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Journal articles on the topic 'Horror survival game'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Shelare, Mitali, Devyani Deshmukh, and Dr Sanjay Shitole. "A Survival Horror Game RIDE OUT." International Journal for Research in Applied Science and Engineering Technology 10, no. 5 (2022): 1746–50. http://dx.doi.org/10.22214/ijraset.2022.42527.

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Abstract: In the Field of Software Engineering, Gaming is the fastest growing field and even more rapidly growing sector of game development the coming years are difficult to predict. Survival horror video games (SHVGs) are among the fastest-growing genres for independent video game developers. With horrific cinematic elements and fear-inducing characteristics, survival horror video games create a terrifying experience for users within a virtual environment. There are various game engines where we are able to create such amazing games such as in Unity3d, Unreal Engine, Game Maker, Godot, and m

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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 a

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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

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Mahendra Dewantoro, Septian, Kartikadyota Kusumaningtyas, Andika Bayu Saputra, and Nurul Fatimah. "Perancangan Survival Horror Game Out Of Sight Menggunakan Unity 3D Engine." Teknomatika: Jurnal Informatika dan Komputer 15, no. 2 (2022): 86–94. http://dx.doi.org/10.30989/teknomatika.v15i2.1122.

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A game is the result of the creative expression of a game maker that has an element of entertainment, can be played and has an end goal. In horror games, it is still divided into several more types of games, one of which is a survival horror game that requires players to live against enemy attacks that come their way. This game was created to enrich horror-themed domestically made games. Designing games using the unity 3D engine with the process of applying the MDLC (Media Develpoment Life Cycle) model. A method suitable for game design, starting with the preparation, design, collection of mat

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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 a

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Doo, Heon Song, Kyung Rhee Hae, Kim Ji-eun, and Hee Lee Jong. "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): 644–50. https://doi.org/10.11591/ijece.v8i2.pp644-650.

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A maniac computer game genre called &bdquo;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

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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

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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 t

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Yan, Qiheng. "The effect of players' ability to resist monsters on immersion and fear in survival horror games." Applied and Computational Engineering 77, no. 1 (2024): 138–43. http://dx.doi.org/10.54254/2755-2721/77/20240672.

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Horror survival games, as a crucial segment of the video game industry, are highly regrded for their ability to evoke excitement, suspense and the challenge of overcoming obstacles and fears through wit and skill. This study delves into the impact of players' ability to confront monsters in horror survival games on their level of immersion and fear, and how these two psychological states mutually enhance the gaming experience. This research applies Python for natural language processing analyses, including sentiment analysis, keyword frequency analysis, Latent Dirichlet Allocation (LDA) topic

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Prasetio, Yen Lina, Rendy Wijaya, Michael Pratama Sjah, Michael Ryan Christian, and Andry Chowanda. "Location-based game to enhance player’s experience in survival horror game." Procedia Computer Science 116 (2017): 206–13. http://dx.doi.org/10.1016/j.procs.2017.10.037.

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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 2n

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Arfyanti, Ita, Muhammad Ibnu Saad, and Leonardo Leonardo. "Implementation of A* (A Star) Pathfinding Algorithm in 3D Isometric Projection Game “Survival Horror: Rabies Outbreak”." TEPIAN 6, no. 1 (2025): 58–67. https://doi.org/10.51967/tepian.v6i1.3246.

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Rabies remains a lethal zoonotic disease, claiming over 60,000 lives annually. Despite medical advancements, inadequate treatment and lack of awareness contribute to persistently high mortality rates. To enhance public education and engagement in rabies prevention, this study develops an educational game, “Survival Horror: Rabies Outbreak.” The game integrates a 3D isometric survival horror experience with real-world information on rabies transmission, prevention, and emergency responses. Players assume the role of a police officer delivering anti-rabies vaccines to infected residents while ev

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Distianto, Nathaniel, Jeanny Pragantha, and Darius Andana Haris. "DESIGNING HORROR SURVIVAL MYSTERY GAME ”REMEMBER THE DAYS” COMBINING 2D AND 3D ELEMENTS." International Journal of Application on Sciences, Technology and Engineering 1, no. 3 (2023): 1147–56. http://dx.doi.org/10.24912/ijaste.v1.i3.1147-1156.

