Classic survival horror is still alive and scaring

And a few decades later, developers are still finding ways to bring the most important elements of those games — namely, the mood and scares — to modern horror without feeling dated.

The most obvious way to do this is keeping the style and tone of classic survival horror while updating the gameplay to make it more approachable. The most recent example of this is Fear the Spotlight, the first release from horror movie studio Blumhouse’s new gaming label. Much like Crow Country and Signalis, it’s a game that looks like it was ripped right out of 1998; the visuals are blocky, the textures low-res. It gives the experience a grimy feel, which is just the right note for horror.

Fear the Spotlight — developed by the two-person team at Cozy Game Pals — starts out simple enough, with two friends breaking into their high school to perform a seance in the library. But, of course, things go bad, and they get pulled into a nightmare realm that connects both to their own pasts and a dark mystery the school has been hiding for decades. It’s part coming-of-age story, part romance, and part true crime. But it’s all rendered in the crunchy style of PlayStation-era horror, which lends it an uneasy edge.

The game also lets you really focus on the story by streamlining the gameplay. There’s a lot of puzzle-solving; much like in early Resident Evil games, you’ll be fixing all kinds of complex mechanical problems and dealing with arcane statues and locks. But there’s almost no actual combat. Instead, you have little choice but to run and hide when the terrifying monsters appear. Some of the scariest moments of the game have you huddled under a desk, waiting for the creatures — which have deadly spotlights for faces — to pass.

In some ways, removing combat makes the game even scarier since you have no way to fight back. These moments in Fear the Spotlight reminded me a bit of stowing away in a locker in Alien: Isolation, hoping the xenomorph couldn’t see me. The hazy, dirty visuals only amplify this feeling, as it’s often difficult to get a clear view of what’s ahead of you.

On the other side of the spectrum is the recent remake of Silent Hill 2. Instead of creating a brand-new survival horror experience with modern sensibilities, it’s an attempt to take one of the genre’s most influential titles — a particularly idiosyncratic one at that — and reimagine it as a big-budget release in 2024. That has pros and cons. Like the remakes of classic Resident Evil games and the original Dead Space, Silent Hill 2 looks and plays like a modern release. The visuals are crisp and detailed, instead of hazy and disorienting. And it controls like a well-tuned third-person action game. It’s immensely satisfying to swing a bat, whether you’re smashing in windows or fending off a living mannequin.

There’s a shift in tone. The modern Silent Hill 2 is still scary. The level of realism makes the squirming enemies and cramped hotel hallways feel incredibly unsettling, and there’s a level of immersion that can be panic-inducing. But now it plays and feels like a lot of other games and is, for lack of a better word, a lot cleaner than the original. It’s no longer as weird and distinct. It reminds me a bit of the 2018 remake of Shadow of the Colossus: a cover song that doesn’t replace the original but provides a different way of looking at it, one that’s welcoming for newcomers. (If only Konami made the original Silent Hill 2 more accessible.)

The point is, these games show there is still plenty of room to do interesting things with survival horror. And they do it in a way that both connected to the genre’s history without being stifled by it. More importantly: they find new ways to scare.

Fear the Spotlight and Silent Hill 2 are both available now.