Subversive Memories – Review
Subversive Memories is a charming 2D isometric take on Resident Evil.
Resident Evil Requiem – Resident Evil Is An Action Series
Resident Evil is a majority action series, and it is time survival horror fans acknowledged it. For years the franchise has been remembered as one of the defining survival horror series. Capcom even coined the term “survival horror” when marketing the original Resident Evil, a game that helped popularise the genre and inspire countless others. Earlier titles such as Alone in the Dark clearly influenced its design, but Resident Evil brought the formula to a far wider audience and cemented the genre in the public consciousness. Because of that legacy it is easy to assume that Resident Evil has always been primarily a survival horror series. The reality is more complicated. Over the years Capcom has steadily produced more action oriented entries in the franchise, to the point where survival horror titles are arguably now the minority. This shift is often blamed on Resident Evil 4, the hugely influential entry that pushed the series toward gameplay where combat is the primary tool for progression. In reality the move toward action began much earlier. If you’d rather see Resident Evil Requiem in action, watch the video version of this review below! Even on the original PlayStation, Capcom was already experimenting with more action focused ideas, Resident Evil 3: Nemesis leaned more heavily into combat and set pieces than its predecessors. The same generation also produced Resident Evil Survivor, a first person shooter spin off that moved the series even further toward action. The desire to push Resident Evil in that direction has been present since the early days of the franchise. This history leaves Capcom in an unusual position today. The series now has two large audiences with very different expectations. Some players remember Resident Evil as one of the best survival horror franchises ever made, while others know it primarily through its action heavy entries. With Resident Evil Requiem taking a completely unique approach, Capcom are attempting to appeal to both survival horror and action horror fans. They want to have their cake and eat it, which famously is not possible, but in this review I want to discuss that attempt. Would You Like To Combine These Items? Much like herbs can be combined, Capcom are attempting to combine genres with Resident Evil Requiem. It is the first game in the series that can truly be called a hybrid approach. The game functions as both survival horror and action horror, depending on whether you are playing as Grace or Leon. I once argued that Resident Evil 4 Remake was a “genre fluid” game, but I have since walked that back. Although there are some survival horror elements, it uses action and combat as the primary tools for progression, it ultimately falls outside survival horror and into action horror. Grace’s gameplay has three distinct phases. It begins with a slow, almost walking simulator style introduction. This is followed by stalker horror, before finally transitioning into more traditional survival horror. There is another return to stalker horror after Rhodes Hill hospital, and even during the hospital section there are stalker enemies that add a great deal of tension. For the most part though, it is fair to say that playing as Grace delivers a classic survival horror experience. The Rhodes Hill section is practically perfect survival horror. It is the best thing Capcom have produced since Resident Evil 2 Remake, which is exactly the direction I had hoped the series would return to, so I could not be happier about that. If I had to be critical, I would say the puzzles are quite light for a survival horror game, but the dynamic enemy interactions more than make up for it. The zombies felt individual, and Rhodes Hill felt like a real place. Its décor was as iconic as the Spencer Mansion or the Raccoon City Police Department. I was not sure if we would ever get locations like that again, but Rhodes Hill proves that it can still be done when Capcom want to. I love how the zombies migrate from room to room depending on where you are in the story and which zombies are still alive. it feels so organic and adds a lot of replay value. There are also moments where it is not even a question of having enough bullets. With Grace, it is often simply impractical to take zombies on directly. Instead, I found myself grabbing key items and getting out as quickly as possible, which is when the game is at its most tense. I was also happy with the early Leon sections in Rhodes Hill. They are short and effective, and a welcome break from the stalker segments where you cannot fight back. This is also where the combat feels at its best. In fact, I think the combat peaks here. I replayed this ten minute section several times and it felt different every time because of the unpredictable nature of the chainsaw enemy. The next time we see Leon is during a boss fight. Boss fights have always been part of Resident Evil and therefore part of the survival horror formula, so it felt completely natural to face the boss as Leon. After this, Leon retraces Grace’s footsteps through Rhodes Hill, where the only significant “zapping” section in the game takes place. This is another highlight for Leon. It is a system that deserves to be used far more often. After Rhodes Hill it almost feels as though the developers forgot about one of the game’s best features. It is also after this point that the real problems with Leon’s section begin to appear. I Wanted Raccoon City. But Not Like This. Who would have thought the apocalypse would be so depressing? I was genuinely excited when I heard we would return to Raccoon City. It has always been my favourite location in the series. Of course I knew there would not be much left of it after the thermobaric missile, but I did not expect Capcom to make it feel quite
How ROUTINE Changed My View of Survival Horror
ROUTINE is often compared to Alien: Isolation, yet its vision and core mechanics were already established before Alien: Isolation was even announced. In this article, I break down why the similarities are more coincidental than influential, explore the reality behind ROUTINE’s long and turbulent development cycle, and examine where it truly belongs within the stalker horror subgenre. There are some games that inspire me to become a developer and create my own horror experience, but ROUTINE is not one of them. The 3D models and textures are so high quality, the atmosphere so believable, and the sound design so flawless that I know I could never hope to compete with it. Instead of pushing me into game development, ROUTINE is keeping me out of it, leaving the work to people who clearly know what they are doing. If you’d rather see ROUTINE in action, watch the video version of this review below! What Is ROUTINE? ROUTINE is a first-person sci-fi stalker horror game set within an abandoned lunar base, designed around a 1980s vision of the future. The game takes place in a distinctly analogue world, one that often feels like you are playing through a CRT display. This effect is pushed even further when viewing the environment through the handheld Cosmonaut Assistance Tool (C.A.T), which intentionally drops the resolution even lower. What makes ROUTINE so distinctive is how it balances extremes. It delivers moments of hyper-realistic detail, where individual fingerprints can be seen on monitors, while simultaneously presenting deliberately low-resolution visuals. Viewing enemies through the C.A.T, combined with the thick, oppressive