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“Remember The Days” is a survival horror single player game for Windows, that combines 2D and 3D elements with a pixelated and low poly art style. As a detective trapped in an old abandoned haunted house, players must solve puzzles, and be able to manage limited resources to survive and escape. The game’s immersive storytelling is told through environmental cues and artifacts, complemented by a haunting soundtrack and ambient sounds that add to the eerie atmosphere. This game will bring a spine-tingling horror experience of exploration, puzzle solving, and survival. The game will be develop us

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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

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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 experiên

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Pratama, Galih Dea, Hafizh Ash Shiddiqi, Eric Savero Hermawan, Andien Dwi Novika, and Elshad Ryan Ardiyanto. "Remake of Survival Horror Video Game and How It’s Implemented." Journal of Games, Game Art, and Gamification 9, no. 1 (2024): 22–29. http://dx.doi.org/10.21512/jggag.v9i1.10999.

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Video game is particularly known as an interactive media designed to present entertainment among its targeted users. While being released from time to time, there comes the desire to provide the outdated games to the modern audiences, hence surfaces the trend of video game remakes, which recently presented through Resident Evil 4 that serves as the newer version to the original one released in 2005. To give better understanding on the games, there is Elemental Tetrad which emphasizes on four elements like Mechanics, Story, Aesthetics and Technology. In this research, Elemental Tetrad is utiliz

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Anang Habibi and Muhammad Ibnu Athoillah. "Pengembangan Game Survival Horor Unity 3D dengan Menerapkan AI pada NPC." Jurnal Penelitian Rumpun Ilmu Teknik 4, no. 1 (2025): 189–200. https://doi.org/10.55606/juprit.v4i1.3473.

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The games industry in Indonesia continues to grow, but the contribution to game development is still low. This research aims to design a Survival Horror game that prioritizes an immersive gaming experience with elements of strategy, action and resource management. Inspired by Resident Evil and Silent Hill, this game utilizes a tense atmosphere and fear based on psychological studies, as explained by Norton & Gino (2014). With a focus on strategy and suspense, it is hoped that this game can provide an immersive gaming experience and contribute to the development of the local gaming industry

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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 provid

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Valerian, Aldo, Jeanny Pragantha, and Darius Ardana Haris. "DESIGNING 3D HORROR SURVIVAL GAME “SURVIVING THE NIGHT INVASION” IS AVAILABLE ON THE WINDOWS PLATFORM." International Journal of Application on Sciences, Technology and Engineering 1, no. 3 (2023): 1109–22. http://dx.doi.org/10.24912/ijaste.v1.i3.1109-1122.

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The game "Surviving the Night Invasion" is a 3D game with the Horror Survival genre developed on the Windows platform. This is a single player game that use keyboard and mouse controller. This game presents a dark environment and night scenery. The player will have the perspective of main character (first person). In the design process, this game was created using the C programming language and Unity Engine version 2022.1.15f1 (64-Bit). In this game the player is a person who stranded in an island full of zombies. The aim of this game is that the player has to find a vaccine before the infecti

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Anshori, Iedam Fardian. "PERANCANGAN GAME “LAST NIGHT" MENGGUNAKAN UNITY 3D." Jurnal Responsif : Riset Sains dan Informatika 4, no. 2 (2022): 168–72. http://dx.doi.org/10.51977/jti.v4i2.807.

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Perkembangan zaman terkadang dapat menimbulkan suatu situasi yang menekan orang yang bersangkutan entah karena tuntutan pekerjaan ataupun banyaknya tugas di sekolah. Situasi tertekan ini dikenal dengan istilah stress atau jenuh, banyak sekali cara orang-orang untuk mengatasi stress atau jenuh ini. Bisa dengan berwisata, berolahraga, beristirahat sampai bermain game. Pada penelitian ini, penyusun bertujuan membuat game bergenre horror menggunakan Unity 3D sebagai Tools Game Action dengan genre Survival Arcade menggunakan Bahasa Pemrograman C#, metode pengambangan perangkat lunak pada pengambang

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Mambu, Joe Yuan, and Audrey H. Siar. "VRSurvival Runner: Aplikasi Exergaming Survival berbasis Virtual Reality." Jurnal Sisfokom (Sistem Informasi dan Komputer) 9, no. 3 (2020): 427–34. http://dx.doi.org/10.32736/sisfokom.v9i3.985.

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Exercising is not something that many people enjoy, and often a burden. In Indonesia, the prevalence of overweight and obesity is on a steady rise since 2013. One of the cause of these trend is the sedentary lifestyle. Lack of physical activities in this lifestyle has lead to poor cardiorespiratory fitness which proven to increase mortality rate. The purpose of this research is to create android game based on virtual reality and with the genre of exergaming. This research aims to create a new and variative ways to exercise without going out of your home dan to create a new atmosphere of exerci

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Atqiyya, Alifansya, and Eka Noviana. "Peran Video Game sebagai Media Pengenalan Budaya: Representasi Mitologi Lokal dalam Video Game 'DreadOut'." Kartala 4, no. 2 (2025): 20–30. https://doi.org/10.36080/kvs.v4i2.201.

