Some of the horror games I love the most are those set in relatable settings like coastal towns, tranquil suburban streets, or quiet family homes. Many classic games tap into the American cultural zeitgeist, establishing a sense of security before introducing the horror. Recently, I’ve been exploring horror games based in various parts of the world, and I’ve developed an appreciation for these intricate and detailed games, which feel even more unsettling due to their unfamiliarity.
For instance, Still Wakes the Deep begins on a deteriorating Scottish oil rig where protagonist Caz McLeary engages in casual conversations with his peers. The developers, The Chinese Room, have ensured that the accents and lingo are authentic. At first, I relied on subtitles to understand the dialogue, but I quickly adapted. Just as I got comfortable, a disaster occurs when the rig drills too deep, unleashing an unfathomable terror. Despite initially identifying with Caz, I soon find myself sharing his primal fears of drowning, cosmic corruption, and death.
Mundaun is another prime example, drawing from Swiss folklore and illustrating the tales with hand-drawn art, delivering a heavy and ominous atmosphere in every scene. Curdin, a young man, returns to the Alps to investigate his grandfather’s death in a mysterious barn fire. Allies are scarce in this deserted village, and I find myself relying on unusual friends like a decapitated, screaming goat head or a desolate veteran.
Red Candle Games has garnered praise with titles such as Detention and Devotion, which unfold in Taiwan and weave in elements of the region’s history and religion. Detention takes place during the White Terror, a lengthy period of martial law, which significantly influences the narrative. Meanwhile, Devotion draws on themes of Taiwanese cults and family dysfunction to tell a compelling and haunting story.
The indie game Finnish Cottage 8 by Savukivi Games, launched in March, offers a unique horror experience. Set in a mökki, a typical vacation cabin, this game presents a distorted reality plagued by anomalies. Despite lasting less than half an hour, the eerie and familiar setting amplifies the horror, such as a pile of bones blazing in the fireplace or a faceless man hovering next to the sauna.
Reflecting on these experiences, I’ve also revisited classic games like Siren, rooted in Japanese folk horror. Released in 2003, its unique “sightjacking” mechanic, allowing players to see through the eyes of monsters, is both innovative and clunky. Navigating its complex puzzles and fragmented narrative across multiple perspectives required a guide, but ultimately, I became captivated by the lore of Hanuda village.
While the recent remake of Silent Hill 2 by Bloober Team was enjoyable, these newer experiences have piqued my interest in Silent Hill F, set in 1960s Japan. Shimizu Hinako, the protagonist, resides in the secluded town of Ebisugaoka, shrouded in mist. The distinctly different monster designs promise intriguing ties to the main character, offering a fresh take on the series’ psychological horror.
Currently, we’re experiencing a renaissance of horror games, with independent developers crafting innovative narratives filled with scares. I find myself increasingly drawn to games set in diverse cultural settings, where the unfamiliarity heightens the tension and distinguishes them from clichéd horror tropes. Taking this metaphorical trip to new places keeps the horror fresh and exciting.
