What scares you? It is a question that knows the answer in an innate and immediate way, as individualized as its fingerprint. Take a look at these android horror games. I play everyday! Consequently, the horror games have tried everything in the book to scare the players: disempowerment, alienation, animatronics daze, eroticism, flagrant destruction of the fourth wall, etc. The history of scariest game in the world could serve as an alternative story of the games itself, one in which the medium does not become cleaner and more powerful with each passing year, but increasingly disorienting, difficult and abstract. They are a home for experimentation, where conventions are changed and taboos are destroyed. They are also fun as hell, a kingdom where the violence of other games has a new purpose, and game designers are free to exercise their most extreme tendencies. Even a simple scare by the jump, which often rolls your eyes in the movies, takes on a strange new power as you progress through the basement little by little.
Friday The 13th- The Game:
From his violent cartoons to his recreational backgrounds from the summer camps of the 1980s and the persistent “ki ki ki, ma ma ma” on the soundtrack, the asymmetric multiplayer adaptation of last year’s popular slashed series is the closest You can get to the reality by living a movie on Friday the 13th, assuming, of course, that you do. The android horror games casts a handful of players as camp counselors who evade Jason Voorhees, and another player assumes command of Mom’s huge and supernatural child. Counselors can set traps or collect weapons, but winning is usually reduced to hiding until time runs out or figuring out how to escape. Meanwhile, Jason has all the unfair powers he has in the movies, including teleporting anywhere on the map and quietly stalking the prey without anyone noticing the huge man in tatters and a hockey mask that tramples the forest. The fact that there is a real player, instead of the AI, controlling the movements of the killer actually makes them a little more terrifying. However, for the most part, this imperfect and error-riddled party game captures the community fun of a bad and good slather, allowing fans to make the same silly decisions that usually scream at people on the screen for taking them.
Criminal Origins:
Condemned deserves his place in the hall of fame of the horror game if only for one level, located inside an abandoned store full of discarded mannequins and, in a truly vicious trick, manic killers dressed as mannequins. Enemies of video games tend to look the same, and decorations on a videogame level tend to look the same, so Condemned plays off those “limitations” by making enemies look like the established bandage, so far. You turn your back and they chase you. The rest of the game is equally shabby, after a depraved investigation by the FBI about the decrepit buildings of a city whose inhabitants seem to be going crazy. Everyone is so eager to kill you with a pipe like those mannequins too.
Echo:
The horror of the recursion is a rare and special type, and an Eco pursues relentlessly. Obsessed by the strange qualities of repetition, reflection and infinite loops, his palace the size of a planet is Versailles, trapped in a crystal prism, bright, eternal, and incarnated. This configuration offers the player a palpable sense of progressive fear, but it is the rhythmic and panic quality of the tactical stealth of the game that transmits the fear. In Echo you are charged through cycles of darkness and blinding light, trying to twist the increasingly ornamented rules of the game for your benefit. The evasion at any cost is balanced by the restriction, since any action you take is inherited by the doppelgangers that persecute you. The result is a badly formed hybrid of puzzles, stealth and horror, thrown into the cold light of two mirrors that face each other.
Pathologic:
As humans, we reserve our deepest and darkest fears, not for the monsters, not for the murderers, but for the disease: the growing corruption lurking within. The three playable characters of Pathologic are healers, so to speak, but none of them is fully equipped to handle the rot in the heart of their Russian village. The inaccessible masterpiece of Ice-Pick Lodge, poorly translated, slow and as hostile as any other game released, wants to make you feel as painful as it would be to live the world of an infected nightmare, emphasizing the horror of surviving in a world of survival. The characters lie to you, the healing objects exhaust your other statistics and someone, somewhere, is always about to be the next victim of the sand plague. Keep up with the tide of death and you will find yourself entering the mystical enmity that is destroying these people. However, you are more likely to make a simple mistake and send yourself spiraling towards infection, madness and inevitable death.
Siren:
You can’t stop the dead in Siren, a second-world PlayStation 2 game and very hard from the original Silent Hill director, Keiichiro Toyama. If you play like a character with a weapon, a cast of children, teachers and television stars, with the style of a track, whose faces look like pictures projected on paper plates, you can momentarily silence the smiling voices of your pursuers. But they will rise again to chase you through dark levels designed with such malice that sometimes you will also have to laugh. You can tune in to the enemy’s vision, finding them as air stations between static walls and worms, and use their patrols to build your mental map of the village of Hamada. When they see you, their sight cancels yours with a red flash, and you see your own immobile figure approaching within a frame that is wobbling. In a game of superimposed views and narratives, this is the best trick: the horror of seeing yourself with hostile eyes.
