Bachelorarbeit aus dem Jahr 2011 im Fachbereich Anglistik - Sonstiges, Universität Osnabrück, Sprache: Deutsch, Abstract: In this paper, it is sought to find out in which ways so-called "survival horror" videogames manage to elicit tension in the player. This will be done from a cultural/media studies perspective. In the course of this analysis, it will be argued that not only tension itself, but also several other emotions proclaimed as “negative” and provoked by playing a certain game can bring about tension, such as unsettlement, stress or disgust. It is assumed that these emotions evoke a basically negative mood in players so that they are more susceptible to be scared. This assumption draws on the film studies-related “Excitation Transfer Theory” developed by Dolf Zillmann in 1988, which Lee and Peng felt free to adopt on games (327-45). They state that “residual excitement from previous game playing may serve to intensify a later emotional state of a game player” (328). By arguing that feeling unsettled or experiencing frustration or disgust are in fact forms of excitement, Zillmann’s theory can be related to the former argument. In the main part (chapter 4), a glance will be taken at the “videoludic staging of fear” (Roux-Girard 145) of two different survival horror game series: Resident Evil” (Capcom, 1996-99) and Silent Hill (Konami, 1999-2003). These specific series have been chosen, because, according to Picard (96), they are commonly said to be the most popular and the most representative ones within their genre. The series will first be analyzed individually in seperate chapters (though frequently referenced to each other), and will later be compared as a whole in the final conclusion. In the end, it is hoped that the following questions will have been answered: 1. What techniques are used by game developers to trigger tension in the player? 2. How do these techniques differ? 3. Which of the techniques are the most effective ones?

Bachelorarbeit aus dem Jahr 2011 im Fachbereich Anglistik - Sonstiges, Universität Osnabrück, Sprache: Deutsch, Abstract: In this paper, it is sought to find out in which ways so-called "survival horror" videogames manage to elicit tension in the player. This will be done from a cultural/media studies perspective. In the course of this analysis, it will be argued that not only tension itself, but also several other emotions proclaimed as "negative" and provoked by playing a certain game can bring about tension, such as unsettlement, stress or disgust. It is assumed that these emotions evoke a basically negative mood in players so that they are more susceptible to be scared. This assumption draws on the film studies-related "Excitation Transfer Theory" developed by Dolf Zillmann in 1988, which Lee and Peng felt free to adopt on games (327-45). They state that "residual excitement from previous game playing may serve to intensify a later emotional state of a game player" (328). By arguing that feeling unsettled or experiencing frustration or disgust are in fact forms of excitement, Zillmann's theory can be related to the former argument. In the main part (chapter 4), a glance will be taken at the "videoludic staging of fear" (Roux-Girard 145) of two different survival horror game series: Resident Evil" (Capcom, 1996-99) and Silent Hill (Konami, 1999-2003). These specific series have been chosen, because, according to Picard (96), they are commonly said to be the most popular and the most representative ones within their genre. The series will first be analyzed individually in seperate chapters (though frequently referenced to each other), and will later be compared as a whole in the final conclusion. In the end, it is hoped that the following questions will have been answered: 1. What techniques are used by game developers to trigger tension in the player? 2. How do these techniques differ? 3. Which of the techniques are the most effective ones?

This book examines the notion of storytelling in videogames. This topic allows new perspectives on the enduring problem of narrative in digital games, while also opening up different avenues of inquiry. The collection looks at storytelling in games from many perspectives. Topics include the remediation of Conrad’s Heart of Darkness in games such as Spec Ops: The Line; the storytelling similarities in Twin Peaks and Deadly Premonition, a new concept of ‘choice poetics’; the esthetics of Alien films and games, and a new theoretical overview of early game studies on narrative

In this in-depth critical and theoretical analysis of the horror genre in video games, 14 essays explore the cultural underpinnings of horror's allure for gamers and the evolution of "survival" themes. The techniques and story effects of specific games such as Resident Evil, Call of Cthulhu, and Silent Hill are examined individually.

The second entry in the Landmark Video Games series

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified?

Hollywood film franchises are routinely translated into games and some game-titles make the move onto the big screen. This collection investigates the interface between cinema and games console or PC.

Examines the history and phenomenal success of video games, and argues that the popular games are on the way to becoming a legitimate art form, much in the same way movies did a century earlier.

Game Sound Technology and Player Interaction: Concepts and Developments researches both how game sound affects a player psychologically, emotionally, and physiologically, and how this relationship itself impacts the design of computer game sound and the development of technology. This compilation also applies beyond the realm of video games to other types of immersive sound, such as soundscape design, gambling machines, emotive and fantastical sound to name a few. The application for this research is wide-ranging, interdisciplinary, and of primary importance for academics and practitioners searching for the right sounds.

Cognitive Development in a Digital Age James Paul Gee begins his classic book with "I want to talk about video games–yes, even violent video games–and say some positive things about them." With this simple but explosive statement, one of America's most well-respected educators looks seriously at the good that can come from playing video games. This revised edition expands beyond mere gaming, introducing readers to fresh perspectives based on games like World of Warcraft and Half-Life 2. It delves deeper into cognitive development, discussing how video games can shape our understanding of the world. An undisputed must-read for those interested in the intersection of education, technology, and pop culture, What Video Games Have to Teach Us About Learning and Literacy challenges traditional norms, examines the educational potential of video games, and opens up a discussion on the far-reaching impacts of this ubiquitous aspect of modern life.