Metro Last Light
Platform: PC, PS3, Xbox 360
Release: 17 May 2013

This game’s predecessor Metro 2033 was an underrated hero of the horror market, labelled a cult classic because of its sorely low impact when first introduced in 2010. Based on a post-apocalyptic science-fiction novel, it chewed on the very notion of survival horror, asking players to survive in the wake of a nuclear holocaust. Metro: Last Light takes place in the same ruins of obliterated Moscow, where a population of survivors take solace underground in the metro. With flavours of Fallout 3 and Dead Space, this is one series to get acquainted with.

The Last of Us
Platform: PS3 exclusive
Release: 14 June 2013

For PS3 parents, this promising trip into post-apocolyptic America has been earmarked on the calendar for a long time. From the hands of Naughty Dog who brought us the beautiful Uncharted series, this sees them take hold of that character blend they do so well and let it lead us down the path to Halloween Town in what promises to be a compelling horror venture. This is a game of survival with a rich storyline that is just as much about the decisions you make as it is about fighting to stay alive. So no, this is not the place to come for scares, that’s for sure. This is for those of you who have time to invest in a story. Try the demo on May 31st and see what you think.

Amnesia: A Machine For Pigs
Platform: PC, Mac
Release: Autumn 2013

For those of you who read Phil’s fantastic review or played the demon yourself, the ground breaking Amnesia: The Dark Descent no doubt left a lingering impression on your nerve-endings. We loved it here at Gorepress HQ and leapt for sadistic joy when the sequel was announced. Amnesia: A Machine for Pigs is set for release in Autumn with brand new characters and locations, whilst still in keeping with their genius premise of placing you on the knife-edge of constant anticipation. But their new baby has sprouted into a monster of a creation that Frictional Games were originally due to release last Halloween. Can we forgive them for the wait? We’ll see when the new brat hits the shelves.

Outlast
Platform: PC
Release: Summer 2013

What lurks behind the secretive walls of Mount Massive Asylum? Journalist Miles Upshur wants to find out. With only a camera at his disposal, all this game asks of you is survival: and it’s a tall order. Imagine if you were unarmed in Condemned; that will give you an idea of what this experience will feel like. Brutish patients chase you through endless broken rooms and corridors, force you into cramped hiding places and leave you to watch them sniff you out in the dark. All sounds very promising, but I am holding my tongue until its release date. The question hanging over its head for me is whether Outlast can really scare, or simply knows how to make you jump, which is all I’ve seen it do in the trailers so far.

State of Decay
Platform: Xbox 360
Release: June 2013

An open world zombie survival game sounds like sweet, sweet music to mine ears. In this flesh-eating sandbox you will find yourself with the tools and the freedom to answer one of life’s important questions: How would you survive a zombie apocalypse? Now’s your chance to find out. Will you fight for supplies, raid police stations for weapons or build a stronghold with fellow survivors? State of Decay reacts in real-time with consequences to your actions so there is genuine pressure to choose wisely. Released on Xbox Live Arcade next month (we hope) add this to your ‘must-have’ list.

Routine
Platform: PC
Release: Autumn 2013

If you want to put your gaming prowess to the test, this interesting morsel could be right up your alley. Routine is a gauntlet of sci-fi horror set on an abandoned moon base. Using only one life, you must try to get as far as you can to discover what happened to the crew, with the very real threat of death looming over you. You’re corpse is dragged right back to the beginning of the game, should you die, and you have to start all over again. Tedium is sure to rear its ugly head with this one, but If you think you’re up to it keep an eye on the Lunar Software website (http://www.lunar-software.com ) for updates on the now postponed release date.

Among The Sleep
Platform: PC, Mac
Release: Late 2013

Re-imagining the archetypes of the horror videogame is a tough gig. But Krillbite Studios have decided to try their hand at it by putting the player in the shoes of a two-year-old. Among The Sleep taps into that natural vulnerability we have all experienced as children and takes us back there, experiencing the horror that shadows and noises in an empty house can bring. As you crawl with hands in front of you, or totter up to large, imposing furniture, there are threats that an adult simply wouldn’t access. The idea is clever, its enough to get people talking, and I really hope they pull it off. But you will have to wait patiently for the release date as creators are still holding down part-time jobs in the background to fund this project. Expect it later this year.

