Editorials
[Editorial] What’s Behind There? The Effective Use of Doors in Video Game Horror
I’ve always been a disaster for horror games. I get interested in the characters, the stories or even unique mechanics that some of them offer, but it’s hard for me to take the first step. Even with one or several friends alongside me, I could never shake off a particular feeling whenever I’m traversing new scenarios. And I think that a big part of my fear comes from the uncertainty that doors hide within.
In some games they are a mere illusion, serving a purpose of decoration or design with an unsurprising “blocked from the other side” message. But in the horror genre they take a starring role and depending on the studio’s vision over what they want to accomplish in the game towards the player’s feeling, they’ve made different use of them throughout history.
Back when Resident Evil was trapped under console limitations, doors were used as a mask for loading screens whenever you entered a room. But if like me, you were lucky enough to go through it without this in mind, they were a mystery. In a matter of seconds, you would start thinking what could be expecting you on the other side of the door, firmly holding your gamepad and trying to remember how many bullets you had left.
They served a purpose, technically speaking, but the developers were well aware of their potential almost to the point of worshipping each one of them. There are 167 door load screens in the first Resident Evil, including some ladder and gate screens as well.
Games like Amnesia and Outlast started to treat them differently. Instead of a slow, meticulous pace, these both modern takes on the horror genre had you constantly escaping from danger, including a key difference: you can’t fight back using weapons. In each, doors became both a way to defend yourself from your own sanity or terrifying, surprisingly fast patients. But they were also an obstacle in certain situations, and it didn’t take long for you to regret closing every door behind you when you’re forced to turn back in order to escape.
Under these two visions, Resident Evil 7 managed to find a balance. During my first minutes into the game, everything was going fine while I was roaming through Baker’s house perimeters. Yet an eerie, familiar sensation came to me once I opened the door on the back, finding myself against a pitch dark room. I immediately paused the game and started streaming it, so a friend could later join me on the distance to keep me company.
While the influence had a leading role in the first part of the game, it didn’t take long for Resident Evil 7 to remind me that I actually had an inventory with weapons on my disposal. But doors were no longer in a leading role with a loading screen, and I’ve had several tools to defend myself now.
And yet, while a new standard was starting to finally settle down, Paratopic showed up with three completely unique ways of using them within. This lo-fi surreal experience does a lot in under an hour, but doors carry some of the most memorable moments of the story.
Stranded in the forest, taking photos of birds and enjoying that is perhaps too calm, we find a cabin. There doesn’t seem to be anything inusual at first: a mattress and a pair of empty food cans showcase a mundane picture. But there’s a closed door beneath it, and the sole response we get are a few knocks from inside if we’re insistent enough. It remains a mystery that can be completely skipped if you choose to ignore it, but ever since I did nothing but wonder what’s behind that door. This moment became such a huge collective question that the developers decided to answer it in the Definitive Cut edition.
The second door in Paratopic has a completely different momentum, being opened abruptly by kicking it and immediately followed by a fleeting glimpse of violence, surrounded by the dark synth sounds of the marvelous soundtrack. The third, however, involves an elevator along with probably the slowest sequence in the game. The player is set to wait in a room, watching how it slowly descends to the floor. It might seem like a moment of respite, but you start feeling anxious, scared. If there’s something in that elevator, you have no way of escaping. And, when you least suspect it, the door opens…
Even after witnessing dozens of different mechanics and moments surrounding doors, there are still new ways to experiment with them. The importance of them to horror, even if it’s just a sound or a transition, shouldn’t be taken for granted. It’s in the attention to detail that doors proved to be much more intimidating than they actually should be, forcing you to think twice about investigating a room or making you jump once you hear one being slammed on your back. But every time, it’s about now knowing what’s on the other side, and it’s one of the most valuable elements that horror games can offer.
Five decades ago, Stephen King published the story of a bullied girl with telekinetic powers and forever changed the world of horror.
Carrie follows a high school misfit who seeks revenge for a hideous prank by psychically destroying her senior prom. The name Carrie White has become synonymous with the concept of a formal dance thanks to a flawless adaptation from Brian De Palma. Now fifty years after the film’s release, Mike Flanagan is putting his own stamp on the troubling story.
Rather than a feature film, the writer/director will expand King’s relatively slim debut novel into an eight-episode miniseries for Amazon Prime set to premiere on October 7.
