Survival Horror Games

The anticipation for Ghost of Yōtei was immense, fueled by the success of Ghost of Tsushima, a title that defined an entire generation of consoles with its breathtaking aesthetic and epic samurai storytelling. Developed by Sucker Punch Productions, the sequel was met with a wave of positive reviews from the specialized press, immediately positioning itself as a product of the highest level. However, beyond the initial applause, a more complex and nuanced picture emerges, in which the technical and artistic merits of the game collide with structural weaknesses that undermine the overall experience. This analysis aims to examine Ghost of Yōtei with a critical and objective eye, balancing its undeniable successes with its equally obvious shortcomings. While the game represents a new pinnacle for console graphics and refines an already excellent combat system, it also suffers from a marked lack of innovation that makes it an all-too-familiar experience. Criticism focuses on fundamental areas: a gameplay cycle that, despite being refined, slips into repetitiveness; a game world design that, despite its beauty, is mechanically superficial; a narrative that, opting for a conventional revenge plot, fails to reach the emotional depth of its predecessor and a protagonist who is anachronistic and incoherent.

O artigo contempla uma discussão recente no domínio Letras e que envolve os possíveis pontos de contato entre a Escrita Criativa e a Teoria da Literatura, tendo em conta que as duas disciplinas se abrigam sob a mesma área acadêmica. Para melhor desenvolver os argumentos, o artigo é dividido em cinco tópicos, sendo eles: Um ímpeto interno; A leitura; A leitura direcionada; As oficinas literárias e a prática institucional; A Escrita Criativa como disciplina acadêmica. Tomando como ponto de partida os referenciais tanto de teóricos da Literatura, como de professores de Escrita Criativa e escritores envolvidos com oficinas literárias, é possível dizer que uma das conclusões, a partir das referências estudadas, está em entender o texto literário como uma obra em construção, não como produto findo, e, para tanto, são úteis, talvez necessários, os aportes teóricos, estabelecendo com eles um diálogo produtivo para ambos os âmbitos: uma interface entre Teoria Literária e Escrita Criativa.

With the 'perfect marriage' between horror and video games has come a concomitant cultural studies discourse surrounding these games. Previously, while Carol Clover insisted that identification through the perspectival screen is poorly understood, she seminally argued that slasher horror in particular allows for more progressive gender identifications. More broadly, and somewhat conversely, Carly Kocurek observes the most reactionary effects of the horror genre's reduction of cultural 'others' to monsters and the problem with their prurient dispatch in video games. Lastly, Tammy Lin argues that the experience of virtual reality (VR) significantly heightens the experience of horror. In concert, these imply that VR should heighten the ideological effects and gender identifications identified by both Kocurek and Clover, for better or for worse. This paper examines the ways in which both ostensibly reactionary and progressive ideological elements have migrated into horror video games and the implications of VR on this phenomenon.

The author has granted a non exclusive license allowing Library and Archives Canada to reproduce, publish, archive, preserve, conserve, communicate to the public by telecommunication or on the Internet, loan, distrbute and sell theses worldwide, for commercial or non commercial purposes, in microform, paper, electronic and/or any other formats. L'auteur a accorde une licence non exclusive permettant a la Bibliotheque et Archives Canada de reproduire, publier, archiver, sauvegarder, conserver, transmettre au public par telecommunication ou par I'lnternet, preter, distribuer et vendre des theses partout dans le monde, a des fins commerciales ou autres, sur support microforme, papier, electronique et/ou autres formats. The author retains copyright ownership and moral rights in this thesis. Neither the thesis nor substantial extracts from it may be printed or otherwise reproduced without the author's permission. L'auteur conserve la propriete du droit d'auteur et des droits moraux qui protege cette these. Ni la these ni des extraits substantiels de celle-ci ne doivent etre imprimes ou autrement reproduits sans son autorisation. In compliance with the Canadian Privacy Act some supporting forms may have been removed from this thesis. W hile these forms may be included in the document page count, their removal does not represent any loss of content from the thesis. Conform em ent a la loi canadienne sur la protection de la vie privee, quelques formulaires secondaires ont ete enleves de cette these. Bien que ces formulaires aient inclus dans la pagination, il n'y aura aucun contenu manquant.

Resumo
O objetivo desse artigo é discutir a noção de sentimento enquanto representação proposto
por Peirce e especular sobre suas influencias nos processos de comunicação. Trata-se de
compreender os sentimentos como semiose, ou seja, como mediações inteligentes com
propósito. A partir deste esquema de leitura propomos quatro razoabilidades do sentir:
reconhecimento, emergência, avaliação e crença-dúvida. Nossa hipótese é de que estas
lógicas do sentir, de modo não controlado, influenciariam: a) com quem se comunica; b) a
atenção e a intensidade emocional relacionada aos elementos envolvidos na comunicação;
c) seleção de comunicações eficazes ; d) confiança ou insegurança em comunicar algo. A
partir da análise da jogada de marcação pressão desenvolvida pela seleção holandesa, na
copa do mundo de 1974, compreenderemos a influencia dos sentimentos nos processos
comunicacionais no futebol.

This essay examines the connection between horror cinema and the lived experience of severe physical disability. Drawing on personal narrative and philosophical analysis, Lebedeva argues that the objectification, vulnerability, and loss of agency depicted in horror films mirrors the daily reality of living with severe disability—existing in complete dependence on others' mercy for survival.
The author traces her journey from childhood diagnosis with juvenile rheumatoid arthritis through what she terms "social death," analyzing how horror becomes a space of recognition. Through engagement with theorists including Julia Kristeva and Adriana Cavarero, the essay demonstrates how disabled bodies occupy the liminal space between object and abject—simultaneously invisible and threatening to normative social order.
Central to the analysis is the author's identification with horror protagonists, particularly Laura Palmer from Twin Peaks, whose experiences of trauma and objectification resonate more authentically than typical disabled characters in mainstream media. Horror's unflinching gaze at vulnerability creates a rare space where disabled experience is acknowledged in its full complexity rather than sanitized or sentimentalized.
Lebedeva argues that horror provides disabled people with a genre that recognizes their reality: that survival depends on others' mercy, that this mercy is fragile, and that the fear of its withdrawal constitutes a fundamental terror. This philosophical meditation offers both a theory of horror's representational power and a critical disability studies intervention, challenging readers to confront uncomfortable truths about dependency, vulnerability, and the precariousness of human dignity.

