Journal articles: 'Horror games'

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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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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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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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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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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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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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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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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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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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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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Armanto, Hendrawan, Gregorian Anthony, and Pickerling Pickerling. "Implementation and Impact of Virtual Reality on Survival Horror Games." Inform : Jurnal Ilmiah Bidang Teknologi Informasi dan Komunikasi 6, no. 2 (2021): 87–92. http://dx.doi.org/10.25139/inform.v6i2.3943.

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Currently, games are an important part of human life. Not only serves as entertainment, games nowadays also serve as education, communication, socialization, and even a job for some people. This makes technology in the game world more developed and closer to reality. One of the popular and interesting technologies is virtual reality. This technology has various elements, but the most important element is the immersion element, which can give users the sensation to feel as if they are in a real environment. In this research, the authors examine the effects of virtual reality when combined with horror games. The selection of horror games was made because this genre is one of the genres with the fastest immersion element compared to other game genres. In addition to the use of virtual reality technology, considering that horror games require complex particle simulations and good lighting, the authors use the Unreal Engine as the main engine in this game. The test method used in this study is the beta testing method with the assessment using the user acceptance method. The conclusion was that virtual reality technology combined with the advantages of the unreal engine caused game players to get a tenser atmosphere.

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Clasen, Mathias. "Monsters Evolve: A Biocultural Approach to Horror Stories." Review of General Psychology 16, no. 2 (2012): 222–29. http://dx.doi.org/10.1037/a0027918.

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Horror fiction is a thriving industry. Many consumers pay hard-earned money to be scared witless by films, books, and computer games. The well-told horror story can affect even the most obstinate skeptic. How and why does horror fiction work? Why are people so fascinated with monsters? Why do horror stories generally travel well across cultural borders, if all they do is encode salient culturally contingent anxieties, as some horror scholars have claimed? I argue that an evolutionary perspective is useful in explaining the appeal of horror, but also that this perspective cannot stand alone. An exhaustive, vertically integrated theory of horror fiction incorporates the cultural dimension. I make the case for a biocultural approach, one that recognizes evolutionary underpinnings and cultural variation.

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Bowden, Sara. "Not suitable for the easily disturbed: Sonic nonlinearity and disruptive horror in Doki Doki Literature Club!" Soundtrack 11, no. 1 (2020): 7–22. http://dx.doi.org/10.1386/ts_00002_1.

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The extent to which disturbing video games incite real-world violence has been a source of intense debate since the late 1990s following school shootings across the United States. In 2017, the release of Team Salvato’s Doki Doki Literature Club! (DDLC!) signified a major shift in independent game developers’ approaches to creating a violent horror gaming experience: the developers include the use of nonlinear sound (e.g. frequency jumps, non-standard harmony, noise/chaos) and local-level melodic transformations to complicate player immersion. In this article, I argue that the game’s music is one of the greatest sources of horror. The game music in DDLC! works as both an immersive and a disruptive agent that shapes the player’s gaming experience. Though the game is a work of fiction, the emotions and reflections of the player prompted by the violent acts within are real ‐ the player’s experiences of horror, fear and terror are visceral.

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Colăcel, Onoriu. "Speech Acts in Post-Apocalyptic Games: The Last of Us (2014)." Messages, Sages, and Ages 4, no. 1 (2017): 41–50. http://dx.doi.org/10.1515/msas-2017-0004.

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Abstract Among everything else post-apocalyptic video games have come to stand for, notions of in-group versus out-group communication are paramount. The Last of Us (2014, Naughty Dog/Sony Computer Entertainment) is a case in point. I look into the game’s use of subtitles and didactic texts in order to find out to the extent speech acts shape the player’s understanding of what the video game is. As an understudied aspect of video games, HUD or menu elements, as well as characters’ exchanges and voice-over narration, disclose what it is like to be alive, dead or in-between. Essentially, they show the tensions between the avatar and the gamer: the hero makes all of the decisions by himself and the player has to abide or stop playing all together. The avatar’s identity comes alive through speech acts, while the player is left outside decision-making processes. Survival horror gaming, with a religious twist, gives insight into the in-game discussion on the representation of the zombie rather than on the zombie experience as such. On screen, the interplay between speech acts and written language amounts to a procedural language, which suggests that variability in language creates an environment conducive to learning. Particularly, language use is all about group values and communication styles that should help gamers tell apart friends from enemies, good from evil and, finally, people from zombies.

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Song, Doo Heon, Hae Kyung Rhee, Ji-eun Kim, and Jong Hee Lee. "From Agasa Cristie to Group Image Play-Analysis of Horror Survival Game Panic Room : Escaping from the Den on Emotional Elements Development." International Journal of Electrical and Computer Engineering (IJECE) 8, no. 2 (2018): 644. http://dx.doi.org/10.11591/ijece.v8i2.pp644-650.

