According to Polygon, horror games are having a massive year that’s being largely ignored by The Game Awards. Silent Hill f sold over a million copies in its first 24 hours and currently holds an 86 on Metacritic, while Dying Light: The Beast sold 1.5 million copies within five days of launch with 86% of its 51,400 Steam reviews being “very positive.” Cronos: The New Dawn also earned “very positive” reviews from 87% of its 2,600 Steam players. Despite this commercial and critical success, only one horror title has ever won Game of the Year in the awards show’s 11-year history – The Last of Us Part II in 2020. While Clair Obscur: Expedition 33 received 12 nominations this year, other horror standouts like Eyes of Hellfire, Hell is Us, and Cronos: The New Dawn got completely shut out.
The horror boom is real
Here’s the thing – horror gaming isn’t some niche category anymore. We’re talking about games that are moving millions of units in days, not months. Silent Hill f outperformed the Silent Hill 2 remake’s sales numbers by a significant margin. And these aren’t just commercial successes – they’re critically acclaimed too, with Metacritic scores and Steam reviews that would make any developer proud.
But somehow, The Game Awards still treats horror like it’s 2005. They’ve got categories for everything from Best Adaptation to Content Creator of the Year, but no dedicated spot for one of gaming’s most consistently popular genres. It’s kind of baffling when you think about it. How does a genre that drives so much engagement on platforms like Twitch and YouTube get so little recognition at gaming’s biggest night?
The recognition gap
Look, I get that horror sometimes gets nominated in other categories. Clair Obscur’s 12 nominations this year prove that. But that’s the exception, not the rule. Polygon’s own informal Best Horror Games poll highlighted several titles that got completely overlooked by The Game Awards committee. Eyes of Hellfire won their poll but didn’t get a single nomination. Silent Hill f came in second but didn’t make the Game of the Year cut.
Basically, we’re seeing horror games that are clearly resonating with players and critics alike, yet they’re being forced to compete against completely different types of experiences in broader categories. It’s like pitting a psychological thriller against a family comedy at the Oscars – they’re just playing different games, literally and figuratively.
Horror’s versatility deserves recognition
What really gets me is how versatile horror gaming has become. We’re not just talking about jump scares and gore anymore. You’ve got emotional masterpieces like Clair Obscur that can make players cry, social horror games like Phasmophobia that create hilarious shared experiences, and atmospheric titles like Silent Hill f that build dread slowly and deliberately.
Horror games can be beautiful, thought-provoking, terrifying, and hilarious – sometimes all at once. They elicit stronger emotional reactions than almost any other genre. And with dedicated horror awards shows like The Horror Game Awards now existing since 2022, it’s clear the audience and recognition are there.
It’s time for change
So when you look at the numbers and the cultural impact, the case for a Best Horror Game category seems pretty obvious. These games are selling millions, scoring highly with critics and players, and driving massive engagement across platforms. They deserve their own moment in the spotlight rather than being crammed into categories where they don’t quite fit.
The Game Awards has shown it can adapt over time, adding new categories as the industry evolves. Now it’s time for them to recognize what’s been staring them in the face – or maybe hiding under their bed. Horror gaming is having a renaissance, and it’s time the biggest awards show in gaming started treating it like the major genre it clearly is.
