This was simply one of the makers in our lineup. In truth, the past two games are just about the goods, counting in the series’ biggest hit. And that is the major strength of the last two games, which, though made by the same crew and primarily by the same team of developers, laudably feature-filled, and noticeably introspective, creator Joss Whedon, as opposed to the much more amusingly retrograde Oscar-winning film director Christopher Miller.
Key to the series’ success and deliverance from its drab prequels has been its general refusal to take itself freaking seriously. Even with the most fantastical scenes and most movie-faithful effects, this is a game in which even the monsters seem lighthearted, the action is goofy and the jokes are even sillier.
Good horror draws on the queasiness and terror that can be evoked from certain movies, but it also leaves these movies in the dust. A traditional horror film, like the one Warner Bros just made, too often places its characters in a frightening situation, but then straightens them back out even before the scary thing is over.
Good horror fits the tension and bad terror into the existing structure of the storytelling and not the other way around. The suspense is built from the characters’ weirdness and their way of reacting to the world around them, not from the world itself. The horror is a byproduct of their actions.
This feeling of repulsion and unwillingness to run is the fuel of good horror, and it comes in two different flavors: from those genres invented for the cinema and then adapted as cinema; and from those from the world of literature, having never fully been adapted for video games.
And it’s impossible to replicate those genres’ tension without pussies, because — and I mean this in the best possible way — people with pussies are terrified of the weirder things in the real world. They may love the drama, but they prefer to lose themselves in it at the theater, not while killing a monster in a videogame. d2c66b5586