Per wiki policy, all spoilers below are unmarked. Proceed at your own risk! You Have Been Warned.
- In the Facility stage, if you destroy the gas barrels or shoot the bottling room tanks and then stick around, you can see the fumes slowly turn into an ominous green mist. If you have the invincibility cheat turned on (so that the gas doesn't kill you), you can watch as the mist turns so bright and thick that the room turns into Silent Hill.
- The Game Over/death music, as well as the theme that subsequently plays during the cutscene of Bond dying; the latter could possibly count as a Jump Scare (for instance, if one has their television set's volume set to a very high level) as it also plays upon turning the game on.
- When Bond is captured at the end of the second Surface stage, a Scare Chord plays that would be right at home in a horror movie
. - Surface II itself. The music is ominous, the stage is quite dark with a blood-red sky (which gives it a resemblance to Hell), and the guards wear full face masks that look creepy in the low light.
- Baron Samedi is back...and so is his Evil Laugh (now given a haunting echo).
- One of your primary objectives in the Egyptian stage is to "Defeat Baron Samedi?"note Once you do defeat him (for the third time), the mission ends with a cutscene showing Bond confidently walking out of the temple...followed by Samedi running far behind him. It then fades to black before fading into a final shot of Samedi laughing. How is he doing this when he should be lying lifeless somewhere...because you defeated him?
- On Silo, when you play on a higher difficulty you get a countdown for when the entire launch facility is set to explode. When you're down to thirty seconds, the music becomes much faster and more intense, and the game is essentially telling you to get out fast before you're incinerated with the rest of the works.
- The Statue mission is arguably one of the scariest stages in the game. The sky is dark and overcast, the music is deep and dreadful, and the level is filled with discarded and broken-down statues, monuments and sculptures, dedicated to Soviet history and Communism. It borders dangerously on Surreal Horror. This is to say nothing of Janus arriving with his henchmen all dressed in black, which looks eerily like a funeral procession. It doesn't help that this level is one that newer players can get lost in thanks to the layout being rather confusing.
- The Streets mission is no better, ESPECIALLY if you forgo the Tank for more speed. Much like Statue, Streets' stage is dark and dreary and easy for new players to get lost in, but unlike Statue (and also unlike any stage save for the higher difficulties of Silo), this one has a time limit to it, which can dial up the stress and strain on the player to a considerable degree, and there aren't any bright objects that are around to either act as landmarks or illuminate enemies through the fog, which can cause the normally brightly-colored mooks to blend in with the background until it's too late. Worse, this is the only level in the game where you encounter enemies with ROCKET LAUNCHERS, who can be a nasty surprise if they send (often multiple) rockets your way from seemingly nowhere, with the very loud sounds of the rockets being launched as the only warning to get out of the way before you get blown up.
- The final showdown with Xenia in the Jungle mission: You're making your way through the ambient scenery (in the only stage in the game with no Background Music playing) when intense, dramatic music starts playing out of nowhere with Xenia running directly towards you armed with an RCP-90 and a grenade launcher.
- There's no shortage of creepy music in the game, but the music for Bunker II is especially ominous and dreading, reminding you that you are a prisoner deep within enemy territory and that the slightest misstep will be the end of you before you can escape.
- Especially if you’re familiar with how the Soviet Union treated enemies of the state. Just look up the Cheká or the Great Purge for examples. Actually, don’t.
- You get a few not-so-subtle hints as to what becomes of prisoners there. Namely, several walls are pockmarked with numerous bullet holes and discolored from old, hastily-cleaned bloodstains, including the ones in both holding cells.
- Sometimes a mook rapidly pops up out of nowhere and it can catch you off-guard. Also, a guard you might've missed or didn't see will start shooting you from behind when it's almost dead silent.
- Those damn drone guns: rapid-fire mini-guns set to fire at you within a certain range that you may or may not see coming. They can also be pretty hard to take down from a distance.
- Just the fact that there are no maps, no checkpoints, and no ways to replenish health during a mission makes any twists during each level Nightmare Fuel. The aforementioned Statue is particularly bad for a first-time player as there are no obvious indicators of where to go, you're constantly being hounded by Russian soldiers with automatic weapons, and when Janus turns out, you're surrounded by mooks with automatic shotguns. It makes for a tense experience, to say the least.
- Most death animations are slightly comical due to being somewhat exaggerated, but killing a mook with a throat, gut, or groin shot sometimes results in an uncomfortably long and unpleasant animation making it clear that the poor mook is dying in utter agony. You can't even give them a Mercy Kill, either.
- As far as music goes, "Cradle" is stressful. The very fast paced and intense nature of the song, the synth riff that sounds like the type of music that you'd heard if the world was seconds away from ending, the underlying piano riff, and the fact that it repeats so often during the mission truly hammers in its urgent nature. And then near the end of the mission, there's a jarring Jump Scare in the form of an abrupt switch to "Cradle X", which can only properly be described as the musical equivalent of swallowing an ice cube too fast. If "Cradle" wasn't already giving you anxiety, "Cradle X" certainly will.
