Building the pyramid of scary video games: Toward the scare tactics of the videoludic horror genre

2018 ◽  
Keyword(s):  
Video Games ◽  
Horror Genre

Architextuality and Video Games

2016 ◽  
pp. 253-272
Author(s):  
Maria Katsaridou ◽  
Mattia Thibault
Keyword(s):  
Video Games ◽  
Case Studies ◽  
Genre Theory ◽  
Literary Genres ◽  
Horror Genre

Even though literary genres are instrumental for the study and analysis of video games, we should also take into consideration that, nowadays, the boundaries of literature have been crossed and we have to deal with a broader transmedia reality. Approaching it can be quite challenging and, in addition to the already existing genre theory, it requires the implementation of appropriate analytic tools, both adaptable to different languages and media and able to reconstruct and motivate the isotopies woven into the net. In the authors' opinion, semiotics is particularly suitable for this task, for many reasons. The aim of this chapter, then, is to propose a semiotic methodology, oriented toward the analysis of the architextual aspects of video games. Two case studies will be taken into consideration, in order to shed some light on the inner working of architexts featuring video games, as one of their most relevant components: the horror genre and the high fantasy genre.

scholarly journals Regarder la peur dans les yeux

Loading ◽  
2021 ◽  
Vol 14 (23) ◽  
pp. 100-114
Author(s):  
Jean-Charles Ray
Keyword(s):  
Video Games ◽  
Psychiatric Hospital ◽  
Video Game ◽  
First Person ◽  
Spatial Structures ◽  
Main Character ◽  
Horror Genre ◽  
Medical Facilities

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.

Introduction

2019 ◽  
pp. 1-16
Author(s):  
Adam Charles Hart
Keyword(s):  
Video Games ◽  
21St Century ◽  
Moving Image ◽  
Horror Genre ◽  
Dark Web

In the 21st century, the horror genre is defined across mediums, with video games, television, and internet-based forms as central to moving-image horror as is the cinema—and, further, the form and style of horror moves between mediums. This chapter establishes the current transmedial nature of moving-image horror by analyzing two recent films, Unfriended (2015) and Unfriended: Dark Web (2018). These films eschew traditional cinematic editing and camerawork in favor of a style and structure consisting of browsing, messaging, and other networked communications taking place on a single laptop screen. This chapter also introduces the book structure that centers around a movement from sensation to narrative—aesthetics of emergence and of absorption or immersion—from works that are almost exclusively shock-based to those whose interest in the genre is firmly entrenched in telling complex absorbing stories about monsters.

I’M SCREEEEEEEEAMING!!!!

2019 ◽  
pp. 59-88
Author(s):  
Adam Charles Hart
Keyword(s):  
Video Games ◽  
Horror Films ◽  
Self Control ◽  
The Internet ◽  
Horror Film ◽  
Horror Genre ◽  
Narrative Cinema ◽  
The Witch ◽  
Film Viewing

Chapter 2 looks at jump scares and the fad of “screamers” found across the internet: brief videos or gifs designed to cause an unsuspecting browser to scream and jump. They appeared when jump scares were ascendant within the horror genre thanks to video games; screamers’ online popularity led to importation into the cinema through films such as the Paranormal Activity series. The chapter develops the importance of shock to the horror genre and the similarities between engagement across mediums. Shock is a challenge to viewer/browser/gamer mastery and self-control. Screamers offer the opportunity to reassert one’s own self through repetition and sharing, showing how similar processes are central to the experience of horror film viewing and gameplay. It discusses “elevated horror” and the tendency to disparage sensation in opposition to traditional virtues of narrative cinema. The chapter’s counterpoint for this assumption is with close readings of “elevated” horror films, The Witch (2015) and The Babadook (2014).

scholarly journals THE BUTTERFLY EFFECT

c i n d e r ◽  
2019 ◽  
Author(s):  
Alex Henderson
Keyword(s):  
Video Games ◽  
Horror Genre ◽  
Interactive Narratives ◽  
The Creation ◽  
Butterfly Effect ◽  
Genre Conventions

Interactive narratives—such as story-driven, choice-based video games—provide a space for playing with tropes and genre. Players are invited to collaborate in the creation of these stories, and can thus exercise their agency to interact with and subvert, harmful tropes and genre conventions. Here I specifically explore the use—and potential subversion—of problematic conventions regarding character death, such as the conflation of queerness and tragedy commonly known as ‘Bury Your Gays’ as explored in Life is Strange (DontNod 2015), and Carol J. Clover’s concept of ‘The Final Girl’ in the horror genre as explored in Until Dawn (Supermassive 2015).

