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Frictional Wants to Postpone Death in ‘SOMA’
There’s a lot to look forward to in the coming year. If you’re a fan of the horror genre, there’s no shortage of horror games that are worth getting excited about. Of the myriad games we have on the way, the one I’m perhaps most looking forward to is SOMA — the next project from Amnesia developer Frictional Games.
Frictional Games creative director Thomas Grip recently took to the studio’s official blog to share his thoughts on a reaction video for Alien: Isolation. In it, players react with terror and relief when their character is captured and killed by the xenomorph. While Grip mentions the Alien: Isolation video specifically, he’s only using it as a jumping off point for his article — not as a criticism toward that game. Grip sees this as a problem for all horror games to avoid, including SOMA.
“If you watch the video you can see that the players aren’t being freaked out of their minds when they die. They’re laughing, and feeling relief. And the death sequence is non-interactive, which further enhances this sense of sitting back and becoming a spectator.”
Frictional Games is working on remedying this issue by postponing the player’s death, so as to prolong that feeling of suspense and anxiety as long as possible, because when the player dies, it gives them a brief reprieve from the horrors on-screen.
“The only proper solution is to make sure that death is postponed. Outlast has a monster that throws you to one side, giving you a chance to run off, a mechanic that works well in its story. Daylight has damage build up on the screen, which gives you time to escape. Both of these are great ways of extending the terror. Some kind of death must happen sooner or later, though, or the player will quickly realize that the monster is harmless – and that’s no good at all. When death occurs I think it’s important to remove this sense of repetition. For instance, in Amnesia we changed the map a bit after each death (which in some cases led to additional scares).”
I’m glad he brought up Outlast, as I’ve always felt that game handles death in a smart way. In related news, Outlast: Whistleblower released today, and I hear it’s pretty good.
SOMA arrives on PC and PS4 in 2015.
Let’s start with the good news. Lockbox looks far better than its misleading marketing materials suggest, a supernatural horror movie so darkly lit and color graded that you’ll have to squint your way through jump scares. It’s also anchored by reliable genre performers. That’s also about where the good news ends with this rote adaptation of Knifepoint Horror Podcast story “Winthrop.”
The empathetic Carla Gugino gives her all as Ellen, a saint of a woman with boundless patience who takes on life’s hard luck with a kind smile. After giving up her career as a fashion designer to become caretaker for a dying mother, she’s then forced to reinvent herself once more when her caretaker role ends. That catches us up to the events of Lockbox, where Ellen is asked to take in a cousin she hasn’t seen in quite some time who’s dealing with severe PTSD.
Just as Ellen finally establishes a real connection with Winthrop (Lou Taylor Pucci), it’s interrupted by the arrival of peculiar neighbor Vahna (Katharine Isabelle), who spells clear trouble. When Vahna shows up dead, it sets in motion a supernatural battle of possession.
Image Credit: Aura entertainment
Director Daniel Stamm (The Last Exorcism, Prey for the Devil) and screenwriter Justin Yoffe approach Lockbox in the broadest of brushstrokes, dooming it from the start with clunky storytelling and woefully underdeveloped themes of heady topics like PTSD. Winthrop is a character that comes loaded with emotional baggage and trauma that’s piled on throughout his tragic life, but much like its title, his interiority and history are treated like a tightly guarded secret meant to prolong the supernatural mystery.
The problem here, though, is that Lockbox is too sparse to sustain mystery at all, and it instead robs Winthrop of characterization. It winds up trapping the talented Pucci without anywhere to go, toggling between wounded animal and mentally disoriented.
From there, Lockbox bounds through plot developments without any sense of stakes or purpose, peppered by a smattering of haphazard paint-by-numbers jump scares. The only unwavering constant is Ellen’s resolute faith, and Stamm seems to leave it entirely to Gugino to guide confused audiences through this inconsequential story right up until its supernatural climax.
Image Credit: Aura entertainment
To give more credit, Lockbox at least injects an unconventional exorcism here; just don’t expect much in the way of explanation. When the film finally reveals the meaning behind its title, it dangles a fascinating carrot it has zero interest in delivering. More than a severe lack of fleshing out its characters beyond plot drivers or devices, this faith-based flick also seems terrified to offer any worldbuilding whatsoever.
Yoffe’s script stretches the short story beyond its means instead of fleshing it out, and Stamm fills out the gaps with cheap CGI scares and overwrought performances; Isabelle’s Vahna is beyond cartoonish in her villainy. It’s also pretty nonsensical, treating only Ellen’s faith with the utmost sincerity and largely squandering its typically reliable talent. So much so that the final imagery, pure sunkissed saccharine sentimentality, leaves you with the feeling that this horror movie might be better suited as an entry in Chicken Soup for the Soul.
Lockbox releases in select theaters on July 3, 2026.
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