development where relationships and bonds are paid detailed attention, creating a meaningful and engaging experience for the player.
SURVIVAL of the Fittest
Condemned Criminal Origins (2005)
This survival, first-person horror game takes a more grounded approach to its plot, focusing on the terror within reality as we follow a detective on the hunt for a serial killer. Whilst the game does slightly tiptoe into the supernatural realm, its nucleus remains fixated on graphic, visceral violence that is true to its real-world aesthetic. The design and theming are noted to be replicative of psychological thrillers including Se7en (1995) and The Silence of the Lambs (1991). As such, the atmosphere is a key component in the game’s success, with the dramatic, stylised aura pairing nicely with the brutally violent hand-to-hand combat that features throughout.
Amnesia: The Dark Descent (2010)
Amnesia: The Dark Descent has only grown in popularity since its release nearly fifteen years ago, with the game’s focus on horrors that lie in the pitch dark, stirring waves of psychological threats. The looming presence of gruesome monsters that lie in the wake is emphasized by the game’s keenness not continuously to show the enemies’ appearance; alternatively, the frights are brought forward by the knowing that these creatures are waiting – it is certainly a situation that will leave you in trepidation. The gameplay itself furthers the vigour of the horror as the lead character, Daniel, is unable to fight off the monsters upon contact, instead he can only escape if they are unable to see him. The sense of hopelessness and unease combined with the dark graphics and aura makes The Dark Descent an unmissable experience.
Darkwood (2014)
Darkwood may initially present itself as a run-of-the-mill survival game, taking place in an eerie Polish forest where the player must make their way out of the turmoil. However, the pulsing terror does not derive from continuous jumpscares which has become somewhat typical of the subgenre, but instead, the looming sense of nihilistic dread is stirred purely by the uneasy atmosphere and threat of the utterly barbaric creatures that appear throughout. Joining the macabre vibes is the detailed gameplay that revolves around a plethora of side quests and missions that add bountiful depth to the mystifying game.
The Evil Within (2014)
Shinji Mikami, the creator of the infamous Resident Evil game began to notice that contemporary survival games no longer scratched the itch of intense battles to escape and survive, instead, Mikami noticed a strong uptake in these games becoming solely action-horrors despite the survival genre label. In a bid to re-transform the scene again, just as he did years prior, he created The Evil Within, a nail-bitingly creepy game centring on secret organisations and the desperate bid to survive such calamity. The fruitful combat scernaios, heaped with the eerie environment propel The Evil Within to be a standout game of the early 2010’s, with the frenzied, gory displays of terror making for an adrenline-filled ride from start to finish. The sheer chaoticness of the enemies and the thoroughly rich plot pump freshness into the survival element of the game, ensuring that each spine-chilling second spent playing is brimming with excitement, nerves and a great deal of fear.
The Quarry (2022)
The fairly recently released The Quarry was almost inescapable for many upon its arrival. Positive reviews were peppered across forums, advertisements were unavoidable, and sales exceeded expectations, which is unsurprising considering the game’s meta-like qualities, brilliantly executed character development and overall aesthetic and atmosphere that hails to many horror fans’ nostalgic acclaim to summer camp nightmares. The plot follows a group of counsellors at Hackett’s Quarry Camp spending their final night at the site. However, any chance of merriment is cut short after supernatural creatures, alongside vicious locals, make their presence known. The game’s interactivity means that all the playable characters can either die or survive, with their life depending on the players’ decisions, creating a multifaceted sense of immersion that raises the stakes. The game’s intense thematics speak to its spiritual predecessor, Until Dawn (2015), with the gameplay and plot exploring that same sense of malicious cruelty and infamous cabin, woodsy setting.
Unleash Your Dark Side: Reverse Horror Games
Carrion (2020)
Carrion belongs to the intricate reign of reverse horror games, which in this case leads the player to take on the role of a tentacled creature travelling through a research facility killing everyone in sight. Carrion is comparable to that of a maze where the game’s map shows a series of twisted and intertwined areas that the player can only access once they have completed a series of tasks. The aesthetics made up of pixel art and the creature’s gnarly design is reminiscent of nostalgia-driven video games of the late 1990s and early 2000s, it is simple and effective, and from a contemporary perspective, it is a refreshing change that allows the player to set aside how hyper-realistic and sensical the game could be and just simply play and enjoy.