atmosphere, creates a level of tension that is difficult to fully explain, but very effective. Somehow, this contrast makes the game feel even more unsettling. The fear of the unknown is multiplied when everything in the viewpoint isnt crystal clear. There is no HUD, inventory, or traditional menus of any kind. There isn’t even a way to pause the game. You can press Start, but the world keeps moving, so you rarely feel safe. Even saving your progress doesn’t always guarantee safety. Save screens and menus are projected onto the walls of the environment, and you interact with them by walking up and using your C.A.T device. Unlike the comforting save rooms in Resident Evil, you are not completely protected while doing this. Most of the time you will be fine, but there are a few areas in the game where using these terminals still puts you at risk which only adds to the tension. Despite wearing a spacesuit in the game, you are incredibly nimble. You can crouch very low to the ground, low enough to look through small gaps, crawl through vents, or peek around corners for Type-05 (T5) enemies on patrol. The T5 is not faster than you, but it is unpredictable and relentless. You can usually escape, but it is always tense. You get one chance to break free if it grabs you, but if it catches you again, it is game over. The heavy thud of its footsteps gives you a rough idea of how close it is, and hearing that sound grow nearer is deeply unnerving. One of the boldest design choices in ROUTINE is the complete lack of an in-game map. At first, I felt almost naked without one. Most other horror games have trained me to constantly check a map to see where I am, where I have been, and where I should go next. In ROUTINE, that safety net simply does not exist. Instead, I slowly learned the layout of the stations myself, building a mental map through exploration, repetition, and a fair bit of running around aimlessly. Not knowing exactly what is around each corner makes every step feel more deliberate and every shortcut feel earned. Exploration becomes far more organic, and the tension is heightened because you are always navigating partly from memory and partly from instinct.This design philosophy is very intentional. As Aaron Foster explained in an interview with The Verge, he prefers games that help you forget you are playing one at all: “I just appreciate it when I’m playing a game that I forget that I’m actually playing a game. Often UI brings you out of the experience.” – Aaron Foster He went on to describe how he and assistant lead artist Jemma Hughes even played Conan Exiles with a self-imposed rule that they were not allowed to look at the map. “We could only navigate the world through memory, and that changes how you interact with the spaces.” – Aaron Foster In ROUTINE, that same philosophy turns simple navigation into a source of atmosphere, uncertainty, and by the end, I honestly did not miss the map at all. What Came First The Alien Or The Egg? It still amazes me that only three people worked on ROUTINE, yet the overall quality often surpasses Alien: Isolation, a game developed by hundreds of staff at Creative Assembly. It is easy to see why so many players compare the two titles. For a long time, I also assumed ROUTINE was simply an “Alien Isolation-like” game, largely because I did not realise ROUTINE had entered development first, with its vision and core mechanics already established before Alien: Isolation was even announced. Without that context, it is an understandable conclusion to reach. Although ROUTINE did not launch until 4 December 2025, Lunar Software revealed gameplay footage on 25 June 2013. That early footage already showcased many of the core mechanics, visual ideas, and atmospheric elements present in the final game. This is why the similarities often pointed out between ROUTINE and Alien: Isolation are more about coincidence than influence. Alien: Isolation arrived on 7 October 2014, more than a year after ROUTINE’s gameplay had been shown to the public. To clarify this further, I reached out to one of ROUTINE’s developers to ask directly about the influence of Alien: Isolation: “Alien Isolation wasn’t really an inspiration for ROUTINE in any direct way, but the Alien movie absolutely
Heavy Metal Death Can – Demo Review
I was very lucky to get my hands on an early copy of the Heavy Metal Death Can demo. This was a game that immediately caught my attention after seeing a few early screenshots. A cramped submarine filled with zombies is an ideal location for a survival horror game. Before playing, I thought a submarine was a great setting for survival horror, but I did have some concerns once I started. I worried that the environment might feel too restricted. Thankfully, those concerns quickly disappeared. The level design is excellent the hub and spoke level design is as good as you will find in the Resident Evil Spencer Mansion. If you’d rather see Heavy Metal Death Can in action, watch the video version of this review below! The demo strongly reminds me of early survival horror games, particularly in how there is very clearly a right and a wrong way to progress. It is entirely possible to play for a long time while completely missing the handgun, which I absolutely loved. Survival horror is all about player vulnerability, and it does not get much more vulnerable than being forced to play without a weapon. The introduction to Resident Evil 2 gave players a handgun with just fifteen bullets, but here you start with nothing at all. This is a very brave design choice from the development team, and one I sincerely hope they keep for the final game. Heavy Metal Death Can is unapologetically a survival horror game. The demo offers around one hour of gameplay and acts as a vertical slice of what players can expect from the full release. From what I could tell, all of the core systems are working well. The only feature I was unable to use was saving, as I did not have a tape. Both the menus and the map function extremely well. I found the map especially useful, as it clearly marks which doors have been opened, which are locked, and which I have yet to try, this really helped me when I was lost. I also loved being able to rotate items in the inventory screen. This is not just an aesthetic feature, but one that actively helps with solving puzzles. Another similar gameplay mechanic borrowed from the Resident Evil 1 Remake is a defensive weapon called the KLAS. When carried, it is automatically equipped and can be used to stun enemies. It is not designed for fighting, but instead acts as a tool to help you manoeuvre around enemies when ammunition is low or when you want to conserve resources. This strongly reminded me of the single-use defensive items in the Resident Evil 1 remake. In that game, players had access to daggers, flash grenades, and stun guns, all of which would automatically trigger when grabbed by zombies, allowing you to escape without taking damage. The size of each room and the placement of zombies also brought early Resident Evil titles to mind. At times, you enter a room and are almost immediately confronted by a zombie. In other cases, an enemy may be positioned just off screen, or a sudden ambush catches you by surprise. Some players may find this approach quite claustrophobic, but this is exactly how those classic games felt, and I think the developers have captured that experience perfectly. The demo will be available to the public on the 16th of February, so be sure to wishlist Heavy Metal Death Can on Steam to stay up to date with its release. The full game launches on 28 May 2026.
