Editorials
31 Upcoming Horror Video Games We Cannot Wait to Play in 2021
I think we can all be thankful that 2020 has come and gone, and while the difficulties still remain in the new year, there’s plenty to look forward to in a lot of areas. One area of course is horror-based video games. Since we’re all sticking to the idea of staying apart, it’s nice to have these things to keep us busy.
Now admittedly, a good chunk of these games were delayed (for obvious reasons) from last year. But, seeing as we want them so darn much, it stands to reason that we should still keep an eye out for them this year, whenever they drop.
Here are 31 of our most anticipated video games of 2021.
Werewolf: The Apocalypse – Earthblood (Cyanide Studios, February 4 on PC, PS4, PS5, Xbox Series, and Xbox One)
Starting things off with one of the many delayed titles from 2020 is Earthblood. The title is one of the first video game adaptations in the Werewolf: The Apocalypse line of tabletop RPGs. Though details are still light, from what we’ve seen, the game looks to be a blast to play as a lycanthrope roaming the American Northwest.
Paranoid (Madmind Studios, TBC on PC)
Madmind has had a habit of not revealing more info on their games, and Paranoid is no exception. The game takes place in the 80s, and puts you in the shoes of Patrick, a recluse suffering from deepening paranoid schizophrenia, who after many years is leaving his apartment to reunite with his sister. Of course, the question is, is this is real, or something more sinister? According to Madmind, the only clue they’re giving us for a release date is that it’ll be after Succubus.
GhostWire: Tokyo (Tango Gameworks, TBC on PS5, Xbox Series, and PC)
While there’s still the lingering question of what Bethesda’s plans are for Sony’s console (seeing as Microsoft owns them now), the developer did confirm that they’re going to honor their commitment to bringing this action-adventure title to the PS5. The story concerns much of Tokyo’s population vanishing, followed by the arrival of the Visitors – hostile spirits based on Japanese folklore. At the same time, a group wearing Hannya masks has appeared, who may hold the answers to just what’s been happening.
Scorn (Ebb Software, TBC on PC, Xbox Series)
Ebb Software says that the wait is almost over for their H.R. Giger-inspired title, which last showed off a rather lengthy gameplay trailer back in October. There’s still nothing yet in terms of a story, but that’s probably deliberate. After all, you’re in a biomechanical world that looks like something straight out of Alien. And where’s the fun in revealing the story for something as cool-looking as that?
Succubus (Madmind Studios, July 22 on PC)
Madmind’s keeping up with the NSFW nature of Agony in Succubus, though they’ve hopefully learned from the pitfalls they experienced with the former. The prologue demo for the title has had a positive response, and the intro cinematic for the title establishes the gory action you’d expect from a demonic priestess looking to take revenge, and take back her kingdom.
Sons of the Forest (Endnight Games, Release Date, and Platforms TBC)
Announced ever so briefly during The Game Awards 2019, we still don’t have much more to go on with this follow-up to The Forest. The sequel will reportedly expand upon the base-building mechanic found in the previous game, along with a host of new monsters and cannibals.
Little Nightmares 2 (Tarsier Studios, February 10 on PS4, Xbox One, Switch, and PC)
You guessed it. The pandemic. Originally slated for last year, at least February will bring us some excitement for this follow-up to the 2017 gem. Little Nightmares 2 picks up after the events of that game, with previous protagonist Six accompanying a new playable character as they work together to escape from the menacing and monstrous adults who roam the world.
System Shock (Nightdive Studios, TBC for PlayStation 4, Xbox One, and PC)
Oh, System Shock. Nightdive’s first baby. It’s been years since the Kickstarter, and the move to a new engine. But with the alpha demo last year, we finally got glimpses at the nightmarish world we can’t wait to revisit on Citadel Station.