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A maniac computer game genre called "Survival Horror Games‟ is aimed for making gamers feel cathartic feeling when they escaped from the designed horror successfully. The degree of gaming quality, however, is not easy to measure. In this paper, we apply Caillois‟ game playing categories and other standards to measure how a game induces the feeling of fear and other emotional experience to players. Once dominated horror survival game series called Panic Room: Escaping from the Den was chosen to analyze and evaluate with those standards as well as its narratives and subsystems. Especially the 2nd version was most welcomed to users among 4 versions thus we focused on the difference between the version 1 and the version 2 in terms of game playing and fear elements in the game content and story structure. In result, version 2 showed much more Agon and Mimicry and all other fear elements than version 1. The group image playing structure and conference/collection subsystem that were newly provided to version 2 were attributed to its success.

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Habel, Chad, and Ben Kooyman. "Agency mechanics: gameplay design in survival horror video games." Digital Creativity 25, no. 1 (2013): 1–14. http://dx.doi.org/10.1080/14626268.2013.776971.

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Farias, Vicente Reis de Souza, and Fernando Henrique de Oliveira Iazzetta. "O uso da música no game survival-horror Pesadelo – Regressão." Revista Brasileira de Música 33, no. 1 (2020): 361–83. http://dx.doi.org/10.47146/rbm.v33i1.33826.

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Neste artigo analisamos o uso da música no game survival-horror Pesadelo – Regressão (Skyjaz Games, 2016) em comparativo com Amnesia – The Dark Descent (Frictional Games, 2011) e Outlast (Red Barrels, 2013). Relacionamos a música à noção de gêneros de videogames; discutimos como o gênero é compreendido dentro deste campo e como o survival-horror pode ser compreendido enquanto gênero. Comentamos acerca da música nos videogames e analisamos os jogos, com maior ênfase na análise de Pesadelo – Regressão. Concluímos que algumas decisões feitas na construção sonora de Pesadelo interferem na experiência do jogador de maneira negativa e comentamos como a produção independente e com pouco investimento pode afetar no resultado sonoro de um game.

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Aliyari, Hamed, Hedayat Sahraei, Sahar Golabi, et al. "Fear stress in computer games caused brain waves, oxytocin and brain-derived neurotrophic factor changes among woman." Physiology and Pharmacology 25, no. 1 (2020): 92–98. http://dx.doi.org/10.32598/ppj.25.1.60.

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Introduction: Stress and fear caused by computer games have been shown to have various effects on the cognitive system. This work was aimed to investigate the effects of short-time horror computer games on cognitive indicators. Methods: A total of twenty female subjects were recruited and divided into experimental and control groups. All required tests were performed before and after the intervention (playing or watching horror game) on the control and experimental groups. The saliva samples were collected before and after the intervention to measure levels of cortisol and alpha-amylase. Also, blood was taken before and during the game from each subject to evaluate plasma levels of oxytocin and brain-derived neurotrophic factor. The Brain waveforms were acquired by Emotive brain signal recording device before and after the intervention. Data analysis was conducted using R and MATLAB software. Results: The cortisol and alpha-amylase levels were shown to significantly increase after the horror game playing. Also, the levels of oxytocin were significantly higher after the experimentation. The levels of brain-derived neurotrophic factor were displayed to reduce after the experimentation. The results of the brainwave analysis revealed that the average stress index was significantly higher, while the average attention index was lower after playing the game. No significant difference in the study variables was observed in the control group. Conclusion: Horror computer games may have adverse effects on the activity of the stress system in the central nervous system. Fear-induced stress was shown to relatively undermine some cognitive elements.

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Steinmetz, Kevin F. "Carceral horror: Punishment and control in Silent Hill." Crime, Media, Culture: An International Journal 14, no. 2 (2017): 265–87. http://dx.doi.org/10.1177/1741659017699045.

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Prisons have become regular fixtures in late modern media. Despite this ubiquity, little research has been conducted examining representations of prisons and punishment within one of the most popular forms of contemporary entertainment media: video games. Drawing from cultural criminology and Gothic criminology, the current study examines punitive and carceral elements in the horror video game franchise of Silent Hill. Eight games within the series are analyzed through a combination of ethnographic content analysis and autoethnography to reveal two dominant themes evident throughout the series: retribution and confinement. As argued in this study, Silent Hill—like many horror productions—revels in ambiguity and expresses cultural anxieties stemming from the paradoxical vertiginous sentiments of insecurity amidst increasing securitization and prisonization of society and everyday life. Survival horror, including Silent Hill, is a product of both Japanese and American cultural formations. This analysis therefore argues that Silent Hill reveals an American-Japanese public imagination that clamors for respite from insecurity while also becoming horrified by the carceral apparatus it created.

