Category: horror games

Escaped Chasm

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Escaped Chasm
https://tuyoki.itch.io/escaped-chasm

Escaped Chasm is a 25-minute dark fantasy adventure game created in RPG Maker with a mix of retro Game Boy graphics and anime-style cutscenes. Originally released in 2019, it’s the first stand-alone project of Temmie Chang, a longtime collaborator of Toby Fox who contributed character designs and graphics to Undertale and Deltarune.

You play as a young teenage “Lonely Girl” who doesn’t leave the house and lives vicariously through her dreams and art. Her parents appear to have gone missing, and she doesn’t know what to do. To make matters worse, she’s tired all the time, and a strange man has started appearing in her house.

Something is seriously wrong, and the Lonely Girl has four days to figure it out and escape. If leaving the house isn’t an option, where can she go? And how can she find the courage to leave?

Escaped Chasm is free to download, and the zip file contains an illustrated guide to the game’s four endings. I get the feeling that most players will probably see the good ending simply by playing the game naturally, but it’s nice to have grimdark alternatives. After unlocking the good ending, the player is able to enter and explore a bonus “developer’s room” that I love with all my heart. It’s fascinating to read Chang’s thoughts about making the game while checking out extra material that fills out a few gaps in the story.

Both Toby Fox and Temmie Chang were fans of and contributors to Homestuck, and it’s possible to see its influence on Escaped Chasm. It’s difficult to summarize Homestuck, but the webcomic begins as a story about four young teenagers who can’t leave their houses because they’re the last remaining survivors of a universe that’s unraveling around them. I get the sense that the Lonely Girl in Escaped Chasm is based on one of the four teenagers in Homestuck, Jade Harley, and it’s probably not a coincidence that she’s found herself in a remarkably similar situation.

Escaped Chasm is like a bridge between Homestuck and Deltarune in its theme of “using art and imagination to escape into another world,” but it’s also very much its own thing. I love Chang’s illustration style and narrative voice, and I admire how she pushes the boundaries of the medium to create a palpable sense of liminality and dread – and of catharsis and joy. Escaped Chasm is atmospheric horror with a (potentially) happy ending, and it’s idiosyncratic and self-indulgent in interesting ways that elevate it above the level of mere pastiche.

Escaped Chasm is a short test project made in preparation for Dweller’s Empty Path (on Itch.io here), a more extensive Game Boy style narrative adventure game. I really enjoyed Escaped Chasm, and I’m looking forward to jumping into Dweller’s Empty Path.

Symbiosis

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Symbiosis
https://spicaze.itch.io/symbiosis

Symbiosis is a free-to-play RPG Maker horror game about a murderous mad scientist living in a house in the woods with an adorable child. The story has two endings, and it takes about 25 minutes to play through the game once.

You play as Magnolia, a geneticist who left her university post after a mysterious fire broke out in her lab when her research came under public scrutiny. She now lives in isolation with Mint, a curious and precociously intelligent young boy whom she’s raising as her son. According to local rumors, Magnolia is a witch. It doesn’t help that hikers have a tendency to disappear in the forest surrounding her property.

The game begins as Magnolia carves up the corpse of someone she caught sneaking into her house. She’s interrupted by Mint, who can’t sleep and wants a bedtime story. Unfortunately, there are three more intruders in the house, and Mint won’t stay in his room. Your job as the player is to turn the remaining intruders into corpses – for science! – while ensuring that Mint remains out of harm’s way. 

Magnolia’s house isn’t too terribly large, but it’s big enough to have all sorts of nooks and crannies to poke around, as well as various journals and research notes to find. The player can use these clues to figure out who Magnolia is and where Mint came from, although you’ll have to make your own decision regarding Magnolia’s feelings toward Mint and what the fate of the pair will be. The game’s creator has posted a guide for the two endings (here), and this short devlog also contains their thoughts on the story and characters.

