Horror games have long captivated players, but what makes them so compelling? According to developers behind classics like Dead Space and Soma, the secret lies in psychology, sound design, and existential dread.
Don Veca, audio director for Dead Space, explains that true fear begins in the mind. 'It's not the fear of what is, but of what might be,' he says. 'Real horror is the shadow behind the door, the silence that lingers too long.' Veca used jarring sonic contrasts, such as a train's metallic roar recorded in a San Francisco Bart tunnel, to create tension and unpredictability.
Composer Jason Graves, who worked on Dead Space and Until Dawn, emphasises the role of sound. 'Sound and music prepare the player to be scared,' he says. Graves 'infected' the orchestra for Dead Space, using unusual techniques to create a dissonant, unpredictable atmosphere. He notes that muting a game can reduce fear, as imagination fills the gaps more terrifyingly than any visual.
Hidetaka Suehiro, known as Swery, creator of Deadly Premonition, views fear as rooted in the human condition. Inspired by a question from Resident Evil creator Tokuro Fujiwara, he explores how fragility and suffering make horror resonate. 'At the centre of horror there is a human being,' he says.
Thomas Grip, director of Soma, argues that horror can be philosophical. 'It forces you to ask uncomfortable questions: What does it mean to be human?' he says. Soma uses silence and existential themes rather than jump scares to unsettle players.
Ultimately, horror games tap into our deepest anxieties, offering a safe space to confront fear. As Veca puts it, 'The certainty that something is coming … but you don't know when, or what.'