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Vachiratamporn, Vanus, Roberto Legaspi, Koichi Moriyama, Ken-ichi Fukui, and Masayuki Numao. "An analysis of player affect transitions in survival horror games." Journal on Multimodal User Interfaces 9, no. 1 (2014): 43–54. http://dx.doi.org/10.1007/s12193-014-0153-4.

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Marwanto, Alika Salsabila, and Wegig Murwonugroho. "PSIKOLOGIS PADA GAMERS KETIKA MEMAINKAN SURVIVAL HORROR GAME “DREADOUT”." Jurnal Dimensi DKV Seni Rupa dan Desain 6, no. 2 (2021): 215–28. http://dx.doi.org/10.25105/jdd.v6i2.10657.

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Abstract Psychology of Players When Playing the Survival Horror Game “DreadOut”. The purpose of this study was to find out psychologically on players when playing the survival horror game “DreadOut” based on the level of fear that existed at each stage. This game can only be played by single player or one player. When the player plays the “DreadOut” game, in some parts of the scene there will be something that makes the player feel curious, afraid, and surprised. In the scene that creates a kind of fear that will be felt, because there are also background places, characters, background music and sound effects. support in every scene. The most important thing is the concept of the story in the game “DreadOut” which will make this game have its own identity and characteristics. In the game “DreadOut” also has rules of the game, such as solving puzzles, doing something to get to the next level, helping spirits and others. The above makes the game “DreadOut” complete the creepy atmosphere. Each scene and level have different level of horror, and has a level of difficulty that is increasingly challenging for the players. Therefore, research was conducted on which parts of the scene and levels will make the players feel a scary sensation when playing the game “DreadOut”Keywords: psychological gamers, horror game elements, survival horror games, fear level AbstrakPsikologis pada Pemain Ketika Memainkan Survival Horror Game “DreadOut”. Tujuan penelitian ini adalah untuk mengetahui kondisi psikologis pada pemain ketika memainkan survival horror game “DreadOut” bedasarkan level ketakutan yang ada di setiap tahapannya. Game ini hanya dapat dimainkan oleh single player atau satu pemain. Pada saat Pemain memainkan game “DreadOut”, di beberapa bagian scene akan ada yang membuat pemain merasa penasaran, takut, dan kaget. Pada scene tertentu membuat macam ketakutan yang akan dirasakan, karena adanya juga latar tempat, karakter, background music dan sound effect yang mendukung di setiap scene. Hal yang paling penting adalah konsep cerita pada game “DreadOut” yang membuat game ini memiliki identitas dan ciri khas tersendiri. Game “DreadOut” memiliki aturan main, seperti memecahkan teka-teki, mengerjakan sesuatu untuk bisa ke level selanjutnya, menolong arwah dan lain-lain. Hal di atas membuat game “DreadOut” memiliki suasana menyeramkan. Setiap scene dan level memiliki tingkat keseraman yang berbeda-beda, dan memiliki tingkat kesulitan yang semakin menantang untung para pemainnya. Maka dari itu, dilakukannya penelitian mengenai di bagian scene dan level mana saja yang akan membuat para pemain merasakan sensasi menyeramkan ketika memainkan game “DreadOut”. Kata kunci: elemen-elemen horror game, desain game horror, psikologi

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Kjeldgaard-Christiansen, Jens, and Mathias Clasen. "Threat simulation in virtual limbo: An evolutionary approach to horror video games." Journal of Gaming & Virtual Worlds 11, no. 2 (2019): 119–38. http://dx.doi.org/10.1386/jgvw.11.2.119_1.

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Osborne, Heather. "8-bit nostalgia and the uncanny: Horror as critique in Twine games." Horror Studies 9, no. 2 (2018): 213–30. http://dx.doi.org/10.1386/host.9.2.213_1.

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Reed, C. "Resident Evils Rhetoric: The Communication of Corruption in Survival Horror Video Games." Games and Culture 11, no. 6 (2015): 625–43. http://dx.doi.org/10.1177/1555412015575363.

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Herling, Bradley. "The Horror of (a) Playing God: Job’s Nightmare and Michael Haneke’sFunny Games." Journal of Religion and Popular Culture 24, no. 2 (2012): 230–46. http://dx.doi.org/10.3138/jrpc.24.2.230.