What sets Symbiosis apart from the crowd of RPG Maker horror games is the creator’s gleeful willingness to allow Magnolia to be messy and problematic. She initially seems to be a complete sociopath, and her bad behavior is a joy to watch. As you witness her interactions with Mint unfold, however, her character becomes more complicated. Why Magnolia feels affection for Mint is open to interpretation, but I think it’s fair to say that her attachment is genuine.

The way I interpret this relationship is that it’s an analogy for the process of artistic creation (or scientific discovery, as the case may be). In order to create something meaningful, an artist has to be unpleasant, selfish, and more than a little antisocial. Gradually the art comes to take on a life of its own, and it’s up to the artist to decide whether to let it go or to keep it firmly in the orbit of their own dysfunctional personality.

Lest you think I’m spoiling the story, fear not – there’s all sorts of nasty business in Magnolia’s past for the player to discover. This woman is a legitimately horrible person, and her crimes are fantastic fun.

Symbiosis tells a short but grisly story through simple narrative adventure gameplay intercut with stylishly illustrated cutscenes, and I enjoyed it enough to go back and see both endings. I definitely recommend this game to fans of gothic horror, demonic women, and questionable scientific ethics.

Flesh, Blood, & Concrete

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Flesh, Blood, & Concrete
https://waxwing0.itch.io/fbc

Flesh, Blood, & Concrete is a free-to-play RPG Maker adventure game that bills itself as “an apartment building exploration simulator.” During its 45-minute playtime, the game delves into themes of isolation, mental illness, and existential dread within the confines of a decaying apartment complex.

Players take on the role of Lera, a 28yo architect whose car breaks down in the snow. While seeking refuge from the cold, Lera meets a girl named Nika who, inexplicably, is dressed like an anime maid. Nika invites Lera to warm up inside her “house,” a giant abandoned apartment block at the edge of an unnamed town. As Lera, the player is given free rein to explore the building. The deeper inside you get, the stranger the architecture becomes, and it turns out that the “flesh and blood” of the title are not merely symbolic.

Flesh, Blood, & Concrete has no combat or puzzles. Instead, players explore the building and interact with the environment. In essence, your job is to collect items, which you can examine in the game’s small menu screen at your leisure. As you move from floor to floor and poke around all the vacant units, you gradually piece together Lera’s backstory through environmental storytelling and occasional conversations with Nika.

While the game’s pacing might feel a bit slow, the deliberate sense of space between incidents gives the player time to reflect on what exactly is going on with Lera. In my interpretation, Lera’s interactions with Nika hint at her desire to flee from the adult world, and I don’t think it’s a stretch to suggest that the dilapidated building is a manifestation of the intensity of Lera’s depression. At the end of the game, the player is confronted with a symbolic choice (the mechanics of which are explained in the creator’s spoiler-free guide), and what constitutes the “good” ending is open to interpretation.

In keeping with the bleakness of the game’s themes, its pixel art is rendered in muted tones. The corridors are desolate stretches of flickering lights and peeling wallpaper, and the individual apartment interiors start off as charming and cozy but gradually descend deeper into the uncanny. The game’s soundtrack complements its visuals, with a blend of ambient sounds and minimalist synth piano pieces working to create a melancholic mood. Any sense of nostalgic coziness won’t last, however – some of the game’s visuals are sublimely gory. 

As an aside, I recently played the indie narrative adventure game Indika, and I was thinking that I’d love to see more games set in Eastern Europe. Flesh, Blood, & Concrete is a universal story, but the specificity of the game’s Russian setting adds a unique and interesting flavor to its narrative and visuals. I also appreciate that this “apartment exploration simulator” takes the darker aspects of mental illness seriously but still delights in the playfulness of its morbid style of creative expression. It’s one of the more intriguing RPG Maker horror games I’ve encountered, and I’d recommend giving it a shot if you can handle the (literal) viscerality of its imagery.

