Well, although this digitally-edited painting was supposed to be a “retro” 1980s/90s-style painting, it ended up going in more of a cyberpunk direction when I added the background.
As usual, this painting is released under a Creative Commons BY-NC-ND licence.
“Video Museum” by C. A. Brown
Well, it’s the end of the month and this means that it’s time for my usual round-up of the ten best articles I’ve posted here during the past month (with a few honourable mentions too).
Despite having massive writer’s block when I started preparing this month’s articles, I was able to find inspiration again by beginning an extended series of articles about the design of horror videogames 🙂 Seriously, this will probably continue until at least late June… if not further. I’m genuinely surprised it has taken me this long to focus on this fascinating topic 🙂
Not only that, by a delightful coincidence, my “Survival Horror 2002” digital art series – which I’d originally prepared last year – also appeared here this month too 🙂
As for reviews, I ended up writing four game reviews this month 🙂 In addition to my usual “Doom II” WAD review, I also reviewed the original “Resident Evil 2” (1998), the excellent 2002 remake of “Resident Evil” and a more modern horror game called “The Coma Recut” (2017). Stay tuned for more horror game reviews next month, including a classic “Silent Hill” game or two…..
Anyway, here are the lists 🙂 Enjoy 🙂
Top Ten Articles – May 2021:
Honourable Mentions:
Well, this was a digitally-edited painting that I made last May – based on a memory of a walk at the time. Due to all of the stuff that was going on at the time, the council hadn’t trimmed any of the grass verges in Westbrook – which made them look wonderfully dramatic, wild and just generally more interesting than usual 🙂
As usual, this painting is released under a Creative Commons BY-NC-ND licence.
“Westbrook – Verdant Memories” by C. A. Brown
Synchronicities are funny things. A week or two after I became fascinated (or more fascinated than usual) with classic survival horror videogames and also started writing articles about them too, I happened to glance at GOG a literal hour after they had started a mid-week sale of horror games. The timing was… eerily perfect.
Anyway, a series of modern-style survival horror games – the first two “Coma” games – caught my eye. And, since I could get DRM-free copies of both for about £8, I decided to take a bit of a risk. And I’m so glad that I did 🙂
So, let’s take a look at the first game in the series – “The Coma Recut” (2017). Needless to say, this review may contain SPOILERS and unrealistic DISTURBING AND/OR GRUESOME IMAGES.
And, yes, this is an alternate title screen. I forgot to take a screenshot of the original one.
Set in South Korea, the game focuses on Youngho – a schoolboy is running late on the day of a crucial exam. On his way to school, he meets a mysterious girl called Yaesol who seems to be from a different school.
A crowd of pupils gathers around the school gates, as an ambulance carries a stretcher away. A student has fallen off the roof! Everyone is wondering why. Youngho then finds a pendant belonging to his favourite teacher – Ms. Song – outside the gates and plans to return it to her.
Sorry, it’s an “amulet”, not a pendant. Wait a second! It’s an AMULET!? Oh god, if horror novels have taught me anything…
On the way to class, he is menaced by the school bully Myung-gil before being pulled aside by Ms. Song, who has some serious concerns about his grades and wants to see him after the exam. Ever the optimist, Youngho convinces himself that it will be like a date.
There are e…exams in this game?! Aaaargh!
The exam starts and Youngho is immediately confused by the questions. He begins to feel drowsy and falls asleep. When he wakes up, the classroom is dark and abandoned. Stepping out into the corridor, he is greeted by Ms. Song…. Only one problem, she has been possessed by malevolent otherworldly forces!
*Gasp* The teacher has been possessed by evil forces and is filled with the murderous fury of hell! Oh, you mean the videogame? I was having a flashback to my old GCSE maths classes….
One of the first things that I will say about this game is that it was a lot of fun 🙂 Despite the stylised and brilliantly cool-looking 2D manhwa artwork, this game still manages to be surprisingly scary at times.
Yes, it follows the modern “slasher movie”/”Clock Tower”-inspired template of survival horror game design but it pulls it off surprisingly well, whilst also expressing a lot of personality and creativity too.
Yes, creativity! In an indie horror game, no less!
As for the game’s horror elements, it contains a really good mixture of suspense, paranormal horror, psychological horror, jump scares, body horror, Lovecraftian cosmic horror, gory horror, monster horror and – of course – school-based horror.