Dead by Daylight (2016)
Dead by Daylight is a feast for any horror fan, with the game allowing the chance for players to be either the killer or the victim. This measure of hunter and prey creates a dynamic that allows for the slasher-like plot to entwine itself within the diegesis of the game, with the outcome being equivalent to that of the ‘ultimate slasher’. The story follows a team of survivors who must persist in fighting against a mysterious killer whose goal is to sacrificially impale its victims on hooks to please a macabre presence otherwise known as The Entity. The gameplay teases all by creating ruses where the killer’s and victims’ information both allow for advantages. Whilst the killer has natural power within its antagonism and ability to know where the group’s missions are located and so forth, what the victims have is the ability to switch from third-person to first-person views, creating an all-encompassing perspective where every angle is at the player’s command.
Sea Salt (2019)
Sea Salt is an independent reverse horror game that lives and breathes Lovecraftian aesthetics, with the story set in the late 19th Century in a small seaside village. The players take on the role of Dagon’s army, a sinister god of the ocean who is worshipped by the town as they provide regular sacrifices. However, when the sacrifice runs short, Dagon decides to invade and massacre the village. It is a misconception that all reverse horror games innately create an environment where the victims easily bow to the player’s antagonistic force; Sea Salt demonstrates that this is quite the opposite, with the villagers teaming up to create swarms, wielding weapons and creating massive retaliations that the player can find themselves struggling to defeat. The intense and challenging gameplay is joined by the game’s gloomy appearance that matches the overcast Victorian-esque seaside town.
Screen to Scream: Horror Games from the Movies
Halloween (1983)
Halloween, seemingly many fans favourite autumnal slasher, perked the interest of Games of Apollo employees in the midst of the great video game crash of 1983. The hide and seek device within the 1978 John Carpenter film was a large inspiration for the creators, with the game following a babysitter escaping the presence of an unnamed killer. Whilst the game was titled Halloween, with the poster featuring a large pumpkin (the exact same design used in the film’s poster), along with Carpenter’s titular theme song appearing throughout, the game never indicates that the characters are that of Laurie Strode and Michael Myers. Although the game has fared well over the years, primarily due to the nostalgia, fan-driven culture surrounding Halloween, at the time of its release, the game aided in Wizard Video Games filing for bankruptcy due to the sales. In fact, in the midst of liquidation, the company sold copies of the game with minimal effort, not even labelling the case, instead the edge was simply lined with a white sticker with the word ‘Halloween’ sloppily hand-written on it.
The Texas Chainsaw Massacre (2023)
The Tobe Hooper 1974 classic The Texas Chainsaw Massacre is no stranger to the world of video games, with the first being developed into gaming format in 1983 for the Atari 2600. Forty years after the fact came the revived 2023 asymmetrical-based game which sees a group of 7 victims who must escape the deadly cannibalistic family. The atmosphere, music and pacing, challenges, maps and much more are all a testament to the barrage of amusement this game delivers. It may not be a chilling expedition akin to the paranormal antics seen in other games, yet what Texas Chainsaw does yield is a vibrant, bloodied immersive experience that will keep you hooked for hours as you battle with the unique characters and fight for survival. That specific combination of fear and excitement colluding throughout the various cat-and-mouse situations is amplified by the horror star power behind the characters. Kane Hodder, who played Jason in four of the Friday the 13th films (as well as acting as a stunt coordinator for Texas Chainsaw Massacre III [1993]), stars as Leatherface. Hodder’s expertise in playing formidable forces elevates this intimidating motion capture experience.
Friday the 13th (2017)
Yet another asymmetrical horror game is the ‘slasherific’ Friday the 13th which aids in lingering, expanding and exploring the maddening lore of Jason Vorhees and his brutal killing sprees. The game is built on a semi-open world chassis, where players can investigate the intricate design found within the crevices of Camp Crystal Lake. The game was seemingly made with the interest of fans of the franchise in mind, with the in-game virtual cabin offering a plethora of trivia that peaks into the land of an array of Friday the 13th films. Some of this fandom-orientated trivia includes Pamela Vorhees tapes and Tommy Jarvis tapes – both of whom are some of the franchise’s most acclaimed characters. However, all of the success was short-lived as the game’s servers were closed down in late 2020 due to licensing issues, leaving the game only available online through a peer-to-peer network. Once again, the game was officially delisted late last year, but the game’s creators have endlessly teased future creations.
