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Six Disturbing Moments of Cosmic Horror in Video Games

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Pictured: 'Call of Cthulhu'

As Lovecraft once put it, “the oldest and strongest kind of fear is the fear of the unknown,” which I think perfectly summarizes why cosmic horror stories are so effective. Commonly defined as a subgenre of fiction that derives scares from existential and/or incomprehensible threats, cosmic horror presents us with situations where knowledge isn’t necessarily power and the protagonists can’t always win. And with video games allowing players to virtually experience stories instead of merely observing them, it makes sense that developers frequently borrow from Lovecraftian fiction when attempting to tell deranged yarns.

However, not all cosmic scares are created equal, so we’ve decided to come up with a list celebrating six of the most disturbing moments of cosmic horror in video games. After all, it’s worth remembering that horror gaming has the potential for more than mere jump scares and repetitive zombie killing.

For the purposes of this list, we’ll be including specific scares regardless of the overall quality of the game they came from. We’ll also be featuring plenty of spoilers, so keep that in mind before reading ahead.

With that out of the way, don’t forget to comment below with your own favorite cosmic frights if you think we missed a particularly memorable one.

Now, onto the list…


6. Brain of Mensis Encounter – Bloodborne (2015)

A playable love-letter to Lovecraftian fiction, there’s no discussing interactive cosmic horror without bringing up FromSoft’s iconic Bloodborne. But even in a game chock-full of Eldritch abominations and madness-inducing horrors, one particular moment stands out as an eerie reminder of how helpless the player character is against the incomprehensible nightmares of Yharnam.

Naturally, I’m referring to the first encounter with the Brain of Mensis, a Shoggoth-inspired monster so repulsive that it inflicts players with “frenzy” if you happen to move into its line of sight. While there are objectively scarier encounters in the game (and the fact that you can technically kill the Brain means that it’s not as esoteric as it appears), the idea that merely making eye contact with this thing is enough to drive you mad makes this a great example of cosmic horror.


5. First Photo of “The Frog” – Iron Lung (2022)

Iron Lung

Set in a distant future where habitable planets have disappeared and moons are flooding with human blood, the general setting of Iron Lung already verges on cosmic horror as the player character is tasked with navigating a treacherous ocean in the slim hopes of acquiring life-sustaining resources.

That being said, I’d argue that the absolute peak of this aquatic horror experience comes in the form of the low-resolution pictures that help you navigate the bloody trenches of AT-5. More specifically, I’d like to highlight the first time you spot the creepy “Frog” fish lurking in the crimson waters surrounding you. The real horror here doesn’t come from the monster itself – which is basically just an oversized angler fish – but the terrible implication that you’re only seeing a small fraction of what really haunts these waters.


4. Fighting Dagon – Call of Cthulhu: Dark Corners of the Earth (2005)

Muddled graphics and janky mechanics may keep Dark Corners of the Earth from being a bona fide masterpiece, but there’s no denying that it’s the most faithful Lovecraft adaptation this side of the H.P. Lovecraft Society’s faux silent film adaptation of Call of Cthulhu. In fact, even though the game tasks you with battling several of the author’s indescribable creations, even some of the combat encounters here are meant to remind you of how small humanity is in the grand scheme of things.

My personal favorite of these existential horrors occurs during an unexpected boss fight against the lord of the Deep Ones himself, Father Dagon. As the kaiju-sized deity lays siege to a coast guard ship, the player is tasked with firing the massive deck guns in the monster’s general direction– with the catch being that looking directly at Dagon is enough to drive our protagonist to suicide, adding an additionally disturbing challenge to an already frightening encounter.


3. Assimilation – Carrion (2021)

Phobia Game Studio’s Carrion may put you in the shoes of a Lovecraftian abomination instead of making you run from one, but that doesn’t mean it’s lacking in cosmic scares. In fact, at the end of your journey as a Shoggoth-like mass of tentacled flesh, players eventually manage to recover enough genetic code to assume the form of a complete human being and escape into a quarantined city.

While the game only hints at the apocalyptic chaos that ensues, this John-Carpenter-esque reveal adds another level of terror as you reflect on the consequences of your rampage as you aided this carnivorous monster in escaping from its captors – with that slowly-dawning dread being the reason why Carrion earns a place on this list.


2. Becoming Trapped in the Dark Place – Alan Wake (2010)

In general, Remedy Entertainment’s Alan Wake is more spooky than legitimately scary, playing with literary horror tropes inspired by the likes of Stephen King and Neil Gaiman. However, this playfulness doesn’t extend to the game’s finale, which sees our author protagonist become trapped in the abstract Dark Place as he’s forced to continue writing indefinitely in order to keep the eldritch forces of Cauldron Lake at bay.

No doubt inspired by Lovecraft’s The Music of Erich Zann, an underrated short story where the titular musician is forced to play bizarre music every night in an effort to protect our reality from otherworldly invaders, this downer ending exemplifies the absolute best of cosmic horror, placing our protagonist in a never-ending battle that he can never truly overcome.

That is, until the sequel comes around…


1. Becoming a Great Soft Jelly Thing – I Have No Mouth and I Must Scream (1995)

Harlon Ellison is rightly remembered as one of the greatest speculative fiction writers of his generation, but I’d also argue that the author was a pioneer of adventure gaming, having co-developed an innovative adaptation of his infamous short story I Have No Mouth and I Must Scream. Working alongside Cyberdreams and The Dreamers Guild, Ellison didn’t merely translate his disturbing tale of an AI gone rogue to 90s computers, he actually reworked the entire project into a psychosexual drama with incredibly disturbing imagery and multiple endings.

