Editorials
[Editorial] Why Rhythm-Action Game ‘Thumper’ is a Hypnotic Nightmare
In Thumper, there’s just you. A chrome-plated beetle that moves at high speed, always on the edge, attempting to escape. Tight corners that would be impossible to traverse by a human being lock you onto the game’s hellish highway, forcing you to stay on the beat and react fast. There are spikes and snakes to avoid. There’s also a certain enemy that demands perfect precision several times in a row, or see you scrubbed from existence via an inescapable laser. Intimidating bosses roam each stage as well. Everything tries its best to stop you mechanically, but it’s right inside your head where Thumper struck its needle.
The influence of the rhythm games genre is used for tormenting the player with all kind of negative emotions, with a promise of nailing a high score and, eventually, becoming better. Fear, uncertainty, nerves, and never-ending pressure due to exigency are constant. And there’s a reason why the developers decided to label their project as “rhythm violence”. It’s not so much about seeing the beetle using its own body to rail on obstacles or performing jumps with as much strength as it can get from its tiny wings. But rather, what the experience altogether does to the player.
The tutorial, a mere facade used by the game to turn itself into an unknown visitor of your mind, takes the theory into practice in mere seconds. It lets you in on the basics, repeating a few patterns you’ll be seeing often in the upcoming levels, and immediately stops holding your hand. Everything becomes more and more complicated, and by the time you get through the finish line, you’re left speechless.

Anything that can give you a quick exit has been thought by the developers to prevent you from doing so. Although you will fail often, respawning is immediate, and there isn’t enough room for respite except for merciful, yet scarce, breaks in between sections. You can always pause and exit the game, of course, but there’s a seductive element to its movement that grasps you.
There’s still predominantly a rhythm game underneath the nightmare. The scoring system will remind you of that in every single section you manage to survive, granting you different grades based on your performance. If you get hurt or happen to miss a platform, you can say goodbye to an S grade. But if you manage to perform above average, doing perfect turns, that are seemingly impossible due to high speed and the quick reflexes they require, they’ll get you a nice, satisfying bonus each time.
Thumper wants you to perform at the best of your capacities and isn’t afraid to push you back often, demanding even more from you on the next stage. It always appears keeps you on a leash, distracting you by score leaderboards and a search for perfection that comes tied with the genre, only to cause punishment if you don’t only meet, but exceed on its standard.
I played it for the first time when it launched on PC back in 2016 , and I’ve recently picked it up again for my Switch. For a moment, I thought I had gotten over the fear and anxiety I felt during that one initial playthrough. But I got sucked in again as it were the first time.
Playing games in bed have come almost a routine thanks to the console’s nature, but Thumper is the first to cause a disturbance in a moment that is supposed to be relaxing after a long day of work. It forces me to sit down in bed, dedicating my full attention. Regardless of the weather outside, I can’t help but start sweating in less than half an hour. It drags you into the screen in much the same way a massive open-world is able to, but instead of wonder and discoveries, you feel trapped.
Music and sound design play a big part of this, meshing together in a way that’s terrifying to witness. Every time a new platform or turn is approaching, you hear a distinct sound attributed to it. If you wear headphones and pay enough attention, you might be able to prepare your fingers ahead of time. But it’s also how the audio revolves around you, blasting primitive, eerie sounds and marching drums that become more intense as you progress.
It manages to create a strange connection that certainly drifts away from your regular rhythm game. The feeling of wanting to overcome the challenges upon you is there, but you don’t have a selection of difficulties to rely on for practice. There aren’t any rock or pop songs in there, either. Rather, there’s the company of a dedicated soundtrack that is so in touch with the game you can almost feel it.

Thumper remains true to the definition of a nightmare. It feels like something that only the darkest corners of your mind could make, defying speed and a human space for colors and shapes that are both intimidating and gorgeous to lose yourself into. There’s a constant sense of danger, laughing at the face of your well-being and evoking emotions deep inside you, regardless of how you felt prior to entering the game.
It’s only you in Thumper, trying to escape from a bad dream that is preventing you from waking up. The beetle is hit several times, suffering from damage and the inevitable fate it has fallen into. Each level is a purgatory of dedicated precision, chaining you to a loop of patterns and rules to follow.
And you can get through it eventually. But even after years of waking up from the nightmare, the memory is still roaming inside my head. Going at full speed, looking for a way out.
Editorials
Meet the Actors Who Brought the ‘Backrooms’ Still Life Monsters to Life [SPOILERS]
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.

For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!

That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.

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