“There Are No Observers Here”

2016 ◽  
pp. 54-72
Author(s):  
Hazel E. Monforton
Keyword(s):  
Video Games ◽  
Critical Theory ◽  
Video Game ◽  
Emotional Response ◽  
State Control ◽  
Horror Genre ◽  
The Gaze ◽  
Game Mechanics ◽  
The Way

As an emergent medium capable of telling complex stories, the video game gives us unique insight and challenges to established critical theory. This chapter will examine the ways ‘the gaze' is expressed and utilized in video games, particularly the “survival horror” genre. It will discuss some of the ways ‘the gaze' has been shaped by literary and filmic studies before turning to Outlast (2013) by Red Barrels Games as an example of the way the medium can rearticulate our understanding of watching and being watched. Through its player-driven diegesis, immersion and phenomenologically-situated avatar body, and an ability to stimulate emotional response through game mechanics, the video game gaze might be capable of engendering emotional sympathy rather than constructing hierarchical positions of mastery. With its narratives of state control and institutionalization, journalistic distance, and medical invasiveness, Outlast uses critical understandings of ‘the gaze' to ask questions about privacy, complicity, and responsibility.

Video Games: Rules Required

2009 ◽  
Vol 42 (19) ◽  
pp. 13
Author(s):  
LISA J. MERLO
Keyword(s):  
Video Games

Frustration and Violence in Mobile Video Games

2020 ◽  
Vol 79 (2) ◽  
pp. 63-70
Author(s):  
Petr Květon ◽  
Martin Jelínek
Keyword(s):  
Video Games ◽  
Video Game ◽  
Implicit Association Test ◽  
Self Determination Theory ◽  
Psychological Needs ◽  
Basic Psychological Needs ◽  
Self Determination ◽  
Mobile Video ◽  
Violent Content ◽  
Before And After

Abstract. This study tests two competing hypotheses, one based on the general aggression model (GAM), the other on the self-determination theory (SDT). GAM suggests that the crucial factor in video games leading to increased aggressiveness is their violent content; SDT contends that gaming is associated with aggression because of the frustration of basic psychological needs. We used a 2×2 between-subject experimental design with a sample of 128 undergraduates. We assigned each participant randomly to one experimental condition defined by a particular video game, using four mobile video games differing in the degree of violence and in the level of their frustration-invoking gameplay. Aggressiveness was measured using the implicit association test (IAT), administered before and after the playing of a video game. We found no evidence of an association between implicit aggressiveness and violent content or frustrating gameplay.

Hostile and Hardened? An Experimental Study on (De-)Sensitization to Violence and Suffering Through Playing Video Games

2008 ◽  
Vol 67 (1) ◽  
pp. 41-50 ◽  
Author(s):  
Frithjof Staude-Müller ◽  
Thomas Bliesener ◽  
Stefanie Luthman
Keyword(s):  
Video Games ◽  
Emotional Responses ◽  
Physiological Measurement ◽  
Different Types ◽  
Downward Spiral ◽  
Spiral Model ◽  
Post Hoc ◽  
Game Violence ◽  
First Person Shooter ◽  
Physiological Reactions

This study tests whether playing violent video games leads to desensitization and increased cardiovascular responding. In a laboratory experiment, 42 men spent 20 min playing either a high- or low-violence version of a “first-person shooter” game. Arousal (heart rate, respiration rate) was measured continuously. After playing the game, emotional responses to aversive and aggressive stimuli - pictures from Lang, Bradley, and Cuthbert’s (1999) International Affective Picture System - were assessed with self-ratings and physiological measurement (skin conductance). Results showed no differences in the judgments of emotional responses to the stimuli. However, different effects of game violence emerged in the physiological reactions to the different types of stimulus material. Participants in the high-violence condition showed significantly weaker reactions (desensitization) to aversive stimuli and reacted significantly more strongly (sensitization) to aggressive cues. No support was found for the arousal hypothesis. Post-hoc analyses are used to discuss possible moderating influences of gaming experience and player’s trait aggressiveness in terms of the General Aggression Model ( Anderson & Bushman, 2001 ) and the Downward Spiral Model ( Slater, Henry, Swaim, & Anderson, 2003 ).

Video Games and Emotion Regulation

GeroPsych ◽  
2018 ◽  
Vol 31 (4) ◽  
pp. 205-213 ◽  
Author(s):  
Kathryn L. Ossenfort ◽  
Derek M. Isaacowitz
Keyword(s):  
Older Adults ◽  
Emotion Regulation ◽  
Video Games ◽  
Age Differences ◽  
Interactive Media ◽  
Age Groups ◽  
Younger Adults ◽  
Media Usage ◽  
The Everyday ◽  
Media Preferences

Abstract. Research on age differences in media usage has shown that older adults are more likely than younger adults to select positive emotional content. Research on emotional aging has examined whether older adults also seek out positivity in the everyday situations they choose, resulting so far in mixed results. We investigated the emotional choices of different age groups using video games as a more interactive type of affect-laden stimuli. Participants made multiple selections from a group of positive and negative games. Results showed that older adults selected the more positive games, but also reported feeling worse after playing them. Results supplement the literature on positivity in situation selection as well as on older adults’ interactive media preferences.

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