Vampire: The Masquerade – Bloodlines 2 (Hardsuit Labs, 2021 on PC, PS4, and Xbox One)
What was originally delayed in order to prevent a repeat with the previous Bloodlines has turned into a bit of a show in and of itself, with Hardsuit Labs’ narrative team unexpectedly receiving the axe last year. Paradox Interactive CEO Ebba Ljungerud assured that the game will be coming this year, but happenings like this are eyebrow-raisers, for sure.
Dying Light 2 (Techland, 2021 on PC, PS4, PS5, Xbox One, Xbox Series)
While Techland has been doing a bang-up job of keeping things going with more content for Dying Light long after its 2015 release, we’re all still waiting on Dying Light 2, which is another title that has seen a delay from its original 2020 launch. Not only that, but Techland has been fairly quiet on just when we’d see the game, which was said to be in “the final stretch” of development back in May 2020.
Mundaun (Hidden Fields, Spring 2021 for PC)
Another title that was a victim of the pandemic last year. If the time needed to work on this title inspired by Swiss mythical folklore results in more gorgeous stylized art, then we’re all for it.
Resident Evil 8: Village (Capcom, TBC for PC, PlayStation 5, and Xbox Series)
Come on, you knew this was coming. Despite the leaks aplenty, Capcom has managed to keep the details of the game largely under wraps. That being said, RE7‘s Mia and Ethan return in Village, alongside Chris Redfield, in a game that looks to focus more on paranoia and fear of the unknown than in previous titles.
The Outlast Trials (Red Barrels, TBC for PC)
Red Barrels are trying something new this time with a multiplayer spinoff of the Outlast series, which puts you in the shoes of a human guinea pig as part of an experiment during The Cold War. You can expect a world of distrust, fear, and violence with this one. So in other words, fun!
In Sound Mind (We Create Stuff, TBC for PlayStation 5, Xbox Series and PC)
Developer We Create Stuff gave us a Halloween treat last year in the form of a demo for In Sound Mind, which looks to be a surreal psychological trip for those who want to delve into the minds of deceased mental patients on your quest to unravel the mysterious events that are occurring in your once-quiet town.
Unholy (Duality Games, TBC for PC)
Duality Games still haven’t mentioned much about their stealth horror game, which was initially announced back in October 2018. What we’ve seen from Unholy does look good, so here’s hoping that it’s not all smoke and mirrors.
State of Decay 3 (Undead Labs, TBC for Xbox One and Xbox Series)
Fresh off of 2018’s State of Decay 2, Undead Labs didn’t give us much to chew on when they revealed the third entry this past summer. But that’s if you ignore the possibility of facing off against zombies, both human and animal, in a winter landscape. That alone makes it worth your attention.
The Medium (Bloober Team, January 28 for Xbox Series and PC)
Originally intended for release last month, Bloober Team has taken the time to polish the game (and hopefully deal with the Australian certification issue). As well, Xbox players will finally get an exclusive first-party title that they never received when the console launched back in November.
Rainbow Six Quarantine (Ubisoft Montreal, 2021 on PC, PS4, PS5, Xbox One, and Xbox Series)
Another victim of the pandemic, Ubisoft Montreal’s next entry in the Rainbow Six series sees it jump on the Outbreak event from Rainbow Six Siege. Returning with the 3-player tactical co-op gameplay as in previous titles, players now have to deal with an alien parasite that has infected its hosts, turning them into hordes of fast-moving zombies.
Martha is Dead (LKA, TBC for PS4, PS5, Xbox One, Xbox Series, and PC)
Originally an Xbox and PC exclusive, LKA made the choice back in November to bring the game to Sony’s consoles. As a result, we now have a 2021 release. If it gives more people a chance to experience a game centered on the horrors of WWII, then why not?
Once Upon A Time In Roswell (Quarter Circle Games, Late 2021 on PC, PlayStation 4, and Xbox One)
Quarter Circle Games’ Once Upon A Time In Roswell (formerly known as The Peterson Case) has been kicking around since 2018, and has had several delays in the process. Will we finally get a chance this year to experience down-to-earth sci-fi horror inspired by the events of The Roswell Incident? We’ll see.
