Amazon.com: Customer reviews: Horror Video Games: Essays.
Horror Video Games: Essays on the Fusion of Fear and Play. 3.65 avg rating — 23 ratings — published 2009 — 3 editions.
This article examines the role of corruption, and its use as a rhetorical technique, within survival horror video games. As one of the founding examples of the survival horror genre, Resident Evil will be used as a case study example. Specifically, the game will be critically analyzed for its use of corruption in four forms: corruption of media, corruption of nature, corruption of architecture.
Horror Video Games: Essays on the Fusion of Fear and Play 9 copies Video Games and the Mind: Essays on Cognition, Affect and Emotion 6 copies The World of Scary Video Games (Approaches to Digital Game Studies) 3 copies.
Horror games are a unique species of video game, defined by a singular design goal: to scare the living daylights out of you. But to produce genuine fear, the horror game designer must rely on a number of tactics to continuously increase the player’s level of stress. In this lecture we’ll take a rusty scalpel to the best and worst games in the genre, peel back the outer layers and examine.
Match Made in Hell: The Inevitable Success of the Horror Genre in Video Games. Horror Video Games: Essays on the Fusion of Fear and Play. 2009. Chapter 2, 15--25. Google Scholar; Togelius, Julian, et al. Search-based procedural content generation: A taxonomy and survey. Computational Intelligence and AI in Games, IEEE Transactions on 3.3. 2011.
Panel IV Games and Effects Christoph Klimmt, Hanover University of Music, Drama and Media. Christoph Klimmt is professor for mass communication at the Hanover University of Music, Drama and Media. His work includes Playing Computer Games as Action: Dimensions and Determinants of the Experience of Interactive Entertainment (2006) as well as research on use and effects of video games.
The nascent growth of video games has led to great leaps in technical understanding in how to create a functional and entertaining play experience. However, the complex, mixed-affect, eudaimonic entertainment experience that is possible when playing a video game—how it is formed, how it is experienced, and how to design for it—has been investigated far less than hedonistic emotional.