Evil Dead: The Game (2022)
As with key players in the horror movie landscape, The Evil Dead is familiar with the virtual world, with the 2022 game being the latest in a lineup of 10 games adapted from the lore of Necronomicon. The game primarily succeeds through its callbacks to the iconic world of Ash and the gory demons that he can never seem to escape. The game walks the tightrope of being uncomplicated, providing easy, messy fun where ample weaponry and bloody battles are plentiful; whilst also enacting a full-bodied storyline to prevent the game from becoming too elemental. In other words, the game makes use of simplistic, groovy fun that fits in nicely amongst the expansive Evil Dead universe.
Twisted Mind Games: Psychological Mayhem
Silent Hill 2 (2001)
The lore of the Silent Hill spectrum is part of the entire gaming series’ major intrigue. Metamorphic creatures, gangly beasts and gnarly monsters parade their nasty frightfulness throughout the game, making for a play that is not for the faint of heart. Joining the fantastical yet chilling land of Silent Hill is the game’s bizarre and puzzling premise where the horror is akin to a carnival of circus-like madness, all of which is complimented by its disorienting scoring and sound that is reminiscent of disturbed, discordant drones that cling and clang to produce the ultimate unnerving experience. Further propelling Silent Hill’s second entry into gaming stardom is the development of the cinematic aesthetics that made its predecessor successful. The game is brimming with psychologically rich storylines, immense visuals and that whopping grandiose soundtrack that is synonymous with the game.
P.T (2014)
P.T. was developed by none other than gaming auteur Hideo Kojima (Metal Gear [1987]) as part of a collaboration with Guillermo del Toro. P.T. has ties to the Silent Hill series, mainly as the game was developed as a teaser for the now cancelled Silent Hills. However, as Kojima has expressed, P.T. is essentially its own standalone game that does not piggyback off of the Silent Hill franchise. Upon its release P.T. soared the market with unbelievable popularity, it became known as the must-have game, the unmissable experience. The visuals were terrifying, the tension was immaculately built and the plot of a labyrinth-like haunted corridor that the player must escape, all made the game a roaring success. That was until it was deleted from the PlayStation Network less than a year after its release due to the cancellation of Silent Hills. Uproar ensued as P.T. was its own game, leading to various fans remaking the game multiple times, only for it to be taken down shortly after.
Omori (2020)
Omori is an independent, Kickstarter-funded game based upon director Omocat’s webcomic ‘Omoriboy’. The concept is similar to that of role-playing games of Japanese origin, which often focus on strong character development and fleshed-out background stories. The overall plot follows Sunny, a teenage boy, and Omori, his alter ego. Throughout the game, the user delves into Omori’s fantasy world, as well as Sunny’s real world. The theming and tone throughout the gameplay between the two lands deal with darkly dramatic issues including mental trauma and suicidal ideations.
Paranormal Activity
Fatal Frame II: Crimson Butterfly (2003)
The Fatal Frame series, also known as ‘Project Zero’, is a staple Japanese horror game which has grown quite the fan base, particularly the game’s second feature, Crimson Butterfly. The game mostly toys with the paranormal and all haunting paraphernalia associated with ghostly ghouls, leaving players often aghast due to the game’s genuinely creepy material. The fear factor is amplified by the unique play of the game, with the objective being that the player must use a special camera, think Camera Obscura, leaving the horrifying ghosts to leap out on the screen the minute the shutter button is pressed. Shockings’ and intensity are two rules of the adventure that make for an entertaining and above all, addictive game.
Visage (2020)
Partially inspired by the intricacies of P.T. is Visage, an independent game centred on a strangely laid out house where players must determine the root cause of the paranormal activity. The semi-open world structure of the house allows for a range of puzzles to be solved, which vary from gaining information from the cryptic surroundings to obscure challenges where the player has to immerse themselves right into the daunting action. The non-linear flow of the game makes for plenty of unexpected twists and turns as the player unearths the lore of this strange and confusing house.
MADiSON (2022)
The Argentinian game MADiSON is perfectly simple, it delivers scares by the bucket load, the gameplay is smoothly developed and just the right amount of challenging; the visual and aural aesthetics have that hard to achieve balance is intense, but not too much like a caricature. This melodic approach is what makes MADiSON the ‘Scariest Video Game of All Time’ as declared by Broadband Choices The Science of Scare Project where 200 players were made to play 45 horror video games, whilst connected to a heart rate monitor. On average players of MADiSON had a BPM of 97, peaking at an extortionate 131 BPM!