Atomic Heart (Mundfish, TBC on PlayStation 4, Xbox One, and PC)
Part BioShock, part just plain strange. Atomic Heart hasn’t had too much revealed about the title, other than it having robots run amuck in a Dystopian Soviet amusement park. At least, that’s what it looks like. Also, shades of The Abyss with all of the water (including tentacles). Whatever it is, just let us play it.
Back 4 Blood (Turtle Rock Studios, June 22 for PC, Xbox One, and PlayStation 4)
Back 4 Blood‘s reveal at The Game Awards 2020 got us jonesing for a return to the classic Left 4 Dead co-op shooter formula, and who better to do it than the guys who made the thing? Turtle Rock has obviously added more to the gameplay, but the idea of going up against waves of zombies with your friends never gets old.
Quantum Error (TeamKill Media, TBC for PC, PlayStation 5, and Xbox Series)
You could draw comparisons to BioShock with this one, but we’re not sure that BioShock was as scary as what Quantum Error appears to hold. Then again, BioShock didn’t have firefighters facing off against cosmic horror elements, either. Don’t let that premise fool you, though, as TeamKill are definitely on to something with what they’ve revealed so far.
The Dark Pictures Anthology: House of Ashes (Supermassive Games, TBC on PC, PS4, PS5, Xbox One, and Xbox Series)
While Little Hope wasn’t quite the hit many fans were hoping for, this next entry in The Dark Pictures Anthology will hopefully remedy that. After all, how can you go wrong with an elite military unit trapped in the ruins of a buried Sumerian temple and demons? While we’re probably not going to get any Exorcist references, the idea of facing off against Pazuzu and company should pique everyone’s interest.
Borneo: A Jungle Nightmare (Fantastico Studio, TBC Summer for PC, PS4, PS5, Xbox One, Xbox Series, and Switch)
Another title that came out of nowhere, Borneo is a sequel to Ruggero Deodato‘s 1980 film Cannibal Holocaust. Featuring art by Solo Macello, the game sees you controlling several characters as you travel to the jungles of Borneo. You can guess what you’ll find there. And despite what you think, we’re not involved with this one (but we appreciate the thought).
Evil Dead: The Game (Saber Interactive, TBC for PC, PS5, PS4, Xbox One, Xbox Series and Nintendo Switch)
Hands up: How many of you didn’t see this coming at The Game Awards last month? We certainly didn’t, and we collectively lost our minds as a result. From the minds behind the superb World War Z game, Bruce Campbell returns as the iconic Ash with his boomstick in tow in this co-op shooter. Not only are we getting more Bruce, but we’re getting representation from almost all of the Evil Dead franchise (we’re still holding out on the 2013 remake) through characters from the films and even “Ash vs. Evil Dead.” Just give us a demo, please!
Deathground (Jaw Drop Games, Q3 2021 for PC)
With Dino Crisis becoming an increasingly distant memory for Capcom, it took some former developers of Alien: Isolation to get to work remedying our lack of dinosaurs in Survival Horror. Having crushed its Kickstarter for the game, Jaw Drop Games are keeping things close to the chest, though the promise of co-op dinosaur mayhem is definitely something to pique many a fan’s interests.
Dryad (Ultranite, April 22 for PC)
This point-and-click free-roaming adventure game draws inspiration from Leigh Whannell’s The Invisible Man and the classic Bride of Frankenstein. Although we’re not sure how that translates into a giant forest spirit hunting you in an abandoned campground as you search for clues regarding a series of brutal murders that occurred there years ago. But that’s part of the fun.
Returnal (Housemarque, March 19 for PlayStation 5)
Finnish developer Housemarque has made gameplay a big focus for their past titles, so it’ll be interesting to see how they focus on the story aspect of this sci-fi shooter. Returnal still promises to have fast-paced gameplay as you struggle to survive the alien planet that has you locked in an endless loop of death.