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Penelitian ini membahas representasi budaya Indonesia melalui video game "DreadOut", yang mengangkat mitologi dan cerita rakyat Indonesia sebagai inspirasi utama dalam pengembangan karakter dan alur permainan. "DreadOut", sebuah game bergenre survival horror, menampilkan beberapa hantu yang diambil dari mitologi Indonesia, termasuk Kuntilanak, Babi Ngepet, dan Sundel Bolong. Penelitian ini bertujuan untuk menganalisis bagaimana karakter-karakter tersebut diterjemahkan dalam game dan bagaimana game ini dapat mengedukasi pemain mengenai mitologi Indonesia. Metodologi yang digunakan meliputi stud

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TIKHOMIROV, D. P., and N. A. AKHRENOVA. "Markers of aggression in communication in the esports space." Issues of Applied Linguistics, no. 54 (2024): 89–115. http://dx.doi.org/10.25076/vpl.54.04.

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Virtual space plays an important role in the modern world. In almost every field, there are ways to save data in cloud storage, in auxiliary and virtual spaces. Most online games run on dedicated servers that allow for gaming sessions and in-game or post-game communication. The study of chats gives access to a huge number of linguistic, fixed units. A frequent phenomenon of this communication is the manifestation of passive and/or active verbal aggression due to dissatisfaction with the result, actions or evaluation by other players. This article discusses the main markers and verbal tactics o

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Sasongko, Bagus Tri. "Pengembangan Game Escape From Basement dengan AI Berbasis Finite State Machine di Godot Engine Menggunakan Metode GDLC." Prosiding Seminar Nasional KONSTELASI 2, no. 1 (2025): 95–106. https://doi.org/10.24002/prosidingkonstelasi.v2i1.11083.

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Abstrak. Escape From Basement adalah game survival horror dengan AI berbasis Finite State Machine (FSM) dan Waypoint Navigation untuk mengontrol perilaku serta pergerakan karakter AI. Penelitian ini bertujuan mengembangkan AI adaptif dan mengevaluasi efektivitasnya dalam meningkatkan tantangan dan imersi pemain. Metode yang digunakan adalah Research and Development (R&D) dengan pendekatan Game Development Life Cycle (GDLC), mencakup initiation, production, testing, dan release. FSM mengatur perilaku AI, sementara Waypoint Navigation memastikan pergerakan yang dinamis. Hasil penelitian menu

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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

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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

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Kraus, Anja. "Pedagogy, Hyperreality, and Agency—To Sound Out Education Effects Ascribed to a Video Game." Journal of Aesthetic Education 56, no. 4 (2022): 63–78. http://dx.doi.org/10.5406/15437809.56.4.05.

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Abstract Whereas utopia is the vision of an ideal community, dystopias create the image of a cataclysmic decline of society and environment. This article deals with the construction of personal agency and the analysis of digital simulation that is reflected in an online commercial for a first-person survival horror video game. Agency is understood here as the capacity to act in the virtual environment that is ascribed to the actor by the marketing strategy. Applying approaches from phenomenology, simulation theory, and sound studies, the analysis proceeds in reference to a corresponding educat

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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

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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 M

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Lin, Jih-Hsuan Tammy. "Fear in virtual reality (VR): Fear elements, coping reactions, immediate and next-day fright responses toward a survival horror zombie virtual reality game." Computers in Human Behavior 72 (July 2017): 350–61. http://dx.doi.org/10.1016/j.chb.2017.02.057.

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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 sh

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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 includ

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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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Kravchenko, Nataliia, Oksana Chaika, Oleksandr Yudenko, and Oleksandr Muntian. "Liminality and the metaverse: An analysis of mytho-liminal and mystic-liminal games and their impact on player identity." Metaverse 6, no. 1 (2025): 3102. https://doi.org/10.54517/m3102.