Recommended citation: Marcos-Huaman, R.; Gifreu-Castells, A.; Sayan-Casquino, Y. (2024). Players' Perception in Video Games with Horror Narrative: Analysis of the Audiovisual Features in Resident Evil. En P.C. López-López et al.(eds.), Proceedings of the International Conferenceon Communication and Applied Technologies 2024 (ICOMTA2024), Atlantis Highlights in Social Sciences, Education and Humanities 28, 209-219.
https://doi.org/10.2991/978-94-6463-596-6_19


--- ABSTRACT: The analysis focuses on the perception of players in horror video games, particularly in Resident Evil (Biohazard in Japan), recognized for its narrative and challenges. It investigates how audiovisual elements, such as setting and music, influence the experience. The results underline the importance of these elements in generating fear and tension. The player's interaction in the perception of terror is highlighted. In conclusion, the study shows the relevance of audiovisual elements and interaction to create a shocking horror experience in Resident Evil and similar games.

Se incluye una traducción al inglés supervisada por el autor.


An English translation supervised by the author is included.

RESUMEN:

Fear & Hunger es una saga de videojuegos de terror RPG (Role Playing Game), concebida, diseñada y programada por el desarrollador finlandés Miro Haverinen. Actualmente cuenta con dos títulos, Fear & Hunger (2018) y Fear & Hunger 2: Termina (2022); encaja en el género de la fantasía oscura y el terror lovecraftiano. Este capítulo eestá dedicado a explorar tanto los monstruos como las deidades de la saga, cuyo paso de un título es paralelo al desarrollo de las fuentes del terror colectivo de la humanidad. Aluden y encarnan a terrores primarios y viscerales, como la violencia física, el asalto sexual, el abuso infantil, e incluso temor al nihilismo en el centro de la existencia. Fear & Hunger 2: Termina ahonda en esta temática y la expande, haciendo de los monstruos representaciones de otros temores más específicos, desde las fobias concretas de su creador hasta, notablemente, la mecanización invasiva inherente al avance tecnológico. Por ese motivo, lejos de motivos clásicos, las criaturas de Termina nacen de la fusión del hombre con la tecnología y los derivados de la guerra moderna. Fear & Hunger señala al sufrimiento como una constante y motor del progreso y de la modernización, elemento que se refleja en sus criaturas. Asimismo, sus deidades enfatizan la dinámica dual del eros y el thanatos como motores de la existencia, la psicología y artífices tras toda cultura.


ABSTRACT:

Fear & Hunger is an RPG (Role Playing Game) horror video game saga, conceived, designed and programmed by Finnish developer Miro Haverinen. It currently has two titles, Fear & Hunger (2018) and Fear & Hunger 2: Termina (2022); it fits into the genre of dark fantasy and Lovecraftian horror. This chapter is dedicated to exploring both the monsters and deities of the saga, whose passage of a title parallels the development of the sources of humanity's collective terror. They allude to and embody primal and visceral terrors, such as physical violence, sexual assault, child abuse, and even fear of nihilism at the core of existence. Fear & Hunger 2: Termina delves into this theme and expands it, making the monsters representations of other, more specific fears, from the specific phobias of their creator to, notably, the invasive mechanization inherent in technological advancement. For that reason, far from classical motifs, the creatures of Termina are born of the fusion of man with technology and the derivatives of modern warfare. Fear & Hunger points to suffering as a constant and driving force of progress and modernization, an element that is reflected in its creatures. Likewise, its deities emphasize the dual dynamics of eros and thanatos as motors of existence, psychology and the architects behind all culture.

This study aims to explore the foundations of spider usage in games and how spiders are utilized in the fields of symbolism, anatomy, and psychology within game and popular culture concept designs. It will attempt to establish the conscious and unconscious effects of the spider symbol, which we encounter in almost every fictional universe—such as fantasy, steampunk, medieval science fiction, and dystopia—and the positive and negative contributions it brings to games.

In the master's thesis named „Space in the Horror Franchise Night of the Living Dead,” space in George A. Romero's seminal horror franchise Night of the Living Dead is viewed through spatial theories of philosophers and literary critics Mikhail Bakhtin and Gaston Bachelard. The meaning of Bakhtin's chronotope of the road as a dynamic place where different people meet and the chronotope of the threshold that presents a transition between two places of different values can be noticed in the franchise. Bachelard's notions of the shelter provided by the house and a room, refuge offered by a corner, boundaries drawn by doors and windows, the rationality of the attic, and the irrationality of the cellar can also be identified. With the knowledge of Bachelard's view on space, other spaces can be described: an island as either a haven or an entrapment, and communal places and cities as resources of supplies or foci of the disease. Bakhtin and Bachelard's space theory can help us understand how directors use space in their films and what they can represent.