Shock Frights: Jumpscares
Outlast (2013)
Outlast has gained a reputation over the years as being a terrifyingly graphic and cruel game that will have you playing with the lights on. The game centres on a freelance writer who gets wind that a psychiatric hospital is performing inhumane human experiments – think MK Ultra, leading the journalist into the hellish bowels of the nightmare-inducing wards where all kinds of harrowing beings lie in wait. Outlast exercises a rare feat in horror video games, the lead character – the player, has no special abilities, nor any powers or weaponry that can defeat the utterly soul-shiveringly creepy enemy. Alternatively, the player must solely rely on stealth tactics to avoid a genuinely brutal demise.
Five Nights at Freddy’s (2014)
Five Nights at Freddy’s has become one of the most popular staples in horror video game spectre in recent years, with the animatronic-themed chaos interweaving itself into the tapestry of books, comics, films and the culture of cosplay fandoms. Whilst some may argue against this, the game itself is not necessarily nerve-shatteringly scary, it is however an abundance of total fun where the jumpscares and creepy scoring make for quick bursts of entertaining frights. The majority of the games take on the story of a fictional Chuck E. Cheese-style place where night shift employees have to watch over anthropomorphic animatronics that are inhabited by the souls of murdered children. The rather dark background story and impressively creative design of the game make it a must-play.
TheMortuary Assistant (2022)
TheMortuary Assistant comes from MMORPG (Massively Multiplayer Online Role-Playing Games) creator Brian Clarke, whose admiration of found footage horror films led to the creation of a prototype of what would go on to become the future hit game. The concept is set in a small town in Connecticut circa 1998 where players take on the role of a beginner mortuary assistant. Initial feedback for the prototype consisted of audiences wanting a more detailed simulation of the embalming side of the plot. Disturbingly but brilliantly, the game evolved to feature hyperrealist embalming procedures which focused on many old-time archaic methods that make for an even gorier game. As if the deathly processes were not enough for the player, the game also implements a staggering amount of effectively executed jump scares that come from the demons that haunt the surgery. Players will encounter countless jumps, boos, and screams as they make their way through the morbid game.
To Be Released
Until Dawn (Late 2024)
It is not uncommon to develop a hand of god feeling whilst playing a game. At the root, it is you who is calling the shots. However, Until Dawn takes this idea and maximises it to its fullest capacity. The game uses a brilliant butterfly effect where each step and decision you make within the game, affects the outcome and consequences, where you can find yourself in a plethora of differentiating webs and conflicts every time you play. Maximising the interactivity of the gameplay is the overall emotional depth that the narrative-driven plot thrives on, with the story breeding a sense of drastic permanency; whilst playing if you were to make a wrong move and one of the characters meet their gory demise, the act is final and the character will remain dead until the game is started over. With all of the game’s excellence, fans were ecstatic to find out that a remaster of the hit game will be released later this year, showcasing even crisper graphics that will enhance the true terror that bleeds throughout.
Ghosts (Release Date: TBC)
Jed Shepherd, writer, director, producer and now video game creator is known for his phenomenal contributions to horror, with productions such as Host (2020) and Dashcam (2021) lining his credits. Shepherd heralds the upcoming interactive horror video game that is set to be released across Xbox One, PlayStation 4, Microsft Windows and Nintendo Switch; with the big gaming names featuring Ghosts, it can be assured that no one will miss out on this frightful play. The game focuses on a television producer of Ghosts, a live-action ghost-hunting show. The game takes place in real-time, with the job consisting of accommodating the hosts, choosing which footage to include, select the advertisements for the show, all the whilst keeping a lookout for ‘The Long Lady’ – the in-game urban legend whose Medusa-like gaze kills anyone the moment they meet eyes. Along with the unique and exciting plot is the FMV (Full-Motion-Video) stylisation that also comes with an interesting time restriction. The game can only begin at 10 pm local time and if the user were to end the game before the show ends then all the characters will die. Whilst the Kickstart-funded game has not received an official release date as of yet, it’s a sure fact that this live-action, totally distinctive game is not to be missed.
OD (Release Date: TBC)
Hunter Schafer (Euphoria), Sophia Lillie (IT: Chapter Two) and Udo Kier (Bladerunner) star in this Hideo Kojima and Jordan Peele written game. The details behind the story have been kept deliberately tightly under wraps, with Kojima only teasing the overarching scenario that revolves around testing fear thresholds and what happens when one overdoses on fear. Unfortunately just under three minutes of the gameplay was leaked which showed a nurse lingering around a darkened hospital with a flashlight followed by a treacherous scream. Whilst still little is known, what has been promised is that this will be no ordinary game, but instead an innovative form of gaming media unlike no other.
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