Flesh Made Fear – Review
When the familiar late 90s survival horror is blended together with stylistic 80s neon grindhouse horror, the yucky gory results would be a pretty accurate description of Flesh Made Fear, the latest title by Tainted Pact games a mostly solo lead studio by Michael Cosio and published by Assemble Entertainment for PC via Steam with console ports currently in development. The premise is familiar for anyone who has played the original Resident Evil, the year is 1992 you choose between two members of an elite black ops unit known only as the Reaper Intervention Platoon or R.I.P for short, (the S.T.A.R.S jab is hilariously obvious), The unit is sent to a rural part of the United States to the small fictional sleepy town of Rotwood (Yes it even the in-game characters joke about its name) to investigate their lost comrade Cole who mysteriously disappeared while hot on the trail of a former leading CIA scientist Victor Ripper who led the MKUltria project into mind control before it was shut down with Victor continuing on with his illegal human mind experimentation. Flesh Made Fear does an interesting job at introducing its characters with some fulfilling the familiar tropes you would expect of a ragtag group of actors and actresses pretending to be an elite military special unit for a cheesy sci-fi horror movie on a direct to video budget. The game clearly knows what it is and it isn’t ashamed to indulge into the 1980s era horror tropes as a sort of mash between the gory horror of Evil Dead with the slashers of Friday the 13th and Halloween. Where the game falls short is in it’s story department, when you pass the introduction sequence and enter the town of Rotwood itself, you’ll rarely have any further interactions with any of the R.I.P team members again until near the end of the game, which is a shame because I would have loved to have seen more character development and their personalities shine more in the dreaded sticky ordeal they all now find themselves in from Victor’s twisted experiments. Gameplay-wise Flesh Made Fear does not try to reinvent the wheel of late 90s/early 00s survival horror, instead of adding in a new original gameplay mechanic or a fancy new take on survival horror, the game just reuses the ideas and styles of the first three original Resident Evils and first two original Silent Hills, to be honest there is really nothing wrong sticking to the old comfort food at your favourite restaurant here. The classic fix camera perspectives, being resourceful with your limited inventory as well as the puzzle solving are all here in the flesh (pun intended). When you boot up Flesh Made Fear you are presented with two characters to choose from, Jack Richards who has more health but a more limited inventory and Natalie Lewis with less health but makes up for it with some more extra inventory slots, whoever you choose the story is still the same, but with some different locations and buildings to explore depending on who you choose. You will need to playthrough each chacater in order to see all the locations the game has to offer, but don’t expect a Leon/A and Claire/B or Claire/A and Leon/B here outside of some plush toys to collect for a bonus unlockable. But speaking of enemies, there are only a few types you will encounter in the entire game with your main being the slow walking zombies, following by a bloater suicide variety and a licker-type fast variety, there would be some flying enemies you will encounter later towards the end of your playthrough, some more creature variety would have been welcomed but either way the game doesn’t overstay its course with each playthrough lasting roughly five to six hours depending how well you struggle against the Ripper’s madness. Regarding difficulty I find Flesh Made Fear to be on the easier side of the survival horror gaming spectrum, even on Hard difficulty which removes the blood bags that restore your character to full health, the removal of your weapon laser sight and even more limited ammo among other changes, the puzzles here are not as hair pulling or brain twisting as some might expect, they are mostly fit the right shape into the right slot or matching the object sequence with the writing of a poem. Flesh Made Fear is a game I can see myself recommending to someone who is new to the tank controls and fixed camera perspectives, it’s a deeply satisfying thrill ride of classic survival horror and 80s grindhouse horror that would please just about anyone who has even the slightest curiosity of the PS1 style creature feature gore and its a must pick for the next Halloween-themed gaming night. Flesh Made Fear is currently available on Steam: https://store.steampowered.com/app/3316350/Flesh_Made_Fear/
Carnival Massacre – Review
Carnival Massacre is a short but well made survival horror game inspired by titles such as Silent Hill, Alisa, and Heartworm. You play as Harley, who is searching for her missing sister Chloe in an abandoned carnival. It may not be the best game of 2025, but I enjoyed it enough that I wanted to cover it, especially as I worry it might be overlooked by survival horror fans. There have also been some unfounded plagiarism claims, which I address below. I also think Carnival Massacre could be an excellent introduction to the survival horror genre. I often see people ask, “I’m new to survival horror, what game should I start with?” Until now, I have struggled to give a clear answer. Heartworm is a good option, but it differs slightly from classic Resident Evil and Silent Hill because your primary tool is a camera rather than a traditional weapon. If you’d rather see Carnival Massacre in action, watch the video version of this review below! Carnival Massacre also features a camera, but here it is used to stun enemies. This is honestly one of the best avoidance mechanics I have seen in a survival horror game. It feels quite ingenious. There are also a few traditional weapons to use, including a shotgun, handgun, sniper rifle, and flamethrower Combat is not particularly difficult and can often be avoided altogether. There is a stalker enemy that cannot be killed, which adds some tension, but even this enemy is not too hard to evade. The puzzles are reasonably straightforward. You still need to think about them, but they are never so frustrating that they would put a new player off. Overall, there is nothing here that players should find overwhelmingly difficult. If someone does get completely stuck, survival horror may simply not be the genre for them. Before I talk more about the gameplay, I also want to address the plagiarism claims that have been made about the game. Alisa Controversy One of the main and most serious claims about Carnival Massacre is that it supposedly stole assets from Alisa. To be clear, there is no evidence that this happened. Casper Croes himself confirmed this in his Discord group, stating: “Just finished Carnival Massacre, definitely no assets stolen.” He added that “only ideas were somewhat taken over,” referring in particular to the way enemies in Carnival Massacre drop coins which can then be spent on resources or used to save the game. In Alisa, enemies drop tooth wheels which serve a similar purpose. Casper also pointed out that you could argue Resident Evil 4 did this first, with enemies dropping gold. I would also note that the save system is reminiscent of the ink ribbons in the early Resident Evil games. Another claim is that the menus in Carnival Massacre were copied from Alisa. When you place them side by side, the similarities are minimal. The main overlap is in the Alisa shop menu, where red curtains are used. However, red curtains are a common visual motif, and it is not as though Alisa owns the copyright