Bloodbark

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Bloodbark
https://sirtartarus.itch.io/bloodbark

Bloodbark is a forest horror game based on the art of Eduardo Valdés-Hevia that’s free to download and takes about half an hour to play. You play as a lumberjack camping out in a small cabin next to a state park where a new type of tree has been discovered. Although these trees look like normal birches on the outside, their wood is bright red and fetches a high price. The lumberjack’s job is simple – he needs to find the special trees on his employer’s fenced-in property, cut them down, and return the timber to his cabin.

Still, given how much blood is involved… Are you really sure that it’s trees you’re chopping?

The gameplay of Bloodbark is limited to wandering around (with tank controls) and striking various objects with your axe. As you walk, your character’s thoughts automatically appear on the screen as text overlay. The lumberjack is somewhat unwell at the beginning of the game, and he becomes progressively more unhinged as the days pass. Fun times!

The standard route of progression through Bloodbark is fairly well signposted and easy to follow. If you like, however, you can wander to your heart’s content, and the game features a number of achievements and collectibles. Though it won’t have any effect in most circumstances, you can also hack at anything you like. My favorite surprise in the game is a large cocoon suspended from a pole on a dock at the lake. If you manage to find it and get it open, you’re in for an odd little treat.

Although the twist to the story is nothing you wouldn’t expect, the writing leaves a number of interesting questions open to the player’s interpretation. I am not unsympathetic to the lumberjack, who has reasonable doubts about the job he’s been paid to do, and I’m just as annoyed as he is by the car alarms and other annoyances from the neighboring state park. I also think it’s telling that the lumberjack won’t cut down any tree he’s not paid for, no matter how hard the player tries.

My only issue with Bloodbark is that it conveys “darkness” by turning the visual contrast down to zero. Unless you play the game in a sealed room with no external light, the screen appears to be almost solid black. Depending on the quality of your monitor, the parts of the game that take place at night can range from needlessly annoying to impossible to see. It’s a shame, but I’m afraid that this flaw in the game’s visual design may make it inaccessible to many players.

Thankfully, when you can see the game’s graphics, they’re quite lovely. I’m a fan of this sort of lo-fi crispiness to begin with, and I think it creates an interesting contrast with the visual style of many of the secrets you can encounter. To give an example, interacting with three roadside crosses will trigger the brief appearance of a Biblically accurate angel, and the fluidity of this manifestation is a sight to behold against the pixelated mountains and treetops.

If you’re unable to play Bloodbark yourself due to accessibility issues, I’d recommend (this video), which has no voiceover and allows you to watch a streamlined yet still thorough run of the game. Whether you’re watching the game or playing it yourself, Bloodbark is an oddly relaxing game about losing your sanity in the woods, and I’d recommend it to anyone who enjoys the themes and imagery of horror but is happy to dispense with the tension and jumpscares.

Whispering Willows

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Whispering Willows (on Steam here) is a 2D adventure game set in a haunted mansion. There’s no combat, and the game takes about three hours to finish. It’s a small indie game made in 2014, and it’s not perfect. Still, I enjoyed the time I spent in Willows Mansion, and I’d recommend giving this game a shot if you’re into spooky gothic stories.

You play as Elena Elkhorn, a teenage girl whose father works as the groundskeeper at the derelict and abandoned Willows Mansion. Elena’s father doesn’t return one night, and she has a bad feeling about the mansion. Hoping to bring her father home, Elena sneaks onto the property and immediately falls headlong into an underground crypt. There she meets the ghost of her ancestor, who teaches her how to use the power of her magical pendant to leave her body to go spiritwalking. In a cursed mansion filled with phantoms, this is an extremely useful ability to have.  

Before I jump into the many things I love about this game, let me be upfront about its flaws:

– There’s not much actual gameplay.
– The hand-drawn cutscene art is unpolished.
– The writing is good but a bit uneven.
– The background music is limited.
– Your character walks very slowly.
– There’s no map to help you navigate.