Ce texte se propose d’étudier la production de jeux vidéo du studio montréalais Red Barrels afin d’en saisir la richesse et l’exemplarité au sein du récent renouveau de l’horreur vidéoludique qui s’est opéré à travers une articulation du regard et de la spatialisation suscitant une dynamique de piège séduisant. Avec Outlast, en 2013, puis son extension Outlast: Whistleblower, sortie un an plus tard, le studio indépendant réactualisait certaines des grandes thématiques du genre horrifique : dans leur hôpital psychiatrique délabré, on retrouvait notamment le « drame de couloirs » de Noël Carroll, le chronotope du château de Mikhaïl Bakhtine et, telle que l’a théorisée Bernard Perron, la peur comme moteur émotionnel de l’avancée du joueur. Cependant, en retirant toute mécanique de combat et en équipant le personnage principal d’une caméra permettant de voir temporairement dans le noir, ces jeux se sont inscrits dans la mouvance du first-person avoider (jeu de fuite en vue subjective) qui se développait depuis 2010, où l’enjeu ludique tient principalement à l’idée de voir sans être vu. Dans des jeux vidéo qui renouent avec un principe de transgression du regard dont la Méduse antique constitue l’archétype, il ne s’agit pas tant de triompher des monstres que de ses peurs. En 2017, avec Outlast 2, Red Barrels s’est ensuite attaché à explorer les possibilités architecturales offertes par ce modèle en délaissant les intérieurs médicaux pour un village isolé propice à ce que Mario Gerosa a qualifié de « claustrophobie à ciel ouvert », mais aussi en usant de structures spatiales défiant la physique renvoient symboliquement à l’enjeu du regard comme pourvoyeur de connaissances et du trouble de sens devenant suspects. Il s’agira donc, au fil de l’analyse de ces trois œuvres, de proposer un aperçu des enjeux esthétiques qu’elles suscitent et qui témoignent du dynamisme des productions vidéoludiques indépendantes actuelles.

This article analyses the manner in which two survival horror video games, Silent Hill 3 and Manhunt 2, remediate Shakespeare in their attempts to gain the legitimacy of art in the former case or reject the association between video games and art in the latter case. Despite the radically different purposes behind the use of Shakespeare, the design of both games pays homage to a high-low culture distinction whereby Shakespeare's status as a symbol of elite British culture is confirmed. Not only is Shakespeare's canonical status reinforced, but the bard also benefits from these remediations by becoming accessible to a new audience, namely that of video game players. Because knowledge of Shakespeare can lead to a superior ludic or narrative experience of the games, familiarity with the plays is normalized. In this sense, Silent Hill 3 and Manhunt 2 serve the pedagogical function of "teaching" Shakespeare to their players. In spite of these similarities, the two remediations feature a series of traits that undermine their opposing goals. Silent Hill 3's remediation of Shakespeare is a materialist one that defies the Kantian aesthetics characterizing traditional artistic adaptations of Shakespeare. On the other hand, Manhunt 2, which strives to reassert its opposition to art, features a more traditional use of Shakespeare that employs The Tempest as a hypotext for its storyworld.

Despite––and because of––its propensity for terrifying readers and viewers, horror has proven to be one of the most resilient and popular genres across all forms of media. Why are audiences attracted to a genre that causes fear, revulsion, and distress? This course will consider cultural, industrial, and philosophical dimensions of horror and explore how it operates across media platforms: film, literature, television, comics, and video games. We will also study horror through several critical frameworks, including adaptation, authorship, gender, genre, interactivity, psychoanalysis, spectatorship, storytelling, and transnationality.

Ces éléments d'analyse nous permettent de présenter et discuter les principes pédagogiques sur lesquels repose l'Enjmin et la relation entre cette pédagogie et les recherches menées dans le cadre du laboratoire CEDRIC. L'interaction dans les jeux vidéo Voici une quinzaine d'années une controverse faisait rage dans les petits mondes du jeu vidéo, que ce soit les théoriciens du domaine ou les praticiens. Elle opposait les narratologues aux ludologues (Juul 2001), (Juul 2005). En caricaturant quelque peu les arguments des uns et des autres, le débat peut être résumé de la façon suivante. Pour les narratologues, le jeu vidéo est une nouvelle forme de narration audiovisuelle qui a pour caractéristique d'introduire des variations du récit décidées par le joueur. Mais, avant tout, le jeu vidéo raconte une histoire. Pour les ludologues, ce qui caractérise un jeu vidéo ce sont les mécaniques de jeu, c'est-à-dire les stratégies, décisions, actions et leurs conséquences qu'il offre au joueur (ce que l'on appelle le gameplay). Pour un ludologue, le jeu vidéo est essentiellement le descendant des jeux de société, sportifs... sous leurs différentes formes. Ce débat a un fondement réel. Il y a des jeux qui sont pensés d'abord comme une narration interactive, comme par exemple « Beyond Two Souls » (Beyond 2013) et de façon plus générale les jeux de David Cage. A l'inverse de nombreux jeux, par exemple sur mobiles, comme « Angry Birds » (Angry 2009), sont d'abord une mécanique ludique. La plupart des jeux jouent sur les deux tableaux. Par exemple le gameplay d'un jeu comme « Monument Valley » (Monument 2017) repose sur des énigmes géométriques et la progression raconte l'évolution des rapports entre une mère et sa fille. Ce n'est donc pas l'une ou l'autre position qui détermine l'essence du jeu vidéo. Dans un cas comme dans l'autre, un jeu est caractérisé par une suite de décisions prises par le joueur, d'actions qui en résultent et par l'exécution de ces actions. Dans un cas, le joueur va influer (ou va croire influer) sur l'évolution d'un récit dont il est un acteur, dans l'autre cas il va gagner ou perdre des points, des sous, de la réputation et l'estime de soi. La qualité esthétique du jeu est liée aux émotions que développe cette implication du joueur dans ses décisions et les succès ou échecs qui en résultent. Le joueur doit toujours se sentir responsable du déroulement du jeu, même s'il ne le contrôle pas réellement. Considérons un jeu assez ancien mais très remarquable « Shadow of the Colossus » (Shadow 2005). Ce jeu d'aventure revisite le mythe d'Orphée. Le joueur contrôle un chevalier dont la belle est décédée. Pour la ramener à la vie, il doit, parcourant un paysage étrange et fascinant, détruire successivement quinze colosses, créatures gigantesques et magnifiques. Ayant trouvé un colosse, il doit grimper dessus, trouver son point faible, y enfoncer son épée. Le colosse s'écroule et, dans la caverne qui constitue le tombeau de la belle, une statue représentant le colosse s'écroule également.