to that idea. If we followed the logic that Carnival Massacre “stole” its red curtains from Alisa, we could just as easily say that Alisa “stole” the framed item displays and font style from Alone in the Dark, which would clearly be unreasonable. Many games share similar menu designs, simply because they draw from the same visual traditions. A related but less serious claim is that Carnival Massacre has been heavily influenced by Alisa. This is true to an extent, but influence is not the same thing as plagiarism. There are countless examples of indie games being openly inspired by earlier titles. In this case, it is simply an indie developer influenced by another indie developer, rather than by a major studio. It is also worth looking at the technical side of the asset theft accusation. Alisa uses pre-rendered backgrounds, which means the 3D assets are not stored in the game files in the same way they would be in a fully 3D game. What you see in-game is an image of the 3D model, rather than the model itself, so these assets cannot simply be ripped out and reused. While 3D character models do exist within the game files, even Casper has said that Carnival Massacre did not copy Alisa. All creative works are influenced by something. Alisa itself was inspired by Alice (1988), the surreal revision of Alice in Wonderland by Jan Švankmajer. Carnival Massacre would not be the game it is today without Alisa, but Alisa would not be what it is without Resident Evil, and Resident Evil owes a great deal to Alone in the Dark (1992). Survival horror continues to evolve because each new game builds on what came before. Demo VS Final Game When I first played the demo of Carnival Massacre my main concern was it would be way too easy to be a true survival horror, ammo was everywhere so there was no real need or reason to avoid the enemes. I was glad to see in the full game the ammo was easily halfed compared to the demo and instead of the ammo the player was given a camera that was probably inspired by Heartworm as mentioned earlier. In the demo, the route to the carnival takes you through a tunnel and then along a long road, where you spend around two minutes walking with very little to see or do. This slows the opening considerably. In the final game, the tunnel is blocked off and you instead follow a path through the forest. This more scenic route is clearly inspired by Heartworm and is a welcome improvement over the demo. It better explains how Harley gains access to the now closed carnival and significantly improves the overall pacing. Another feature I really appreciated was the in-game notepad. I often find it frustrating when a survival horror game expects you to search for a pen
Dead Format – Review
Dead Format is a very unique and well-crafted survival horror that simultaneously retains many core components of the genre, while also creatively bending the rules. It is a unique experience with some meta overtones, combining Survival Horror with Analog Horror in a similar vein to last year’s Among Ashes. It is very fun, but there are a couple places where there is room for improvement. You begin the game by breaking into your brother’s apartment after he had gone missing. You find some mysterious notes and a birthday present – a video tape in GHL format, which is basically VHS but with haunting properties. You pop it into the VCR and suddenly the front door transports you into the universe of the film. You then proceed to find other films, and go back and forth between them solving puzzles, facing enemies, and trying to untangle your brother’s disappearance. The game features a limited inventory, some very solid puzzles, a mixture of both classic Resident Evil combat with a Tyrant-style stalker enemy, lots of backtracking to explore previous areas, optional secrets, and some really cool atmospheres. Every film has a Live Action sequence that you can actually watch on the television before entering its universe, and these are GREAT. This includes: very convincing German Expressionist horror, The Evil Dead type practical effects, a 80’s bright and colorful slasher film… and each world also has a type of filter to make you feel part of that era. The gameplay has a good balance between puzzles, exploration, and combat – though the combat is not really a highlight. There are way too many resources for a very small number of enemies, so I never felt that true scarcity-worry that you expect in this genre. The stalker enemy is very intimidating though, and the game does deliver some very tense encounters despite the imbalance of the combat. The level design is well-built, but there is no map. For the most part, the areas are manageable enough to navigate, but there are definitely times where a map would have enhanced the experience. The puzzles are about 50% simple inventory interactions, but the rest are very clever and unique. The game took me around 8 hours to finish, so I do wish the game was a bit longer and had more films to explore. The ending was also a little abrupt, though I did find a couple things that seem to indicate replayability and perhaps alternate endings. That said, I absolutely recommend this game if you enjoy first person survival horror / survival horror adjacent games like Among Ashes, Resident Evil 7, or Routine. Dead Format is definitely one of the better horror games I’ve played this year. You can buy or wishlist Dead Format on Steam now: steampowered.com/app/3399290/Dead_Format
A.I.L.A – Review
A.I.L.A is not a typical survival horror experience, and the developers are upfront about that.
Greek Tragedy – Review
Greek Tragedy is another Halloween release: a fixed-camera PSX horror game that kind of slipped under the radar. Amidst the release of absolute classics this month – Tormented Souls 2, Flesh Made Fear, and Echoes of the Living – it didn’t really get much notice. Well, now that I have finished it (with 3 of the endings), I can’t really say it is competitive with these other titles – especially not as a survival horror game. It certainly shares some of the hallmark traits of the genre; there are fixed cameras, puzzles, and a sense of vulnerability. But it also subverts so many others, to a point where I don’t even know how to classify it. No map, no inventory management, shoddy combat, linear level design, and an absolutely bizarre plot. The combat is somewhat similar to the developer selewi’s games – which DO feel like survival horror despite only having a singular unbeatable stalker enemy. Here, you only have a taser gun that merely momentarily pauses the hooded enemies that relentlessly chase you. This flimsy combat system makes the enemies feel more like a nuisance than intimidating. The real gameplay here is the puzzles, but unfortunately they are a pretty mixed bag. There are a few that were interesting and clever, but there are many others that are either too simple, bizarrely constructed (in a bad way), or just slightly glorified keys. The overall atmosphere is also a mixed bag; while the art style itself is quite charming, the actual content of the college campus, the characters, the vague fraternity/cult story – I just don’t really understand what the atmosphere is supposed to be. The game took about 2 hours to finish, and it left me feeling a bit… empty. I don’t really understand what the vision was for the developer, on both a mechanical gameplay level or the content and story. Some puzzle fans may enjoy moments of the game, but I really cannot recommend it for classic survival horror fans. Greek Tragedy is available for Steam, Xbox, PlayStation and Nintendo Switch
Tormented Souls 2 – Review
It is easy to label Tormented Souls 2 as just another Residet Evil and Silent Hill like game, but it is far more than that.