The Evil Within
Platform: Xbox 360, PS3, PC and next gen consoles
Release: 2014

“I want users to get so scared that their hands are in a cold sweat on the controller,” that, my friends, is straight from the mouth of Resident Evil creator Shinji Mikami. He is talking about his newest venture, The Evil Within, a groundbreaking project that vows to return to what survival horror always should have been. Considering Mikami left the RE franchise because of the action-packed direction it was taking, he is a man of his word.

The Evil Within begins at the scene of a mass murder, and Detective Sebastian Castellanos is called in to investigate. But one by one, he witnesses the brutal deaths of the policemen around him and loses consciousness. He wakes to find the modern world has morphed into a dark, twisted pseudo-reality, pitting Castellanos against his worst fears. What began as a simple manhunt reveals itself as a much more enthralling search for evil itself. So – are we excited? You bet your ass. And for those of you with any doubt about how good this game is sure to be, let Mikami reassure you: “I’ve found my focus and once again I’m striving for pure survivial horror.” Have you heard anything sweeter?

Silence, ye of pesky little faith who were too busy whining about Dante’s new haircut to try this game for yourself. You go away. The rest of you please, come hither, grab a comfortable chair and let me tell you the story of when a Western Developer kicked Japan’s arse.

It all started back in 2001, when Capcom wanted to make the next instalment of their famed Resident Evil series. But what actually emerged was Devil May Cry, an entirely new franchise with an all-new American hero, half man, half demon, who spent his waking hours decimating monsters to metal music with his big sword. Fans sucked it up through their straws and burped with satisfaction, crying ‘More, please!’

But over ten years later, our leading man Dante is getting on in years and the cutesy Japanese edge he was born with is blunt from over-use. Capcom were smart enough to recognise this, so they put him up for adoption and Cambridge based developer Ninja Theory were the new proud parents.

That was the best decision in recent gaming history; DmC: Devil May Cry is fresh, it’s brand spanking new, it’s got it’s attitude back and even slaps you on the back of the head when you’re not looking. I blasted through every minute and though the fling only lasted ten hours, I wanted to give it my phone number and wait desperately for it to call me back.

Ninja Theory started from the ground up. You play a grass-roots Dante who has no idea about his past or family and doesn’t think an inch above his crotch. His world is your world, a city alive at night with subways, nightclubs and bad habits for a lad in his twenties. You instantly relate to him, which is all a gamer needs to get behind their hero. The dialogue is a vast improvement on the kitsch, pun-tastic history of this series too and the emotions and motives of the characters feel much more tangible. Though I’ll be damned if every other fucking word is the same fucking curse word trying too fucking hard to be cool. For fuck sake.

But the big fat question of course is combat. It is after all the lifeblood of Devil May Cry and it flows freely through the hyperventilated veins of the new DmC. You wield multiple weapons in this modern title, with devil arms, guns and a meaty array of combos to cleave, shoot and whip through. Stacking these combos is such a personal endeavour that you can customise it to your chosen fetish; spin a scythe through demon bellies, shoot mines into robotic cherubs and watch them explode or just jump up and punch a witch into the floor to shatter her into blood red orbs. Yummy yum yum.

To lambast the combat system would be juvenile, it just works beautifully. Not only does it honour the almost faultless fluidity of its predecessors, it upgrades it with an extra pinch of Ninja Theory salt. Somehow they managed that impossible task of staying true to the old framework whilst adding a creative edge that makes this game truly their own. My personal favourite are the devil arms. No longer are they manually selected, you simply crack a trigger and a devil arm appears until you let go and morph back into Rebellion. Each new addition to your arsenal is carefully woven into the narrative to allow you to master each flavour gradually and the environment morphs into the perfect training ground without even exerting itself. You’re a master demon slayer without having to master anything, it all feeds into you naturally and never takes you away from gameplay.

Another medal of honour for this game is the level design. It is a masterstroke of gorgeous graphics and incredible art design that lifts the overall experience above what most of us were expecting. From carnival piers and city back-alleys to the bowels of corporations and demonic nightclubs, you travel through a modern utopia that forgoes the obvious gothic playground you would envision.

Breaking through the fourth wall into a live news transmission was a satisfying twist on this norm. And then there is the parallel dimension of Limbo, a demonic perversion of the real world where Dante is met with inimical hostility from the walls themselves, stark white words scrawled onto the landscape to threaten and follow him, a notable and effective embodiment of the uncanny.

