![]() Due to how this is a real rarity in gaming, it makes the existence of Dark Tales: From the Lost Soul even more exciting. It does reflect a nice compromise in the anthology approach, but it also reiterates that for the most part, games are afraid to commit to a straight anthology approach. These distinct worlds reflect the variety of an anthology, but they all feature the protagonist, Henry Townshend, and are all an extension of the same singular narrative. Its protagonist is contained to his apartment for several days, while holes open up in his walls that take him to different worlds, like a subway, water prison, hospital. Silent Hill 4: The Room’s approach to its narrative gets very close to an anthology structure. There’s the Dreamcast game, Illbleed, where every level is essentially a different horror film, but there’s still a highly connected narrative. On top of that, it’s a rail-shooter, and trades more in action than horror. Resident Evil’s Umbrella Chronicles spinoff games kind of pull off the anthology feeling because every level features a scenario from a different moment in the series’ chronology, but it also pulls from and depends upon the past titles from a long-existing franchise. Lovecraft through different stories that the protagonist experiences second hand. ![]() The Gamecube’s Eternal Darkness has arguably become the quintessential example of doing this right as it finds its inspiration coming from Edgar Allen Poe and H.P. While it seems like a natural fit for the easily digestible genre of gaming, anthology titles have been extremely few and far between. The highly addictive, freeing format of anthology horror has really found a new life in recent years in both film and television, yet curiously this trend hasn’t transitioned over to the world of video games. Ahead of The Dark Pictures Anthology, and its first title Man of Medan, we examine the cult PlayStation title, Dark Tales: From the Lost Soul, and the larger question of why anthology horror has been absent from gaming.
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