Tormented Souls 2 – All Puzzle Solutions
Tormented Souls 2 brings back classic survival horror puzzle-solving and along with it a lot of head-scratching moments. If you’ve found yourself stuck on one of the game’s many puzzles, this complete guide will help you through every step. Below you’ll find all puzzle solutions in Tormented Souls 2, including the required items, where to find them, and screenshots showing each puzzle. Need extra help or want to share your own discoveries? Join our Discord community, where players share hints, theories, and screenshots in real time.Also if you would like a video walkthrough that is time stamped for every puzzle please check our the series below. Flower lock Location: Convent – Infirmary Items needed: Christ book, Thumbtack Solution: Combine the thumb tack with the Christ bookNotes: The thumb tack can be found on the cork board, the Christ book is found next to the stretcher nearest the lock Lighter in corpse Location: Convent – Bell Tower (bottom) Items needed: Pliers Solution: Use the pliers on the cage of the corpse to obtain the lighterNotes: Pliers can be found in the Staff Room on F1 Elevator power Location: Convent – North CorridorItems needed: Test item1, test item 2 Solution: Find the power box opposite the door to the Lady Chapel Padlocked door to Courtyard Location: Convent – North Corridor Items needed: Hammer Solution: Interact with the padlock then use the hammer to break itNotes: The hammer is obtained from the Crematorium in the basement Bell Tower glass (Shotgun) Location: Convent – Bell Tower (top) Items needed: Hammer Solution: Hit the bells in order to smash the glass casing and allow the player to obtain the shotgun:3 (third largest)1 (largest)4 (smallest)2 (second largest)Notes: The hint is found by interacting with the plaque below the glass casing. The hammer is found in the crematorium Gallows Location: Convent – CourtyardItems needed: Pliers Solution: Use the lever next to the gallows to drop the torso down, then use the pliers to remove the saw bladeNotes: Pliers can be found in the Staff Room on F1 Frozen hand Location: Convent – KitchenItems needed: Saw blade – Saw handle Solution: Combine saw blade parts and use handsaw on the frozen handNotes: Saw blade can be found in the Courtyard, saw handle can be found in the refectory behind a hidden entrance – find it by moving the moveable shelves Melting the frozen hand Location: Convent – KitchenItems needed: Lighter Solution: Locate the cooker and open the oven door by selecting it, then use the lighter on the wood to start a fire. Place the frozen hand on top of the stove to melt it and release the Cryptex Cryptex Location: Convent – KitchenItems needed: Chess Paper Solution: Examine the back of the chess paper and locate the black lines. The lines show the movements of chess pieces on a board. Use these to turn each section of the cryptex to the corresponding chess piece i.e. L shape is a Castle, Y is a Rook etc.Notes: The chess paper is found in the Calefactory room. Solving the Cryptex gives the crown key for the locked door in the basement Crown lock Location: Convent – BasementItems needed: Crown key Solution: Obtained by completing the Cryptex. Unlocking the door leads to the Prison areas Prison cell power Location: Convent – PrisonItems needed: Pliers Solution: Use the pliers on the wire to open the fuse box then turn the dials so that they point to the symbols that fit inside the shape shown./ \ \ \ /Go through to the other room where the cells are found and use the lever on the platform to power them.Notes: The paper hint is found in one of the cells in the Prison Cursed book Location: Convent – PrisonItems needed: Christ book Solution: Swap the cursed book with the bible, then deliver the cursed book to Joseph in the Crematorium Museum door Location: Convent – MuseumItems needed: Museum Key Solution: Use the key on the three star bolts going from middle to right to left, then select the handle to slide it awayNotes: The museum key is obtained by delivering the cursed book to Joseph Telephone / Jade disc Location: Convent – LibraryItems needed: Old telephone dial – Yellow page Solution: Attach the dial to the telephone base in the library then enter the code 3890*. The jade disc will then be revealed behind a nearby paintingNotes: The solution can be found by flipping the yellow page paper and using the lines on both sides to create the numbers. The rotary dial is found in the basement, accessed via the torture museum. The yellow page is found in the last prison cell. Jade cross Location: Convent – Calefactory RoomItems needed: Cross Disk Solution: Combine the jade disc with the jade cross and use the buttons to spin the discs to create a closed circuit of lines and make a square. Press the arrows in the following order: RIGHT-DOWN-LEFT-RIGHT-RIGHTUse this on the Chapter House door to unlock it.Notes: The jade cross can be found in the lower area of the museum behind the stairs. Obtain from the jade disc from the library by completing the phone puzzle. Padlocked door in Torture Chamber Location: Convent – Torture MuseumItems needed: Hammer Solution: Interact with the padlock then use the hammer to break it Teleport mirror Location: Convent – Torture MuseumItems needed: Lighter – Hammer Solution: Use the hammer to break the padlock, then use the lighter to light candles around the mirror: bottom left, top left, middle 2 right, bottom rightX0000 X0 XX XNotes: The hint for the mirror can be found in the museum – there is a portrait of a woman looking into a mirror that shows the order in which the candles should be lit Torture Chamber stretcher Location: Convent – Torture Museum (Other side) Solution: Use the lighter to light candles on the mirror to go through to the ‘hell world’. Locate the stretcher and use the turn handle to rip open
Fragile Reflection – Review
Definitely one of the best survival horror games of the year, despite its obvious flaws. At its core Fragile Reflection feels like Silent Hill f – PS1 edition. It takes place in a Japan-like world, as you explore a village, a sanitarium, mines, and a dream-like otherworld. It is super inspired by Silent Hill 1 and 2, just with modern over the shoulder camera and controls. The music and voice acting are peak, so authentically PSX. The atmosphere and enemy designs are a little janky but also fantastic. The biggest drawback lies in the technical execution. Animations, hitboxes, and controls can feel clunky, sometimes resembling something held together with duct tape. Character movement and animations in particular look like they came from a first-year animation project. But for me – it is not breaking the magic of the game literally AT ALL. And this is coming from someone who noticed the jank in the demo and had extremely low expectations for the full game. Overall, this game is far more absorbing and charming than I expected. It feels very authentic and nails the atmosphere and gameplay. You will know if you are the type of player that can tolerate a bit of jank in exchange for tons of charm and classic survival horror magic. If not, don’t buy. If yes, buy it immediately. Fragile Refection is avalible now on Steam: https://store.steampowered.com/app/3088670/Fragile_Reflection/
Echoes of the Living Exclusive Gameplay