Like with “DreadOut” (2014), this game recognises the sheer dystopian dread that this type of nightmarish setting can evoke in those who ever had the misfortune of spending time there when they were younger. It is an almost universal fear. One that, even in a game from the opposite side of the planet to me, still felt very relatable. And it really adds a note of both cynical comedy and dystopian terror to the game.
Pictured: The scariest type of setting in the horror genre, with a relaxingly unrealistic ghost monster too.
This is one of those games that will catch you by surprise when you first start playing it but, as you get better at playing it and have a few encounters with Ms. Song, it goes from being ridiculously terrifying to a more fun kind of scary. Creepy and suspenseful enough to give you a thrilling frisson of nervous danger, but also just about mild enough to avoid the “I’m too scared to play any more of this!” problem that some intense modern horror games can have (… and that’s why I haven’t reviewed “Outlast”!). It gets the balance exactly right and is wonderfully scary fun as a result 🙂
And there’s also a really good mixture of ominous Lovecraftian dread AND intensely scary moments too 🙂
The actual 2D gameplay involves exploring the school, navigating maze-like segments and solving basic item-based puzzles. Of course, all of this time, Youngho is also being hunted by the evil version of Ms. Song.
You have a limited sprint bar, the ability to crouch silently, a flashlight, a few fixed-location distraction items, various hiding places at your disposal and even the ability to do a well-timed dodge too. As is traditional in these types of modern games, you have no way of violently defending yourself and have to constantly be on alert for danger – creating a really good tension between nervous slow-paced moments and frantically fleeing in panicked terror.
Or frantically trying to close a text box BEFORE fleeing in terror…
Interestingly though, this game is a bit more forgiving than some games of this style that I’ve played. Not only are save points surprisingly common, but there is at least one “safe room” you can flee to and the A.I. for Ms. Song also seems to be a very slightly less aggressive foe than these types of horror game enemies sometimes are. A few pre-scripted encounters aside, she seemed more like someone randomly wandering the hallways than someone actively stalking the player.
Yes, there are times where she will show up suddenly but there were also long stretches of the game when I actually felt relatively safe. When I could explore for minutes before the scary music started playing and my “run like hell!” instincts kicked in. Although it feels like there is a certain element of randomness here, the decision to only make her show up occasionally balances suspenseful tension with the actual practicalities of playing the game absolutely perfectly.
Likewise, there’s a surprising amount of strategy and depth to the gameplay too. For example, the player seems to be safer from unexpected “run!” moments in classrooms than in hallways – so Ms. Song can sometimes be avoided by quickly ducking from classroom to classroom. Likewise, it’s usually safe to break out your flashlight whilst exploring classrooms – which can also reveal extra items to find.
… As well as revealing creepy mannequins and nightmarish cosmic horrors from beyond time and space too!
Still, the game keeps up the tension by including a couple of static enemy types – both of which inflict different types of slow long-term damage that require specific healing items to cure- not only do you have to learn how to spot these enemies but also how to dodge their attacks too. Likewise, the game also contains several vending machines where you can use coins you find around the school to stock up on different types of healing items/power-ups.
Ah, limited inventory 🙂 We meet again, old friend…
And, yes, this game includes inventory management 🙂 Although there is unlimited space for story-related items, in-game documents etc… You are limited to carrying six power-ups or healing items.
However, unlike the hyper-strict inventory systems in the classic “Resident Evil” games, you can free up inventory space by using any item at any time. This is balanced out by the fact that the game does NOT pause when you check your inventory, so attempting to heal during a frantic chase will often result in a swift “game over”.
The writing in this game is surprisingly good too. Not only is the main plot a brilliant combination of creepy Lovecraftian cosmic horror, involving evil spirits from a nightmare dimension called “The Coma”, and cynically amusing teenage drama but all of the game’s characters seem surprisingly well-written too.
Yes, the characterisation is a little minimalist and/or mysterious, but each character has a distinctive personality which really helps to add a bit of creativity and… well… personality to the game. Likewise, the general lack of voice-acting in this game also adds to the game’s “comic book” atmosphere too.
Wait, you mean I have to… read?! This really is like school all over again…
And, talking of personality, I really love the art style and lighting design in this game 🙂 The art is cartoonish enough to feel stylised and “larger than life”, but also distinctive and detailed enough to keep the player immersed in the game’s creepy atmosphere.