Replayability almost goes without saying. Each mission has its own set of doors, keys and collectibles that will always warrant another go and the levels are so gosh darn pretty. But for bigger appetites, the Vergil’s Downfall expansion pack is available March 6th, and right now you can download the free Bloody Palace upgrade, which is another sweet signature of the series with revamped generosity from the series’ new handlers.

So did Ninja Theory do a good job? Well, in answer to all the nervous twitches of snivelling fanboys, they stuck up a big one-two and patched a Union Jack on precious Dante’s sleeve. They aren’t just self aware, they’re rebels with pride in their own creation and that is exactly how handlers of Dante should act in my opinion – like the cocksure hero himself. So ignore the tripe and add this game to your collection. It will feel like a rebellion of its own and you’ll be glad you did it.

But if you do forgo this venture purely out of your own stubbornness? Well, I’ll let Dante answer that one…

Rating: 9 out of 10 stars

After the franchise buffet of 2012, I thought it would be nice to kick off the New Year with a wee indie game review for a change. So let’s take a look at one that got everybody talking: Slender: The Eight Pages.

Press Play and this game has one simple introduction: “Collect 8 pages”. No preamble, no storyline, just words on a screen before you’re left alone in a deserted forest with a flashlight and a purpose. Right, off you go then.

As you take your first-person steps it becomes apparent that this forest is quietly malevolent. The darkness is intrusive against your weak beam of light and all you can make out for a long time are hundreds of trees and the sound of your own feet. You walk without a plan or a map, trying to fathom where the path lies until you stumble haphazardly onto your first page of white paper, mostly out of dumb luck. You even think this might be easy, you only need seven more of them, right?

But there is absolutely no clue as to where the rest of the pages lie. The wilderness is pitch dark and full of trees and you can barely make out a footpath to follow. Then there comes that inevitable sinister turn where you realise why this is a psychological horror…

There is a man in the woods. The Slender Man. You know from the second you first spot him lurking in the dark that he is following you everywhere around the map, and simply appears anytime he wants. A crackle of static corrupting your screen acts as your only detector to his presence, and the stark contrast of this sudden noise scares you into action. And for good reason, for should you find yourself in front of the silent Slender Man for more than a few seconds, you’re dead and start all over again. Simple and brutal, so get a move on.

I have to confess that I had an absolute ball ducking and diving to avoid this nasty. With the lights off and the sound up, I was eating my heartbeat every few minutes and urged to carry on playing with masochistic fascination. There’s no fluff to drag out the experience, it just stalks you and maims you for the entire time the clock is running and its marvellous.

As far as aesthetics go, do not be fooled by the archaic simplicity of the graphics, either. Remember the early days of Silent Hill? When limitations in design forced creators to be clever with atmospheric fog because they didn’t have the capacity to load expansive game environments? The genius of overcoming imposed limitations like this shall forever be extoled in my eyes as one of the greatest superiorities of early horror games. It’s a humble practice, admitting your boundaries and embracing them, but one that the likes of Slender: The Eight Pages utilises like a boss.

Pausing for a moment, let me just say that the locations of the eight pages would be my grievance with this indie title. Your blind search around the unmarked map can become tedious and with mister mental growing more relentless with every page you pick up, it’s only a matter of time before you meet a sticky end. But after all that is what makes the game notorious, turning its completion into a badge of honour that communities all over the Internet have been falling over themselves to achieve (with some amusing video diary results).

Slender: The Eight Pages is a challenge. For anyone who has a spare ten minutes and wants a bite-sized thrill ride, then go get this game. The bonus is that this title is also completely FREE, thanks to selfless creator Mark Hadley. So I challenge you to attempt all eight pages and let us know about it. Download directly from the Parsec Productions website and check out the upcoming sequel on their homepage while you’re at it.

It’s bloody hard, and not good for nerves. So best of luck n’ that.

Rating: 8 out of 10 stars

This weekend I was lucky enough to go to the 5^th annual Eurogamer Expo down in London to test out an entire buffet of upcoming videogame titles. I only got a demo-sized taste of them, but they left me with a lot to ponder. So if you’re wondering what to look out for this season, here’s my hit list of horror.