Exclusive First Look at the Upcoming Survival Horror Experience We’re excited to bring you something special today, exclusive gameplay footage of Echoes of the Living shared directly with SurvivalHorrors.com. This upcoming survival horror title is heavily inspired by 90s classics like Resident Evil and Silent Hill, blending fixed camera angles, puzzles, and limited resources with stunning modern 3D visuals. If you’ve been craving a return to the golden age of survival horror, this is a game you’ll want on your radar. Echoes of the Living will be coming soon to Early Access, giving players their first chance to step into its zombie filled world. The Early Access release will feature Liam’s campaign, a 12+ hour survival experience filled with unlockables, multiple paths, and a brutal “Survivor” difficulty. Liam’s story will offer players five unique endings, rewarding replayability. When the game reaches full release, players will also gain access to Laurel’s campaign, which mirrors Liam’s in length, challenge, and content. Both campaigns are designed to provide a complete and deeply engaging survival horror experience, capturing the tension and atmosphere fans of the genre love. The developers (DevMoonGlint & KurauAmami) have also confirmed that future content and expansions will depend on the game’s success in Early Access, meaning fan support will directly influence how this game grows. If the reception is strong, Echoes of the Living could evolve into one of the most content-rich survival horror experiences in years. Don’t miss out on this first look at the horrors to come — watch the exclusive gameplay below and prepare yourself for the return of true survival horror. Echoes of the Living is avalible to wishlist on Steam now: https://store.steampowered.com/app/2173460/Echoes_of_the_Living/
Heartworm: Review
Heartworm isn’t just an indie survival horror game, it’s a deeply personal work, built from the streets, buildings, and small details of Vincent Adinolfi’s own life.
Survival Horror: How Much Action Is Too Much?
How much action is too much in a survival horror game? That’s the question I hope to explore with my Survival Horror Spectrum, a visual guide that maps where different games fall along a scale from pure action to pure survival. At one end of the spectrum (position 1), you’ll find action-heavy games with little or no survival horror elements. As you move up the scale, the action decreases and survival becomes the focus often with limited combat or no combat at all. While most of us can agree on the core characteristics of survival horror, we each have our own personal threshold. At some point, too much action erodes the tension, resource scarcity, and vulnerability that define the genre. When that balance tips, the game doesn’t just lose its survival horror identity it transforms into something else entirely: action horror. There are many factors that contribute to a game’s classification as survival horror, which can make the genre difficult to define. But too much action is often the clearest and most measurable disqualifier. At some point, when combat dominates every moment and tension gives way to constant gunplay, the game crosses a line. This isn’t a matter of personal taste or opinion; it’s a structural shift in both design and gameplay mechanics. If tension, and vulnerability are no longer central to the experience, then the game no longer fits the survival horror genre. True survival horror relies on elements like resource scarcity, player vulnerability, and the meaningful option to avoid enemies. In some horror games such as Resident Evil 4, Dead Space, and The Evil Within enemies frequently drop ammo, health, and other resources. This not only reduces scarcity but also actively encourages players to engage in every fight, removing any real incentive to avoid combat. Take Resident Evil 2 Remake, for example. Zombies are tough to kill, but relatively easy to avoid. Choosing to avoid them conserves ammo and reinforces the survival tone, even though combat is still present. If, however, those zombies dropped health and ammunition upon defeat, the game would shift to position 4 on my spectrum below the survival horror cut-off point pushing it into the realm of action horror. So, the main question becomes: Where is the line? Let’s start at the bottom of the spectrum with BioShock and Left 4 Dead two of my favorite games of all time. First, let me make one thing clear: placement on the spectrum has nothing to do with quality. The games are ranked purely based on survival horror elements, not how good they are. While it’s true that in both games you’re technically fighting for your survival, the same could be said of almost any shooter. There has to be something more that sets survival horror apart from other genres something beyond simply surviving. The main reason Left 4 Dead sits at the bottom of the spectrum is because of its relentless, unbroken combat. The zombie hordes are so frequent that there’s barely a moment when your finger isn’t holding down the trigger. As mentioned earlier, survival horror does include action, but it’s all about balance. Take Resident Evil 1 Remake (2002) its gameplay alternates between exploration, puzzle-solving, and sudden, tense combat encounters. The action isn’t constant or overwhelming it comes in bursts, often catching you off guard. That’s in stark contrast to Dead Space 3 (2013). Side by side, I don’t think you could find two games more polar opposite in terms of gameplay and how you interact with enemies. As you can see in the footage below, there are moments in Resident Evil 1 Remake where you might encounter just a single zombie. In those situations, it’s often smarter to avoid the enemy and conserve your ammunition for tougher sections or boss fights. That kind of critical decision-making simply isn’t necessary in Dead Space 3, where you can mindlessly gun down every enemy in your path and there are plenty to deal with. It’s not uncommon for the game to throw over 30 enemies at you in a single encounter, and avoidance isn’t even an option. They must be killed to progress, and they also drop health and ammo, giving you no incentive to avoid them. The meme below reads, “They’re the same genre,” which should obviously be taken as satire. Even based on these five-second side-by-side clips, it’s clear that these two games do not play the same way and shouldn’t be classified under the same genre label. Survival horror cut off point After the success of Resident Evil 4 (2005), there was a noticeable decline in traditional survival horror games and a sharp rise in action horror titles. Following its release, the Resident Evil series leaned further and further into action, which is why Resident Evil 5 and 6 fall lower down the spectrum. It’s undeniable that the shift toward action horror became most apparent with Resident Evil 4—but what many people (including Wikipedia) don’t seem to agree on is whether Resident Evil 4 itself should be considered action horror. To be honest, I’d need to write a separate article to fully explain why I believe it is. There isn’t a single element that defines Resident Evil 4 as action horror, but rather a combination of factors that stack up over time. It’s the classic “straw that broke the camel’s back” scenario we just have to decide how much straw (or in this case, how many action elements) it takes to tip the balance. Resident Evil 4 Remake does include more survival horror elements than the original such as stealth, enemy evasion, and Crimson Head–style enemies. In the remake, some enemies can transform if not dealt with quickly, much like the Crimson Heads in Resident Evil 1. In general, enemies also feel more robust and less predictable, much like the zombies in the Resident Evil 2 Remake. In the original Resident Evil 4, if you shot an enemy in the knee, they would almost always fall, allowing you to follow up
Exclusive: Heartworm’s Michael Jentsch on Making PS1-Style Horror
Ever wondered how to create a PS1-style horror game? Then this interview is for you. Michael Jentsch, an environment artist working on the upcoming indie horror title Heartworm, was kind enough to give us a behind-the-scenes look at his creative process, including how he builds lo-fi environments that capture the essence of classic survival horror.