Essentially, this is a small indie game that indeed looks and feels like a small indie game. I’m not complaining about the rough edges of Whispering Willows; I just want to make it clear that it’s a game made ten years ago on a tiny budget earned from a Kickstarter campaign. Still, I found its simplicity and amateurish aspects charming, and it has many strong points.

To begin with, the map is surprisingly large, and there’s a lot of space to navigate. You’ll explore the mansion’s crypt, its garden, and various outbuildings; but mainly you’re going to be walking around the house itself. The mansion is impossibly large and includes all the standard gothic flourishes: locked doors, grisly kitchens, moldy bathrooms, crooked paintings, peeling wallpaper, taxidermied hunting trophies, creepy dolls, and all the secret passageways you could ever want.

Of course there are all manner of notes lying around, and these notes collectively tell a suitably gothic story about the very wealthy but very evil man who built the mansion. This story never quite comes together in terms of plot or themes, and the character motivations are ridiculous. Still, all the individual bits and pieces are gothic catnip, from a lover kept in a secret room to a murdered best friend to a servant driven mad by what he’s seen.

This all takes place in California during the Wild West days, meaning that the land occupied by the mansion had to be taken from someone. It turns out that it was forcibly wrested from Elena’s own ancestors. Alongside his more intimate crimes, then, the mansion’s owner became the mayor of a frontier town by means of enacting war and genocide on First Nations people.

We tend to think of gothic mansions as being located in Europe, or perhaps New England. There are definitely nineteenth-century mansions in California, though (like the Carson Mansion), and they’re built on land soaked in blood.

Importantly, the First Nations people in Whispering Willows aren’t all ghosts. Elena and her father are very much alive, and they’re not tempted by the faded pseudo-grandeur of the former colonists. At the end of the game, it’s extremely satisfying to see Elena essentially say “fuck all this” as she walks away from the mansion with her father.  

This is an interesting perspective on classic gothic story tropes that I love to see. And honestly, Whispering Willows isn’t such a bad game. The puzzles are easy, but the lack of difficulty is a selling point for me. Also, the gameplay mechanic of Elena spiritwalking to interact with the numinous aspects of the environment is used in clever ways, and it’s a lot of fun.  

Aside from Elena’s slow walking speed, my only real complaint is that this game would benefit immensely from a map. Even though navigation isn’t particularly complicated, I got lost a few times and had to resort to a walkthrough (this one here) a few times, which wouldn’t have been necessary if the player could just pull up a subscreen.

Whispering Willows definitely feels like an indie game, but it’s got a delightfully grisly story and an excellent sense of atmosphere, and it’s worth checking out if you’re interested in Wild West Gothic from an indigenous perspective.

As a side note, this was apparently the game that launched Akupara Games, a publisher that specializes in quirky indie games with a strong sense of style and setting. Two of my favorite titles they’ve helped get off the ground are Rain World and Mutazione, and it’s cool to know that this was where they started.  

Essay about Elden Ring and Dark Academia

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I’m excited to share an essay I wrote for Bloodletter Magazine, a stylish biannual anthology of queer and feminist horror. The piece is titled “Dark Academia for Dark Times: Elden Ring and the Fall of the Academy,” and I’m writing about how the haunted lore of the game’s cursed university reflects real-world academic anxieties. 

You can read the essay here:
https://bloodlettermag.com/dark-academia-for-dark-times-elden-ring-and-the-fall-of-the-academy/

While I use the character Rennala from Elden Ring as an illuminating point of focus, my piece is really about the uncanny connections between the crisis currently facing universities and the social media aesthetic of “dark academia” embraced by young women. I’m arguing that the association of dark academia with the corruption of female bodies reflects deeper concerns regarding the ties between academic liberalism and the decay of imperial privilege. 

Basically: Is the wokeness of postcolonial queer feminism ruining college? I would like to believe that it is, and I think this is kind of neat, actually.

