"But I think the benefits of low-poly abstraction extend beyond horror." "Well, the retro horror scene is certainly booming right now," he says. Designer James Wragg insists that there's potential in low-poly 3D games to explore more genres. Unfortunately, only the first two made it into the demo-combat and item management weren’t quite ready, but they'll all make their way into the final game."ĭread Delusion is another of the Haunted PS1 demos, set in a corrupted medieval world under a red sky. "I wanted to stick to the fundamentals of the genre and not head into action-horror territory like RE4 or Dead Space. "I needed to strike a balance between ambient storytelling, puzzle solving, realistic/underpowered combat, and item management," he says. It's the work of Vincent Adinolfi, who says his goal was to recreate the original survival horror formula in a modern engine.
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She receives a mysterious videotape one day-a fascination with VHS and other dated media persists throughout these games-and when she watches it is transported to a ghost town full of secret doors and blurred textures. One of them, Heartworm, looks like the first Silent Hill but with a protagonist closer to 1990s Lara Croft. You want to play some cool videogames?Įarly in 2020, a collection of upcoming work from the growing low-poly 3D scene called the Haunted PS1 Demo Disc bundled together 15 games that are all tapping this rich vein of blurry horror. They take that creepiness and use it to hark back to a time when the FPS genre was also new enough to feel odd and threatening. Games like Night of the Consumers, Crypt Worlds and Lost in Vivo, for example, as well as the parallel scene of retro first-person shooters like Amid Evil and Dusk. While games like Tunic and Donut County find cuteness in low-poly 3D graphics, many more now lean into the uncanny. High-res modern game dev is too open-ended-the detail that we can put into games nowadays seems never-ending Vincent Adinolfi Alone in the Dark, Resident Evil, and Silent Hill were all designed with 3D spaces that had a sense of reality to them, but were overlaid with wobbling, low-res textures and peopled by characters restricted to jerky movements and rough, freakish faces.
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Survival horror was big in the late 1990s.