Lust From Beyond (Movie Games Lunarium, February 11 for PC)
Lovecraftian horror games are nothing new, but you’d be hard-pressed to find one that veers into the erotic side of things. That’s exactly what Lust From Beyond is doing, incorporating a horror adventure into cult happenings that involve some, uh, things you probably shouldn’t be showing kids. Or some adults, for that matter.
Saturnalia (Santa Ragione, TBC for PC)
Taking a cue from the one that started it all in Sweet Home, this stylized Survival Horror title has the permadeath mechanic for members of your group, so you’d better work to keep them alive as you navigate the maze of this seemingly abandoned village off the coast of Italy. Well, it’s home to shadow monsters, so it’s not quite abandoned.
College kids, strippers and vampires—those were Donald P. Borchers’ only requirements when he approached Richard Wenk about writing and directing a movie for New World Pictures. As requested, Wenk cooked up Vamp (1986), a tailor-made blend of the decade’s teen movie craze as well as its horror boom.
Grim and earnest stories were still very much a part of the ’80s horror landscape, yet Vamp is something of a comedy. One difference between it and, say, Saturday the 14th, though, is the former avoids using schtick. Wenk’s movie proves that horror comedies also don’t have to subtract thrills from their recipes. Of course, it takes a minute before reaching that point; college antics and culture shocks preface this one macabre misadventure.
Vamp‘s initial setup is apt for a typical college-set, sex-driven comedy; to bribe their way into a fraternity house, two pledges (Chris Makepeace, Robert Rusler) go looking for some adult entertainment. Without wasting time on any further exposition, the characters embark on an all-in-one-night trip that quickly detours into terror.
To procure their elusive MacGuffin—a stripper willing to gyrate for some frat boys—Keith (Makepeace) and AJ (Rusler), plus a third wheel named Duncan (Gedee Watanabe), trade the safety of their remote college campus for the seediness of some unnamed city. The setting is recognizably L.A. by day, but as soon as night falls, downtown, along with the characters, slips into a kind of surreal universe. Director of photography Elliot Davis gave this early entry on his prolific résumé an unusual yet distinctive look; that Mario Bava-esque, magenta-green lighting is omnipresent, so much so that it’s almost its own character.
Chris Makepeace and Robert Rusler in Vamp
The faint comparisons to Martin Scorsese’s After Hours are merited, although not just because of Vamp’s distinguishing nighttime aesthetic. Save for the primary characters, the supporting roles in Wenk’s movie are also quite colorful and transactional in their behavior. The difference here, though, is the additional urge to ruin Keith and his friends at every turn. Some of that harm is humorous and tolerable enough, whereas the moment Vamp dishes out its first fatality, it’s abundantly clear how this movie qualifies as horror.
Vamp falls into that category of horror movie that reveals its genre with a scream rather than a series of whispers. The opening scene can function as a hint of what lies ahead—things are not at all what they appear to be—but otherwise, Wenk is more than happy to hold off on the horror. When that time does come, though, it catches the viewer off guard. In addition to the pure shock value is that sudden decision to upend the movie’s foremost feature. Or so it would seem.
If afraid of major spoilage, those new to Vamp would be wise to stop reading here. There’s just no skirting around the fact that the central fellowship in this buddy movie hits a serious snag when AJ is killed. That development causes the story to become more of a “long, bad night” journey for Keith and his romantic interest. So while Wenk scores points for subverting expectations, there is also a touch of sadness in his decision. Because if Vamp does anything well, it’s making the characters likable.
Something that comes easily to Vamp—and other teen horror movies from this same era—is its ability to invent young characters worth caring about, or at the very least, are interesting and not so immediately off-putting. More impressive is how Wenk did all this without actually fleshing out those characters. Still and all, Keith and his kind are a grade above cookie-cutter, and in some cases, aren’t completely devoid of growth.
Grace Jones in Vamp
Vamp appeals with an assorted cast of characters. No two are the same, nor are they operating on the same wavelength. The cinematically extroverted AJ, whose actor conveyed charm and vulnerability in near equal amounts, comes alive when he’s at his most undead. Makepeace then makes the chronically cautious Keith a sympathetic fellow, even as he’s more and more affected by the night’s bizarre events. Meanwhile, Duncan is indeed the designated loser of the whole bunch, but Watanabe still manages to humanize him. As a bonus, the role didn’t require him to pull a Long Duk Dong.
