25 Best Multiplayer Horror Games on PS5, Ranked

The card system was a good idea, letting you build a deck that reshaped how a run played out, and Turtle Rock has always known how to make a gun feel heavy. Support ended in 2022 though, and the run structure gets repetitive faster than it should. With a full squad on a weeknight it's still a great time.

Eleven years in early access ended with a 1.0 release that finally made the console version worth owning, and the blood moon horde every seventh night remains one of the smartest pacing ideas in survival games. Building a base and watching it fail is the entire point. Visuals are dated and the animations are stiff, though eight players digging in together papers over a lot of that.

Red Barrels swapped solo terror for four players inside a Cold War Murkoff facility, and the rig system means everyone brings something useful, whether that's an X-ray to spot enemies through walls or a stun that buys a teammate five seconds. Among co-op horror games PS5 players recommend to each other, this one asks the most of a group. Trials repeat more than they should.

McMillen's basement is body horror wearing a roguelike costume, and Repentance is where the whole thing finally felt complete, with the Downpour and Mines paths, Mother, and the Tainted characters. Co-op gives everyone a real character instead of a floating helper, which fixed a long-standing complaint. It's local only, and the difficulty spikes are unkind, so bring a patient friend.

Nightdive's remaster is a masterclass in how to treat an old game, restoring the N64 campaign, commissioning a brand new expansion, and putting four-player co-op both online and in split-screen. Strogg body horror reads differently now than it did in 1997, and the sound design is nastier than you remember. Movement stays fast enough that co-op turns into cheerful chaos within about thirty seconds.

Setting an anthology entry in 2003 Iraq and then dropping the cast through the floor into an Akkadian temple full of vampiric creatures was the swing that made this the best of the first season. Salim is the strongest character the series has written. Shared Story lets two people watch different angles of the same terrible night, which is where these games are at their best.

Saber building a four-player shooter around a Carpenter B-movie premise is exactly the pitch it sounds like, with a Sludge God buried under the earth, hordes pouring out of it, and vehicles for running them down. Carpenter's involvement shows up in tone more than in any mechanic. It's had a long road to release and the co-op shooter space is crowded, so atmosphere will have to carry it.

The FLESH gore system does more heavy lifting than any story beat, peeling zombies apart layer by layer in a way that stays satisfying two hundred kills later. HELL-A is carved into zones rather than one open world, which nobody should mind because those zones are dense and full of stuff. Three-player co-op works smoothly and Dani is the slayer worth picking. The writing is throwaway, but the combat absolutely isn't.

Liminal-space horror lives or dies on commitment, and this commits, dropping four players into buzzing yellow rooms and then the poolrooms and then somewhere considerably worse. Level Fun is a great bit and everyone should see it once. Rough edges are everywhere and some puzzle design is obtuse, and it's cheap, it's four-player, and it nails the dread of a hallway that refuses to end.

Crytek's PvPvE bounty hunt is the tensest thing on this list, mostly because sound carries so far that one misstep on gravel announces your position to three other teams at once. Mammon's Gulch gave the Louisiana bayou a proper companion map and the engine upgrade helped console players a lot. Losing a hunter permanently stings, and the skill gap is steep enough that early hours feel punishing.

Seeing a Gears game on PlayStation hardware is strange on its own, and the remaster is a good one, running at 4K and 120fps with cross-play intact. Emergence Day still opens beautifully and the Berserker sequence works as horror more than most people give it credit for. Campaign co-op is the real draw, because the multiplayer suite shows its 2006 bones no matter how sharp everything looks now.

Two-player co-op arriving in this series changes how the scares work, because Low and Alone have to solve things together and you can't retreat into your own head when things go badly. The Necropolis is the standout stretch, all howling wind and buried things. Playing solo with an AI partner is noticeably weaker, and there's no local option, which stings for a game this couch-friendly.

Supermassive taking its branching-death formula into deep space is the most interesting swing the studio has taken in a while, with a crippled colony ship, a crew that can't trust each other, and something aboard wearing their faces. Slipping out of 2025 was probably the right call. This placement rests partly on potential, so read it as a bet on a premise that suits what the studio is good at.

Passing a controller around a room is still Supermassive's best idea, and Movie Night leans all the way into it by handing each person a counselor to keep breathing until sunrise. Hackett's Quarry looks fantastic, the cast commits properly, and Ted Raimi turns up doing exactly what you'd hope. Some character paths are better written than others, and the online mode is clumsier than the couch version.

The paraglider changed the entire flow of the series, and Villedor is built vertically enough that traversal never settles into a routine. Faction choices promised more than they delivered and the writing wobbles, though years of updates brought in firearms, better night zones, and co-op that four people can actually enjoy together. Come for the movement and stay for the dark zones, which are as tense as anything Techland has built.

Nearly a decade of licensed killers later, the 4v1 formula is still the clearest expression of asymmetric horror, and Behaviour has kept it healthy by adding characters instead of rebuilding the game every few years. Generators, hooks, and the second you realize the killer has been standing behind you the whole time, all of that still lands.

It's one of the few horror games on PS5 multiplayer groups keep permanently installed, partly because a session can be twenty minutes or four hours and the game doesn't care either way. Playing killer has a rough learning curve and the perk economy asks for patience or money. The mind games between a good survivor and a good killer around a single pallet are worth the grind, and nothing else has replicated that specific tension.