Doom 3 BFG Edition

Release Date: October 16th 2012

Platform: Playstation 3, Xbox 360, PC

Get ready to hide under the desk; the Doom gang have re-released Doom 3. The revamped BFG edition (points for anyone who can guess the reference) offers an updated version of the original game, including expansions and a copy of Doom 1 and 2 slapped on for good measure. I tested the 3D version at the expo, which was a gimmick most of you wont buy and frankly a big hazy mess. But shoving that aside, this game is looking good in its new skin. The changes they have made to gameplay were all subtle and effective decisions. Gone are the days of having to choose between your flashlight and your gun because the engine couldn’t handle two mechanics at once, now they synch seamlessly on screen. Other subtle strokes of genius include checkpoints and an increased movement speed, making it a joy to play because these minor fixtures leave the nostalgia untouched. The bottom line is that for old fans and curious newbies alike, Doom 3 is simply unmissable. So use this as an excuse to get in touch with an old friend every horror fan should know.

DmC: Devil May Cry

Release Date: January 15^th 2013

Platform: Playstation 3, Xbox 360, PC

I, among many others, had preconceptions about this game. But as soon as I got my hands on it, I felt like I was slipping back into the driver’s seat of a car that had just had its MOT; not necessarily a good thing. Where were the surprises? Gameplay was disappointingly familiar, weapons did nothing new, and the level design was lifted from DMC4. So if the new-look hero Dante is the only thing they have changed about this game, I found myself asking why should I pay £40 just for some new dialogue?

Resident Evil 6

Release Date: October 2^nd 2012

Platform: Playstation 3, Xbox 360, PC

I’ll give you my first, gut-feeling impression of this and it sounds quite strange: Time Crisis. Yep, you heard me, Time Crisis. From the minute I was put into play I just had the horrible feeling that I was on rails. The famously dodgy camera work of this series has just gone too far and moves like an over-excited child to literally jerk you in the direction of where you need to go. You and your co-op partner are in the thick of a zombie horde (standard) but you don’t get to explore it. You get pushed around and yanked away from the action into a quick-time event every few minutes and are left wondering where all that promise from RE4 has gone? This is certainly not the game I was expecting, Capcom, and I’m a super fan of this bloody franchise. Hopefully the full game will offer more on the plate, but for a lot of fans the demo has swerved them away from the blind hope that this series has still got it.

(Look out for the full review coming soon to Gorepress)

ZombiU

Release Date: November 30^th 2012

Platform: Wii U

Put a sock in it Mario fans, looks like horror just found a new console to play with.

Here is a first person survival horror game, but it’s on the sodding Wii-U. Might as well call it a write off, hey? Wrong. This game was the surprise highlight of the expo for me. Its sexy, its smart and from the moment you start wielding the intuitive touchpad controller, you want to play and play some more. Now that is something I never thought I would say about a Wii game.

ZombiU epitomises survival. Your character is replaced when they die so there is no getting attached; they simply can’t help you. It’s just you and your touchpad controller against bleak, zombie infested London. Use it as a scanner to search a room, clutch it as your life saving map and as you wander the dark city and all of her houses, there is no pausing to switch weapons or pull an attaché case out of your arse either (you listening Leon. S. Kennedy?). If you’re out of ammo and a zombie is inches from your face, tough. There’s no pausing. You just need to scramble on the touchpad to rifle through your inventory in real-time because that zombie is coming straight at you. It’s realistic, and that for me is where real scares are born.

After queuing for miles and getting just a snippet of a taste of this game, I was told my time was up and slumped off truly upset that I couldn’t play anymore. Deep breath before I say this, but I want a Wii-U and this game now please. After which I would probably be happy hawking off the console online, but this game wants my attention so what can I do?

Easter Egg: For those of you who didn’t get to attend the expo, an exclusive collection of developer session talks were recorded live and are available to watch online here: http://www.youtube.com/user/Eurogamer. There is an exclusive presentation from DmC developer Ninja Theory, as well as an invaluable lecture from Chet Faliszek, co-writer of Half-life 2 and Portal on how to get a career in the games industry. Much Love.

Finnish based Remedy Entertainment must have known they were on to a winner when they embarked on Alan Wake. Boasting itself as more of a TV series than a mere game by its makers, we are lead to believe that this six-part episodic thriller has triggered the revival of the tired horror genre of video games. Let’s see, shall we?

