Editorials
Dread Notes: Horror Games’ Best Collectable Documents
From journals to newspaper articles, letters and even poems, horror games have always had a deep affinity for collectibles documents. Indeed, the items are so prolific in the genre that they’ve become an inseparable part of its DNA. But why are they so common and what do they contribute to the overall experience?
Well, to be honest, they do a lot of heavy-lifting when used appropriately: enrichening the atmosphere; deepening the immersion; and even providing useful tips to help us solve puzzles and defeat enemies. So, with that in mind, let’s take a look at some of the underappreciated virtues of collectible documents, with a few case-studies thrown in for good measure.
Sprinkling in Details: Silent Hill
One of the most distinctive things about collectible documents is that they allow you to flesh out little details in the world, without interrupting the flow of the main story. The Silent Hill franchise exploits this to great effect, by littering the streets of its eponymous town with insightful, non-compulsory extras, like brochures and advertisements for local events.
From these, we get a lot of worthwhile context about the location and those who once populated its schools, seedy apartments and eerie amusement parks. Being able to immerse yourself in all this history makes for a much more absorbing experience, as the town feels like a real, lived-in place, as opposed to a bunch of pixels on the screen. Team Silent are evidently proud of this aspect, as they give you a pop-quiz on the subject in the second game!

With collectible documents, developers are given license to include details like these, without having to worry about bogging down their products with too much backstory or superfluous information. Such an opportunity is not afforded to a medium like film, where storytelling needs to be more concise and creators are regularly forced to trim anything that is deemed inessential to the plot.
Building Tension- Outlast: ‘’The Groom’’
In-game documents are common in horror because they are an incredibly valuable tool for generating suspense.
A masterful example of this can be found in Outlast’s ‘’Whistleblower’’ expansion, with the introduction of Eddie Gluskin, A.K.A ‘’The Groom’’. Obsessed with old-fashioned notions of chivalry and courtship, this secondary antagonist yearns for a girl with whom he can tie the knot and settle down. The only problem is that he is confined to the male ward of an insane asylum and so there aren’t many viable candidates for him to choose from. Given that, he decides to make do with anyone who is unfortunate enough to stumble upon his lair. Once he catches these poor suckers, he resorts to crude DIY surgery methods to transform them into his ideal partner.

The section of the DLC wherein you are pursued by this frenzied madman is one of the most unnerving in recent memory, a quality that is accentuated perfectly by the exquisite build-up. Particularly ominous is the little rhyme that you come across immediately before the encounter:
You’ll be hard-pressed to find a more disquieting verse than that, as it chillingly sets the stage for the nightmare to come, alluding to Gluskin’s M.O in a taunting, yet characteristically playful manner. This poem is single-mindedly designed to creep you out, what with its portentous wordplay, obscene imagery, and grisly implications. In that sense, it’s a supremely effective bit of foreshadowing, one that instils extreme dread as you push on towards Eddie’s workshop.
Explaining Mechanics- Dead Space: Cut off Their Limbs
Near the beginning of Dead Space, you happen across a demented warning from beyond the grave. Arriving in the form of an audio-log, the message implores you to ‘’Cut off their limbs! It’s the only way they go down!!’’. This is obviously in reference to the game’s signature Necromorph enemies: grotesque beasties that can only be permanently killed via ‘’strategic dismemberment’’.

Thankfully, the game doesn’t thrust you into a ham-fisted tutorial section in order to communicate this rule, as that would surely undermine the lovingly crafted atmosphere. Instead, it finds a more elegant means of preparing us, by way of the aforementioned recording. A similar thing is achieved in Resident Evil 4, when an instructional document explains how to defeat the seemingly invulnerable Regenerators, by using a thermal scope to identify their weak-points.
Both cases fantastically illustrate how in-game documents can introduce new mechanics in a way that doesn’t break immersion.
Developing Characters- The Last of Us: Marlene’s Recordings
The climax of The Last of Us is one of the toughest in modern gaming and not because it pits you against a demanding boss battle or an exacting combat scenario. In fact, the grueling nature of this conclusion has precisely nothing to do with gameplay. Rather, it ‘’challenges’’ you in much the same way that a controversial book or provocative film might do, by complicating the morality of the story and leaving you conflicted over who to root for.
This feeling of uncertainty is emphasized by an assortment of Dictaphone recordings, that force you to contemplate your deeds, as you kill multiple innocents in order to rescue your surrogate-daughter, Ellie. The collectibles do this by humanizing and generating sympathy for each of your victims, especially Marlene.