As for Dedee Pfeiffer, she is plain adorable as the mysterious After Dark server nicknamed “Amaretto”. She spends all night fixing her dress strap while at the same time trying to get Keith to remember how he knows her. As their offbeat romance grows, it becomes another highlight of this movie. Whether or not Pfeiffer’s character is really a vampire also creates some welcome tension in the story.
Like a lot of its contemporaries, Vamp went on to become a bit of a cult classic. That current status is determined by several factors, but without a doubt, the casting of Grace Jones is the most considerable. The image of her writhing on that unique-looking chair, a Keith Haring original, springs to mind whenever this movie is brought up.
Chris Makepeace, Billy Drago and Paunita Nichols in Vamp
Prior to that first display of unequivocal horror, local vampire queen Katrina (Jones) took to the stage and delivered a strip show like no other. One would expect nothing less from that renowned model and performance artist. By now reports of Jones’ tardiness on set are no secret, yet it’s also hard to deny her commitment to the part of Katrina. It was, in fact, Jones who took charge of her character’s appearance—on top of Haring painting her body and that now-iconic chair, she had Andy Warhol handle her costuming. And not too many actors could seize a room’s attention without saying a single line of dialogue.
In 2022, Vamp received a retrospective novelization from Encyclopocalypse. This literary union of preexisting source material—Wenk’s original screenplay—and new ideas from author Christian Francis amounts to a more comprehensive visit to the After Dark Club. The basic story there is no different than what’s shown on screen; however, Francis gets creative with the characters’ origins and designs, and he enhances a number of key scenes.
The novelization expands on the urban and social decay of the main setting, and supplies a background for the After Dark Club. Sandy Baron’s character, Katrina’s emcee and familiar, is given ample motivation for sticking around; up until the fiery end, he is loyal to his friend and former business partner “Squeak”, who looks like he was “fed through a combine harvester, and left as nothing more than a heap of mangled remains”. Then there is Billy Drago’s character Snow, the leader of a street gang called The Dragons. His reason for menacing Keith and AJ is more altruistic than in the movie; he and his peers act tough to scare off any potential food for the vampires.
Lisa Lyon in Vamp
If not for all the backstories, Francis’ Vamp would be a hell of a lot shorter. Instead, this tie-in read dives into how AJ met Keith—the orphaned Anthony Joseph hailed from a broken home back in Brooklyn—and how their friendship flourished over the years. Keith’s archership is no longer just an assumed part of his entire being; it’s a confidence-building extracurricular for a boy who got picked on before coming into the protection of the new kid in town. These supplemental, in-depth looks at the protagonists, plus their close connection, are maybe unnecessary. The movie already did a fair and concise job of addressing their platonic intimacy without the need for flashbacks and insights, specifically in that scene where AJ lays it all out as he sacrifices himself.
Where the novelization gets off course is its approach to the minor characters. Intermittently backstorying the likes of Katrina’s indentured servants, Seko (Leila Hee Olsen) and Vlad (Brad Logan), ends up disturbing the flow of the writing. Was it absolutely essential that readers know Vlad was the Grand Duke of the House of Romanov, or how Snow’s accomplice Maven (Paunita Nichols) became so dentally challenged? No, not really. However, one’s mileage with these random biographies may vary.
The novelization is a more substantial experience, but for a movie like Vamp, less is more. And as plentiful as they are, it never simply coasts on its campy charms, either. The character work sits comfortably in that realm between cursory and meticulous, the script is sharper than first realized, and Greg Cannom’s vampire makeup is straightforward yet effective. Most of all, the movie didn’t squander its out-of-the-box concept. Richard Wenk made his vision of a “comic nightmare in which just about anything that can go wrong does” come true, and it is very enjoyable.
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