It should come as no surprise that the game is exactly what everyone was expecting. But that’s not a bad thing at all.

An official tweet from the (very good) Fall Guys Twitter page has confirmed that they’re monsters… but the votes are still out on whether it’s canon.

Now you can dress up as Ghostface and horrifically massacre your friends on any platform you want!

The second instalment in what’s meant to be an eight-part collection features murderous witches, a haunted village and that one actor with the wide eyes.

I had some questions for the music-wizard about how he created the sound of horror, and Graves was only too happy to wax lyrical about finding his groove, the sheer genius of how his music was used and the power of psychology.

There’s a good game buried within Those Who Remain’s many shortcomings, but it blunders the final hundred meters of its dash for survival like a sorority girl outrunning a slasher in a forest filled with tree roots. Repetitive scenarios of item-hunting tarnish the more ingenious puzzles you’re presented with, horror clichés sour an otherwise wonderfully tense atmosphere and a control scheme from hell drags a promising game back into the shadows, never to be seen again.

I recently got a chance to have the fattest of chats with Coker on his work for Ori and the Will of the Wisps, his guiding philosophy for crafting a soundtrack, defining the melody of horror and the final push to nail the landing for this momentous sequel. Here’s what he had to say.

In my brief history on this planet, I’ve played many, many horror games. It’s one of my favourite genres, often probing into the mind of the player more than any other kind of game. There’s a creative space in horror that when tapped correctly can yield some of the most deeply personal and cathartic experiences you’ll find in this industry. …