Through a series of confessional recordings, we get a glimpse at the Firefly leader’s inner turmoil, as she struggles to come to terms with the decision to sentence Ellie to death. She admits that, by following this course of action, she is betraying her own principles and breaking a promise she made to Ellie’s mother. Yet at the same time, she knows that she’s making a necessary sacrifice for the greater good, (the operation will be fatal for Ellie, but will produce a vaccine for the global infection). Not that this realization makes it any easier for her.
In short, by listening to these recordings, we discover that Marlene is not the simplistic villain we first assumed, but a tragic figure burdened by guilt. Without those documents, much of this nuance would be lost and we’d miss out on the full impact of the game’s devastating ending.
Indulging in Easter Eggs – Resident Evil 7: Renovation Contract
Despite numerous reinventions over the years, there are certain things that remain consistent across the Resident Evil series. Surely one of the most notorious staples is the use of overly-elaborate architecture, as almost every game features a setting that is inexplicably riddled with secret passageways and labyrinthine corridors.
These puzzle-box environments are fun to explore, but they can also whittle down your suspension of disbelief. After all, you can’t help but wonder how impractical it must have been for the original owners to navigate these intricate properties. Not to mention how expensive all those convoluted locking mechanisms and theatrical death traps must have been.

Clearly aware of this foible, Resident Evil 7 contains a hidden gag that humorously parodies the trope. You see, buried within an obscure crevice of the Baker Plantation, there is an invoice detailing all the construction work that is required to install a ‘’shadow-activated doorway’’. It’s a funny in-joke, playing on the idea that every contractor in the RE universe is unquestioningly naïve and works for surprisingly cheap rates. Anyway, it might not be as important as some of the other documents on this list, but it works as a cute, throwaway reference that is sure to amuse long-time fans.
Avoiding Clunky Exposition- Bloodborne: Pungent Blood Cocktail
As storytellers, FromSoftware has always been remarkably cagey about supplying answers. However, rather than deterring people away from their output, this has had the curious effect of whetting everyone’s appetites and making us more determined to piece things together for ourselves. Indeed, ‘’Soulsborne’’ fans are renowned for exhaustively mining every nook and cranny to fuel their speculative theories.
Some of the more substantial nuggets of intel can actually be gleaned from item descriptions, as the developer uses these paragraphs to economically provide context about the surrounding world. For example, in Bloodborne, there is a projectile known as the Pungent Blood Cocktail, which is essentially a form of bait used to lure enemies.

The description naturally informs you of this utility, but also clarifies why the concoctions are in such abundance, as the locals of Yrarnham ‘’produce more blood than alcohol’’. On the surface, this is a meager factoid, but it does convey a lot about the city and its deranged inhabitants, who have become thoroughly addicted to ‘’Blood Ministration’ and lost their minds as a result.
Where other titles might deliver this exposition via an intrusive cutscene, Bloodborne cleverly allows you to decipher the lore at your own pace. It’s a fresh approach to storytelling and one that cannot be replicated in any other medium.
Painting a Bigger Picture: Resident Evil- The Keeper’s Diary
Another benefit of in-game documents is that they can be used to tell spooky, campfire tales of their very own. Perhaps the most iconic version of this is the ‘’Keeper’s Diary’’ from Resident Evil, which chronicles the body-horror transformation of a disgruntled Umbrella employee, who was unknowingly exposed to the T-Virus.
After regaling us with stories of poker night and his workday, the writer is awoken one morning by a medical specialist, whereupon he is instructed to wear a contamination suit. Despite being irritated by how “itchy” the outfit is, the narrator begrudgingly complies. Not that it does him much good mind you, as he soon experiences blisters, burning sensations, and a loss of sanity. On that note, his mental faculties visibly deteriorate visibly on the page, as his journal becomes increasingly inarticulate and disjointed.

Substantiating the threat of the T-Virus, this self-contained narrative brilliantly shows that other people have already tried-and-failed to combat the outbreak. It’s a smart move, one that can be traced back to literary classics like Dracula, which features similar accounts from ill-fainted secondary characters, like the crew of the Demeter.
Editorials
André Øvredal’s ‘Troll Hunter’ Remains One of the Best Found Footage Movies
In this day and age, the word “troll” is often used to describe various online nuisances. Yet as abundant and irksome as the modern troll can be, they aren’t usually as fearsome as their mythological counterparts. I’m not talking about the small and gentler versions that have become more common to see in media. No, there are much bigger and scarier trolls out there—and André Øvredal’s movie Troll Hunter is one of the best places to find them.
It doesn’t take long for Troll Hunter (or Trolljegeren) to dump the Blair Witch Project-esque setup and aim for something a lot fresher. The trajectory of the story is augmented by Otto Jespersen’s character Hans, the titular Troll Hunter. The second he comes barreling out of the deep, dark woods and shouts “troll” at the camera, this movie takes a turn into what feels like uncharted territory. Not only subject-wise, but also conceptually.
For fantastical and made-up subject matter in cinema, found footage is a fast way to add a guise of believability. After all, what we accept to be the most crucial aspect of documentaries—the truth—rubs off on pseudo-documentaries, despite our understanding of the pretense involved. That is what Øvredal delivered with Troll Hunter: a movie so convincing that some viewers wondered if trolls really do exist. So, had this been straightforwardly made, it likely wouldn’t have been as effective. Conventional narratives would be more inclined to treat something like trolls as flat out unreal, and never try to convince the audience to think otherwise.