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<p>The article explores the impact of liminality in immersive games on players’ identity from two perspectives: overcoming liminal phases associated with the initiation of a character in games with a narrative-plot architecture that reflects the universal stages of the hero’s “journey”; and overcoming liminality in survival horror games, where players use the virtual world to experiment with their psyche. It introduces and substantiates the terms of mytho-liminal and mystical-liminal games, assessing their positive and negative effects based on data from semi-structured interviews with s

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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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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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Ade Susianti, Febrina, Anik Vega Vitianingsih, Achmad Choiron, Dwi Cahyono, and Anggit Wikaningrum. "APLIKASI GAME SURVIVAL HOROR 3D PENCEGAHAN PENCULIKAN ANAK REMAJA BERBASIS DEKSTOP." SKANIKA: Sistem Komputer dan Teknik Informatika 7, no. 2 (2024): 192–203. http://dx.doi.org/10.36080/skanika.v7i2.3208.

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The increase in child abduction cases in Indonesia highlights the need for a better understanding of the dangers of abduction among teenagers, especially abduction in online games. This occurs due to parents' lack of awareness of their children's gaming activities and also because children often seek social interaction through online games. Therefore, an educational approach is needed that involves teenagers and parents in understanding and preventing child abduction cases. The purpose of this research is to develop educational media through games using finite state machines (FSM) and forward

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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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El-Diwany, Tariq. "Global Trap." American Journal of Islam and Society 15, no. 1 (1998): 149–51. http://dx.doi.org/10.35632/ajis.v15i1.2208.

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This book presents a most readable perspective on economic and social trendsin the coming century. Though retaining a European focus throughout, the materialspans the world and supports arguments that are of relevance to individualsin whichever continent they may live. The authors describe an incessant marchtoward globalization in finance and industry, a march that is forcing politicalchange upon a Europe that is simply unprepared, a march toward the GlobalTrap.Opening the book, the reader finds himself in San Francisco’s Fairmont Hotel,an oasis of luxury in a desert of mere wealth, where the

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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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Alma, Dema. "The Autobiographical and National Yeast of E. Halili's Poetry under Narrative Interpretive Observation." Beder Journal of Educational Sciences Volume 26(2) (June 22, 2023): 107–23. https://doi.org/10.5281/zenodo.8070040.

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<strong>Abstract</strong> Albanian is spoken and written in two main dialects: The tosk and the geg ones. The tosk is used in South Albania and geg in the north Albania. The national literary tradition recognizes achievements in both dialects so much so that the Tosk dialect lies at the core of the construction of what is called the official Albanian language. The geg dialect is a dialect in which important figures and personalities of Albanian culture, art and literature have written, leaving a rich and very enviable fund of literary critics of art and moreover of scholars of language and dia

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Novitz, Julian. "Scarcity and Survival Horror: Trade as an Instrument of Terror in Pathologic." Transactions of the Digital Games Research Association 3, no. 1 (2017). http://dx.doi.org/10.26503/todigra.v3i1.64.

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This paper questions the extent to which the relative scarcity of both gameplay options and in-game resources in survival horror video games can be read as a subversion of the metaphorical and idealised capitalist systems that underpin many forms of gameplay. While survival horror games do tend to offer an alternative to the usual rhythms of work, reward and empowering reinvestment found in many video games, the dystopian absence of common resources, gameplay and features (particularly that of an in-game economy) can just as easily be read as creating a nostalgic longing and appreciation for t

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Nadya, Nadya, and Hadi Saputra. "TINJAUAN VISUAL PADA PERMAINAN DIGITAL INDONESIA BERJUDUL “DREADOUT”." National Conference of Creative Industry, September 18, 2018. http://dx.doi.org/10.30813/ncci.v0i0.1317.

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<p><em>Game development is growing rapidly in this digital era. The graphic is also increasing more and more, especially in Three Dimensional space (3D). 3D game development is spreading around Indonesia. Now there are more local companies which making 3D games. Indonesia is one of the countries in Southeast Asia that have good enough game revenue to be the biggest one. One of the popular genre in Indonesia is survival horror. That’s because horror Indonesian stories is still have many unsolved mysterious things which can attract either domestic or foreign society. This study is in

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Wiratama, Jansen, Rian, Monika Evelin Johan, and Hari Santoso. "Enhancing Gaming Engagement through the Integration of Game Design Document and Finite State Machine: A Study on Optimizing Non-playable Character Responsiveness." Indonesian Journal of Computer Science 12, no. 4 (2023). http://dx.doi.org/10.33022/ijcs.v12i4.3328.

