Editorials
Metro Exodus’ Spider Bunker Shows the Importance of Level Design
SPOILERS FOR METRO EXODUS FOLLOW.
The chaotic streets of Racoon City, fog-drenched Silent Hill, and derelict USG Ishimura are among some of the best settings in horror game history. They instill us with feelings of dread and help make the terror feel real. Great level design can craft a unique sense of unease and act as a foundation for all of the player’s fears to be built on.
Enter Metro Exodus, the latest entry in this fan-favorite series from developer 4A Games. Set in nuclear ravaged Russia, players assume the role of an elite commando called Artyom. While his journey sees him visit a number of unique locations, Exodus doesn’t really ramp up the terror until they reach The Caspian Sea. Now a barren desert, Arytom is tasked with retrieving a map from an abandoned bunker hidden filled with mutated spiders. What follows is a potent cocktail of tight level design mixed with absolute terror.
For the unfamiliar, the mutated spiders in the Metro franchise are fast, volatile, travel in packs, and heavily armored. This makes them a nightmare to deal with in any scenario – especially when ammo is such a finite resource. Thankfully, living in the dark has made these bothersome bugs vulnerable to any kind of light. So all one has to do is shine their flashlight on a spider for around 15 seconds until they burn up and die. Simple, right?
Things get complicated thanks to the former bunker turned nest of man-eating arachnids’ claustrophobic corridors. Filled with narrow passages and rooms cluttered with debris, 4A Games gives the player just enough room to navigate through the base. The spiders don’t have this issue since they can climb on the walls and traverse through log-sized holes littered throughout the environment. Normally, this would signal areas where the bugs would crawl out from an attack, but the developer’s show an impressive amount of restraint.

Instead, these spider-holes just tease the player, acting as a visual reminder that these monsters could attack from anywhere. You can constantly hear the bugs moving behind the walls or in other rooms, threatening to pounce on Artyom at any moment. Sometimes you’ll chase one of the arachnids into a hole, only to learn that they can emerge from any of them throughout the level. You never feel safe in the bunker and even if you kill every bug that crosses your path, Exodus constantly reminds the player that there are more.
There are also dozens of spider cobwebs strewn throughout the bunker. Since the start Exodus has been conditioning players to set these ablaze, but doing so may cause a bunch of smaller bugs to crawl across Artyom. It’s a minor visual flourish that doesn’t cause any harm, but their movements over his arms and face can easily fool a player into thinking they’re being attacked. I’ve lost track of how many times I reflexively meleed the air when one of those baby spiders crawled across my screen.
4A Games escalates the tension by laying out the level in a very linear fashion. There’s only one way in and out of the bunker, meaning the player will need to backtrack if they want to escape. Your first trek through is quite simple and there are a ton of lights on. This not only helps users understand the general geography of each room but eases new players into combating the spiders. Then the lights go out and the realization of backtracking completely in the dark sets in.
Even with a flashlight, your safety isn’t guaranteed since your back is always exposed to the spiders. This causes a sense of panic, as you’ll constantly whip around only to see nothing is there – most of the time. Those holes in the wall you blissfully walked by are now potential death traps and the cobwebs you forgot to burn up will only slow you down. Most of the time you’ll find yourself huddling in a corner, frantically moving your flashlight around to scare off the mutants. All of this culminates in a mad rush for an elevator as dozens of arachnids chase you down.

Then Metro Exodus winds up and throws a curve ball at players. Much later in the game, you’ll have to traverse a building that full of spiders. But you can handle it, right? Just do the same thing as before! That plan falls apart almost instantly when Artyom’s equipment malfunctions and that all-powerful flashlight dies on him. Now, with only a lighter in hand, players have to fight off swarms of spiders. It’s a unique feeling of vulnerability that tears away everything you learned in that dark bunker.
Despite how much of a horror cliche the giant spider is, Metro Exodus manages to make them the scariest monsters in the game. This is not only thanks to their terrific design but the way that 4A Games utilizes their environment. Instead of just making them another foe roaming the world, these nests are used scarcely and punctuate moments where the player feels like they finally have control. We’d take the man-eating catfish over a bunker of spiders any day of the week.
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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