Likewise, the combination of gloomy lighting and vivid colours looks absolutely spectacular too 🙂 Not to mention the numerous creepy background details that become more and more frequent as the game progresses too. Seriously, this game has a level of creativity, personality and artistry that is mildly reminiscent of the pre-rendered backgrounds that used to be common in survival horror games 🙂
It’s a modern horror game with 2D backgrounds 🙂 Yes!
As for music and sound design, it’s reasonably good. The sound effects are all suitably dramatic, although the only really memorable musical moment is the jaunty music that plays in the game’s safe “cafeteria” area. This music is really evocative of the MIDI music from some mid-1990s computer games and really helps to add something to the game.
In terms of length, this game is slightly on the shorter side of things. With occasional walkthrough use, it probably took me about 4-6 hours to complete. It’s an indie game with a medium-small location that consists of three different areas/buildings to explore. Still, the fact that it seems to have multiple endings (I think I got the bad one) and at least one optional side-quest that seems to have an effect on a later part of the game, I imagine that it has some level of replay value.
All in all, this is probably one of the best modern-style “run and hide” survival horror games that I’ve played. Yes, it isn’t quite as utterly terrifying as “Remothered: Tormented Fathers” (2018) but it offers a slightly more fun and forgiving type of fear 🙂 This is a game with a personality and a level of depth that really helps to set it apart from the crowd of similar modern horror games and I had a lot of fun with it.
If I had to give it a rating out of five, it would get at least four and a half.
Well, I was feeling a bit uninspired and I ended up making this quick piece of digital art that – to my delight – turned out better than I’d expected it to.
As usual, this picture is released under a Creative Commons BY-NC-ND licence.
“Sunset Clouds” by C. A. Brown
For this article in my series about horror videogames, I thought that I’d take a short break from the classics and look at some more modern games today.
This was mostly because I ended up playing some more of “The Coma Recut” (2017) – a Korean manhwa-style game about a schoolboy called Youngho who falls asleep during an important exam and awakens to find himself being hunted by a possessed knife-wielding version of his favourite teacher, Ms. Song.
This is a screenshot from “The Coma Recut” (2017)
The interesting thing is that, despite the clearly unrealistic 2D cartoon graphics, this game is a lot scarier than it might initially appear to be. In fact, I felt pretty much exactly the same type of adrenaline-filled terror that I’ve experienced with several other modern horror games like “Remothered: Tormented Fathers” (2018), “Monstrum” (2015) and possibly “Outlast” (2013). These four games all have completely different stories, characters, settings etc… and yet they all manage to be intensely scary in pretty much the exact same way. But, why?
Well, although all four of these games also include other sources of horror, the main source of fear is actually their use of pacing and suspense. Unlike the classics of the genre, which often use a deliberately slow pace to build up a haunting dread-filled atmosphere in order to scare the player in a slightly more subtle – but longer-lasting – way, modern horror games include a lot more contrast in their pacing in order to keep the player on edge at all times.
These types of modern games will consist of minutes of careful slow-paced exploration that will suddenly be broken by the – often unscripted – appearance of a scary monster or villain. In an instant, the game suddenly transforms into a frantic fast-paced chase as the player flees for their life and/or desperately searches for somewhere to hide. When they hide, the pacing slows down to an absolute crawl, as the player nervously waits – uncertain whether it is safe to emerge or not.
This is, in a word, terrifying. Even when there is nothing dangerous on screen, the player is still constantly alert to the fact that danger could appear at any second. So, even the slower-paced uneventful moments are filled with a deeply suspenseful feeling of menace and unease. The player may be relatively safe in any given moment, but that could all change in an instant.
It’s a much, much more intelligent version of the linear jump scare-filled “made for Youtube” horror genre walking simulators that were also popular during the 2010s. Unlike a series of pre-scripted jump scares that are often telegraphed seconds in advance, these games usually make their “jump scares” a lot more scary but turning them into organic and unpredictable things that can actually catch players by surprise. This is about a billion times more suspenseful, especially since – unlike the invincible protagonist of a typical walking simulator – the player character can actually be killed by the monsters. These games also include actual gameplay – usually basic puzzles for the player to solve – which force the player to both use tactics and to venture into dangerous places.