Eponymous Alan Wake is a famous horror author who travels to the picturesque town of Bright Falls with his wife Alice to shift a severe case of writer’s block. But when he suddenly wakes up at the wheel of a crashed car with no idea what transpired and no sign of Alice, the idyllic town starts to turn a darker shade. This foreboding sense of anxiety will translate to gamers in a compelling way as you journey on to find Alice through a roughly ten-hour third person exploration, and restore truth to the broken pieces of Alan’s recollection.

But here comes the first speed bump to this pep rally; the narration. Five minutes in and the game feels like an episode of Jackanory. Alan tells the whole story through his own narration, as if the damn thing is trying to make-believe itself into a book, as well as a TV series, oh and a game. Immediately you’re struck with the impression that this game is trying to be too much all at once. Biting off more than it can chew, the cluttered construction feels over ambitious and flawed.

But as soon as the mention of gameplay is made, this game is untouchable. The genius premise of Alan Wake is the battle between light and darkness. Your enemies are townspeople ‘taken’ (as they are aptly named) by a strange darkness that controls them like vicious marionettes to hunt down anything still living in the light. This bond with the dark makes them seemingly indestructible in the night-time setting, unless you first deplete their immortal barrier with light.

This comes in the form of Alan Wake’s most trusty and unorthodox ally – his flashlight.

Instead of this extra requirement taxing the player’s patience, the beauty of this mechanism is that every button on the control pad is utilized to simplistic perfection. Focusing on the triggers, hold left for your flashlight and tap right to follow through with bullets. Dispatching of enemies is quick and easy in this fashion, and you find yourself coming to grips with it in no time. It would have been nice to progress from these basics quicker, or perhaps see some variation on the methods, but extra challenges do eventually come. Even as your arsenal builds to include explosive light sources such as flare guns and flash bangs, and firearms come by the pair, at no time does this become overwhelming. One quick selection on the D-pad and you can switch between all of your supplies in no time to get yourself out of a tight spot, often striking a flare to ward surrounding enemies backwards into the darkness with one quick stab of the right bumper.

What’s more, the aesthetics of this game are absolutely stunning. From the very first step into the dark, you are constantly awe-inspired by the lighting effects that so cunningly spoil the darkness of the forest trails. Feeling almost like a physical ally, you will often feel your heart lift when you sprint into a pool of lamplight on the ground, knowing it will expel enemies around you. The foreboding threat of what lurks in the shadows is maximized by the open expanse of the free-roaming landscape, and genuinely feels unsettling when the taken can materialize from any dark corner, and poltergeist furniture comes flying at you when you’re not looking.

But it is the power of the storytelling that this game has been promising us was worth the nine year wait from announcement to completion. Let’s just say that gone are the days of Japanese script writers oozing hilarity with Jill sandwiches, and for that we are eternally thankful.

Writer Sam Lake is an exception to the game writing rule when it comes to horror, and it is about time. His obvious knowledge and respect for the genre shows a love of classic horror, and a motif of famous horror penmanship is laced in with the equivocal plot to create a profound experience for those of us who love this genre too. Stephen King is quoted so religiously that it is as if he is a scholarly reference, and for those of you who can read the word Cthulhu and pronounce it correctly, you will get a kick out of the striking similarity the deliberately ambiguous threat of ‘darkness’ has to the mythical monsters of H. P. Lovecraft. What’s more, the unmistakable Lovecraftian method of investigatory storytelling is utilized in this game, from asking the player to hunt down radio transmissions and television broadcasts, to discovering secret light-sensitive scrawls on the walls and lost pages of a manuscript Alan Wake cannot even remember writing himself.

Lake earns the trust of horror fans out there, and I feel he will have brought many back to the table. But I will sell my own organs if any of you can tell me what the hell the poor bloke meant with this storyline. A step too far in the ambiguity stakes, it leaves the gaming experience feeling somewhat cheapened by the deliberate set up for sequels and downloadable content; thank you Microsoft. Oh, and they have just released a paperback book version too. Steady on.

But love or hate it, you cannot deny the charm of this game. The reason it gets such a generous score from me is that it is so easy to immerse yourself in. Part of the point of this thing is to confuse the hell out of you, because you follow it like the last season of Lost purely in the blind hope that your questions will be answered. No doubt, Alan Wake should have been a smoother harmony of the conflicting formats it is trying to morph into all at once, but hell, at least it’s trying something new. The way the game plays with you (special mention going to one truly memorable ploy in the middle of the story) is worthy of its’ psychological stamp and sales figures so far. So forgive the clumsiness of its deliverance, because this game has managed it, it will get you excited about horror gaming again. And for that, we salute you Remedy.

