B lately, the game choir market has been oversaturated by variations of one and thech also stories: abandoned houses with ghosts, horrors in cosmos, survival in forest, escape from monsters and next up to list. The creators look at stories from different sides, while continuing to use obsolete mechanics. And only units seek to create something new that can really scare the audience.
Fatal Framework, 2001.
The research topic was chosen based on interest in chorrorams, a also wanting to know why the game industry uses those or other methods of exposure to players and viewers. It was also interesting to analyse, based on the market, what other ways to cause fear might be present in play and have the necessary effect, but use less demand, in 0; in 1; from, for example, already known screams.
Visual material for visual research was selected based in 2; found game chorror, the fragments of which were used in 3; far away in 4; this work. All materials serve as a way to illustrate, add, in 5; also serve as a source of analysis.
'Cause there’s not enough text material on this topic on and, much less, research, the whole text is based on a personal analysis and observation, a also a long game experience.
In order to reveal the topic in the most detail, the structure of the study was designed to first describe the chorror of the games in a goal and how they work and why they use popularity and the question. Then there are examples of how a typical chorororus affects the huhnbsp; players and huhnbsp; viewers and huhnbsp; it works with the huhnbsp; they’re psychotic; and the huhnbsp; it causes fear.
.P.T., 2014.
The following paragraph describes how game developers are gradually starting to introduce liminal spaces and the notion of liminality in the purpose and the effect on the viewer is already starting with the help of a new method, using it in the quality of the tool, and also about the way that elements of the game chorrorra can be introduced into the non-game space; and successfully working beyond its boundaries, such as in 0; the quinematograph. The last chapter talks about how liminality in 1; the instrument of exposure has become a full-fledged object of the game in 2; the octopus for her.
Despite the relative stagnation of the game market, among the vast amounts of classical and typical techniques used to scare players, a large number of developers, not least, try to correct this situation and come up with new and new ways to keep scaring their audience and doing so successfully. So what’s the chorororus and how’s it gonna work?
Chapter 1
Outlast, 2013.
If you talk about the game chorra as such, then you can describe it briefly as a game that attempts to scare the player in a very different way, be then cheating expectations, turning to subconscious fears or banal scripts. In to also time, this concept is much broader than it may seem, because if in the chorror’s quinematograph is something scary and scary for counting its element of surprise, and triller — what works carefully with the spectator’s spectator’s psychic, then to 0; playing space, these two concepts connect.
Good chorr of the game — this is usually a connection between chorororus and a timer where unexpected moments overlap with a persistent build-up of anxiety.
The best chorororrows are typically represented by famous games such as Outlast (2013), Amnesia: The Dark Discent (2010), The Forest (2018) and other giants of the industry. The three of them represent the main chorororor survival genre and they have a number of obvious similarities: complete history, danger and monsters, screams, atmosphere. But heaters, game elements and mechanics, and also causes, according to which cause fear, different.
Amnesia: The Dark Descent, 2010 / The Forest, 2018.
1.1. Screamers
One of the memoranda of how to influence the game and the interactions with — crimer.
B the core of the screams is the banal scare of — the instantaneous reaction of the body to the threat. It’s a way to scare you. It’s a very simple way to scare you. It’s a very simple way to scare you. And it’s not. There is a belief that starting the game from the screenr is a wire, but it’s a little more complicated than that.
SILENT BREATH, 2024.
SILENT BREATH (2024) — game from the EXODIAC STUDIOS developers. The story and the game of which is about that the player is coming to the the crime scene in stunning the woods, and the game is tasked with finding missing persons. Time: until morning. Each second spent in the forest is accompanied by completely different screams: be then suddenly the attacker from the darkness of the monster, or a stalker chasing the player who is getting closer and closer and closer; and, if the player does not scare him, he goes into a sharp attack on him.
SILENT BREATH, 2024.
The game also serves as a good game, and in to also a bad time, an example of the use of the script because it throws the player & laQ; to hold on without a piss; the whole game and to perform the task. But it’s not, as the experience of a multi-user game has shown, the endless run in the dark forest is quickly getting bored and the gamsp; the gample is no longer relevant.
Layers of Fear, 2016.
Leyers of Fear (2016) — an example of a game where the scripter is the main tool for scaring the player. The plot revolves around the artist with the the gaps with the the memory that is desperately trying to restore the chain of events and it comes across the the scary fragments of its own mind. Running down and down and down, the player often bumps into some triggers that always lead to the small, sudden cat scenes with the scripts.
Layers of Fear, 2016.
B the difference from the previous example, in the game Amnesia: The Dark Discent (2010) the criteria are always accompanied by persecution and hazard. If the player is scary, then next thing you know, something is definitely connected to the 'nbsp; i and when you catch it, it returns to the 'nbsp; the preservation point, before it’s not forgetting to scare again.
Amnesia: The Dark Descent, 2010.
1.2. Mechanics
Then not less than the popular smimmer — far from the only game mechanic of chorrows. Despite the those infinitely numerous, you can single out the basics most commonly used by developers.
Capture of the microphone.
Mechanics that were already present in one of the mentioned examples, a also gaining popularity among modern chorrors. The essence of the game is also that the game captures the sounds made by the player, and that depends on success. The quieter the player — the more he alive.
In Silence (2020) — a game where one of the players is a monster that only focuses on the sound, a the remaining — play for the survivors and are shared with each other with helping the microphone in the game. Objective: To survive, not drawing the attention of a monster so that he can hear.
In Silence, 2020.
Phasmophobia (2020) is similar to a previous example, but the computer itself serves as the monster. He hears players all the time, but he can read and sometimes answer questions. The main task of the players is to survive and not to die from the game; a ghost who hears everything the players say, a also their interacting with the game objects. In addition to mike capture mechanics, Phasmophobia also uses the mind scale and phonary.