Flanagan is no stranger to the world of Stephen King. A long-time Constant Reader, he first made waves with his daring adaptation of Gerald’s Game (2017), a novel many fans considered un-filmable. His underrated Doctor Sleep merges the disparate plot of Stanley Kubrick’s The Shining with King’s original source material, and his 2024 genre-bending tearjerker The Life of Chuck faithfully executes one of the author’s most metaphysical novellas.
He’s currently mired in pre-production for an expansive adaptation of The Dark Tower series, keystone to King’s connected universe, and Warner Bros. recently announced that Flanagan will helm a new version of The Mist, King’s 1980 novella which sees a small Maine town overrun by otherworldly monsters.
Considering the vast array of the author’s previously unadapted material, an obvious question arises. Why reimagine Carrie in 2026? Noting the timeless nature of the content, Flanagan expressed his desire to bring the story of a bullied girl into modern times, mirroring his approach to Shirley Jackson’s The Haunting of Hill House and Edgar Allan Poe’s The Fall of the House of Usher. He explained, “The only way to approach it was to build something new out of the ingredients of Carrie. Otherwise, there’s really no purpose in trying to retread ground that’s been so beautifully walked before.”
His miniseries will maintain the novel’s bloody bookends while delivering “big surprises” along the way.
A New Prom Night Nightmare
The roughly 60-second teaser introduces Summer H. Howell as Carrie White just before the moment of catastrophe. Standing in a prom dress, she smiles at her applauding classmates with an ominous crown perched upon her head. Moments later, Carrie unleashes a rage-filled scream into the night air while promgoers rush for the exit doors. But careful examination of this scene shows Carrie wearing a different, albeit dirty dress as she seems to telekinetically punish her peers.
In an exclusive first look with Entertainment Weekly, Flanagan explains that in his version of the story, “the events of that prom are going to be completely different.” An open trunk emitting a crimson glow does hint at the pig’s blood dumped on Carrie’s head, but it’s likely Flanagan’s formal dance will be a different kind of horror altogether. Despite these changes, the series may end with the widespread destruction outlined in the source material. Unlike any previous adaptations, King’s novel ends with the near-total destruction of Chamberlain, Maine. A flaming street in Flanagan’s trailer promises similar carnage no matter what prank sparks Carrie’s deadly revenge.
The Monstrous Addition of Social Media
On the opposite end of this fiery conclusion is an extreme act of bullying that brings together the story’s main cast. King’s novel begins as Carrie gets her first period while showering in the girls’ locker room. Completely unaware of the concept of menstruation, the sheltered girl thinks she’s bleeding to death. Her classmates respond with vitriolic rage. Led by ultra-mean girl Chris Hargensen (Alison Thornton), they mock the terrified teen while pelting her with tampons. Glimpses of this disturbing event reveal that Flanagan has excised the scene’s nudity while adding a seismic update. As Carrie sobs in the shower stall, Chris and her friends film the breakdown with their phones.
Other scenes note the presence of social media, bringing King’s fifty-year-old story into the digital age.
Flanagan’s adaptation promises to explore the destructive power of social media, an often invisible entity with a potential for harm rivaling Carrie’s own powers. While King’s tormented heroine suffers in front of a small group of girls, Flanagan’s version of the incident will likely become a viral video, potentially circling the globe on social media. Similar to Katt Shea’s criminally underrated The Rage: Carrie 2, which includes elements of revenge porn exploitation, Flanagan’s modern retelling will distinguish itself by exploring the nebulous cruelty of online bullying, a force ten times more powerful than the irl pranks King first envisioned.
A Completely Reimagined White Family
In addition to modernizing these canon events, Flanagan hints at updates to Carrie’s oppressive upbringing at the hands of her mother, Margaret White (Samantha Sloyan). Dead before the novel begins, we never meet Carrie’s domineering father Ralph, known to carry a bible alongside his gun. Flanagan’s White household will be an altogether different beast. In his version of the story, Carrie and her mother have been hidden away in the unassuming home, forced out of hiding by Ralph’s unexpected death. Perhaps we will finally meet this elusive man whose shadow hangs over his wife and child. Considering the White family’s fundamentalist lifestyle, this reimagining hints at tradwife culture and a home ruled by staunch patriarchal control.