In another genius move, all of these games give the player little to no ability to defend themselves. Not only does this turn the “monsters” of these games from cannon fodder into a genuinely menacing source of danger, but it also shapes how the player plays the game too.
In older survival horror games, things like limited ammunition and deliberately awkward combat systems turned every monster encounter into a “fight or flight” thing where the player was put into the position of having to make a relatively quick strategic decision.
Although this is a good creative decision in a lot of ways and fits perfectly into the more cerebral and atmospheric gameplay of these chilling classics, modern horror games will usually bypass this in order to tap into a more intense and immediate feeling of abject terror. By taking away the ability to fight, these games explicitly tell the player to run away! This quickly becomes an immediate, panic-filled reflex whenever you see a monster or hear one nearby. You don’t think, you run! In other words, these games push the player into relying on instinct rather than carefully-considered thought.
These faster-paced moments are also often paired with mild strategic elements (eg: Keep running? Hide somewhere?), further heightening the terror because the player has to actually think about this whilst they are running on panicked, frantic, adrenaline-filled instinct. Like a typical slasher movie character, the player is so filled with terror that they can be prone to making stupid decisions because they don’t have the time or spare mental “processing power” to think too much.
This is then expertly contrasted with the slower-paced moments of these games, where the player will probably be thinking too much. Where they will be hiding and arguing with themselves about whether it is safe to emerge or not, or whether it is safe to explore a new area. Whether to take a risk or play it safe.
Yes, the 1990s/early-mid 2000s classics of the genre are classics for a good reason – and are some of the most well-designed games you will ever play – but modern horror games are often a lot more immediately frightening because of the clever way that they contrast slower and faster pacing in order to keep the player constantly feeling nervous.
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Anyway, I hope that this was interesting 🙂
Well, although this digitally-edited painting required slightly more editing than I’d initially expected, I quite like how it turned out 🙂
As usual, this painting is released under a Creative Commons BY-NC-ND licence.
“Sonata” by C. A. Brown
Well, for this article in my series about horror videogames, I thought that I’d argue the case for pre-rendered backgrounds. If you somehow haven’t heard of this before, it is an old-school game design technique from the 1990s where the entire “background” of a scene (including the floor) consists of a static 2D image, with moveable 3D models overlaid on top of it. When done well, this gives the illusion of a detailed 3D environment.
Made famous by the 1996 survival horror game “Resident Evil” but probably pioneered by the earlier 1992 survival horror game game “Alone In The Dark“, pre-rendered background have sort of fallen out of favour in horror games these days for a number of reasons (eg: better 3D graphics, more “intuitive” controls, more camera movement etc..).
Retro-style indie games aside, the closest modern equivalent I can think of is possibly the “Coma” series (2015-present), which use stylised 2D Manhwa comic style artwork including, technically, pre-rendered backgrounds too. Another possible modern equivalent are horror genre-themed Hidden Object Games, which use 2D digital art as their backgrounds. Yet, these aren’t really quite the same as the style of pre-rendered backgrounds used in many older horror games. Here’s a comparison:
Here’s a comparison of two classic “Resident Evil” games and two modern-style horror genre games that also use pre-rendered backgrounds.
As you can see, the more modern games use a much more vivid and stylised art style than the more realistic 3D renders used in some older horror games.
Although this was probably done for budgetary reasons, the cartoonish style allows the interactive elements to blend in with the background absolutely seamlessly. Interestingly, this is a much older trick than you might think – since the original “Alone In The Dark” also used a more cartoonish palette for it’s backgrounds to reduce the contrast between the background and the primitive low-poly 3D models of the time:
This is a screenshot from “Alone In The Dark” (1992). Notice how the cartoonish background makes the limitations of the 3D models less noticeable.
And, yes, this was an issue in earlier horror games that used pre-rendered backgrounds. Because 3D technology was less advanced in the 1990s, you would sometimes get games with relatively realistic backgrounds but more polygonal or unrealistic 3D character models.
