The group image playing structure and conference/collection subsystem that were newly provided to version 2 were attributed to its success.įear is a basic reaction to a danger signal which is deeply rooted in any living individual’s brain. In result, version 2 showed much more Agon and Mimicry and all other fear elements than version 1. Especially the 2 nd 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. 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. 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. The degree of gaming quality, however, is not easy to measure. It may also be useful to game researchers involved in the study of multimodality in fiction.Ī maniac computer game genre called "Survival Horror Games" is aimed for making gamers feel cathartic feeling when they escaped from the designed horror successfully. This article's findings and novel approach may be relevant to horror game designers and media scholars interested in in particular. The article also emphasizes the importance of making a crucial distinction between a number of key concepts used in the study of horror. The game's components, such as game world design, weather conditions, objectives, the elements with storytelling potential, perspective, interactive items as well as the opponent, prove to be fully capable of inciting a multimodal feeling of dread. The results show that although relatively simple in structure, especially when compared to other horror digital games, Slender is a great repository of fear and anxiety inducing mechanics. In doing so, I identify a number of cognitive stimuli in Slender-The Eight Pages (Parsec Productions, 2012), explaining their form and purpose. This paper will argue that horror digital games make use of several fear-and anxiety-inducing techniques, making their gameplay not only narrative-driven, but also fully embodied experiences. This structure is comprised of a network of multifaceted game mechanics which, if harmoniously set together, is able to exploit human cognitive potential remarkably well. Literature, games and films all invent and develop new ways of delivering truly horrific experiences in order to meet a growing demand, but only digital games with their complex structure seem to be able to fully satiate this demand. The burning need for these emotions to be experienced in a controlled environment is addressed rather widely in fiction. Finally, we discuss and refute a number of common criticisms of the consilient approach.įear and anxiety are two powerful and fundamental emotions. They target evolved survival mechanisms and are structured to reward vigilance and persistence in the face of fear-and anxiety-provoking stimuli. We argue that recent theoretical and empirical developments in the evolutionary social sciences can make sense of how and why horror games so effectively foster immersion and predictable psycho-physiological responses. We discuss the benefits and pitfalls of such an approach, illustrating our discussion with an analysis of the horror video game Amnesia: The Dark Descent. They argue that humanists should build on recent findings in the sciences of mind, including cogni-tive and evolutionary psychology. Abstract In response to the crisis in the humanities, some scholars have proposed consilience as a solution. He has published on the psychology of pop-cultural villains in Evolutionary Behavioral Sciences. His research covers the agonistic structure of popular culture and its adaptive roots. Jens Kjeldgaard-Christiansen is graduate student at the School of Communication and Culture, Aarhus University.
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