However, out of the seven possible conclusions, five of them still contain the same nightmarish fate featured in the short story, with the player character being transformed into an immortal “Great Soft Jelly Thing” meant to endure incomprehensible suffering as punishment for helping his fellow humans.

Now that’s cosmic horror.

Born Brazilian, raised Canadian, Luiz is a writer and Film student that spends most of his time watching movies and subsequently complaining about them.

Editorials

11 Years Later: The Horrific Cycles of Violence in ‘Only God Forgives’ Starring Ryan Gosling

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Traditionally, movie theater walkouts are usually associated with the horror genre, with infamous cases ranging from 1973’s The Exorcist (particularly during the crucifix masturbation scene) and even Lars Von Trier’s controversial serial killer memoir, The House That Jack Built.

That being said, there are exceptions to this rule, as some movies manage to terrorize audiences into leaving the theater regardless of genre. One memorable example of this is Nicolas Winding Refn’s 2013 revenge thriller Only God Forgives, a film so brutal and inaccessible that quite a few critics ended up treating it like a snuff film from hell back when it was first released. However, I’ve come to learn that horror fans have a knack for seeing beyond the blood and guts when judging the value of a story, and that’s why I’d like to make a case for Winding’s near-impenetrable experiment as an excellent horror-adjacent experience.

Refn originally came up with the idea for Only God Forgives immediately after completing 2009’s Valhalla Rising and becoming confused by feelings of anger and existential dread during his wife’s second pregnancy. It was during this time that he found himself imagining a literal fistfight with God, with this concept leading him to envision a fairy-tale western set in the far east that would deal with some of the same primal emotions present in his Viking revenge story.

It was actually Ryan Gosling who convinced the director to tackle the more commercially viable Drive first, as he wanted to cement his partnership with the filmmaker in a more traditional movie before tackling a deeply strange project. This would pay off during the production of Only God Forgives, as the filmmaking duo was forced to use their notoriety to scrounge up money at a Thai film festival when local authorities began demanding bribes in order to allow shooting to continue.

In the finished film, Gosling plays Julian, an American ex-pat running a Muay-Thai boxing club alongside his sociopathic brother Billy (Tom Burke). When Billy gets himself killed after sexually assaulting and murdering a teenager, Julian is tasked by his disturbed mother (Kristin Scott Thomas) with tracking down those responsible for the death of her first-born child. What follows is a surreal dive into the seedy underbelly of Bangkok as the cycle of revenge escalates and violence leads to even more violence.


SO WHY IS IT WORTH WATCHING?

There’s no right or wrong way to engage with art, but there are some films that clearly require more effort from the audience side in order to be effective. And while you can’t blame cinemagoers for just wanting to enjoy some passive entertainment, I think it’s always worth trying to meet a work of art on its own terms before judging it.

Despite being a huge fan of Drive, I avoided Only God Forgives for a long time because of its poor critical reception and excessively esoteric presentation. It was only years later that I gave the flick a chance when a friend of mine described the experience as “David Lynch on cocaine.” It was then that I realized that nearly everything critics had complained about in the film are precisely what made it so interesting.

If you can stomach the deliberate pacing, you’ll likely be fascinated by this stylish nightmare about morally questionable people becoming trapped in a needless cycle of violence and retaliation. Not only is the photography impeccable, turning the rain-slicked streets of Bangkok into a neo-noir playground, but the bizarre characters and performances also help to make this an undeniably memorable movie. And while Gosling deserves praise as the unhinged Julian, I’d argue that Vithaya Pansringarm steals the show here as “The Angel of Vengeance,” even if his untranslated dialogue is likely to be unintelligible for most viewers.

However, I think the lack of subtitles ends up enhancing the mood here (even though some editions of the film ended up including them against the director’s wishes), adding to the feeling that Julian is a stranger in a strange land while also allowing viewers to project their own motivations onto some of the “antagonists.”

And while Only God Forgives is frequently accused of burying its narrative underneath a pile of artsy excess, I think the heart of the film is rather straightforward despite its obtuse presentation. I mean, the moral here is basically “revenge isn’t fun,” which I think is made clear by the horrific use of violence (though we’ll discuss that further in the next section).

To be clear, I’m still not sure whether or not I enjoyed this movie, I just know that I’m glad I watched it.


AND WHAT MAKES IT HORROR ADJACENT?

There are two different kinds of gore effects. One of them is meant to entertain viewers with exaggerated wounds and excessive blood as you admire the craftsmanship behind the filmmaking. The other kind is simply a tool meant to simulate what actually happens when you injure a human body. Like I mentioned before, Only God Forgives isn’t trying to be “fun,” so you can guess what kind gore is in this one…

From realistic maimings to brutal fist fights that feel more painful than thrilling, the “action” label on this flick seems downright questionable when the majority of the experience has you wincing at genuinely scary acts of grisly violence. I mean, the story begins with an unmotivated rampage through the streets of late-night Bangkok and ends with the implication of even more pointless violence, so it’s pretty clear that you’re not really meant to root for an “action hero” here.

I can’t even say that the deaths resemble those from slasher flicks because the movie never attempts to sensationalize these horrific acts, with Refn preferring to depict them as straightforward consequences of violent people going through the motions – which is somehow even scarier than if this had just been yet another hyper-violent revenge movie.

Not only that, but the characters’ overall lack of moral principles makes this story even more disturbing, with the main antagonist being the closest thing to a decent person among the main cast despite also being a brutal vigilante.

Only God Forgives doesn’t care if you like it or not (and actually takes measures to make sure that the viewing experience is often unpleasant), but if you’re willing to step up to this cinematic challenge and engage with the narrative and visuals on their own terms, I think you’ll find an unforgettable nightmare waiting for you on the other side.


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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