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DiRoberto, Kyle. "Corrupting the Curriculum: The Abject in J-Horror, Shakespeare, and Digital Games." Shakespeare Bulletin 38, no. 2 (2020): 225–40. http://dx.doi.org/10.1353/shb.2020.0021.

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Tel, Mikail. "Investigation of Athletes' Habits of Playing Digital Game in The Pandemic Process." Pakistan Journal of Medical and Health Sciences 15, no. 12 (2021): 3630–38. http://dx.doi.org/10.53350/pjmhs2115123630.

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Aim: In this study, athletes' views on digital games during the pandemic process were examined. Methods: x The sample of the study consists of 1521 (927 Male, 594 Female) athletes who continue their activities in different branches. The research is a screening model and has a descriptive quality. As a data collection tool, an online questionnaire form which questioned the demographic information of the participants, their frequency of playing digital games and the types of games they played was used. The SPSS package program was used to analyze the data and significance was accepted as p <0.05. Results: According to the results of the research, 60.9% of the participants were male, 35.5% were between the ages of 21-30, 59.2% were students and 61.5% were undergraduate and postgraduate athletes. When looking at the frequency of playing the game, 32.5% of them played with medium frequency. It was determined that athletes played games via a mobile phone at a higher rate than a desktop computer. In the answers given to the playing times during the pandemic process, "yes" was determined as 50.2%. Those who played 3 hours or more in daily playing time in pandemic were determined as 21.6%. In the pandemic, it was determined that the athletes played strategy, war, sportive games, backgammon-rummikub-chess, car racing and fighting games, respectively. Horror and role playing games were played at low rates. Considering the relationship between the age level of the athletes participating in the study and the types of the games, the rate of playing strategy games increased as the age got older, and young people between the ages of 21-30 played war games at higher rates. Internet usage rate of undergraduate and postgraduates of the participants was determined as 61.5%. Considering the educational status and the types of the games they played, it was determined that they played games such as strategy, war, sportive games and backgammon-rummikub-chess at high rates. The higher the education level, the higher the rate of watching horror movies was. In addition, considering participants' sportive level and the types of games they played, it was determined that the trainers preferred sports and strategy games at higher rates. Considering the sportive level and the types of games played, it was determined that the athletes played games such as backgammon- rummikub -chess at lower rates. Conclusion: As a result; some changes were observed in athletes' lifestyles in the research group with the pandemic process, and the duration spent at home and playing games increased. In this context, it is considered that encouraging sports activities preventing inactivity at home during the pandemic process will positively affect the health of individuals. Keywords: Pandemic, Game, Digital Games, Sports

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Ray, Jean-Charles. "Regarder la peur dans les yeux." Le jeu vidéo au Québec 14, no. 23 (2021): 100–114. http://dx.doi.org/10.7202/1078730ar.

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The aim of this paper is to study the production of the Montreal studio Red Barrels so as to grasp its value and how it is exemplary of the recent renewal in horror video games through an articulation of sight and space producing an enticing trap. With Outlast in 2013 and a year later with its extension Outlast: Whistleblower, this independent studio revived some of the great themes of the horror genre: one can recognize in their derelict psychiatric hospital Noël Carroll’s « drama of corridors », Mikhaïl Bakhtine’s castle chronotope and fear as an emotional drive for the player’s progression, as theorized by Bernard Perron. Yet, these games also took part in the First-person avoider trend that bloomed in the 2010s by removing all combat mechanics and leaving the main character with nothing more than a camera allowing him to temporarily see in the dark; the main goal being to remain unseen while seeing. In these games that reconnect with the idea of a transgressive gaze of which Medusa is the antique archetype, the point is less to overcome monsters than one’s own fears. In 2017, with Outlast 2, Red Barrels then aimed at exploring the architectural possibilities of this model by forsaking medical facilities for an isolated village and what Mario Gerosa called an “open air claustrophobia” and using physics defying spatial structures that symbolically convey the stakes of a gaze that allows knowledge and of deceitful senses. Through the analysis of these three games, the aim is thus to offer an overview of the aesthetics stakes they tackle and of the current momentum in independent video game production they represent.

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Scheiding, Ryan. "“The Father of Survival Horror”: Shinji Mikami, Procedural Rhetoric, and the Collective/Cultural Memory of the Atomic Bombs." Loading 12, no. 20 (2019): 1–14. http://dx.doi.org/10.7202/1065894ar.

