Relevant bibliographies by topics / Horror games

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  1. Journal articles

Academic literature on the topic 'Horror games'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Horror games"

1

Krzywinska, Tanya. "Gaming Horror’s Horror: Representation, Regulation, and Affect in Survival Horror Videogames." Journal of Visual Culture 14, no. 3 (2015): 293–97. http://dx.doi.org/10.1177/1470412915607924.

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This position article outlines a personal perspective on the way that Horror games create affect in a complex play between representation and performance and that, in some cases, operate against the usual Vitruvian coordinates of games that are used in order to work with the types of affect associated with pleasure, agency and assuredness. The author argues that against the usual informative pleasures of self-affirmation and a clockwork universe, Horror games configured against normative game vocabularies have the potential to create a more complex form of ‘pleasure’ that is both complex and transformational.
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2

Lin, Jih-Hsuan Tammy, Dai-Yun Wu, and Chen-Chao Tao. "So scary, yet so fun: The role of self-efficacy in enjoyment of a virtual reality horror game." New Media & Society 20, no. 9 (2017): 3223–42. http://dx.doi.org/10.1177/1461444817744850.

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Enjoyment of frightening content is a paradoxical issue in communication research. Revising Zillmann’s model of suspense, we propose a three-factor model examining the audience appeal of horror content in a virtual reality (VR) survival horror game. In a laboratory study, participants played a VR horror game. The results show significant effects of the three-way interaction among horror self-efficacy, physiological arousal, and fear on enjoyment and future intentions to play similar games. Horror self-efficacy interacts with fear to affect enjoyment only among high-arousal participants. Among high-fear participants, higher horror self-efficacy leads to significantly greater enjoyment than lower horror self-efficacy. We measured enjoyment through self-reported ratings, future intentions to play similar games, and the behavioral choice of subsequent games to demonstrate the appeal of horror content. Horror self-efficacy in coping with mediated fright is the key to explaining the conditional positive association of fear and enjoyment in the gaming context.
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3

Thon, Jan-Noel. "Playing with Fear: The Aesthetics of Horror in Recent Indie Games." Eludamos: Journal for Computer Game Culture 10, no. 1 (2020): 197–231. http://dx.doi.org/10.7557/23.6179.

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This article explores the aesthetics of horror that recent indie games offer to their players. Following a general discussion of how the audiovisual, ludic, and narrative aesthetics of indie games relate to the fiction emotions, gameplay emotions, and artifact emotions that these games in general and horror indie games in particular invite their players to experience, the article offers in-depth analyses of Amnesia: The Dark Descent, Neverending Nightmares, Darkwood, and The Forest. These four case studies allow for an extensive reconstruction of the various ways in which indie horror games are designed to evoke uncanny moods and abject horror as well as the subtle interplay between fear as a fiction emotion and fear as a gameplay emotion, the experience of which may also spark positive or negative artifact emotions that in turn may lead to aesthetic judgments of various kinds.
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4

Soderman, Braxton. "‘Don’t Look … Or It Takes You’: The Games of Horror Vacui." Journal of Visual Culture 14, no. 3 (2015): 311–16. http://dx.doi.org/10.1177/1470412915607915.

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While some scholars claim that games are not primarily visual texts, the horror genre is obsessed with vision and practices of looking. The aesthetic concept of horror vacui describes aspects of this obsession. Horror vacui is the fear of empty space that results in the over-marking of visual space, excessive decoration that threatens to overwhelm what is being decorated, the stuffing of gaps and caesura with further representation. Shed of its standard aesthetic meaning, horror vacui could also be used to describe the fear operable in off-screen space, the monstrous unseen that lies outside the frame and constantly threatens to appear within it. Forced to move through this blind space, horror games create the conditions for excessive representation and practices of looking that erupt around the threat of the unrepresentable and invisible. In recent horror games this threat is mobilized by anxieties concerning online and networked culture.
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5

Marak, Katarzyna. "Independent horror games between 2010 and 2020: Selected characteristic features and discernible trends." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (2021): 175–90. http://dx.doi.org/10.14746/i.2021.38.11.

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The focus of this article are independent digital horror games and their characteristics; the goal was to briefly describe the independent horror scene and highlight some of the artistic and technical trends which manifest themselves in the titles belonging to that scene. Due to the sheer number of available games, the scope of the paper is narrowed down to only selected characteristics and trends distinguishable in game texts published between the years 2010 and 2020. The aim of the article is to present a selection of observations and conclusions concerning the independent games scene and to hopefully point to what these games can tell scholars about the way both the players and the developers perceive the horror genre.
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6

Tinwell, Angela, Mark Grimshaw, and Andrew Williams. "Uncanny behaviour in survival horror games." Journal of Gaming & Virtual Worlds 2, no. 1 (2010): 3–25. http://dx.doi.org/10.1386/jgvw.2.1.3_1.

