American McGee's Alice and Alice: Madness Returns I'd bet. They're okay but extremely trope heavy. Still, the focus is on how the individual is treated, and there's no silly rugpull where it's like "actually she found a broken piece of glass, and she's been jacking up the innocent nurses and other patients this whoooole time!"
But yeah, I think that able fear of becoming disabled is normal to an extent, but with mental health specifically, the way that character is written and the fear is communicated always takes an able lens.
The horror doesn't work, if you are not already scared mental illness.
There's a lot of drama in the idea of disconnection from reality and loss of "self" to psychosis, so much so that it's an extremely common trope in a number of horror genres. Every Lovecraftian videogame protagonist is some kind of crazyguy and the best Lovecraftian videogame is about a "sane" woman going to a (opulent) psychiatric institution (in a converted mansion) to check on her "schizophrenic" uncle, while fearing "the family curse."
Obviously the potential exists for a much more interesting story and a much more unique game, where either Emily is simultaneously crazy, or we are in the perspective of her crazy uncle who is investigating this spooky eldritch horror cult that runs the asylum while they need to differentiate between what's a delusion. This is (sort of) a detective game, so you could challenge the player by presenting paranoic apophenic connections and asking them to distinguish those from a real clue. Meanwhile, the protagonist is going through the dissociation that comes from having people tell you the real things you experience are all in your head, yada yada.
The issue is, within the genre of eldritch horror, once someone is all the way crazy their character is done. This is such a staple of the genre that in the Call of Cthulhu TTRPG, which pulls some inspiration from Alone in the Dark of course, if your "sanity meter" runs out your character is rendered unplayable, mechanically the equivalent of death, because in most Lovecraft style fiction the story ends once the protagonist is all the way crazy. I'm not scared of this, because I by definition am not in this story, I am not allowed to be because I disappear as a Fail State.
This is imo because the emphasis is always on the able perspective and the able fear of disablement. It's not a humanizing fear, it's a fear of becoming less human, of "losing one's mind" in the sense that one becomes essentially unable to have intentions, meaningful emotions and worthwhile human experiences. That's relatable, I guess, but it's an inferior product to a thing that is aware of and willing to explore the reality of the situation that disablement creates.
So, look at how survival horror videogames specifically have historically approached the subject of being A Woman.
Full disclaimer, I am not A Woman, but I've learned about The Women from videogames and thus am, as the redditors say, le expert lol.
Something a lot of You Are A Girl Horror does is really humanize the fact that being a woman can be and often is fucking horrifying, right?
Heather Mason is followed around a mall by a creepy old man she doesn't know and is objectified by a religious cult for her body in a way that specifically focuses on motherhood and The Womb. Haunting Ground is extremely about weird freaks wanting to use Fiona's "amaranth" (again, The Womb) as some kind of tool of immortality, and will lobotomize her to make it easier if they want to.
There's a YouTuber I like who articulates this really well.
She has a lot of videos on You Are A Girl Horror.
There's also of course fem-led horror where this is not a major element, but women are just as powerful as men and their being a woman is treated as incidental. I love Jill Valentine and Claire Redfield as protagonists. That itself functions as commentary in a much broader genre context where women are often either trivialized into dumb blonde victims, or sexually objectified for a presumed male audience. Meanwhile, here is Claire in her own game kicking ass and solving the mysteries (Code: Veronica, Revelations 2), or here is Claire and she is both just as competent and in fact just as much The Hero as Leon.
The actual best survival horror game merges these two. You play a badass, but the bioessentialist infliction of patriarchal expectations of woman as mother is still an underlying theme of the game, sometimes as overtly as making you blow up a semen storage thing lol.
My point being, there is a massive difference between these and, for instance, later Fatal Frame games where you have a see through white shirt that gets more see-through the more damaged by the ghoulies you are (that is seriously where that franchise ended up lol).
One approach treats being a woman as a human experience that is both worthy of respect and a source of relatable horror rooted in the shit women go through, and the other treats women as an outside object for the presumed dude audience to eyeball. One is inclusive of women as audience members, the other is indifferent to and even at times deliberately exclusionary of them.
I would argue that fear of disablement that treats the existence of disability itself a point of horror, ooh scary Renfield eating flies, works like the latter case, but for disabled audience members and (increasingly) able audience members. I don't think anybody can take Maiden of Black Water completely seriously as a work of horror due to its alienation of its own protagonists' life perspectives, as it reduces them to, essentially, damp booby ladies. You have to work against how it treats its principle subjects to see the horror it's attempting to earn, in a way that is not necessary in other horror that takes seriously the fact that its she/her heroes are complete human beings, and their experiences are in fact a relatable source of horror even for men.
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