Human beings are surviving creatures. They will do whatever it takes to survive. However, as much as they are hell-bent on surviving, humans are also strangely fascinated with the concept of the apocalypse-that the world hosting us will one day cease to exist. This strange fascination with the apocalypse goes way back in history when ancient civilizations expressed their remarkable views regarding the apocalypse. The Mayans, for instance, foresaw the apocalypse thousands of years ago, when their calendar ended in 2012. Agitatedly, many people were globally closely anticipating the event in 2012. The apocalypse did not occur in 2012; yet, many people still wait for it to happen anytime soon. People's fascination with the apocalypse was also reflected in their literature. Richard Matheson's I Am Legend (1954) is a good example of post-apocalyptic literature. In the current article, the author will start by setting the stage by discussing the philosophy of the post-apocalypse. Then, the author shall analyze the post-apocalyptic views in Richard Matheson's novel I am Legend. In the end, the author shall conclude with the feasibility of the post-apocalyptic scenario in the story, together with other possible scenarios in the world of literature. The present article aims to shed light on Matheson's scenario on the apocalypse, which significantly draws the reader's attention bearing in mind the COVID-19 scenario. So, to what extent does Matheson's apocalyptic scenario relate to our world today?

Trevor J. Blank and Lynne S. McNeill's Slender Man Is Coming: Creepypasta and Contemporary Legends on the Internet is a welcome contribution to an understudied subject. It is the first edited collection to treat the subject of Slender Man, and only the second book-length study on the topic. (The first was a 2015 monograph by Shira Chess and Eric Newsom). The book contains an introduction by the editors that provides a history of Slender Man's development as an internet character, as well as an orientation to the methodologies employed by the contributors; eight chapters; contributor notes; and an index. The contributors approach Slender Man in relation to legend studies, folklore studies, and children's culture. The volume as a whole is rigorous yet accessibly written, and is likely to interest scholars of horror, new media, and digital cultures, as well as non-academics interested in Slender Man. As a bonus, the collection revisits disciplinary assumptions about urban legends, and offers a fresh look at folklore in the digital era. Importantly, any academic study of Slender Man requires addressing the 2014 "Slender Man stabbing" in Waukesha, Wisconsin, in which two twelve-year-old girls attempted to murder their best friend, ostensibly to appease Slender Man. This tragic and shocking event is the pivot point around which the collection's contributions orient. Andrew Peck's chapter, "The Cowl of Cthulhu: Ostensive Practice in the Digital Age," for example, uses the media response to the Waukesha incident as an opportunity to refute the popular assumptions that murders based on urban legends are common. Rather, Peck argues, even dressing up as Slender Man is a fairly ordinary ostensive act (a concept in folklore studies that, in this context, means "enacting an aspect of a legend cycle in real life" [52]), and the connected nature of new media creates a healthy dynamic that reorients ostension away from individual acts and toward what Peck terms "ostensive practice" (52), in which the collective actions of many people fosters a dynamic of "collaboration, critique, and reflection" among practitioners. Timothy H. Evans makes a similar argument in his chapter, "Slender Man, H. P. Lovecraft, and the Dynamics of Horror Cultures" (130). Assuming that participating in the horror culture centered around Slender Man is depraved, Peck argues, mistakes the actions of the most extreme individuals as representative of the whole, and precludes noticing the vibrant, and fundamentally playful, online and offline ecosystem of ostensive practice. Jeffrey A. Tolbert likewise seeks to problematize the assumption that participation in Slender Man practices is deviant or dangerous (93). In his chapter "'Dark and Wicked Things': Slender Man, The Folkloresque, and the

Tujuan projek mi adalah untuk pembanguan aplikasi yang bernama "Integrated Environmental Protection Biofeedback Game (IEPBG) Using Galvanic Skin Response (GSR) Sensor" yang mana projek mi merupakan satu permainanan biofeedback yang digunakan untuk memberi kesedaran tentang masalah perlindungan alam sekitar. Path zaman sekarang, perlindungan alam persekitaran merupakan perkara yang amat hangat dalam perbiancangan. Konsep bertajuk 3R (reduce, reuse, and recycle) merupakan suatu pendekatan yang berhubung kait dengan ekosistem. Permainan biofeedback juga membolehkan .pemain untuk mengawal emosi dari semasa ke semasa. Dengan menggunakan alat penghubung yang bemama "Galvanic Skin Response (GSR) Sensor ", permainan mi telah menjadi lebih menarik dan mencabar dalam pengawalan dari segi emosi dan rohani manusia. IEPBG merupakan salah satu permainan komputer yang berintegrasi dengan GSR sensor. GSR sensor digunakan bertujuan untuk mengesan pemain dengan mengukur skin conductance level (SCL) ketika pennainan dimainkan oleh pemain tersebut. Prototaip bagi "IEPBG using GSR sensor" memang sesuai untuk semua manusia tanpa mengira bangsa dan umur sekiranya dia ingin mencabar diii sendiri dalam pengawalan ernosi diii sendini.. Permainan mi juga dapat menganalisis GSR data melalui laporan. Melalui permainan tersebut, ia akan menunjukkan laporan ringkas apabila kebangkitan nafsu seseorang pemain itu tinggi, mi bermaksud kesedaran tentang perlindungan alam sekitar dirinya tinggi. Sebaliknya, jika seseorang itu adalah rendahnya dalam kebangkitan nafsu, maka dia kurang mengambil tahu kesedaran tentang perlindungan alam sekitar.