Hans petrifies the three-headed Tusseladd troll.
The viewers, like the characters trailing Hans, are quickly thrown into the deeper end of that extraordinary story. They have to process all this new information while staying on the go. So, although there is no significant amount of meandering, narratively or physically, there is still a good amount of atmosphere, not to mention tension building. It’s never anything frightful, but then again, Troll Hunter isn’t your standard offering of horror; it’s more on the low end of the dark fantasy spectrum. We aren’t ever spirited away to a faraway world—we stay in rather familiar surroundings, as well as dip into those less so. The outcome is a movie where you’re constantly more in awe than in terror.
As fantasy fiction might do, Troll Hunter prefers not to deal with incredulity. There is no time to waste on doubt, as interviewer Thomas (Glenn Erland Tosterud), soundperson Johanna (Johanna Mørck), and cameraman Kalle (Tomas Alf Larsen) all follow Hans around, recording whatever this character is willing to reveal about his bizarre job. Of course, the Troll Hunter himself is not an open book; in that respect, the diegetic documentary fails to fully capture and unpack the more interesting of its two subjects. Yes, all those giant, monstrous trolls are indeed incredible, but understandably, your mind wanders to their pursuer. What kind of person signs up for this gig and then chooses to stick with it for so long?
Reviews have called out Troll Hunter for its lack of character development. In regard to Thomas and his fellow documentarians, that criticism is valid, but bear in mind, they aren’t the focus of the story, either. Meanwhile, Hans is a well-crafted character. At least better than first realized. Before he was introduced, Hans had already grown tired of the troll grind. Fed up with that low compensation for his services, resentful of the bureaucracy, and wanting to expose his employer on a large scale, Hans’ discontent is glaring.
Then there are those finer details about the Troll Hunter, such as that indifference to both the natural splendor of his everyday surroundings and the affections of an obviously smitten colleague, that also suggest some level of despondency. So it is fair to say this movie doesn’t feature any sizable growth for its characters; however, the namesake isn’t underwritten. No doubt, putting a real-life character like Otto Jespersen in that role is partly why Hans is so fascinating—maybe even relatable.

Otto Jespersen as Hans the Troll Hunter.
There is always a small risk whenever using the term “mockumentary” to describe a found-footage movie, as the word could imply humor where there is none. In the case of Troll Hunter, the term’s usage is appropriate. Some folks have claimed the English-dubbed version has the more comedic tone, however, the Norwegian cut isn’t exactly humorless. Apart from the trolls’ absurd appearances, this is a movie where the characters nearly choke on the monsters’ farts, and Christians are like walking targets. Hans’ complete apathy towards everything is another cause of laughter. Overall, the comedy is intentionally dry and inconsistent. Unfunny, though? Absolutely not.
In a movie where endemic creatures are maltreated, as well as disavowed from living freely and peacefully, it’s hard not to notice the ecological message buried beneath the story. In addition to that is the unmistakable political satire. There is this whole business about intrusive and unsightly power lines—like trolls, they’re big blemishes on the land—that leads to what is perhaps the movie’s funniest moment. The scene in question is that one where certain electric lines, the ones secretly being used to keep the trolls at bay, go in a loop and don’t actually send power to any residents. Yet the monitors of said lines don’t find this at all weird. So it stands to reason that Øvredal was having a go at those who accept the government’s doings without question.
Looking past the fact that trolls aren’t actually real, this movie is an enlightening source of information. And not just for international audiences; Norwegians, too, get schooled about their homeland’s own mythology. It’s also evident from everything on screen that Øvredal and his crew were enthusiastic about the topic. The creature designs are the most indicative of that zeal; those imaginative yet myth-accurate manifestations are equally amusing and grotesque. One second you’re laughing at their phallic noses, the next you’re white-knuckling during a hairy sequence. Most surprisingly is how well the trolls’ visual effects hold up after fifteen years. It’s not all spotless, but on the whole, they remain impressive.
Vouching for a mockumentary about trolls isn’t easy, but those who do come around and give it a shot will more than likely be grateful for the recommendation. For Troll Hunter is a real find in that vast and varied genre we call “found footage“.

A bridge troll reaches up for food and finds Hans decked out in armor.
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