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.

Den här uppsatsen undersöker myten om skogsrået och hur skogsrået gestaltas i nordiska folkhorror-filmer under 2000-talet. I analysen granskas relationen mellan filmerna och gamla sägner, myter och berättelser om skogsrået genom att identifiera vilka likheter och skillnader som finns. De aspekter som diskuteras är skogsråets utseende, karaktär och symbolik och hur filmerna förhåller sig till de gamla berättelserna. Till analysen har använts forskning om skogsrået och Jens Eders karaktärsklocka som metod för en karaktärsanalys. De filmer som har undersökts är moderna tolkningar av gamla myter om skogsrået och bara några få aspekter av myter och av skogsråets karaktär, utseende och symbolik används i dem. Undersökningen visade att det finns några folkloreelement i filmerna, men det saknas mycket av de element som finns i de gamla sägnerna. Det finns därför utrymme att använda flera element på ett mer detaljerat sätt. De gamla myter, sägner och berättelser som finns i Norden är intressanta och komplexa. Det finns potential att de kan användas för att skapa spännande berättelser och samtidigt föra vidare Nordens kultur och traditioner.

After a nightmare where her best friend is killed by a terrifying creature, a teenager girl, wakes up to find that not only is he missing in real life, but no one in the perfect town of Fallmore seems to remember he ever existed...

An arrogant, but brilliant pediatric psychiatrist accidentally exorcises a demon from a young girl during an experimental procedure – only to discover she wants her demon back.

After vampire Pilgrims kidnap a Native-American princess, the rogue Tisquantum must emerge from exile to save her and her people from the vicious Pilgrim horse invading the New World.

A divorced dad returns home to reconnect with his estranged teenage daughter, but there’s one problem: she’s a serial killer who feeds tourists to the local lake monster.

CONK is a collection that explores the absurdist irony located at the intersection between horror and humor. The events are predicated upon the characters' fundamental misunderstandings of the world around them, their doom arising from their inability to differentiate between the indecipherable and the incorrect ("Bird Kill"). Some are more reflexive, revolving around the difficulty of telling a story at all ("What a Story''), or exploring the dissolution of self that results from the act of artmaking (the eponymous "CONK"), or even indulging in the joy of said dissolution ("Celebration"). Other times, the pieces mix esoteric language and pop culture referents with the goal of defamiliarizing them ("Will That Be All?"). The resulting destabilization, this breakdown of heuristic methodology, creates situations that resist understanding and renders uncanny previously mundane images. / Master of Fine Arts / CONK is a collection of short fiction.

After a jaded K-pop star rebels against his controlling manager by announcing his solo career, his new handler takes him to a remote cabin to record his debut album. His dream skids to a halt when he realizes his handler is actually an obsessed, delusional fan who demands the pop star write his debut album about her — or else.

Объектом исследования эмоциональная сфера. Предметом исследования стала эмоциональная сфера у лиц, предпочитающих жанр хоррор. Выпускная квалификационная работа состоит из введения, двух разделов, заключения, списка литературы (100 источников) и двух приложений, включающих в себя бланки применявшихся методик. Объем работы 90 страниц, на которых размещены 8 рисунков и 11 таблиц. Во введении раскрывается актуальность проблемы исследования, разработанность проблематики, ставятся цель и задачи исследования, определяются объект и предмет исследования, формулируются основная и дополнительные гипотезы, указываются методы и эмпирическая база, а также этапы проведения исследования, научная новизна, теоретическая и практическая значимость работы. Первая глава включает в себя обзор иностранной и отечественной литературы по теме эмоциональная сфера, эмоциональная структура личности. Представлены разделы, посвященные исследованию эмоциональной сферы у лиц, предпочитающих жанр хоррор. Выводы по первой главе представляют собой итоги по изучению теоретического материала. Вторая глава посвящена эмпирической части исследования. Для проведения эмпирического исследования было подобрано 4 тестовые методики: «Шкала позитивного аффекта и негативного аффекта, ШПАНА» (Д. Уотсон, Л. Кларк и А. Теллеген, адаптация – Е. Н. Осин), «Тест эмоционального интеллекта» (Н. Холл, адаптация – Е. П. Ильин), «Опросник Басса-Дарки» (А. Басс, А. Дарки, адаптация – А. А. Хван, Ю. А. Зайцев, Ю. А. Кузнецова), «Самооценка эмоциональных состояний» (А. Уэссман и Д. Рикс, адаптация – А. Карелин). Также в главе представлен сравнительный и корреляционный анализ результатов исследования. Выводы по главе 2 включают в себя основные результаты эмпирического исследования. В заключении в обобщенном виде изложены результаты теоретической и эмпирической частей работы, а также выводы по выдвинутым гипотезам, обоснована практическая значимость исследования и описаны возможные перспективы дальнейшей разработки данной проблематики. / The object of the study is the emotional sphere. The subject of the study was the emotional sphere of people who prefer the horror genre. The final qualification work consists of an introduction, two sections, a conclusion, a list of references (100 sources) and two appendices, including forms of the methods used. The volume of work is 90 pages, which contain 8 figures and 11 tables. The introduction reveals the relevance of the research problem, the development of the problematics, the purpose and objectives of the research are set, the object and the subject of research are determined, the basic and additional hypotheses are formulated, the methods and the empirical base are specified, as well as the stages of the research, the scientific novelty, the theoretical and practical significance of the work. The first chapter includes a review of foreign and domestic literature on the topic of the emotional sphere, the emotional structure of personality. The sections devoted to the study of the emotional sphere in people who prefer the horror genre are presented. The conclusions of the first chapter represent the results of the study of theoretical material. The second chapter is devoted to the empirical part of the study. To conduct an empirical study, 4 test methods were selected: "Scale of positive affect and negative affect, punks" (D. Watson, L. Clark and A. Tellegen, adaptation – E. N. Osin), "Emotional intelligence test" (N. Hall, adaptation – E. P. Ilyin), "Bass-Darky questionnaire" (A. Bass, A. Darkey, adaptation – A. A. Hwang, Yu. A. Zaitsev, Yu. A. Kuznetsova), "Self–assessment of emotional states" (A. Wessman and D. Rix, adaptation - A. Karelin). Also, the chapter presents a comparative and correlation analysis of the results of the study. The findings of Chapter 2 are the main results of the empirical study. In conclusion, brief results of the theoretical and empirical parts of the work are presented, as well as conclusions on the hypotheses. The practical significance of the study is substantiated and possible prospects for further development of the problematics are described.

Autobiographies and documentaries usually aim to elicit a discussion about social issues by shocking and horrifying readers and viewers, often through graphic imagery. This study's ambition is to examine how literary documentary borrows from the gothic tradition to depict real societal issues. My aim is to show how the gothic style transcends the borders of the genre and that literary documentary about self-harm tends to work through the same thematic and narrative structures as the literary gothic. With a focus on contemporary depictions of self-harm and mental illness in young women and girls in Sweden, this analysis explore how the function of sexuality, gender and self-harm in gothic horror can be applied on these texts. At the same time this study explores how selfharming women tend to use gothic imagery to portray the horrors of their own reality that is saturated with extreme and negative emotions. For comparison, two famous depictions of girls going through puberty from the literary horror genre; Carrie and The Exorcist, are examined to further anchor the connection between femininity, blood and puberty in the gothic theoretical field.