Malaysia is one of the countries with the highest car crash fatality rates in Asia. The high implementation cost of in-vehicle driver behavior warning system and autonomous driving remains a significant challenge. Motivated by the large number of simple yet effective inventions that benefitted many developing countries, this study presents the findings of emotion recognition based on skin conductance response using a lowcost wearable sensor. Emotions were evoked by presenting the proposed display stimulus and driving stimulator. Meaningful power spectral density was extracted from the filtered signal. Experimental protocols and frameworks were established to reduce the complexity of the emotion elicitation process. The proof of concept in this work demonstrated the high accuracy of two-class and multiclass emotion classification results. Significant differences of features were identified using statistical analysis. This work is one of the most easy-to-use protocols and frameworks, but has high potential to be used as biomarker in intelligent automobile, which helps prevent accidents and saves lives through its simplicity.

This article deals with the recent emergence of concepts linked to the pessimistic forecasts of the planetary future linked to global warming set out at the various Earth summits since Rio de Janeiro in 1992, and the IPCC reports that have specified the causes and foreseeable consequences of this global warming. The first concept concerned is that of "collapsology", which is very recent and has caused a certain amount of controversy. It brings together a wide variety of fields of knowledge and anticipates the collapse of industrial civilization in all its economic, social, technological and other dimensions, in a kind of brutal and irremediable apocalypse. We will attempt to analyze its emergence, its postulates and its various currents to determine its possible reality, and distinguish between the most plausible scenarios and their deducible objections. Finally, we'll ask whether "collapsology" ultimately produces postures of resignation that run counter to resistance and resilience in the face of global warming?

Tujuan projek mi adalah untuk pembanguan aplikasi yang bernama "Integrated Environmental Protection Biofeedback Game (IEPBG) Using Galvanic Skin Response (GSR) Sensor" yang mana projek mi merupakan satu permainanan biofeedback yang digunakan untuk memberi kesedaran tentang masalah perlindungan alam sekitar. Path zaman sekarang, perlindungan alam persekitaran merupakan perkara yang amat hangat dalam perbiancangan. Konsep bertajuk 3R (reduce, reuse, and recycle) merupakan suatu pendekatan yang berhubung kait dengan ekosistem. Permainan biofeedback juga membolehkan .pemain untuk mengawal emosi dari semasa ke semasa. Dengan menggunakan alat penghubung yang bemama "Galvanic Skin Response (GSR) Sensor ", permainan mi telah menjadi lebih menarik dan mencabar dalam pengawalan dari segi emosi dan rohani manusia. IEPBG merupakan salah satu permainan komputer yang berintegrasi dengan GSR sensor. GSR sensor digunakan bertujuan untuk mengesan pemain dengan mengukur skin conductance level (SCL) ketika pennainan dimainkan oleh pemain tersebut. Prototaip bagi "IEPBG using GSR sensor" memang sesuai untuk semua manusia tanpa mengira bangsa dan umur sekiranya dia ingin mencabar diii sendiri dalam pengawalan ernosi diii sendini.. Permainan mi juga dapat menganalisis GSR data melalui laporan. Melalui permainan tersebut, ia akan menunjukkan laporan ringkas apabila kebangkitan nafsu seseorang pemain itu tinggi, mi bermaksud kesedaran tentang perlindungan alam sekitar dirinya tinggi. Sebaliknya, jika seseorang itu adalah rendahnya dalam kebangkitan nafsu, maka dia kurang mengambil tahu kesedaran tentang perlindungan alam sekitar.

Existing game audio literature covers a plentitude of topics including practical areas such as production techniques, as well as theoretical areas such as terminology and taxonomy. However, these studies can still be considered somewhat limited in quantity and variety, since games are an academically young field, and game audio is even a smaller niche. In response to this scarcity, this study aims to provide a contribution to game audio studies, specifically aiming at exploring the sound effect design and production methods from the point of view of the sound designer. Most studies in similar vein either focus on directly hands on practices or solely theoretical aspects of game sound. Correspondingly, this thesis focuses on filling the gap between theory and practice by establishing a theoretical framework and numerous conceptual models that can be pragmatically applied in game sound design. The conclusions of the study are constructed and exemplified based on references to the exis...

In the paper, a novel approach to simulation for game logic is proposed. It is based on the Cellular Automata augmented by grouping rules. The idea behind the proposed method uses local interaction on the cellular grid to obtain a global goal: a simulation of 'intelligent' behavior of groups. Locally acting bots organize themselves in groups to strengthen and perform attack on the game user. The proposed method can be used in action, role-playing and survival games offering realtime interaction with dozens and hundreds of bots. A prototype implementation of the method is discussed along with the performance analysis.

Podstawowym celem artykułu było wprowadzenie spostrzeżeń i refleksji Davida Toopa, jak również proponowanych przez niego podejść analitycznych, do polskich badań kulturoznawczych oraz literaturoznawczych; mimo iż Toop i jego prace są jednym z głównych punktów odniesienia dla sound studies, jego twórczość pozostaje w dużej mierze nieopisana w polskiej literaturze akademickiej. Niniejszy artykuł przedstawia zarys charakteru dzieł i rozważań Toopa, ze szczególnym uwzględnieniem jego najważniejszych książek, jak również demonstruje zastosowanie jego refleksji i narzędzi analitycznych w kontekście literaturoznawczym, a konkretnie w kontekście badań nad fantastyką grozy

