The Blackest Eyes . . . The Devil’s Eyes
This chapter analyzes the recent development in first-person camerawork in horror, in which the killer-aligned camera of Killer POV has been supplanted by the victim- or protagonist-aligned cameras of “found footage”—and in the realm of gaming, first-person shooters (FPS). Where Killer POV communicates the owner’s mastery over the objects of their look, this “searching camera” indicates vulnerability and inadequacy, and the chapter looks to a long history of writing about documentary cinematography to theorize the connection between handheld camerawork, and the body of the camera operator. An FPS game like Left 4 Dead (2008), however, pairs that feeling of vulnerability and an always-partial view of its zombie-filled landscape with action and the ability to combat the threats surrounding the players. In [REC] (2007) and [REC] 2 (2009), the camera operator is always placed in a position of impotence, and an inability to act. The chapter closes by examining a recent trend in horror gaming, which equates powerlessness with horror. So games like P.T. (2014), Layers of Fear (2016), and Paranormal Activity: The Lost Soul (2017) pair an FPS-like first-person interface with an inability to directly attack or defend against the threats that populate the diegesis.