Something Wicked This Way Comes: The Latest Trends in Horror Games

When it comes to horror in games, there are a few things that are givens: it will likely be twisted, bloody, and terrifying. In other words, my kind of game. The genres of such games aren’t quite as predictable, however, ranging anywhere from RPGs to first-person shooters, and rightfully so; why limit a fun thing like terror to just one genre? Nevertheless, when looking at the overlying themes of these diverse games, trends have been emerging, giving everyone a glimpse of where things are possibly headed.

Turning Japanese: Japan has a stronghold on horror these days—in games and beyond. In case you haven’t noticed, American remakes of Japanese horror films are a dime a dozen, and typically horrendous in ways that weren’t intended (e.g. bad acting, lack of originality, etc.). Games are following suit, but in a much more desirable fashion. The Fatal Frame series was born in Japan, came to the States, and still holds all of its creepy Asian flair. Moreover, characters of the Silent Hill games echo the disturbing essence that Japanese horror typically embodies, often human in form, but with something that sets them apart in a deeply unsettling way. In comparison to its American counterparts, Asian horror has a tendency to be more psychological, unnervingly more subtle, and essentially more horrifying. Hopefully it will catch on further in the gaming industry—and Hollywood will learn how to do it right, dammit.

Psycho Killer: What’s more ghastly than something entirely plausible? If you want horror, look no further than your local newspapers. There’s nothing better than games like Manhunt to remind us that there need not be ghosts or goblins in order for something to be scary. After all, truth is stranger than fiction, right? Moreover, themes involving the inhumanely human prove how unbelievably messed up we are—not only because homicidal maniacs actually exist, but also, because we’re enamored with stories involving them. Time and time again, films have shown us how nightmarish yet dually intriguing humans can be after they “lose it”: Misery, Se7en, and Silence of the Lambs are just a few examples. With increasingly violent games on the rise, I reckon they will begin to explore the same disquieting concept more frequently as well.

Domo Arigato, Mr. Roboto: It would be an understatement to say that people are concerned about the future. The economy is sickly, global warming is on the rise, and many think that we’re on the brink of World War III. Horror set in the future works as an extension of people’s uncertainty regarding what awaits them in increasingly tumultuous times. And what better symbol of the future than space, the next frontier? It is filled with endless unknowns and represents technological advancements that could either make or break modern society. In 2001: A Space Odyssey, HAL 9000’s malfunction is a perfect example of this. Moreover, the Alien and Predator films give us distressing depictions of “what’s out there,” while showing us highly evolved technologies and different aspects of horror than the typical slasher film. That said, the recently released Dead Space embodies similar notions, with its spaceship backdrop and zombie-esque alien virus. Its portrayal of futuristic elements in a horror-like manner is especially poignant in this day and age, and consequently, I foresee more games with this theme on the horizon.

Basically, what it boils down to is this: people are most fearful of themselves—not as they are, however, but rather what they have the potential of becoming. They fear losing control, and losing their humanity. They fear dying, and worse yet, what happens afterwards. There are a thousand mysteries to life as we know it, and there’s nothing better than horror to unveil our vulnerabilities surrounding them. With games progressively becoming more realistic, it only makes sense that they will take a more in-depth look at these aforementioned trends, exploring the core of our weaknesses, and ultimately calling upon our strengths to come face to face with our own mortality.