Survival Horror vs Action Horror
Over the past year and a half, I’ve been cataloguing every survival horror game I can find, with the goal of creating the most comprehensive list of survival horror titles to date. During my research…
Departure of Darkness – Interview
With Departure of Darkness, Red Vault Interactive aims to resurrect the magic of classic survival horror, think the fixed-camera tension of Resident Evil 2 in a new setting: a labyrinthine airport in 2005. I caught up with the developers to talk about their biggest inspirations, how they designed the game’s branching puzzles, and why your every action could turn desperate survivors into your worst nightmare. Q: Departure of Darkness clearly draws inspiration from classic Resident Evil. What specific elements of RE2 did you want to emulate, and where did you deliberately diverge? Our team has a deep connection to the look and feel of the classic Resident Evil games, and we wanted to honor that. We especially loved the pre-rendered backgrounds from Resident Evil 2 , fixed camera angles, and its tight survival horror gameplay loop. The police station setting and its narrative pacing really resonated with us, so capturing that same sense of dread and exploration was a core goal. However, we knew we wanted to push combat further. With modern technology, we can implement precise body-hit detection, so damage depends on where enemies are struck, and a laser sight for more skill-based shooting. On top of that, our narrative introduces various NPCs whose survival depends on the player’s actions, adding weight to every decision. Q: Why did you choose an airport in 2005 as the setting? What about that location and time period made it compelling for horror? Airports are strangely underused in horror games, despite being familiar spaces for so many people. We liked the idea of taking a place everyone knows, check-in counters, security lines, duty-free shops, and twisting it into something deeply unsettling when things go wrong. We chose 2005 because it’s a fascinating time: it was a period when airport security became much tighter worldwide. It also lets us play with technology that feels nostalgic and more analog than today’s always-connected devices. There’s something eerie about an era just before smartphones took over. Q: How do the branching puzzles work, and can you share an example of how player decisions might lead to different outcomes? A core design pillar for us is player agency. Many puzzles have multiple solutions, or can even be skipped entirely if the player prefers to tackle challenges differently. For example, if you don’t want to solve a particular puzzle, you might need to venture deeper into the airport to find an alternate, riskier route. Sometimes that path might expose you to tougher enemies or hidden story bits. We want players to feel clever for how they choose to progress. Q: I noticed in the demo there is a map on the wall, in the final game would you consider letting the player take the map with them? Absolutely. We’ve heard that feedback loud and clear! We’re exploring whether to let players collect and keep maps, or at the very least ensure they’re distributed well enough so players aren’t too lost. Exploration is key for us, and maps are part of rewarding that curiosity. Q: What are some “modern mechanics” you’ve introduced, and how do they complement the retro design? One example is our light RPG system: players can find passport stamps that upgrade Emma’s abilities, tying progression to exploration in a way that fits the airport theme. Our zombies are infected with a parasite that reacts to noise, so players need to manage sound carefully. Finding silencers or opting for melee weapons becomes critical for survival.We’ve also made movement, aiming, and camera transitions more fluid than old-school titles, while keeping the tense, deliberate pace fans expect. Q: What have you learned from being part of Science Park Skövde and CDG-Booster? How have those programs influenced your development approach? These programs have been invaluable. They’ve connected us with mentors, other developers, and business coaches who’ve helped us navigate everything from funding to marketing. The networking opportunities alone have been worth it, we’ve met so many people who genuinely want to see us succeed. Q: How involved is the survivor-rescue mechanic? Will those characters affect gameplay meaningfully, or are they more narrative-driven? They’re very much part of the gameplay. Survivors can help solve puzzles and grant access to areas. But if the player fails to protect them, they’ll mutate into tougher, more aggressive enemies. Your choices have direct consequences, so be kind to the survivors. Q: Is replayability a core goal? If so, how do branching puzzles and survivor outcomes feed into that? Absolutely. Replayability is essential for a great survival horror experience. We’re including all the staples, clear times, grades, alternate endings based on who survives, and so on. But we’re also working on a Resident Evil 3 style “Mercenary Mode”, random item placements, and higher difficulties designed for players who want a real challenge. We want each run to feel fresh and test your mastery of the game. Q: You’re aiming for a mid-2026 release. What does your roadmap look like between now and then? Our focus is on expanding every aspect of the game, more areas, more enemies, more puzzles, adding boss fights. We’re also continuing to polish our core mechanics and narrative systems based on feedback. Expect consistent progress updates as we refine and expand the experience on social media. Q: What kind of feedback have you received on the demo so far, and how has it shaped your roadmap? Are you planning future demos or playtests to involve the community? The response has been amazing, we’ve loved seeing players pick up on the Resident Evil references and embrace the retro look. People have also given us tons of useful feedback on what they like and their main problems. We’re working hard to improve on the experience and really nail the classical feeling whilst minimizing frustration. We’re planning to host regular playtests through our Discord, especially as new areas come online. If you haven’t joined yet, hop in and try the demo on itch.io, we’d love your feedback. If you’re intrigued by what you’ve seen so