Whereas King’s Carrie has been tormented by her classmates since Kindergarten, Flanagan’s Carrie will be a wide-eyed newcomer to public school, eager to make friends and engage with her peers. We glimpse Carrie cozying up to Chris and the equally popular Sue Snell (Siena Agudong) as she navigates a new social scene. Of course, we know this kindness is part of an elaborate plot designed to lull Carrie into a false sense of camaraderie, setting up an atrocious act of public humiliation. These brief moments of feigned compassion put Sue’s own complicity into question. Will Flanagan’s version of the character find the courage to defend Carrie from vicious bullies or will she succumb to peer pressure and join in the mob mentality?
Perhaps the biggest deviation from King’s original text is the relationship between Carrie and her mother. King’s Margaret White is a horrifically abusive religious zealot whose worldview has been hardened by internalized misogyny. She shames Carrie for menstruating, locks her in a closet to “pray,” and regrets not killing her child in infancy. She’s also responsible for Carrie’s social ostracization. Known to berate her neighbors for their “sins,” Margaret forces her daughter to live by an extreme code of conduct and disallows any potential friends lest they corrupt the girl with their worldly ways.
Flanagan’s version of the character is perhaps just as much a victim as Carrie herself. Also trapped inside her home, his Margaret is overly vigilant, her own trauma manifesting as strict control. Describing a more sympathetic depiction of the iconic villain, Flanagan explains, “Our Margaret White is a woman who fiercely loves her daughter and wants to protect her from this world … [She] doesn’t know how to do that and thinks the way to protect her is to close her off; not punitively, but to create this private utopia.”
Despite this potential softening, Sloyan’s Margaret may still have a sharp edge. Though she has appeared in many Flanagan projects, from Hush (2016) to The Fall of the House of Usher (2023), she is best known for her role as the abhorrent Bev Keane in the poignant saga Midnight Mass (2021). Perhaps inspired by King’s Margaret White, Bev is pious and sadistic, willing to punish anyone who does not adhere to her warped approximation of Catholicism.
Flanagan specifically wrote Margaret with Sloyan in mind, likely remembering the actress’s eerie ability to create deceptive empathy and shift our allegiances on a dime.
Expanding Stephen King’s Telekinetic Universe
While most of King’s story deals with an unthinkable prom night in Chamberlain, Maine, large sections of the semi-epistolary novel see experts debating the nature of telekinesis. Do Carrie’s frightening abilities represent a new phase in human evolution or is the prom night carnage merely a fluke? King settles the debate with a shocking denouement in which a young mother recounts her infant daughter’s ability to dangle her crib toys in midair. We’re left to wonder if she will become another tormented girl who surprises the world with metaphysical strength.
Flanagan plans to build out this brief scene while amplifying themes of female empowerment. After introducing our main cast of characters, episode two will open with an unrelated story in which we meet another girl with the TK gene. Each subsequent chapter will expand this world, building out a roster of telekinetic young women. Considering King’s fondness for stories about powerful kids, often described as possessing “the shining,” Constant Readers will no doubt have their eyes peeled for various Easter Eggs nodding to the author’s vast catalogue.
Giving Carrie Her Own Voice
Perhaps the most striking distinction in Flanagan’s new trailer is the extent to which we hear Carrie’s voice. The sneak peek is fully narrated by the titular prom queen as she demands accountability. “I want to know why,” she explains while detailing Chris’ elaborate plan. Aside from the aforementioned coda, King’s book essentially ends with the aftermath of the prom night tragedy, leaving little time for Carrie to reflect. His shifting narrative does bring the reader into her fragile mind, though not before she’s been cowed by relentless cruelty. We watch Carrie sink into bloodthirsty revenge, but never hear a considered desire for justice or repair.
Flanagan’s original monologue allows Carrie to voice her pain and mourn the life she could have had. We’re also treated to a mug shot-style photo of Chris with a bruised and bandaged face, implying that the mean girl will have to answer for her senseless sadism.
Flanagan is known for filling his series adaptations with heartwrenching speeches that cut to the heart of his thematic intentions, and this teaser seems to follow suit. After years of fans, critics, and scholars analyzing Carrie’s pain, perhaps his modern retelling will offer the titular anti-hero a chance to finally speak for herself.
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