My piece is graced with a creepy spot illustration by the magical Katy Horan, who goes by @goodyhoran on Instagram, and you can follow Bloodletter at @bloodlettermag, where they post eye-catching film stills from indie horror movies created by emerging female directors. 

Vacant

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Vacant
https://doublecrow.itch.io/vacant

Vacant is a free-to-play 2D narrative adventure game that takes about 35 minutes to finish. You play as a camerawoman named Elena who accompanies her friend Priya to a hotel that was abandoned shortly after it was built. Priya runs a ghost hunting video channel, and she wants to make it big by solving the mystery of the unexplained disappearances of Masthill Lodge.

Following a short hike through the woods, Elena and Priya enter the abandoned hotel, which has two floors and a basement. There’s a kitchen and a few staff rooms on the first floor, and the guestrooms are on the second floor. The space is large enough to be fun to explore but small enough to be manageable. All points of interaction are clearly marked, and there are no puzzles. The occasional dialogue choices are fun but don’t seem to affect the story, which is fairly linear.

After you poke around a bit, Elena and Priya have a heart-to-heart talk about why Priya makes these videos despite her firm belief that ghosts don’t exist. Her work is about the craft and the connection with her audience, she says, giving a perfectly reasonable explanation for why so many people enjoy ghost hunting videos.

Regardless, there’s something not quite right about Masthill Lodge. How did 54 people disappear here, exactly? And why has no information about any of them turned up in the ten years since?

The tension comes to a head when a man suddenly appears outside the lodge. “Don’t make a sound,” Priya says, and this is when the strength of the medium comes into play. As the player, you have to move forward, and your choices are limited for the worst possible reasons. I don’t generally get creeped out by horror games, but let me be honest – this one got me.

The writing in Vacant is excellent, and the characters are human and believable. The pixel graphics and sound design contribute to the subtly creepy atmosphere. The pacing is perfect, with a good balance of character drama, humor, mystery, and horror. The ending is fantastic.

There’s no way to save your progress, so you’ll need to sit down and play the whole story in one go. I didn’t mind, as the game is so well crafted that it’s easy to become immersed in the fiction. If you’re a fan of the character writing of Night in the Woods or the magical realism of The Magnus Archives, I’d definitely recommend checking out Vacant.

Blackout

~ Kathryn

Blackout
https://freshgames.itch.io/blackout

Blackout is a Halloween-themed point-and-click adventure game that you can play in your browser or download for free.

You play as a teenage witch who falls from the roof of a house while trying to snatch a feather from a crow. She loses her memory during her tumble to a second-floor balcony, and she’s surprised to find that the house is filled with corpses. The electricity seems to have been cut, and it’s too dark to see anything clearly. Your job as the player is to guide the witch through the haunted house and get the lights on so she can figure out what happened.  

Once the lights are back on, you’re free to explore the house a second time to see what’s actually going on. This is a super fun twist, and it’s what really sells the game for me. The tone completely shifts, and the ending is fantastic. I hope it doesn’t spoil the story to say that it’s just as much comedy as it is horror.  

Even though your character is in the dark, the game’s 16-bit pixel art is bright and colorful. Each room of the house is a pleasure to explore. There are enough points of interest to provide flavor, but the graphics are designed to help the important puzzle pieces stand out. The puzzles are mostly self-explanatory – use the footstool to reach the key on the shelf, etc. – but some are silly and surprising. The writing in this game is just as charming as the art, and I really enjoyed the time I spent in this weird little house.

Blackout probably takes twenty minutes to play if you know what you’re doing. Since there’s not much guidance, I got stuck a few times, and it took me about 45 minutes to finish the game. I’m grateful to ( this ) short video walkthrough on YouTube for helping me figure out the endgame puzzle, which is very clever but only makes sense in retrospect once the lights are back on.

Don’t Let Her In

~ Kathryn ~ 2 Comments

Don’t Let Her In
https://flowerstudio.itch.io/dont-let-her-in

Don’t Let Her In is a free ten-minute horror game that you can play on a Game Boy Color emulator (such as mGBA) or directly in your browser on Itch.io.