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Video game “authors” use procedural rhetoric to make specific arguments within the narratives of their games. As a result, they, either purposefully or incidentally, contribute to the creation and maintenance of collective/cultural memory. This process can be identified within the directorial works of Shinji Mikami that include a set of similar general themes. Though the settings of these games differ, they include several related plot elements. These include: 1) depictions of physical and emotional trauma, 2) the large-scale destruction of cities, and 3) distrust of those in power. This paper argues that Mikami, through processes of procedural rhetoric/ authorship, can be understood as an “author” of video games that fall into the larger tradition of war and atomic bomb memory in Japan. (Also known as hibakusha (bomb-affected persons) literature). As a result, his games can be understood as a part of Japan’s larger collective/cultural memory practices surrounding the atomic bombings of Hiroshima (6 August 1945) and Nagasaki (9 August 1945). In the case of Mikami, the narratives of his games follow what Akiko Hashimoto labels as the “Long Defeat”, in which Japanese collective/cultural memory struggles to cope with the cultural trauma of the Pacific War (1931-1945). To illustrate this argument the paper engages in a close reading of Mikami’s Resident Evil, Dino Crisis, Resident Evil 4, Vanquish and The Evil Within and identifies tropes that are common to Japanese war memory and hibakusha literature.

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Lee, Charles. "Running scared: Fear and space in Amnesia: The Dark Descent." Journal of Gaming & Virtual Worlds 13, no. 1 (2021): 93–112. http://dx.doi.org/10.1386/jgvw_00030_1.

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Popular horror video game titles such as Outlast, Dead Space, and Amnesia: The Dark Descent are well-known for their effectiveness at evoking negative affects of terror and anxiety. The various camera tricks, control schemes, and visual cues these games deploy to confuse players and limit their sense of control and personal mastery. This article examines how Frictional Games’s Amnesia: The Dark Descent pairs confined spatial layouts with an intentionally vague user interface design to disorient players and heighten the likelihood that they will walk into one of the game’s threatening monsters. This article deploys Marxist and Affect theory conceptualizations of proximity and space to analyse how the game’s use of corners frighten players by narrowing their available field of view. The resulting analysis examines the negative feelings and subjective experiences players are likely to feel when they are unable to properly see the virtual diegetic world with absolute clarity.

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Lee, Charles. "Running scared: Fear and space in Amnesia: The Dark Descent." Journal of Gaming & Virtual Worlds 13, no. 1 (2021): 93–112. http://dx.doi.org/10.1386/jgvw_00030_1.

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Popular horror video game titles such as Outlast, Dead Space, and Amnesia: The Dark Descent are well-known for their effectiveness at evoking negative affects of terror and anxiety. The various camera tricks, control schemes, and visual cues these games deploy to confuse players and limit their sense of control and personal mastery. This article examines how Frictional Games’s Amnesia: The Dark Descent pairs confined spatial layouts with an intentionally vague user interface design to disorient players and heighten the likelihood that they will walk into one of the game’s threatening monsters. This article deploys Marxist and Affect theory conceptualizations of proximity and space to analyse how the game’s use of corners frighten players by narrowing their available field of view. The resulting analysis examines the negative feelings and subjective experiences players are likely to feel when they are unable to properly see the virtual diegetic world with absolute clarity.

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Messier, Vartan. "Game over? The (re)play of horror in Michael Haneke’s Funny Games U.S." New Cinemas: Journal of Contemporary Film 12, no. 1 (2014): 59–77. http://dx.doi.org/10.1386/ncin.12.1-2.59_1.

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Gibson, Dylan Lawrence. "Mechanical and artificial ‘nü-horror metal’: The film music of Resident Evil." Metal Music Studies 8, no. 1 (2022): 87–108. http://dx.doi.org/10.1386/mms_00062_1.

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Remaining true to its origins, the survival-horror video game film adaption, Resident Evil: The Original Motion Picture released in 2002, retains its core foundational game-like qualities. The film is heavily influenced by the video game franchise and it appears as if the audience is treated the same as the player. This is because the viewers are forced to ‘participate’ from fixed camera angles. As expected, the music contained within the moving image also borrows well-established compositional techniques from horror films and survival-horror video games. The music, therefore, serves to provide information to the viewers and acts as an auditory trigger. This type of music is defined as ‘process music’; music that appears to imitate a process of actions. An additional function of the music is to create immersion. The most prominent soundtrack cues from the film, visually and musically (‘synchronically’ matched), hint at overarching medical, artificial and mechanical themes. This immersive link is achieved through the use of the related music genres of industrial metal and nü-metal. The resultant combination of industrial/nü-metal sounds with horror imagery can effectively be termed ‘nü-horror metal’. In this article the genre label of ‘nü’ takes preference over ‘industrial’. The focus of this article will, therefore, demonstrate how the aforementioned medical, artificial and mechanical themes are effectively portrayed and heightened by the use of industrial/nü-metal music and techniques. This article will also highlight when the music serves a process function. This will be approached by appealing to traditional film music analytical tools engaging specifically with the traditional film music theory of ‘synchrony’ and ‘asynchrony’.

