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It still feels like you're not in a safe place, but you're at least in a bright place."īut how on Earth do you make an area like that scary? According to Grip, they don't. I feel that the desert right now is more like a palate cleanser where you come out of a dark cave, and it's like, 'Oh, light finally!' But then you're obviously in the middle of nowhere. "So, we expanded upon the environments from there, adding caves and ruins and all that sort of thing. And for the other, horror gameplay is usually like, so the player finds a note.but in the middle of the desert? Why would you find that there? For one, it's not that scary because it's bright and sunny and it looks like the beach.
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"But then as we actually implemented it all, we realised it's so hard to do anything in a desert. "We thought a desert would be a good place to have horror, it's basically a wasteland," he says. But dark and snowy has been done to death in horror, and after being inspired by a book called Skeletons Of The Sahara, Grip pitched the idea of somewhere a little warmer. Originally, Grip tells me the team was torn between setting Rebirth in somewhere cold and desolate like Antarctica, or hot and sandy like the Algerian desert. Or settings, rather, because the game travels through varied environments, from caves and tunnels to a warm sunny desert. Straight away, Rebirth's setting caught my eye.
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We also discussed monsters and things they've learned from their old games, as well as how player choice can make horror that much more horrifying.
#Amnesia the dark descent lore series#
How can the horror of a traditionally dark and dingy series hold up under the bright desert sun? I talked with game director Thomas Grip and creative lead Fredrik Olsson to find out. It's the new survival horror from Frictional Games, the team behind Amnesia: The Dark Descent and Soma, and it's out today. You're not some sort of Indiana Jones-esque film though, I'm afraid, you're in a horror game - Amnesia: Rebirth, to be exact.
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Frictional Games are online here.The year is 1937, and you've just woken up in a crashed plane in the middle of a desert. Now we can build on that to make horror games better than ever before. The horror genre can’t be that far behind. The past few years has seen a great rise in excellent narrative experiences with the likes of To the Moon and Gone Home. The build-up, narrative, and scenarios you place the player in are really what makes a game scary or not.” “Unless you are after some very cheap scares, crafting good horror is not something that can be done by adjusting a few knobs. I feel there was a very strong desire in those games to go beyond the more primal, and into more deeper horror. The dual worlds of Silent Hill, Fatal Frame’s camera, Forbidden Siren’s sight-jacking, and so on. If you look at the golden age of console horror games in the late 1990s and early 2000s, there’s a lot of really interesting approaches going on. “There has been very little innovation in terms of interesting systems and themes. Every few years we seem to be left in a state where we’re waiting for a game to come around and revolutionize things, at least for a short time. I mentioned before how many games in the horror genre simply tend to borrow off one another. Fatal Frame V : Does nobody ever say, “It’s behind you,” in Japan?