Ces éléments d'analyse nous permettent de présenter et discuter les principes pédagogiques sur lesquels repose l'Enjmin et la relation entre cette pédagogie et les recherches menées dans le cadre du laboratoire CEDRIC. L'interaction dans les jeux vidéo Voici une quinzaine d'années une controverse faisait rage dans les petits mondes du jeu vidéo, que ce soit les théoriciens du domaine ou les praticiens. Elle opposait les narratologues aux ludologues (Juul 2001), (Juul 2005). En caricaturant quelque peu les arguments des uns et des autres, le débat peut être résumé de la façon suivante. Pour les narratologues, le jeu vidéo est une nouvelle forme de narration audiovisuelle qui a pour caractéristique d'introduire des variations du récit décidées par le joueur. Mais, avant tout, le jeu vidéo raconte une histoire. Pour les ludologues, ce qui caractérise un jeu vidéo ce sont les mécaniques de jeu, c'est-à-dire les stratégies, décisions, actions et leurs conséquences qu'il offre au joueur (ce que l'on appelle le gameplay). Pour un ludologue, le jeu vidéo est essentiellement le descendant des jeux de société, sportifs... sous leurs différentes formes. Ce débat a un fondement réel. Il y a des jeux qui sont pensés d'abord comme une narration interactive, comme par exemple « Beyond Two Souls » (Beyond 2013) et de façon plus générale les jeux de David Cage. A l'inverse de nombreux jeux, par exemple sur mobiles, comme « Angry Birds » (Angry 2009), sont d'abord une mécanique ludique. La plupart des jeux jouent sur les deux tableaux. Par exemple le gameplay d'un jeu comme « Monument Valley » (Monument 2017) repose sur des énigmes géométriques et la progression raconte l'évolution des rapports entre une mère et sa fille. Ce n'est donc pas l'une ou l'autre position qui détermine l'essence du jeu vidéo. Dans un cas comme dans l'autre, un jeu est caractérisé par une suite de décisions prises par le joueur, d'actions qui en résultent et par l'exécution de ces actions. Dans un cas, le joueur va influer (ou va croire influer) sur l'évolution d'un récit dont il est un acteur, dans l'autre cas il va gagner ou perdre des points, des sous, de la réputation et l'estime de soi. La qualité esthétique du jeu est liée aux émotions que développe cette implication du joueur dans ses décisions et les succès ou échecs qui en résultent. Le joueur doit toujours se sentir responsable du déroulement du jeu, même s'il ne le contrôle pas réellement. Considérons un jeu assez ancien mais très remarquable « Shadow of the Colossus » (Shadow 2005). Ce jeu d'aventure revisite le mythe d'Orphée. Le joueur contrôle un chevalier dont la belle est décédée. Pour la ramener à la vie, il doit, parcourant un paysage étrange et fascinant, détruire successivement quinze colosses, créatures gigantesques et magnifiques. Ayant trouvé un colosse, il doit grimper dessus, trouver son point faible, y enfoncer son épée. Le colosse s'écroule et, dans la caverne qui constitue le tombeau de la belle, une statue représentant le colosse s'écroule également.

Sadness has typically been associated with failure, defeat and loss, but it has also been suggested that sadness facilitates positive and restructuring emotional changes. This suggests that sadness is a multi-faceted emotion. This supports the idea that there might in fact be different facets of sadness that can be distinguished psychologically and physiologically. In the current set of studies, we explored this hypothesis. In a first stage, participants were asked to select sad emotional faces and scene stimuli either characterized or not by a key suggested sadness-related characteristic: loneliness or melancholy or misery or bereavement or despair. In a second stage, another set of participants was presented with the selected emotional faces and scene stimuli. They were assessed for differences in emotional, physiological and facial-expressive responses. The results showed that sad faces involving melancholy, misery, bereavement and despair were experienced as conferring dissociab...

The application of EEG-based emotional states is one of the most vital phases in the context of neural response decoding. Emotional response mostly appears in the presence of visual, auditory, tactile, and gustatory arousals. In our work, we use visual stimuli to evaluate the emotional feedback. One of the best performing methods in emotion estimation applications is the common spatial patterns (CSP). We implement CSP method in addition to the conventional Welch power spectral density-based analysis. Experimental results and topographies on the collected EEG data show that the CSP spatial filtering method implies the relationship between EEG bands, EEG channels, neural efficiency and emotional stimuli types.

Understanding what motivates a gamer to pay to play a game could enhance the gaming industry. One of the ways to understand game players experiences is through exploration via their text communication. This study explores text communication posted on the Steam digital distribution platform on paid-play games. A total of 7255 gamer text communicated were collected and analysed. Reviews from the past pinpointed that elements such as social influence, entertaining features, graphic design, music, and soundtrack used in the game could influence the game playing experience. To study those, we use mix-method (qualitative and quantitative) methods to analyse the data. We invite three human coders to categorise statements associating with its elements and aspects. Next, with the aid of Wmatrix, a semantic analysis system, we tabulate and elaborate the emotion words associating with the gameplay elements. The result shows that the positive feeling of love and joy highly encourages the gamer's overall game playing experience. Elements such as the storyline, design of the Avatar and the entertaining features are the primary motivation of the gameplay.

This chapter offers a theory of moving-image horror based in the “sensational address,” the construction of mise-en-scène around the provocation of the viewer/gamer. It builds off of the tradition of theorizing horror film spectatorship to show the commonalities between horror film viewing and playing horror games—using trailers depicting audience reactions to Paranormal Activity (2007–2009) and Saw 3D: The Final Chapter (2010) as well as reaction videos made about horror games—to analyze the effects of a sensational, physical engagement with the screen. It argues for a fundamentally ludic understanding of horror film spectatorship that places the viewing activity of the horror film spectator and the active “entanglement” of the horror gamer on a spectrum of interactivity. This chapter proposes an understanding of horror as an engagement with the inconceivable, with things we fear but cannot fully comprehend. Sensational horror translates that feeling of inconceivable horror into visceral, physical experience.

Chapter 2 continues the discussion of horror spectatorship/engagement across mediums by looking at jump scares and the fad of “screamers” found across the internet in the early days of YouTube. Screamers are extremely brief videos or gifs designed for the sole purpose of causing an unsuspecting browser to scream and jump. They arrived at a time when jump scares were fully ascendant within the horror genre thanks to videogames, and screamers online popularity led to them being imported into the cinema through films like those in the Paranormal Activity series. The chapter discusses the broader importance of shock to the recent horror genre, further developing the similarities between engagement across mediums by focusing on shock as a challenge to viewer/browser/gamer mastery and self-control. Jump scares and other shocks destabilize and abject the subject, but screamers offer the instantaneous opportunity to re-assert one’s own self through repetition and sharing. The chapter then shows how similar processes are central to the experience of horror film viewing and horror gameplay. It concludes with a discussion of “elevated horror” and the tendency to disparage sensation and to oppose it to traditional virtues of narrative cinema. The chapter finds a counterpoint for this assumption with close readings of two highly acclaimed “elevated” horror films, The Witch (2015) and The Babadook (2014), engage with shock and sensation.