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Novitz, Julian. "Expansion, Excess and the Uncanny: Deadly Premonition and Twin Peaks." Arts 7, no. 3 (2018): 49. http://dx.doi.org/10.3390/arts7030049.

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The influence of the cult television series Twin Peaks (1990–1991) can be detected in a wide range of videogames, from adventure, to roleplaying to survival horror titles. While many games variously draw upon the narrative, setting and imagery of the series for inspiration, certain elements of the distinctive uncanniness of Twin Peaks are difficult to translate into gameplay, particularly its ability consistently disrupt the expectations and emotional responses of its audience. This paper examines the ways in which the 2010 survival horror title Deadly Premonition replicates the uncanniness of Twin Peaks in both its narrative and gameplay, noting how it expands upon conceptualizations of the gamerly uncanny. It contends that Deadly Premonition’s awkward recombination of seemingly inconsistent and excessive gameplay features mirrors the ways in which David Lynch and Mark Frost draw upon and subvert audience expectations for police procedurals and soap operas in the original Twin Peaks in order to generate an uncanny effect. Furthermore, Deadly Premonition uses the theme of possession—a central element of the television series—to offer a diegetic exploration of the uncanny relationship between the player and their onscreen avatar. In these regards, Deadly Premonition provides a rare example of how the subversive uncanniness of Twin Peaks can be addressed through gameplay, rather than solely through the game’s narrative or representational elements.

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Niedenthal, Simon. "Skin Games: Fragrant Play, Scented Media and the Stench of Digital Games." Eludamos: Journal for Computer Game Culture 6, no. 1 (2012): 101–31. http://dx.doi.org/10.7557/23.6141.

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@font-face { font-family: "Arial"; }@font-face { font-family: "Arial"; }@font-face { font-family: "Cambria"; }@font-face { font-family: "MS Mincho"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria; }.MsoChpDefault { font-size: 10pt; font-family: Cambria; }div.WordSection1 { page: WordSection1; } This study presents an argument in favor of using multiple theory triangulation (Mäyrä 2009) as a means of generating design heuristics and gameplay scenarios for engaging the sense of smell in games. The disciplines that are drawn upon include sensory psychology, sensory anthropology, literature, interaction design and HCI research, and game studies. The physical and historical context of smell in games is sketched by considering the challenges of designing for the sense of smell, examining how different cultures have integrated smell into their lives and entertainment, analyzing the failures of scented filmic media, and surveying games in which smell has played a role: Leather Goddesses of Phobos (Infocom Inc. 1986) and Leisure Suit Larry 7: Love for Sail! (Sierra On-Line Inc. 1996). Rather than naïve immersion, in which smell merely confirms what is seen onscreen, this study seeks to root the future development of scented gameplay in Ermi and Mäyrä’s SCI model of immersion (2007), and draws upon design discourses related to the bodily and spatial uses of scent: perfume and incense. We can learn about how to effectively engage smell in games by examining the ways in which people have organized play around perfume and incense, from games that incorporate perfume themes (ranging from board games to Axe cologne advergames), to the playful behaviors of an online fragrance community (Basenotes.net). The results of this study include general design heuristics for smell in games, as well as specific gameplay concepts for an existing digital game genre (survival horror), and a physical Scratch-and-sniff party game.

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Sołodki, Paweł. "Digital docu-games, czyli cyfrowe gry dokumentalne." Panoptikum, no. 24 (October 20, 2020): 10–27. http://dx.doi.org/10.26881/pan.2020.24.06.

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In this paper, I would like to take a closer look at the hybrid genre of digital documentary (“docu-game”), which is part of a larger group, the so-called “serious games”. Documentary games are both game-specific (rules, levels, opponents, measurable progress, rewards, etc.), and are also strongly based on the facts, playing educational and activist roles. They can be available through browsers, similar to hypertext websites, but are often designed for stationary or mobile consoles. In terms of genres, a significant range can also be observed: platform games, like Never Alone (2014, E-Line Media), adventure games: Valiant Hearts: the Great War (2014: Ubisoft) or 1979 Revolution (2014, N-Fusion), strategic games: This War of Mine (2014, 11bit studios), RPG (educational mode in Assassin’s Creed: Origins [2017] and Assassin’s Creed: Odyssey [2018]), or even survival horror: Kholat (2015, IMGN.PRO). The titles I describe present different approach to factual sources: they add documentary footage as cutscenes (Never Alone), they build narration around real events and characters, and make the player’s avatar a fictional character (1979 Revolution), they base the game mechanics on the logic of events in well-defined real circumstances (This War of Mine). Since the works based on a genre-specific hybrid strategy occupy an important place in today’s audiovisual landscape, I think it would be worth further examining this “incompatible” area: a documentary, traditionally combined with truth and seriousness, and digital games, usually associated with fiction and entertainment.