Kyle Crane coming back was the hook, and Castor Woods is the actual reason it works, trading city rooftops for forest, fog, and open ground where climbing away from trouble stops being an option. Vehicles matter again, and the beast transformation hands you a panic button that feels great without ever making you safe.

Techland originally planned this as an expansion and you can tell in the best way, because it's tight and never pads itself out to justify a price. Four-player co-op carries over intact and the night cycle is meaner than the series has managed in years. Plenty of systems are lifted wholesale from earlier entries, so this is refinement rather than reinvention, which is fine when the refinement is this confident.

Wraeclast is bleak in a way that reads as horror if you stop to look at it, from the drowned bodies washed up on the first beach to whatever Piety has been doing inside the Lunaris Temple. Grinding Gear Games has run leagues every few months since 2013 and it's still free, which is faintly ridiculous given how much game is sitting in there.

Six players can run maps together and the build variety means nobody in the group is doing the same thing. The passive tree is enormous, trading happens on a website instead of in the game, and new players usually need a friend or a guide before any of it moves. Once it clicks, that seasonal reset feeling is hard to find anywhere else.

Zombies is why it's here, specifically Kino der Toten, the map that taught a generation how to train a horde in wide circles while someone burns another 950 points on the Mystery Box. Treyarch turned a bonus mode into the reason people bought the game, and the round-based structure still gets copied badly by other studios.

Four players, Pack-a-Punch, and a wall buy everyone argues over adds up to something close to perfect, and Ascension and Five proved the formula had range beyond one map. The campaign's Numbers sequences are stronger than most people remember. Base multiplayer feels its age and your experience depends entirely on where you're playing it, so come for the co-op and the atmosphere rather than a modern shooter.

Night is the entire pitch. Sunset in Harran turns a decent zombie game into a chase where Volatiles hunt you across rooftops and your flashlight becomes a liability, and Techland understood early that fear works better when you can't fight back yet.

Four-player co-op is where it clicked for most people, partly because the parkour holds together under chaos and partly because watching a friend miss a ledge never stops being funny. Be the Zombie lets someone invade your game as a Night Hunter, which was ahead of its time and still works fine today. Rais is a weak villain and the story is forgettable, so treat the campaign as a delivery system for movement that remains some of the best in any first-person game.

Couch co-op on console keeps getting overlooked, which is a shame, because splitting a screen with someone and grinding Nightmare Dungeons together is an old kind of fun that barely exists anymore. Lilith's opening cinematic set a tone the rest of the game mostly earns, and Sanctuary is nastier and more Gothic than the previous entry ever managed.

Launch itemization was thin and the seasonal grind can feel like homework, which is fair criticism that Blizzard has spent years patching around. Vessel of Hatred brought in mercenaries and a co-op focused endgame that finally gave groups a reason to stay past the credits. It sits this high because very few games let four friends tear through hell together with this much gore and this little friction.

Housemarque added a co-op mode a year after launch, and it turned Atropos into one of the better 2 player horror games PS5 owners can drop into without committing a whole evening. Selene's cycle still resets when you die, which stings a lot less when there's someone around to revive you first.

The DualSense work is still the best argument for the controller, from rain tapping across your palms to the half-press adaptive trigger that swaps you into alt-fire. Those first-person house sequences are where the horror actually lives, quiet and domestic and far stranger than anything the biomes throw at you. Difficulty is punishing and the Crimson Wastes will end plenty of good runs, and the shooting is clean enough that you'll start another one anyway.

Tarsier Studios built this around two players from the start, which changes how everything lands, because you spend half your time watching your friend get grabbed instead of only dying yourself. Two siblings search a rotten island for missing children, and the art direction leans hard on that oversized, wrong-scale look the studio has been refining for years.

Creature design is the standout, particularly the animal-headed figures that come after you across open water. Playing solo is possible and it clearly isn't the version anyone designed. It ranks this high because co-op horror staged with this much intent doesn't come around often, and the boat sections give the whole thing a rhythm that most of the genre skips entirely.

Holding a button to flip between the original sprites and the remade art is a nice trick, but the reason people are still running Chaos Sanctuary is that the loot chase underneath never needed fixing. Eight players share a game, and the moment someone starts shouting about a drop is still the best thing in it.

Vicarious Visions kept the horror intact, which is easy to forget around your four hundredth Baal run. Tristram, the Countess up in her tower, Andariel's chamber, all of that is grim in a way modern loot games rarely bother with now. Server queues at launch were rough and ladder resets ask a lot of your free time, and the co-op loop still holds up better than almost anything else from that era.

Bluepoint rebuilt this from the ground up for the PS5 launch, and the thing that still separates it from everything around it is how it handles other people. You leave messages on the ground, you watch bloodstains replay someone else's last mistake, and you can be pulled into a stranger's world as a blue phantom without ever typing a word at them. Sound does a lot of the heavy lifting too, especially in the Tower of Latria, an area built entirely around dread rather than jump scares.

Then there's the Old Monk, a boss fight that can be an actual invading player standing in for the boss, which remains one of the strangest multiplayer ideas anyone has shipped. World tendency is still obtuse and the game refuses to explain any of it, so keep a wiki open. Worth the trouble for the Valley of Defilement alone, which is exactly as miserable as it was designed to be.