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
Why Mainstream Horror Should Lighten Up
“Elevated Horror.” Of all the combinations in the English language, that one is the most insufferable.
It represents almost a decade of scary movies that, for the most part, took themselves too seriously. Horror responds to the moment, so its “why so serious” lean makes sense as we scuttle through the “worst of times” equation of Charles Dickens’ famous opening lines. But there’s still an opening and a need for a lighter approach; one that not only has fun with its audience but takes the piss out of a genre that is seemingly letting its newfound “respectability” go to its head.
Wes Craven believed devotees see horror films to let out their fears one primal scream at a time. At their core, these movies are roller coasters; they bring us as close to the edge as possible before pulling us back into a safety net of reality. The need for a bigger and badder coaster increases during times when the size of that net decreases.
There’s a thrill that comes from imagining being in a foot race with a madman, or outthinking the hordes of zombies on the other side of the door, plus the scavenger humans coming behind them. There’s even a rush that comes from imagining how one might deal with possession to see good triumph over evil in the end. It’s all about building tension and releasing it through catharsis. That cathartic release usually sounds like screams followed by laughter, which signals relief. Genre heavy hitters over the past 10 years offered very little of that respite when the credits rolled. Films like Hereditary, The Witch, Talk to Me, and even Smile (pick one) keep that tension going after the screen fades to black.

Hereditary
As the genre became obsessed with creating trauma metaphors, that lack of release made sense. Anyone with even a small sample size of traumatic experiences knows those emotions don’t magically resolve themselves in an allotted run time. But how much trauma can one take? Especially when there’s a mess going on outside that few of us can escape from. Movies offer that off-ramp, no matter how short.
Everything can’t be, nor should it be, “elevated.” Audiences need thoughtful explorations of life’s ills via monsters as much as they need murdering masked maniacs with kitchen knives. And no, it doesn’t have to go any deeper than that. Sometimes, a knife is just a knife, and it’s still worth our time and respect. As weird as it sounds, that simplicity is comforting not in spite of the trauma but because of it.
The worst of times should manifest more than just anguish. People need to laugh just as much as they need to think seriously about this moment in time. Even the Scream franchise forgot the meta rock upon which it built its church when the latest foray sacrificed the subtle comedy for serious drama. Scary Movie returned at the perfect moment. It provides the necessary laughs, but it’s not a cure-all.
This isn’t a call for Scary Movie imitators but a return to a mainstream landscape where Killer Klowns from Outer Space sat with The Serpent and the Rainbow, nestled neatly with the latest Nightmare on Elm Street, which took nothing away from The Vanishing.

They Live
Even They Live, John Carpenter’s horror sci-fi satire sandwich, kept its tongue firmly in cheek while discussing serious ideas still relevant in 2026. Yes, a film about aliens taking over the world through subliminal messaging only visible through coded sunglasses is, in fact, a tad silly. Carpenter understood that mainstream horror can’t become so self-important that it never looks itself in the mirror and laughs at that inherent silliness.
The thing is, horror historically excels at poking fun at itself. Most of the Scream franchise, The Cabin in the Woods, or The Blackening show adoration without kowtowing. They recognize tropes and trappings but invert them for an audience already in on the joke, but one that also finds solace in said conventions. This keeps the genre on its toes; once something gets parodied, it’s usually time to evolve. That breeds new ideas and fresh filmmakers, which not only strengthen the genre’s collective voice but also amplify it.
Get Out, as “elevated” as some critics want us to believe it is, is a cathartic, populist scary movie that spoke to an untapped audience rather than speaking down to them. Backrooms is one of the biggest horror hits in years, partially because it’s fine-tuned for modern-day teenagers instead of their parents. Movies like these tell everyone the genre is open for business; open for innovation and, yeah, open for new ways in which people can lovingly poke fun at with a wink and a nudge.
Horror needs dread as much as it needs laughter.
Catharsis is just as important as tension, and pulpy populism has the same merit as more high-brow material. Respectability shouldn’t come at the expense of an experience akin to walking through a haunted house. At a time when joy seems in short supply, horror should look to its past to map out its future, and make things just a tad brighter for audiences.

Backrooms
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