As for film and literature, the horror genre has been very popular in the video game. The World of Scary Video Games provides a comprehensive overview of the videoludic horror, dealing with the games labelled as survival horror as well as the mainstream and independent works associated with the genre. It examines the ways in which video games have elicited horror, terror and fear since Haunted House (1981). Bernard Perron combines an historical account with a theoretical approach in order to offer a broad history of the genre, outline its formal singularities and explore its principal issues. It studies the most important games and game series, from Haunted House (1981) to Alone in the Dark (1992- ), Resident Evil (1996-present), Silent Hill (1999-present), Fatal Frame (2001-present), Dead Space (2008-2013), Amnesia: the Dark Descent (2010), and The Evil Within (2014). Accessibly written, The World of Scary Video Games helps the reader to trace the history of an important genre of the video game.
Recenzijas
Perron's essay is a rare example of a complete examination of a particular genre, and the way the author went about proposing the synthesis of a subject - perhaps not total, but also close as much as possible - should be a model for such an exercise in the future. * Spirale Magazine * It will undoubtedly find a place on many readers shelves. Summing Up: Recommended. Advanced undergraduates through faculty and professionals. * CHOICE * Thorough and laden with in-depth knowledge, The World of Scary Video Games is an invaluable resource for fans, scholars and artist/designers of horror. * Tanya Krzywinska, Professor of Digital Games and Director, Games Academy, Falmouth Unversity, UK * (Bloomsbury translation) Newcomers to this field of research will find a wealth of information on digital horror thanks to the detailed descriptions and historical overview, while experts will find new approaches and a well-founded bibliography to further their own research. * MEDIENwissenschaft *
Papildus informācija
The first comprehensive look at one of the most influential and popular video game genres, the horror game.
| Acknowledgments |
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viii | |
| Introduction |
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1 | (6) |
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7 | (122) |
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1 The horror: Falling into the arena of video game genres |
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9 | (22) |
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Crossing paths with a "monstrous" concept |
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10 | (9) |
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The need to use a new combo |
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19 | (9) |
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28 | (3) |
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2 "You have once again entered the world of survival horror. Good luck!" |
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31 | (35) |
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33 | (3) |
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36 | (15) |
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51 | (9) |
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The (survival) horror genre |
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60 | (6) |
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3 Something to fear: From the fictional to the videoludic |
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66 | (30) |
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67 | (6) |
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73 | (5) |
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78 | (9) |
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87 | (9) |
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4 Building the pyramid of scary video games: Toward the scare tactics of the videoludic horror genre |
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96 | (33) |
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The gaming apparatus: Technical and formal aspects |
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97 | (8) |
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The videoludic treatment of horror |
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105 | (5) |
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Figures of interactivity, actional modalities, and scare tactics |
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110 | (6) |
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The pyramid of scary video games |
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116 | (13) |
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129 | (118) |
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5 Thinking about the history of the videoludic horror genre, Part I: From teleology to the initial cluster |
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131 | (42) |
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Teleology, this monster (before 1981) |
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133 | (12) |
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The scattered generic cluster (1981--91) |
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145 | (28) |
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6 Thinking about the history of the videoludic horror genre, Part II: Crystallization and bipolarity |
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173 | (74) |
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The crystallization of the survival horror (1992--2005) |
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176 | (42) |
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The antipodal clusters: Fight or flight (2006--2016) |
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218 | (27) |
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Scary virtual reality (2017 and the future ...) |
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245 | (2) |
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PART THREE The scare tactics |
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247 | (204) |
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7 The frightening regimes of vision |
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249 | (37) |
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The experience of gamership |
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250 | (6) |
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Third-person frightening regime of vision |
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256 | (14) |
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First-person frightening regime of vision |
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270 | (15) |
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285 | (1) |
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8 The frightening regimes of audition |
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286 | (32) |
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Third-person and first-person frightening regimes of audition |
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287 | (6) |
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Synch to the rendering of the gruesomeness |
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293 | (5) |
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298 | (7) |
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Dreadful listening and terrifying forewarnings |
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305 | (13) |
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318 | (25) |
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320 | (7) |
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327 | (7) |
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334 | (9) |
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10 Monsters meet scared player (-characters) |
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343 | (108) |
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346 | (23) |
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369 | (14) |
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383 | (11) |
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394 | (13) |
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407 | (6) |
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413 | (26) |
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439 | (12) |
| Index |
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451 | |
Bernard Perron is Full Professor of Cinema at the University of Montreal, Canada. He has coedited The Video Game Theory Reader 1 (2003), The Video Game Theory Reader 2 (2008), The Routledge Companion to Video Games Studies (2014), as well as Figures de violence (2012), The Archives: Post-Cinema and Video Game Between Memory and the Image of the Present (2014) and Z pour Zombies (2015). He has edited Horror Video Games: Essays on the Fusion of Fear and Play (2009). He has also written Silent Hill: The Terror Engine (2012) in The Landmark Video Games book series he is co-editing. His research and writings concentrate on video games, interactive cinema, the horror genre, and on narration, cognition, and the ludic dimension of narrative cinema. More information can be found at his research team website: (soon to be changed to LUDOV, Laboratoire universitaire de documentation et d'observation vidéoludiques/Video Vames Observation and Documentation University Lab).