List of Tables. 3.1 The 5 major brainwave states and frequency ranges 4.1 Classification result for pilot study Example 3. 5.1 Pre/post ICA statistical summary for electrode F3 5.2 Pre/post ICA statistical summary for electrode F4 5.3 Pre/post ICA statistical summary for electrode F3-OA free 5.4 Pre/post ICA statistical summary for electrode F4-OA free 5.5 Mean value comparison between OA/OA free signals, F3 5.6 Mean value comparison between OA/OA free signals, F4 5.7 Statistical summary Pre/post ICA, F3 5.8 Statistical summary Pre/post ICA, F4 5.9 Statistical summary Pre/post ICA, F3,OA free 5.10 Statistical summary Pre/post ICA, F4, OA free 5.11 Mean value comparison between OA/OA free signals, F3 5.12 Mean value comparison between OA/OA free signals, F4 5.13 Correlation table for Valence, Arousal and Class labels. 5.14 Example Correlations between SAM test and signal. 6.1 Description of experiment 1 sound clips 6.2 Valence & Arousal algorithms for experiment 1 6.3 SAM Valence responses. 6.4 SAM Arousal responses. 6.5 SAM Dominance responses. 6.6 SAM test ranges. 6.7 Questionnaire responses for latent felt emotions. 6.8 Questionnaire responses for suitable annotation. 6.9 Classification percentages. Expt 1. Evaluation (i). 6.10 r-correlations Expt 1. Evaluation (i). 6.11 Classification percentages. Expt 1. Evaluation (ii). 6.12 r-correlations Expt 1. Evaluation (iii). 7.1 Emotion Keyword Tag results Experiment 2 part 1. 7.2 Selection of final Films, with Tags. 7.3 Valence & Arousal algorithms for experiment 1 7.4 Survey correlation between groups 1 &2. 7.5 Keyword correlations between groups 1&2 7.6 Group 2 SAM test correlations. 7.7 r-correlations Expt 2. Evaluation (i). 7.8 r-correlations Expt 2. Evaluation (ii). 7.9 r-correlations Expt 2. Evaluation (iii). 7.10 r-correlations Expt 2. Evaluation (iv) & (v). 7.11 Averaged classification results Evaluation (i-iii) 7.12 Number of higher than random scores Evaluation (i-iii) 7.13 Summary of classification rates Evaluation (iv-v) THE NEURAL DETECTION OF EMOTION 1 CHAPTER Introduction.

The present paper discusses dystopia in the genre of horror on the basis of George A. Romero's zombie fi lms. Dystopia seems to be inextricably linked with the vision of the world in which the very structure of the society has been destroyed along with moral codes and the only remaining thing is the will to survive. In the Living Dead Trilogy Romero skilfully used the zombie apocalypse motif to portray both vices as virtues characteristic to American way of life. Moreover, in his motion pictures, he envisages what may be the implications of possible dystopias arising from the ashes of destroyed human civilisation and, thus, gives the audiences, and the critics, an incredible resource for interpretation and further analysis. The methodology involves the paradigmatic analysis of the plots in order to show how the motif of zombie apocalypse is used to explore the notion of dystopia. Moreover, the mentioned analysis will also cover explicit, implicit and symptomatic meaning created by the analyzed fi lms.

Real time non-invasive Brain Computer Interfaces have a significant progressive role in restoring or maintaining a quality life for medically challenged people. This manuscript provides a comprehensive review of emerging research in the field of cognitive/affective computing in context of human neural responses. The perspectives of different emotion assessment modalities like face expressions, speech, text, gestures, and human physiological responses have also been discussed. Focus has been paid to explore the ability of EEG (Electroencephalogram) signals to portray thoughts, feelings, and unspoken words. An automated workflow-based protocol to design an EEG-based real time Brain Computer Interface system for analysis and classification of human emotions elicited by external audio/visual stimuli has been proposed. The front end hardware includes a cost effective and portable Emotiv EEG Neuroheadset unit, a personal computer and a set of external stimulators. Primary signal analysis ...

Extracting mental and task performance state-information from a human in real time is a challenging scientific endeavour. In this paper, we attempt to understand if there is a relationship between the frontal cortex activities in the F3 and F4 positions according to the 10-20 international system of electrode placement, which are known to correlate with executive control functions and working memory, and facial muscle activities. We demonstrate that in a highly demanding control, planning and problem solving task, as the human gets more engaged in the task, there is a consistent increase of correlation between the frontal cortex activities, an anti correlation between the cheeks and forehead muscles, and that the two correlations are perfectly anti-correlated with each other. The results suggest a resource shifting occurring during the task as the task progresses and the complexity of the task increases.

One of the most common purposes of storytelling is to amuse the audience. Triggering different emotions and feelings is a common method for entertaining with stories. Among these, suspense is strongly linked to narrative, and delivering a suspenseful feeling along the story to increase the fun is an effective, well tested practice when producing stories. Specifically, controlling the amount of information is a part of how suspense is provoked, but the information flow varies across different media. In this paper, we explore the impact of the amount of given information and the perception of amusement in suspenseful narrative settings. We provide evidence that non-interactive audiences prefer less information and more suspense, and interactive audiences find a higher amount of information more enjoyable. To validate this hypothesis, an experimental escape story in which a threat approaches the main character is presented to a number of subjects. Interactive and non-interactive versio...