Yet, at the same time, a pre-rendered background frees up more processing power for 3D models – meaning that a slightly later game like the 2002 remake of “Resident Evil” could have better looking backgrounds AND character models than a fully 3D game from a couple of years later, like “Silent Hill 4” (2004):
Again, the “Resident Evil” remake is TWO YEARS OLDER than “Silent Hill 4” and it STILL looks slightly better…
And this was over a decade and a half ago! Imagine how ridiculously photo-realistic modern “AAA” games could look if they went back to using pre-rendered backgrounds? Alas, there aren’t really any direct examples, but this video of modern 3D rendering software in action will give you some idea of what “AAA”-grade pre-rendered backgrounds could look like if they used modern technology.
Another useful bonus of pre-rendered backgrounds is that they make games accessible to a wider audience too. Because it is easier to process and display a 2D image than it is to render a large 3D location in real-time, games with pre-rendered backgrounds have much lower hardware requirements than fully 3D games do. In fact, this was one of the main reasons why the horror genre adopted pre-rendered backgrounds in the early-mid 1990s – since it allowed for atmospheric and relatively realistic-looking locations on the primitive games consoles and personal computers of the time.
Seriously, when I bought a copy of the PC port of “Resident Evil 2” (1998) in the early 2000s, one of the things mentioned on the front of the packaging was “Only requires a P166“. For context, this is a single-core CPU from early 1997 which was already at least somewhat “obsolete” by the time of the game’s release the next year. Seriously, this was a “AAA” game that actually treated the wider accessibility of low system requirements as a selling point 🙂 The 1990s and early 2000s were truly a better age (in some ways, at least).
Although pre-rendered backgrounds don’t allow the same level of camera movement as fully 3D games, these older horror games often turned this to their advantage – using dramatic-looking compositions (eg: placing items in the close foreground, making the camera “lurk” outside windows or beneath things etc…) to really add a huge amount of creepy atmosphere to the experience. The unmoving camera also made the locations in these games feel more “solid” and independent of the main character, further adding to the unsettling atmosphere.
Not only that, by the early-mid 2000s, game developers were already working out clever tricks to make pre-rendered backgrounds “come to life”. Whether it was the seamlessly integrated FMV layers/animations that allowed the backgrounds in the 2002 remake of “Resident Evil” to look like real living places or the way that the camera in “Resident Evil Zero” (2002) will sometimes pan sideways when you walk across a room, there are ways to bring pre-rendered backgrounds to life. And, again, this was way back in 2002! Imagine what else modern designers could do…
Finally, and perhaps most importantly, pre-rendered backgrounds fit in brilliantly with the pacing of good horror games. A genuinely scary horror game is NOT a fast-paced action game! It is a slower-paced, atmospheric and suspenseful experience. Pre-rendered backgrounds fit in well with this slower pace not only because of the higher level of visual detail they allow (since the player will actually have time to look at them) but also because of the types of control schemes that work best with these backgrounds too.
Pre-rendered backgrounds are well-suited to both tank controls and “point-and-click” controls (seriously, a lot of old-school point and click games used pre-rendered backgrounds too. See “Riven” (1997) for a stunning non-horror example of this). Although tank controls have fallen out of favour in horror games these days and have been replaced with more “intuitive” control schemes, I’d argue that the “awkwardness” of this old control scheme was very much a feature rather than a bug.
Again, scary horror games are NOT fast-paced action games. The slight “clumsiness” of tank controls disorientates and disempowers the player, which adds extra suspense to these games and clearly sets them apart as something different to an action game. Likewise, many older horror games also deliberately adopted “awkward” control schemes in order to shape how the player plays the game.
A great example of this is the older “Resident Evil” games – where the player had to stand still, manually raise their weapon and then carefully aim whenever they wanted to fight. This deliberately awkward combat system was put there to encourage players to conserve ammunition and carefully pick their battles, rather than just mindlessly blast their way through the game. It adds to the suspense and slower pacing of the game.
So, yes, although they are nowhere near as popular as they used to be, there’s still something to be said for pre-rendered backgrounds. They allow for better graphics on weaker hardware, they allow for some truly dramatic uses of composition, they add atmosphere to games and they are also an absolutely perfect fit with the slower pacing that is required for seriously scary horror games too.
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Anyway, I hope that this was interesting 🙂
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Well, this digitally-edited painting was originally supposed to be a “Capriccio“-style painting, but it ended up going in more of a gothic direction when I was editing it 🙂
As usual, this painting is released under a Creative Commons BY-NC-ND licence.