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Haggis, Mata. "Creator’s discussion of the growing focus on, and potential of, storytelling in video game design." Persona Studies 2, no. 1 (2016): 20–25. http://dx.doi.org/10.21153/ps2016vol2no1art532.

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The video game industry, by its wider reputation, is not commonly regarded for its deep and thoughtful experiences. In its common media presence it is represented as frequently dealing with content that is excessively violent and usually expressing themes and genres that are otherworldly: science-fiction, horror, or fantasy. However, the broad reputation of video games’ reputation is not wholly deserved, partly due to an arthouse-esque movement growing rapidly alongside the larger, traditional releases. In the last decade, and five years especially, there have been an increasing number of games which tell personal stories that are either inspired by life or that are autobiographical and that defy that broader reputation. These games are often highly concerned with creating vivid and believable characters, telling personal stories, or conveying emotional experiences using interaction to enhance the narrative. This article discusses some of the key titles in this area, the debates in video game culture surrounding them, and some of the choices made in the development of the author's own narrative game experience 'Fragments of Him'.

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Hsu, Hao. "Localization and culturalization for a history-based game." Journal of Internationalization and Localization 7, no. 1-2 (2020): 28–48. http://dx.doi.org/10.1075/jial.20007.hsu.

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Abstract Released in 2017, the game Detention by the Taiwanese indie developer Red Candle Games gained great domestic success and made a name for itself among gamer communities worldwide. Providing an English-language localization upon its release, the 2D point-and-click horror game is set in the 1960s during Taiwan’s “White Terror” era. The story follows a ghost girl bound to the school she attended and unravels her tragic story. With such a specific temporal and spatial background, the game has a wide range of cultural references, potentially preventing non-Taiwanese players from being immersed in the game. This paper aims to examine industry practices within the theoretical framework of translation studies and understand, with the case of Detention, how culturalization operates at different levels. Through the lens of loss and gain, this paper also discusses how certain cultural connotations are lost in localization to retain the immersive game experience as an overall gain.

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Wang, Jian, and Myeong Sam Kim. "The Systematization of Fear Elements for the Background Image Design on Virtual Reality Horror Games." Treatise on The Plastic Media 22, no. 3 (2019): 137–46. http://dx.doi.org/10.35280/kotpm.2019.22.3.15.

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Herling, Bradley. "The Horror of (a) Playing God: Job's Nightmare and Michael Haneke's Funny Games." Journal of Religion and Popular Culture 24, no. 2 (2012): 230–46. http://dx.doi.org/10.1353/rpc.2012.0022.

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Mazan-Mazurkiewicz, Alicja. "Igraszki dla dzieci do lat stu, czyli „Przygody kota Murmurando” Agnieszki Kuciak." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 5 (May 14, 2018): 182–91. http://dx.doi.org/10.24917/23534583.5.14.

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Play games for children under a hundred years, that is the Przygody kota Murmurando Agnieszka Kuciak The author of The Adventures of Murmurando the Cat is a literature studies specialist, a translator of Dante’s Divine Comedy and a poet. Her book for children has a reader-friendly, but the same time quite trivial and therefore untoward design. However it offers quite sophisticated literary entertainment. The aim of the article is to introduce the most important elements of this charade, which include the Agnieszka Kuciak’s book into so called doubleaddress literature. The first issue is connected with the autothematism and meta-literariness. The most interesting aspect is the editorial fiction created within the text and the ‘mouse signature’ being its result. The other issues are the linguistic games, the relation between the metaphore and the literalness, the juggling with the generic conventions (horror and detective story) and intertextuality. I will also show the connection between The Adventures of Murmurando the Cat and the works of Emily Dickinson.

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Kirkland, Ewan. "Masculinity in Video Games: The Gendered Gameplay of Silent Hill." Camera Obscura: Feminism, Culture, and Media Studies 24, no. 2 (2009): 161–83. http://dx.doi.org/10.1215/02705346-2009-006.

