Gylt isn’t trying to be a brash and offensive bloodbath awash with mutilated bodies and shrieking banshees. It’s spooky but not outright terrifying, and that’s fine. In the fictional town of Bethelwood in Maine, USA, Sally finds the town isn’t what it normally is, embodying the Silent Hill switcharoo, where weird creatures lurk in the shadows, streets now void of life. Gylt starts off with a girl finding an alternative route home because she’s afraid of the bullies who are heckling and taunting her, setting the tone for what’s to come. Maybe we can blame the bully’s upbringing or the things going wrong in their own lives, but when those being affected are feeling crippled by that oppressive hold it has on them, crying in toilet cubicles afraid to leave, or refusing to get out of bed in the morning, it’s upsetting to see. It can destroy confidence and a will to live, ruining lives and impacting childhoods well into becoming adults. By framing the tension and aesthetics this way allows the audience to understand a more realistic horror many have been privy to in their lifetime.īullying is something we’ve either witnessed happening to those we know or to us ourselves. It feels more Coraline than Resident Evil – more Corpse Bride than Outlast. Few titles strip back these elements in favour of an approach to a younger audience, and while Gylt is in no way only for teenagers or children, I would have no qualms about letting my daughters play it. Horror is a genre that tends to go for severe jump scares, buckets of blood and gore, and fiendishly detailed monsters that have a tendency to flip your stomach over when you set your eyes on them.
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