As media over the last decade has become increasingly interactive, the user’s role as the previously passive observer has shifted to an active role playing its own part of the experience. The same development can be seen in storytelling, where traditional narrative techniques are often combined with modern technology in order to create a new level of immersion, aiming to provide the user with the feeling of “being there”. The aim of this study is to practically investigate interactive storytelling and see how different levels of interactivity affects the general user experience within the horror genre, and if there is a connection between interactivity and the feeling of immersion. In doing so, we hope to investigate how the use of interactivity can be further developed in order to increase the immersive storytelling experience. The study was conducted by having a number of test subjects view five horror stories produced like short horror films mixed with different interactive techniques and answer questions about their experience. Additionally, the participants’ heart rates were monitored during each session. The study revealed that the higher the level of interactivity, the less immersed the user felt, which contradicted the hypothesis that increased levels of interactivity would increase the feeling of immersion. Meanwhile, interactive elements were generally more enjoyed. From the results it could eventually be concluded that it is not the interactivity per se that has the potential to increase the immersive experience, but the ability to let the user interact without any perceived restrictions. In other words, for interactivity to not inhibit the feeling of immersion, it must befit the story and have natural implementations of the controls in order to not steal attention from the content. / Samtidigt som media under det senaste decenniet har blivit alltmer interaktivt så har användarens tidigare roll som passiv åskådare skiftat till att istället vara en aktiv del av upplevelsen. Samma utveckling kan ses i historieberättandet, där traditionella, narrativa tekniker ofta kombineras med modern teknologi för att skapa en ny nivå av inlevelse med målet att förse användaren med känslan av att ”vara där”. Målet med denna studie är att praktiskt utreda interaktivt berättande och se hur olika nivåer av interaktivitet påverkar användarens generella upplevelse inom skräck-genren, samt om det finns ett samband mellan interaktivitet och inlevelse. På så vis hoppas vi på att utreda hur användandet av interaktivitet kan fortsätta att utvecklas för att förstärka känslan av inlevelse i historieberättandet. Studien genomfördes genom att låta ett antal försökspersoner se fem korta skräckfilmer med olika interaktiva tekniker, för att sedan svara på frågor om upplevelsen. Deltagarnas hjärtfrekvens mättes även under varje delmoment. Studien pekade på att ju högre nivå av interaktivitet, desto mindre kände användaren inlevelse, vilket gick emot hypotesen att högre nivåer av interaktivitet skulle öka inlevelsen. Samtidigt visade det sig att de interaktiva inslagen generellt uppskattades mer av användarna. Från resultatet kunde så småningom slutledas att det inte är interaktiviteten i sig som har potentialen att förstärka inlevelsen, utan förmågan att låta användaren interagera utan några upplevda begränsningar. För att interaktiviteten inte ska hämma känslan av inlevelse måste denna med andra ord passa berättelsen och använda sig av kontroller med naturlig känsla för att inte stjäla uppmärksamheten från innehållet.

TITLE: THE SUNKEN COUNTRY & OTHER STORIESMAJOR PROFESSOR: Dr. Rebekah Frumkin The Sunken Country & Other Stories collects five works that place personal tales of alienation, repression, isolation, obsession, and romance and broader themes of dramatic shifts in the workings of culture and environment under a microscope and vivisect them with tools gathered from the New Weird tradition

This thesis is focusing on the emotion of fear in conjunction with an interactive narrative experience. It analyses the emotional scope fear entails as well as discusses different narrative formats and interactivity in terms of agency. Through extensive research on the topic at hand, multiple prototypes is developed focusing on expressing different variations of fear while experimenting with the narrative structure and interactive elements available through the software Twine. Based on this, conclusions were made on the complexity of designing for an emotion and the difficulty in reaching more intense feelings of fear. There was also a struggle of balancing interactivity with narrative while also designing for a frightening experience. Lastly, final conclusions were made on the prototypes abilities to produce frightening responses, which ultimately showed signs towards lesser feelings of fear, such as nervousness, anxiety and trepidation.

Player response in the horror video game genre is primary to its success allowing players to experience emotional arousal through elaborate game design. This thesis aims to investigate how, specifically light mechanics, can help elicit responses in Amnesia: The DarkDescent to bring attention to the light techniques that can be used by game designers to elicit such emotional reactions. Observations, interviews, and emotional facial recognition software were used to investigate the various patterns of behavior that players had while playing Amnesia: The Dark Descent. Results showed that most participants used light attributes to benefit their emotional state and all participants used them to enhance their gameplay environment. The tools that derive from light mechanics were noticed both consciously and subconsciously. Further, each participant displayed shifts of emotion, such as surprise, fear, anger, and happiness. As well as players’ physical and in-game behavior patterns were found to be related to fear responses, in terms of events where they interacted with light attributes and were in the presence of danger. The results suggest that the usage and portrayal of light attributes are dependent on the players' perception of the valued use of light and the potential of danger. It was revealed that emotional value has a significant impact on how players perceive light mechanics. Nonetheless, the individuals were able to modulate their own emotional arousal through the attributes of light mechanics.