Rating: 9 out of 10 stars

It seems like psychological horror has taken a sick day recently, and in walks its gun-toting big brother. Resident Evil was one of the first to swap haunted house for open-warfare, and there are mixed reviews as to just what effect this evolution has not only had, but continues to have across the board. Although Silent Hill still claims to be nestled nicely in its scary little sub-genre, there sadly isn’t any denying the shotgun shells in this newest instalment; Silent Hill V: Homecoming.

Homecoming sees new protagonist Alex Shepherd return home to Shepherd’s Glen, following discharge from military service. As the town’s wayward son takes his first steps however, you start to get the feeling that home is not the way he left it. As the first instances of Akira Yamaoka’s hauntingly beautiful score creeps in along with the surrounding fog, your nerves rightly jangle. The further you go, the more you start to unravel about the secrets of the Glen, including the many disappearances of the townspeople and the state of widespread dilapidation.

True to style, Alex isn’t left to wander around unharmed either. The ungodly creatures in this series are suddenly much more brutal. Often attacking at full assault, you barely get a chance to get scared before they’re on you: male bodies spread-eagled with scythe blades sewn onto each of their four limbs, moaning mutilations of male and female body parts, feral flesh tattered dogs and of course, the nurses. Those sexy little madams are worth a mention, because although their faces are bandaged, they can swing a knife faster than you can pull your eyes up from their boobs. So watch it. I got stuck in a corridor with five of the nasty buggers and they cut me into ribbons.

As for gameplay, it handles well and feels quick and sharp. Whether it’s exploring the ghost town streets, or trapped indoors when the walls start to peel upwards to signify your descent into hell, Alex is fully manoeuvrable. He responds to a 360 axis that has great fluidity compared to previous horror titles, and the new allowance to duck and dodge out of enemy assaults progresses the combat to a new maturity. Trademarks are ticked off the fan boy checklist too, with Alex packing a radio that crackles when it detects oncoming enemies, (signature of the series) and a trusty flashlight. Well, I say trusty, more like a candle in a snuff box. Even turning the brightness way on high, you still feel like you’re about eighty-five with cataracts trying to see through the blackness on screen. It’s as if Konami is wagging its tail and begging you to appreciate it for trying. But this weak attempt at building atmosphere just left me annoyed and frankly, insulted.

Here’s another subtlety that’s been stamped on; you don’t give a shit about the leading man.

He is an ex-soldier; he comes home, goes after his missing little brother and that about sums him up, sadly. He has these supposed intricate problems, but you just don’t care about them. With Silent Hill, you want to believe in the lead, because their instability often added the most compelling layer to the game’s intrigue. Never knowing whether you could trust an unstable, frightened victim was the sharp psychological edge. Homecoming just seemed to cough up a reserve and force him to play on court.

So there are more than a few kinks in this design. The flaws are more like gaping holes, and with the amount of cut corners here, you’re more likely to throw the game out of the window than finish it.

However, I have come up with one way to enjoy this game if you’re a determined fan, apart from lying to yourself that it’s good. The real deal with Homecoming is not to take it seriously. I realise that is the equivalent of asking you to watch The Exorcist on mute, but honestly, if you do you’ll hate this game. The first thing you have to do with this title is forget your expectations. Die-hard fans of the series (yours truly included) may have come with their heart and soul set on the archetypal spooky town we love best with nerve-damaging tension, but Homecoming is just not that.

Sure, Silent Hill is known for the twisted monstrosities that lurk around every corner and gurgle at you in the dark, but for once you can pick up an iron pipe and really stick it to ‘em. That is what this game is going for. And once I let go of all my grievances with the title, I found this extremely satisfying. The graphics make the gore shine beautifully, too. For all of you who like to see a little blood spatter on your screens, the monsters truly interact with their environment. As Alex pounds them with his latest weapon, you see their mutilated bodies glisten with blood and the game engine triggers separate animations for each species as they attempt to cower away in agony.

The key word here is fun, the cheap thrills kind. But that is all you will get. Silent Hill Homecoming is an empty packet of expectation with a Rambo scarf tied around it instead. So if you can find it in your heart to forgive Konami for following the recent trend, pick up your gun and get in there. Just don’t come crying to me Silent Hill fans, you have been warned.

Rating: 5 out of 10 stars