You play as a teenager who hasn’t set foot outside the house in several weeks. Their father left a note on the kitchen table with a simple warning: Don’t let her in. As the player, you move through the house while interacting with various objects. You have one job, but you won’t be able to keep yourself safe forever.

Alternatively, you can ignore your father’s warning and invite the creepy woman inside the house as soon as she knocks on the kitchen window. This also leads to a satisfying story, although I’d recommend playing the game straight the first time around. The slow lead to the twist ending is wonderful, and having already experienced this twist makes the second ending much more satisfying.

The game’s graphics are simple but effective, and you might be surprised by how much body horror a few pixels can generate. The subtle worldbuilding is quite intriguing as well. There’s no good ending to this story, and its tone is bleak – there’s no irony or campiness, just horror. Don’t Let Her In may be short, but it’s remarkably effective at creating an atmosphere of loneliness and dread.

Crow Country

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Crow Country is a retro-styled 32-bit survival horror game that takes about four hours to play. What I love about Crow Country is its Story Mode, which removes all enemies and allows you to enjoy the game as an atmospheric adventure in an abandoned amusement park.

The year is 1990, and you (ostensibly) play as a police detective named Mara Forest. Mara is investigating the disappearance of Edward Crow, the owner of a small amusement park called Crow Country. Crow Country shut down and closed to the public two years ago after a girl named Elaine Marshall was severely injured in an accident.

Although Elaine’s family sued Edward Crow for the hospital fees, he never responded to court summons, and now the park sits boarded up and abandoned. Mara has reason to believe that Crow has holed up on the property, so she breaks in and begins searching for clues pertaining to his whereabouts.

Unfortunately for Mara, there are zombies about. Thankfully, she has a gun and a car trunk full of ammo. There’s also ample ammo scattered throughout the park, as well as various types of guns (and grenades) for Mara to pick up and experiment with. I’ve heard that the zombies aren’t particularly aggressive, and that shooting them isn’t particularly difficult, but I wouldn’t know. I didn’t bother with combat, and I have no regrets.

Even in Story Mode, Crow Country is a dense game with a lot to do. The map isn’t actually that big, but every “room” has multiple points of interaction. Most of this interaction provides atmosphere and flavor text, but Mara also needs to solve environmental puzzles in order to find the tools she needs to progress deeper into the park.

Mara can collect bits and pieces of brochures that she assembles into a map that proves to be extremely useful, as locked doors and unsolved puzzles are clearly marked. Although I did have to look up one or two solutions for optional challenge puzzles, I was never lost or confused about what I needed to do next. Unlike many puzzle-based adventure games, Crow Country is entirely possible to play without a guide.

In terms of its PlayStation-era retro graphics, Crow Country looks exactly like Final Fantasy VII. All of the character models are composed of charmingly blocky polygons, and the environments are pre-rendered and gradient shaded. Points of interaction are easy to distinguish, and you can rotate the camera a full 360 degrees. It’s a joy to move through this environment, especially once you begin to open Dark Souls style shortcuts.

Crow Country isn’t a cozy horror game; there’s no learning or friendship or beautiful autumn leaves. That being said, the horror elements are very mild, especially in Story Mode. Despite the atmospheric creepiness of its setting, Crow Country is less of a horror story about zombies and more of a speculative fiction story about how humans process the reality of climate change – or rather, how we will do anything to avoid processing this reality. The game’s conclusion is fantastic, as is the foreshadowing leading to its final reveals.

I wasn’t expecting Crow Country to be so fun to play, or for its environment to be so creatively designed, or for its story to hit so hard. I have zero patience for “intentionally inaccessible” retro game nonsense at this point in my life, but Crow Country wants to be experienced. Since it’s so short and accessible, I’d recommend the game to anyone who’s interested in the premise, even if you’re not typically a fan of survival horror.