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7

Kamm, Björn-Ole. "A Short History of Table-Talk and Live-Action Role-Playing in Japan: Replays and the Horror Genre as Drivers of Popularity." Simulation & Gaming 50, no. 5 (2019): 621–44. http://dx.doi.org/10.1177/1046878119879738.

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Background. The history of larp, live-action role-play, in Japan may be rather short but documents exponential growth in the entertainment sector as well as in educational gaming. Following trends of related forms of analog role-playing games, the horror genre functions as a motor of increasing popularity. Aim. This article explores the development of non-digital role-playing games in the Japanese context in light of the online video platform niconico popularizing horror role-playing and practical considerations of adopting the genre to live-action play. Method. Cyberethnographic fieldwork including participant observation at larps between 2015 and 2018 forms the data basis for this article, followed by qualitative interviews with larp organizers, larp writers, and designers of analog games as well as observations online in respective webforums. Results. Replays, novelized transcripts of play sessions, have been an entry point into analog role-playing in Japan since the 1980s. With the advent of video sharing sites, replays moved from the book to audio-visual records and a focus on horror games. Creating a fertile ground for this genre, the first indigenous Japanese larp rulebook built on this interest and the ease of access, namely that players do not need elaborate costumes or equipment to participate in modern horror. Discussion. The dominant form of larps in Japan are one-room games, that work well with horror mysteries and function as a low threshold of accessibility. Furthermore, the emotional impact of horror larps, the affective interaction between players and their characters, allows for memorable experiences and so continues to draw in new players and organizers.
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8

Hadisopiyan, Aris, Christian Dwi Suhendra, and Parma Hadi Rantelinggi. "Membuat Game 3d Survival Horror “Suanggi Survival Papua” Berbasis Desktop Menggunakan Unity." INFORMAL: Informatics Journal 5, no. 3 (2020): 96. http://dx.doi.org/10.19184/isj.v5i3.21235.

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Game is an activity that aims to have fun, light exercise, fill spare time, and sometimes used as a means of education. One of the most downloaded desktop games is a game made in Indonesia with the survival horror genre made with Unity. Unity is a user-friendly game engine that supports more than 25 platforms and provides many ready-to-use assets. The authors made a desktop-based 3d game with the survival horror genre made with Unity. The method used in this game's manufacture and design is the Multimedia Development Life Cycle, which has six stages, namely Concept, Design, Material Collecting, Assembly, Testing, and Distribution. In making this game using Blender, Camtasia Studio, Adobe Photoshop, Unity, Inno Setup, and the C# programming language. The program function testing phase has been successful using the black box method, and from this research, a 3d game called "Suanggi Survival Papua" based on the desktop with single-player mode has been produced. Games with the survival horror genre combined with the local culture can add insight into the knowledge and train the players' concentration.
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9

Toniolo, Francesco. "Evolution of the YouTube Personas Related to Survival Horror Games." Persona Studies 6, no. 2 (2021): 54–68. http://dx.doi.org/10.21153/psj2020vol6no2art964.

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The indie survival horror game genre has given rise to some of the most famous game streamers on YouTube, especially titles like Amnesia: The Dark Descent (Frictional Games 2010), Slender: The Eight Pages (Parsec Productions 2012), and Five Nights at Freddy’s (Scott Cawthon 2014). The games are strongly focused on horror tropes including jump scares and defenceless protagonists, which lend them to displays of overemphasised emotional reactions by YouTubers, who use them to build their online personas in a certain way. This paper retraces the evolution of the relationship between horror games and YouTube personas, with attention to in-game characters and gameplay mechanics on the one hand and the practices of prominent YouTube personas on the other. It will show how the horror game genre and related media, including “Let’s play” videos, animated fanvids, and “creepypasta” stories have influenced prominent YouTuber personas and resulted in some changes in the common processes of persona formation on the platform.
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10

Carroll, Noël. "Paradoxes of the Heart: The Philosophy of Horror Twenty-Five Years Later : An Interview by Caetlin Benson-Allott." Journal of Visual Culture 14, no. 3 (2015): 336–43. http://dx.doi.org/10.1177/1470412915607927.

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Since its publication 25 years ago – and despite controversy regarding some of its key claims – Noël Carroll’s The Philosophy of Horror: Or, Paradoxes of the Heart (1990) has led a renaissance in horror studies by paying close critical attention to the form and structure of scary movies. The Philosophy of Horror was one of the first academic monographs to attempt a theory of horror with its groundbreaking call for greater attention to negative affects in aesthetic experience. In this interview, Carroll reflects on horror studies since The Philosophy of Horror, historicizes some of his most controversial claims, and examines new developments in horror production, including horror film franchises and horror video games.
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