Niraya of ■■: Helpless Horror
You cannot fight. Yet, you must confront your fears. Set to release in late October, Niraya of ■■ is a Japanese horror game with Buddhist aesthetics. Developed primarily by Yuya Yamaguchi, whose past work includes Silent Hill: The Short Message, MGS Snake Eater 3D, and Final Fantasy Type-0 HD. Although largely developed by Yuya Yamaguchi, the game is supported by a team providing art, music, localization, QA, and marketing. His impressive resume includes collaborations on major Japanese titles. Not Classic Survival Horror Niraya of ■■ is not classic survival horror, instead it is what I would class as “Helpless Horror” or “run and hide survival horror” it diverges sharply from titles like Resident Evil. There’s no combat, Instead it takes inspiration from games like Clock Tower and Haunting Ground, where avoidance, timing, and vulnerability are at the core of survival. The game’s tagline, “You cannot fight. Yet, you must confront your fears,” captures its spirit perfectly. You play as Yuni, a defenseless child abandoned in a haunted world. Powerless to fight back, she must learn enemy patterns, manage her stamina, and rely on premonitions to avoid capture. It’s a minimalist experience that builds tension not through firepower, but through sheer helplessness. Inspirations Behind Niraya of ■■ While Western horror often leans on gore or ruined worlds, Niraya of ■■ draws from more cerebral and cultural roots. “Kuon was a big influence,” says Yamaguchi, referring to FromSoftware’s 2004 cult classic set in Heian-era Japan. The game invites players to experience fear from the viewpoint of an ineffectual child—a motif that places it closer to psychological horror, but with the survival mechanics to back it up. The Premonition and Stamina Systems Niraya of ■■ builds tension not through fast-paced action or violence, but through strategic evasion and resource management. Central to this is a dual mechanic: the premonition system and a strict stamina gauge that governs your ability to flee. Before a threat strikes, Yuni receives a premonition—a moment of foresight that reveals the enemy’s next move. This warning gives you a brief window to react, but reacting blindly can be just as dangerous. Every step Yuni takes depletes her stamina, and once exhausted, she’s left completely vulnerable. Enemies don’t simply chase you—they follow patterns. Survival means observation: learning how enemies move, memorizing escape routes, and finding the right timing to rest, hide, or run. Panic leads to mistakes. Calculated movement leads to survival. “The stamina limit is quite strict,” says Yamaguchi, “but it doubles the sense of accomplishment.” The result is a slow-burning horror experience where every encounter feels tense, every escape earned. You’re not solving combat puzzles—you’re surviving them by outthinking the threat. Coming This Halloween At 70% completion, the game is slated for a late October 2025 release, just in time for Halloween. Yamaguchi promises: “It’s a bit eccentric, but just the right game for horror fans—especially those who prefer unknown experiences.” My final question for Yamaguchi was about the cryptic symbols ■■ in the game’s title: “You can find out the meaning behind the ■■ after watching the whole story of the game!” If you’re intrigued by what you’ve seen so far, be sure to wishlist Niraya of ■■ on Steam to stay updated on its release. You can also follow Niraya of ■■ on Twitter/X for development updates, behind-the-scenes content, and more.
Tormented Souls 2 Demo Now Live
New Look, New Nightmare, and a Return to Classic Survival Horror Roots Grab your nailer and lighter: survival horror fans can now step back into the shadows as Tormented Souls 2 unleashes its brand-new Steam demo, a new story teaser trailer, and a revamped look for returning protagonist Caroline Walker. Tormented Souls 2 promises to improve on the original in every way, offering a longer campaign, upgraded visuals via Unreal Engine 5, and a fresh take on classic survival horror gameplay that fans of the genre will immediately recognise. Play the Demo Now The newly released Steam demo offers players their first hands-on with the sequel, featuring roughly 60 minutes of gameplay that sets the stage for the full story. Caroline and her sister Anna journey to Villa Hess, a secluded town in the Chilean mountains, hoping to find answers to Anna’s increasingly disturbing visions. But peace is short-lived, and players are soon thrust into a fresh nightmare involving shadowy convents, hidden passageways, and a sinister sisterhood with ties to the past. Play the demo here Caroline Walker Returns with a New Look In a nod to the series’ retro influences, Caroline’s design in Tormented Souls 2 has been reimagined to blend nostalgia with maturity. Dual Effect, the developers, describe the new look as a natural evolution, drawing inspiration from survival horror icons like Claire Redfield and Aya Brea. Caroline’s blood-red dress, worn leather jacket, and signature floral motifs combine to reflect her new role: no longer a lone survivor, but a protective sister and fierce fighter. “We wanted to ensure she still felt familiar to returning players, while showing that she’s grown from her past trauma,” said the team. “This is very much her BIG SISTER era.” Watch the ‘Sisterhood’ Story Teaser Trailer Set roughly six months after the original game, Tormented Souls 2 plunges players into a terrifying new narrative. After arriving at a clinic recommended by Caroline’s psychiatrist, Isabella, things take a dark turn when Anna is abducted. Caroline awakens in the convent infirmary and must now navigate a labyrinth of fear to save her sister and uncover the twisted legacy of their family’s past. What’s New in Tormented Souls 2 Tormented Souls 2 will launch later in 2025 on Steam, PlayStation 5, Xbox Series X|S, Epic Games Store, and GOG.com. A PlayStation 5 physical edition is also available for pre-order. Watch the Demo in Action Curious to see how Tormented Souls 2 plays firsthand? I’ve started a full playthrough of the Steam demo, exploring the eerie halls of Villa Hess, solving puzzles, and backtracking for an optional shotgun. Check it out to see the new mechanics, Caroline’s updated look, and some of the game’s early moments in action.