Under de senaste decennierna har ett stort intresse för att forska om film utifrån ett kognitivt neurovetenskapligt perspektiv växt fram. Inte minst intresserar sig forskare för vilka neurologiska processer som styr människors reaktioner på skräckfilm, men trots det stora intresset saknas forskning om hur skräckfilmsmanus påverkar läsaren. I denna uppsats undersöks vilka språkliga och formmässiga val, i skräckfilmsmanus med body horror-tema, som mest effektivt framkallar obehag, äckel och andra fysiska förnimmelser hos vana manusläsare, utifrån ett kognitivt neurovetenskapligt perspektiv. Förhoppningen är att resultaten kan vara användbara för manusförfattare som vill kunna gestalta body horror i text. I studien utfördes intervjuer med 14 informanter med professionell vana av att läsa filmmanus. Informanterna fick läsa scener med body horror-inslag och reflektera över sina egna upplevelser av dem. Svaren ställdes i relation till branschstandarden för filmmanus och analyserades utifrån ett kognitivt neurovetenskapligt perspektiv för att förklara varför vissa element i texterna framkallade starkare reaktioner än andra. Resultaten indikerar att branschstandarden är användbar för att framkalla mentala bilder hos läsaren, samtidigt som bildligt språk, få men specifika ord samt åverkan på vissa kroppsdelar i texten effektivt framkallar obehag, äckel och andra fysiska förnimmelser. Studien kan med fördel utvidgas till att omfatta vana manusläsare i andra länder samt inriktas på tydligt avgränsade yrkesgrupper inom filmproduktion för att göra resultaten generaliserbara i större utsträckning.

This thesis explores trauma related to hysteria through themes of confinement, isolation, and motherhood in the works “The Yellow Wallpaper” (1892) by Charlotte Perkins-Gilman, The Haunting of Hill House (1959) by Shirley Jackson, and The Babadook (2014) directed by Jennifer Kent. Hysteria is explored first as a diagnosis and then as a weaponized term meant to keep women facing isolation and grief in a continuous state of oppression. The gothic and gothic horror genres display these themes through the dark nature of the human mind, which is vital in understanding the stories of the female characters discussed and the traumas they face. The setting of the home is used to acknowledge women’s oppression related to trauma as it is a domestic setting that is known for confining women, particularly when trauma is explored through hysteria and the rest cure, the basis in which hysteria and isolation is explored.

Visceral [vis-er-uh l] -adj 1. of, relating to, or affecting the viscera 2. characterized by intuition or instinct rather than intellect ("visceral," def. 1-2) The above words speak to define far more than merely the word "visceral." They speak to also embody and classify a previously untitled form of theatre. Visceral Theatre: A form of theatre that uses the instinctual awareness of the audience- the audiences' perception of popular culture, societal contexts both historical and geographical, as well as their instinctual-physical aversion to danger- to cause physiological and emotional responses through the overstimulation of the senses in a non-tactile attack. For the past eight years I have been intimately involved with the creation of Halloween Horror Nights, an annual event held each September/October at the Universal Orlando Resort. The basis of the event is the celebration of the holiday of Halloween by creating Shows, Street Experiences, and Thematic Mazes in which to fully immerse hundreds of thousands of guests in various environments. This thesis will use the example of Halloween Horror nights to frame the discussion of Visceral Theatre. It will be presented through the lens of creator, designer, director, and collaborator of the entertainment offerings within the experience. It is my hope to answer the question: What is Visceral Theatre, and how HHN, as it is commonly referred to, earns the right to be defined as such. What makes this experience Theatre?

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As many veterans of musical theatre strive to keep a stronghold on the traditional form of the art with shows like "Oklahoma," "Show Boat" and "Carousel," we must recognize the life of said art form must also appeal to the mindset of new generations. In 1973, a rock musical began making waves in London's theatrical community. "The Rocky Horror Show" was like nothing anyone had seen before. The show had a plot but was presented like a rock show. The characters paid homage to a youthful faction of society wanting to express its individualism. Musicals continue to explore new avenues and bring new faces to the theatre. Shows such as "Rent," "Saturday Night Fever" and "Wicked" have garnered interest from a younger audience. Songs from these shows are appealing to the masses just as the songs from "Oklahoma" and "Carousel" did in the 1940's. A growing interest in musical theatre by the younger population can pique their interest in discovering other musicals. One way to satisfy this piqued interest is by infusing a youthful or modern energy to shows that can be adapted to the senses of this younger generation. "Oklahoma" or "Carousel" might not adapt well by being set in the 21st century. But "The Rocky Horror Show" already exudes a timeless energy with its nod to popular culture (its rock music influence). As musical theatre transforms with its audiences, so can some of its well-known shows.

Denna studie har undersökt hur ljuddesign kan användas för att optimera spelarens skräckupplevelse inom survival horror genren. I kapitel bakgrund har ett teoretiskt ramverk, modeller och argument presenterats för att ge läsare en inblick i ämnet. Bakgrunden går ifrån en bred överblick för att senare fokusera på ämnet. Undersökningen har skett med hjälp av en kvalitativ enkät som distribuerats på utvalda spels online forum. Enkätens svar har senare presenterats och analyserats i diagram och textformat. Resultatet visar att olika designval har möjlighet att påverka spelens skräckupplevelse till en optimal nivå, till exempel med frekvens och volym. Som framtida arbete kan studien utvecklas med mätinstrument för att få in presenterbar data av fysisk respons som exempelvis puls.