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IDR "Interaktionsdesignad rädsla"Bergöö, Martin January 2006 (has links)
This essay focuses on the possibilities and problems that come with having teleportation mixed with horror and fear and not having monsters in fear games. How it is to play a horror game without enemies and just being able as an Interactiondesigner to relay on the psychological feeling within the player, if the feeling is more than enough if the player him self get to fantasies and let their deepest fright feelings take over. Is there no difference if there are monsters/enemies or not. Is fright and fear already there before you encountering the enemies? These questions are answered as the paper also presents a game in the shape of a course that has been paralleled worked with. The world with the complete and finished game have bin done in the Hammer editor which the game HalfLife2 (VU games/Valve Software, 2004) is built on. The finished game is a result of several user tests from the prototype game and user questionnaires. Fear games are mainly built on humans’ psychological feelings, the imaginations and how one feel. Through strong usage and building upon these main factors to create fear I have worked from that perspective and investigated how I by best possible means, should do to create fear to fright players by not using enemies as main frightening objects. Focus has been on the narrative of both visual and auditive narration. I have also given an account of the advantage and disadvantages with working with the tool I have chosen, how it has affected my work and my result. The Result turned out to be even better than I had in mind and a positive attitude towards my game from all the test persons. They thought it was a good example that a horror game is not bound to have monsters in order to fright the player. I got a loot of good feedback, response and ideas of what I could improve and what was already good. Some wanted more light effects on the first part and others less sound in the last part. By listening to the test persons I started to create and shape the final version of the game. Everyone became scared and felt more or less frightened through all four parts of the game. I also got positive feedback on my theory from the test persons, that teleportation mixed with horror and fear is something that they could consider using more in games and that this was a good start in the right direction.
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The phenomenon of the grotesque in modern southern fiction : some aspects of its form and functionHaar, Maria January 1983 (has links)
After a general historical outline of the term and concept 'grotesque' attention is focused on the grotesque in Southern fiction and an attempt is made to explain the abundance of this mode in the literature of the South. It can seemingly be linked to the distinctiveness of that region as compared to the rest of the United States—a distinctiveness that has been brought about by historical, geographical, sociological and economic factors.Basing the discussion on the theory of Philip Thomson, who defines the grotesque as "the unresolved clash between incompatibles in work and response," various critical approaches to the Southern grotesque are examined, all of which are found to be too all-embracing. An effort is then made to analyse the grotesque as displayed particularly in Caldwell, Capote, Faulkner, Goyen, McCullers, O'Connor and Welty. The study deals first with the macabre-grotesque, then the repulsive/frighten-ing-grotesque and finally the comic-grotesque. The last chapter is devoted to more recent authors writing in the 1960s. Their works reveal that the South is still a breeding ground for the grotesque. / digitalisering@umu
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