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This article explores construction and representation of masculinity in the “survival horror” video-game series Silent Hill. Noting the dominance of traditional male characters and masculine themes within the video-game medium, the Silent Hill franchise is seen as deviating from this assured, aggressive, and unexamined machismo. The series' protagonists are instead nondescript, flawed, domesticated men—unstable, angst-ridden, and unreliable in a manner that interrogates the dominant mode of masculine gameplay. The problematic nature of video-game interactivity and identity, the extent to which gameplay can exist independent of playable protagonists, and the gendering of video-game goals and objectives are considered. Despite conforming to certain masculine activities—fighting, collecting weaponry, exploring and dominating space—Silent Hill complicates such aspects through the game avatars' unremarkable abilities, limiting supplies, frantic combat styles, frustrating spatial progress, experiences of entrapment, and a pervading sense of helplessness, exemplified by the games' often deterministic linear structures. Overall, this article argues that the games encourage critical distance from the male game characters, the rescue missions they attempt and often fail, the monstrous images of femininity they imagine, and the voyeuristic practices in which they engage.

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Lennard, Dominic W. "All fun and games…: children's culture in the horror film, fromDeep Red(1975) toChild's Play(1988)." Continuum 26, no. 1 (2012): 133–42. http://dx.doi.org/10.1080/10304312.2012.630142.

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Marak, Katarzyna. "“IF THE DOG DIES, I QUIT”: BLAIR WITCH AND THE PROBLEMS OF CONTEMPORARY PSYCHOLOGICAL HORROR GAMES." Studia Humanistyczne AGH 20, no. 2 (2020): 57–70. http://dx.doi.org/10.7494/human.2021.20.2.57.

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Hopf, Werner H., Günter L. Huber, and Rudolf H. Weiß. "Media Violence and Youth Violence." Journal of Media Psychology 20, no. 3 (2008): 79–96. http://dx.doi.org/10.1027/1864-1105.20.3.79.

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The frequency of exposure to media violence and eight additional risk factors were path-analyzed in a 2-year longitudinal study. The exposure to media violence (total score) affected students’ later violence (β = .28) and later violent delinquency (β = .30) more strongly than other risk factors. Direct effects were also caused by risk factors assessed at Time 1, which in turn were reinforced by the remaining risk factors on the second or third stratum of analysis. Of particular importance are the findings that (1) playing violent electronic games is the strongest risk factor of violent criminality and (2) both media-stimulated and real experiences of aggressive emotions associated with the motive of revenge are core risk factors of violence in school and violent criminality. The results of our study show that the more frequently children view horror and violence films during childhood and the more frequently they play violent electronic games at the beginning of adolescence the higher will these students’ violence and delinquency be at the age of 14.

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Fernández Ruíz, Marta, and Héctor Puente Bienvenido. "Fantastic Universes and H.P. Lovecraft in Survival Horror Games. A Case Study of P. T. (Silent Hills)." Brumal. Revista de investigación sobre lo Fantástico 3, no. 1 (2015): 95. http://dx.doi.org/10.5565/rev/brumal.177.

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Free, Marcus. "Gaelic Games on Film: From Silent Films to Hollywood Hurling, Horror and the Emergence of Irish Cinema." International Journal of the History of Sport 37, no. 5-6 (2020): 507–9. http://dx.doi.org/10.1080/09523367.2020.1743154.

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Induni, Harriet. "Gaelic games on film: from silent films to Hollywood hurling, horror and the emergence of Irish cinema." Irish Studies Review 28, no. 3 (2020): 402–4. http://dx.doi.org/10.1080/09670882.2020.1780547.

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Jin, Hyung-Woo, and Mi-Jin Kim. "Time-Space Setting Analysis for Creating the Feeling of Tension in Horror Games : Focused on ‘Silent Hill 2’." Journal of the Korea Entertainment Industry Association 14, no. 5 (2020): 49–57. http://dx.doi.org/10.21184/jkeia.2020.7.14.5.49.

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Thomas, Christian. "Writing for Emotional Impact in Film and Video Games: Lessons in Character Development, Realism, and Interactivity from the Alien Media Franchise." Arts 10, no. 2 (2021): 20. http://dx.doi.org/10.3390/arts10020020.

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This article compares Ridley Scott’s film Alien (1979) with Creative Assembly’s video game Alien: Isolation (2014), which is based on Scott’s film. Guidance for academics who teach creative writing—as well as for working screenwriters and video game narrative designers—emerges in the comparison, particularly with regard to the importance of developing strong yet vulnerable main characters who put themselves in danger in order to protect other characters with whom they have meaningful relationships. Examples from other media, including Ira Levin’s Rosemary’s Baby (1967), James Cameron’s Aliens (1986), Telltale Games’ The Walking Dead (2012), and Naughty Dog’s The Last of Us (2013), are also discussed as they relate to larger principles involved in crafting sympathetic characters, realistic settings, and compelling gameplay for media within the horror and sci-fi genres.

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Journal articles on the topic 'Horror games'

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