A Virtual Reality based training can be an interesting method to teach crowd managers and emergency responders how to act in emergency situations under pressure. Compared to watching Two-Dimensional Video, Virtual Reality is assumed to induce stronger emotions and a more real-life experience of the emergency situation. To test this assumption, sixty participants were tested on whether there is a difference in inducing fear between cardboard Virtual Reality glasses and watching a 2D video. Subjective (PANAS) and objective (heart rate, blood pressure) ratings of their mood were measured before, during and after watching a horror movie. Results show that both VR and 2D induced fear significantly in all subjective and objective measures, but that there was no significant difference between these video screen conditions. Based on inducing fear alone, a video based training could be as effective as a cardboard VR training. More research is needed to investigate this further.

To date engagement in face-to-face conversation has been studied almost exclusively through the post event measurement of self-reporting surveys or questionnaires. Electroencephalography (EEG) has been used for decades to examine brain activity for both research and diagnostic purposes. Medical grade EEG equipment is both costly and confined to being used within laboratory settings. With the recent advent of off-the-shelf consumer grade portable EEG-devices, novel psychological research on cognitive computations that have traditionally been confined to self-report, is now a reality. Although it is well documented that people use their cognitive abilities during conversations, an extensive literature search found no studies on the use of EEG data to obtain a neurological engagement score during conversation. Consequently, the present study sought to remedy a gap in the literature, and capitalised on the readily available consumer-grade portable EEG equipment. A within-participants qu...

Estimation of human emotions plays an important role in the development of modern brain-computer interface devices like the Emotiv EPOC+ headset. In this paper, we present an experiment to assess the classification accuracy of the emotional states provided by the headset’s application programming interface (API). In this experiment, several sets of images selected from the International Affective Picture System (IAPS) dataset are shown to sixteen participants wearing the headset. Firstly, the participants’ responses in form of a self-assessment manikin questionnaire to the emotions elicited are compared with the validated IAPS predefined valence, arousal and dominance values. After statistically demonstrating that the responses are highly correlated with the IAPS values, several artificial neural networks (ANNs) based on the multilayer perceptron architecture are tested to calculate the classification accuracy of the Emotiv EPOC+ API emotional outcomes. The best result is obtained f...

The success and wider adaptability of smart phones has given a new dimension to the gaming industry. Due to the wide spectrum of video games, the success of a particular game depends on how efficiently it is able to capture the end users' attention. This leads to the need to analyse the cognitive aspects of the end user, that is the game player, during game play. A direct window to see how an end user responds to a stimuli is to look at their brain activity. In this study, electroencephalography (EEG) is used to record human brain activity during game play. A commercially available EEG headset is used for this purpose giving fourteen channels of recorded EEG brain activity. The aim is to classify a player as expert or novice using the brain activity as the player indulges in the game play. Three different machine learning classifiers have been used to train and test the system. Among the classifiers, naive Bayes has outperformed others with an accuracy of 88%, when data from all fourteen EEG channels are used. Furthermore, the activity observed on electrodes is statistically analysed and mapped for brain visualizations. The analysis has shown that out of the available fourteen channels, only four channels in the frontal and occipital brain regions show significant activity. Features of these four channels are then used, and the performance parameters of the four-channel classification are compared to the results of the fourteen-channel classification. It has been observed that support vector machine and the naive Bayes give good classification accuracy and processing time, well suited for real-time applications.

Detecting emotions in a learning environment can make the student-learning process more efficient, avoiding stressful situations that might eventually lead to failure, frustation and demotivation. The work presented here describes a perceptive desktop devised to capture the sensations of any person facing learning activities. To this end, we propose a perceptive environment enhanced with capabilities to perform an analysis of electroencephalography, facial expression, eye tracking and particularly a very distinctive indicator of stress as it is the galvanic response of the skin. This work focuses on the galvanic response of the skin, comparing the performance of two devices in the context of the perceptive desktop. One of the devices was very attractive to our environment as it was a mouse that fit very well to our computer-based desktop, equipped with low-cost sensors to detect the galvanic response. The other device is more tedious to place and more expensive but we use it as a re...

Podstawowym celem artykułu było wprowadzenie spostrzeżeń i refleksji Davida Toopa, jak również proponowanych przez niego podejść analitycznych, do polskich badań kulturoznawczych oraz literaturoznawczych; mimo iż Toop i jego prace są jednym z głównych punktów odniesienia dla sound studies, jego twórczość pozostaje w dużej mierze nieopisana w polskiej literaturze akademickiej. Niniejszy artykuł przedstawia zarys charakteru dzieł i rozważań Toopa, ze szczególnym uwzględnieniem jego najważniejszych książek, jak również demonstruje zastosowanie jego refleksji i narzędzi analitycznych w kontekście literaturoznawczym, a konkretnie w kontekście badań nad fantastyką grozy

Fatal Frame 2 (Project Zero 2 in Europe) is a Japanese survival horror game developed by Tecmo for PlayStation 2 that is widely considered to be a classic of the horror genre, drawing heavily on Japanese folklore and culture. It's use of third person gameplay and fixed cameras heavily draws from Japanese horror cinema, specifically the cinematography and camera techniques found within that medium. This work seeks to identify the influences Japanese horror cinema has had on Fatal Frame 2, and using the frame of cinematography, look at how the use of cameras and cinematographic techniques and methods have been utilised to create tension and evoke dread in players.

Detecting emotions in a learning environment can make the student-learning process more efficient, avoiding stressful situations that might eventually lead to failure, frustation and demotivation. The work presented here describes a perceptive desktop devised to capture the sensations of any person facing learning activities. To this end, we propose a perceptive environment enhanced with capabilities to perform an analysis of electroencephalography, facial expression, eye tracking and particularly a very distinctive indicator of stress as it is the galvanic response of the skin. This work focuses on the galvanic response of the skin, comparing the performance of two devices in the context of the perceptive desktop. One of the devices was very attractive to our environment as it was a mouse that fit very well to our computer-based desktop, equipped with low-cost sensors to detect the galvanic response. The other device is more tedious to place and more expensive but we use it as a re...