I’ve written a lot about horror games, specifically regarding how the genre has gone through a bit of a renaissance in recent years. There have been a surprising number of quality horror games, and with the recent announcement of a new Silent Hill title, plus Capcom’s supposed effort to bring Resident Evil back to its roots, it’s safe to say we’ll be seeing plenty more.
This brings me to this month’s newest horror releases: Alien: Isolation and The Evil Within. Both are modern horror games, yet they both approach the genre from entirely different perspectives. Best of all, you can look at both games as example of how to do modern horror right and how to do it, well, not so right.
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After nearly ten years away from a genre he helped pioneer, Shinji Mikami has returned to his survival horror roots with his latest title, The Evil Within. Focusing less on action and more on atmosphere and the “survival” aspect of survival horror, The Evil Within attempts to bridge the gap between the old ways of the genre and its current status. Unfortunately, it’s an experience that only rarely delivers on its potential.
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There’s something calming about driving in video games. This is especially true of open-world driving games, many of which allow you to explore and learn more about the world you are (virtually) inhabiting. I do enjoy driving in Grand Theft Auto and the like, but it’s not the same. The original Forza Horizon and its recently released sequel are more my speed. It provides a similar feeling as sailing, but the sense of speed and (sometimes) laid back atmosphere the Forza Horizon games provide manage to scratch a different itch.
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Few films have inspired a generation of action-focused science fiction, both in games and other movies, more than James Cameron’s Aliens. While the titles inspired by Aliens are generally excellent, the ones based directly on that property haven’t fared as well. This is where Creative Assembly’s Alien: Isolation comes in. Based entirely on the original horror film that spawned the franchise, Isolation is a subtler take on its source material and, as a result, manages to make more of an impact.
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Like with any licensed property, games based on Lord of the Rings, and Middle-earth as a whole, have been mixed. There are certainly a few stand-outs, but there are just as many (if not more so) poorly made cash-grabs. With such a rich lineage from which to borrow, the potential for an excellent game in this universe seemed untapped. Middle-earth: Shadow of Mordor, Monolith’s take on the series, is different, taking a license in exciting directions rarely seen from larger studios.
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