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Non-playable Character (NPC) is a prominent terminology within the gaming domain. While players do not directly control NPCs, their role significantly influences the gaming experience. Enhancing NPC responsiveness becomes imperative as NPCs' passive nature can lead to monotonous gameplay. To address this concern, a computational model, namely Finite State Machine (FSM), is implemented to elevate NPC responsiveness during interactions with the main characters, whether as adversaries or allies. This research uses the Game Design Document (GDD) methodology to design a survival horror-themed game.

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Stewart, Kevin. "The Zombie Aesthetics and the Post-Apocalyptic Franchise." Kinema: A Journal for Film and Audiovisual Media, April 10, 2007. http://dx.doi.org/10.15353/kinema.vi.1170.

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THE ZOMBIE AESTHETICS AND THE POST-APOCALYPTIC FRANCHISEON MARCH 22nd 1996, Japanese video game company Capcom Inc. released Biohazard, the first of their new immersive zombie survival-horror role playing games (RPGs) for the Sony PlayStation. Released in the West as Resident Evil, George A. Romero's model of the animated cadaver and Lucio Fulci's command of the atmospheric combined to provide the main inspiration for the game's visual and narrative aesthetic (Poole, 79): a complete and immersive reworking of the zombie genre by Tokyo based video game producer Shinji Mikami. Although not the f

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Mendelytė, Atėnė. "Thought Experiments in Video Games: Exploring the (Un)Ethics of Motherhood in Frictional Games’ Amnesia: Rebirth." Games and Culture, February 3, 2023, 155541202311537. http://dx.doi.org/10.1177/15554120231153715.

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The essay explores the philosophical potential of Frictional Games’ Amnesia: Rebirth (2020), a survival science-fiction horror game, which heavily focuses on story elements and deeply explores the idea of motherhood—a subject matter rarely encountered in this medium. By offering the semblance of control over space and time, suturing the player to the first-person perspective of a character only to gradually problematize the very notion of acting and suspending choice via highlighting any option as an ethical impasse—revealing a neither/nor nature of gamic choice—the game transforms itself from

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Atėnė, Mendelytė. "Thought Experiments in Video Games: Exploring the (Un)Ethics of Motherhood in Frictional Games' Amnesia: Rebirth." February 3, 2023. https://doi.org/10.1177/15554120231153715.

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The essay explores the philosophical potential of Frictional Games’ <em>Amnesia: Rebirth</em> (2020), a survival science-fiction horror game, which heavily focuses on story elements and deeply explores the idea of motherhood—a subject matter rarely encountered in this medium. By offering the semblance of control over space and time, suturing the player to the first-person perspective of a character only to gradually problematize the very notion of acting and suspending choice via highlighting any option as an ethical impasse—revealing a neither/nor nature of gamic c

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Sikorska, Joanna. "Poetyka grozy. Wykorzystanie konwencji gatunkowej horroru w grach cyfrowych." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 23, no. 32 (2018). http://dx.doi.org/10.14746/i.2018.32.15.

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The aim of the article is to illustrate the using of the horror’s convention in video games and to indicate the way of reinterpretation this convention in the digital medium. In the first part of the work the author presents ways of spaces’ arrangement in survival horror. The analysis of mise-en-scene, including non-interactive cut-scenes, revealed in which ways video games refer to the film genres. In the second part of the work the author analyzes the category of the suspense in the digital medium, taking audial and visual aspects of video game into consideration.

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Kelly, Shawna, and Bonnie Nardi. "Playing with sustainability: Using video games to simulate futures of scarcity." First Monday, April 16, 2014. http://dx.doi.org/10.5210/fm.v19i5.5259.

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Many popular video games sustain compelling storylines that narrativize scarce resources, promote competitive and collaborative social interaction, and foreground survival goals — all necessary skills for making sense of a changed and changing global environment. In this article, we analyze representative commercial video games in four categories: civilization simulations, post–apocalypse first–person shooters, multiplayer survivor horror games, and historical recreations. We examine the ways their game mechanics and game scenarios represent social, economic and environmental interdependencies

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Jaimie, Choi, and Lee Joanne. "Psychophysical Responses after Watching 6 Games from Squid Game; Analysis of Heart Rate and Blood Pressure." July 13, 2023. https://doi.org/10.5281/zenodo.8142969.

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In 2021, the Netflix show, Squid Game, was released and has since claimed the position of the most- watched show in Netflix history. Due to this widespread popularity, we conducted a study to examine the effects of horror films on a person’s heart rate and psychopathy. Student researchers studied the reactions and effects of horror films on blood pressure with 25 participants. The study was conducted over several months to collect raw and accurate data on the participants’ reactions. A short movie clip was shown to the participants to provide a control group and their information w

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