“Imagined Landscape” by C. A. Brown
Well, for this article in my series about horror videogames, I thought that I’d talk about in-game documents. These turn up in a lot of horror games and even go back at least as far as the very first 3D survival horror game – “Alone In The Dark” (1992):
This is a screenshot of an in-game document from “Alone In The Dark” (1992). In some editions of the game, it is also narrated with hilariously melodramatic voice-overs too 🙂
As astute readers may have noticed, this in-game document references/quotes the early 20th century horror fiction of H. P. Lovecraft. Although he held some truly dreadful opinions, Lovecraft’s exquisitely-written creeping tales of unseen cosmic horrors, gothic bleakness and psychological dread have had a massive influence on the horror genre as a whole for a lot of good reasons and also on the in-game documents in many classic survival horror videogames too.
A fair number of in-game documents, especially in the older “Resident Evil” videogames, use a very similar narrative device to several of Lovecraft’s short stories in order to creep the player out. These Lovecraft stories often begin with someone in their final moments of life or sanity looking back and telling the story of how they ended up in this horrifying situation. Although the older “Resident Evil” games usually leave out this intriguingly creepy type of beginning, many in-game documents (such as the famous “Itchy. Tasty.” one from the original 1996 game) feature characters narrating their own deaths… or un-deaths.
Not only does this add a tragic human element to the desolate zombie-filled locations of these games, but it also adds scale to the world of the game too. This is similar to a technique commonly used in older British splatterpunk horror novels from the 1970s-90s – initially popularised in James Herbert’s influential 1974 novel “The Rats” – where there would be random chapters that would introduce a new side-character, only for something horrible to happen to them several pages later. This technique adds a sense of scale and nihilistic bleakness to a story.
In contrast, from what I remember, the classic “Silent Hill” videogames also take influence from Lovecraft in their in-game documents, but focus more on the chilling mystery and implied horror that made Lovecraft’s stories so creepy. In these games, the documents sometimes give the player partial hints about the underlying mythos of the series, but they are usually fragmentary, confusing and/or bizarre enough to still leave a lot to the imagination and put the player in the unsettling position of feeling curious about something horrifying.
The classic example is probably in “Silent Hill 2” (2001), where the player can visit an abandoned bar. On the newspapers covering the inside of the window, the words “There used to be a hole here. It’s gone now.” are scrawled in blood. No explanation is given for it and there isn’t really much else inside the bar (except for… another… creepy message), yet the mystery of it is what makes it so incredibly creepy. It hints at a chilling past, some kind of psychological trauma or – given the nature of the series – malevolent unseen cosmic horrors.
In addition to this, both series also just use their in-game documents for more traditional psychological horror too. For example, in Claire’s campaign in “Resident Evil 2” (1998), you can read a mysterious fax that contains a private detective’s background check on the local police chief. It isn’t exactly reassuring, but nothing can be proven against him. Of course, when you first meet him, something feels a bit off. And then you find a diary that he has left behind…..
In-game documents also show up fairly often in horror videogames because of their pacing. As I’ve said many times before, classic survival horror games are NOT fast-paced action games. They are slower-paced atmospheric experiences that probably have more in common with reading a horror novel than watching a horror movie. Still, it is perhaps telling that, in the 2002 remake of “Resident Evil”, the in-game documents are often noticeably shorter than in the 1996 original – possibly reflecting the declining popularity of horror literature at the time or the belief that players have shorter attention spans.
Even so, the focus on reading documents fits perfectly into the slower pacing and more cerebral style of older survival horror games. After all, these are games where – despite the deliberately scary-looking content warnings at the start of the game – the actual focus of the gameplay is often less about gruesome combat with the undead and more about puzzle-solving and methodical exploration. So, including short fiction in these games is a perfect fit with the actual pacing of the minute-to-minute gameplay.
Finally, of course, in-game documents are also often added to horror games for a more practical reason. They can sometimes serve as a vehicle for giving the player hints about how to solve puzzles or they can even be a puzzle in their own right. I mean, there are at least a couple of moments in the older “Resident Evil” games where you will find a combination lock of some sort and will then have to search for a document that contains the code.
So, yes, in-game documents show up a lot in horror games for a variety of good reasons. Not only do they add atmosphere to these games and serve as a secondary source of horror, but they also fit in well with the pacing of these games and can also be part of the puzzle elements that the genre is famous for too.
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Anyway, I hope that this was interesting 🙂
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