Animal crossing: New leaf and the diversity of horror in video games

This paper explores the diverse ways horror can be conveyed in games by investigating how games that are not associated with the horror genre can produce unsettling or scary experiences. To conduct this exploration, this study uses interaction mapping, as outlined by Consalvo and Dutton (2006), to examine a game that has thoroughly pleasant and cutesy trappings: Animal Crossing: New Leaf (Nintendo 2013). The interactions were analysed according to three themes prevalent within literature on horror and horror games: the loss of agency, the Freudian uncanny, and the Heideggerian uncanny. Ultimately, this paper demonstrates that a game which is not explicitly scary is occasionally made so through its rudimentary simulation of human behaviour and societal constructs as well as its autonomous functions and inclusion of real-world time, showing that games have very diverse means of conveying unsettling or horrifying experiences. The paper also shows how frameworks used to analyse games in the horror genre can be applicable to critical readings of non-horror games in order to understand the unexpected player reactions they can evoke

Queering the Zombie

This article starts with the observation that all monsters are created by humans and thus they serve specific cultural and sociopolitical purposes. The study is set to finding out, first, how the traditional figure of the zombie works as a monster in popular culture, and second, how digital games open up new possibilities for it to exist and to act. Even if the zombie has symbolic power that makes it an ideal antagonist in games, assigning individual agency to it is very unlikely. From this follows that playing (as) the zombie in games is actively discouraged. The analysis presented here differs from earlier research on the zombie as a posthuman figure in that it seeks to understand the functions and the usability of the monster specifically as a digital game character through analyzing examples such as Stubbs the zombie in Rebel Without a Pulse (Wideload Games, 2005). In the end, this article is aimed at investigating the zombie as a queer figure that transgresses several boundaries in games, and ultimately offers us the possibility of transcending the human condition.©2019 Taylor & Francis. This is an Accepted Manuscript of an article published by Taylor & Francis in The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay on July 23, 2019, available online: https://doi.org/10.4324/9781315179490fi=vertaisarvioitu|en=peerReviewed

Gamers versus zombies? Visual mediation of the citizen/non-citizen encounter in Europe’s ‘refugee crisis’

This article identifies the visual representation of Europe’s “refugee crisis” in the media as a key dimension of the communicative architecture of the crisis and its aftermath. Effectively, it argues, the powerful, even iconic, imagery that the media produced and shared during the 2015 “crisis” affirmed ideological frames of incompatible difference, perpetually dividing European citizens and refugees. The article focuses on some of the fundamental elements of the 2015 crisis’s visual grammar to demonstrate how they have (re-)produced popular fears of strangeness and the need for containment and control of foreign bodies. This visual grammar, we argue, imitated and procreated recognizable representations of popular culture to exaggerate newcomers’ strangeness and incompatible difference from the national subject. On the one hand, many news media simulated zombies’ threatening strangeness in images of refugee massification; on the other, many news media images reaffirmed the decisive power of the national subject over refugees’ fate, not unlike the video game player who unilaterally controls a game and takes action when confronted by zombies. This grammar, we argue, symbolically predetermines encounters between citizens and refugees, by emphasizing their incompatible difference and newcomers’ strangeness

The Broodmother as Monstrous-Feminine: Abject Maternity in Video Games

This article examines examples of the monstrous-feminine in the form of abject maternal monsters in a selection of commercially successful and critically acclaimed mainstream video games using conceptual frameworks and textual analysis methods established in the work of Julia Kristeva and Barbara Creed. The Broodmother from Dragon Age: Origins (2009) and the Mother from Dragon Age: Origins—Awakening (2010) are considered as problematic examples of the abject monstrous-feminine which fall into a long tradition in horror media of framing the female body and the birthing process as something horrific and repulsive. Kerrigan from the StarCraft series (1998–2017) is examined as a possible counter-example, demonstrating that the monstrous-feminine can exist in a playable and potentially empowered form, though she is problematically empowered within a violent, militant framework. Overall, this article critically analyses the ways in which video games remediate tropes of gendered monstrosity and reinforce the misogynist norms and values of hegemonic heteropatriarchal ideology by forcing players to enact symbolic violence against transgressive female bodies.This article examines examples of the monstrous-feminine in the form of abject maternal monsters in a selection of commercially successful and critically acclaimed mainstream video games using conceptual frameworks and textual analysis methods established in the work of Julia Kristeva and Barbara Creed. The Broodmother from Dragon Age: Origins (2009) and the Mother from Dragon Age: Origins—Awakening (2010) are considered as problematic examples of the abject monstrous-feminine which fall into a long tradition in horror media of framing the female body and the birthing process as something horrific and repulsive. Kerrigan from the StarCraft series (1998–2017) is examined as a possible counter-example, demonstrating that the monstrous-feminine can exist in a playable and potentially empowered form, though she is problematically empowered within a violent, militant framework. Overall, this article critically analyses the ways in which video games remediate tropes of gendered monstrosity and reinforce the misogynist norms and values of hegemonic heteropatriarchal ideology by forcing players to enact symbolic violence against transgressive female bodies.This article examines examples of the monstrous-feminine in the form of abject maternal monsters in a selection of commercially successful and critically acclaimed mainstream video games using conceptual frameworks and textual analysis methods established in the work of Julia Kristeva and Barbara Creed. The Broodmother from Dragon Age: Origins (2009) and the Mother from Dragon Age: Origins—Awakening (2010) are considered as problematic examples of the abject monstrous-feminine which fall into a long tradition in horror media of framing the female body and the birthing process as something horrific and repulsive. Kerrigan from the StarCraft series (1998–2017) is examined as a possible counter-example, demonstrating that the monstrous-feminine can exist in a playable and potentially empowered form, though she is problematically empowered within a violent, militant framework. Overall, this article critically analyses the ways in which video games remediate tropes of gendered monstrosity and reinforce the misogynist norms and values of hegemonic heteropatriarchal ideology by forcing players to enact symbolic violence against transgressive female bodies

The tragedy of betrayal: how the design of Ico and Shadow of the Colossus elicits emotion

Ico and Shadow of the Colossus are two games of high critical acclaim that are well known for their emotional affect -particularly because some of those emotions are unusual amongst digital games. Analysis of emotion in video games often focuses on narrative and representative elements, and emotions regularly experienced by gamers such as frustration, victory, joy of discovery etc. This paper uses close textual analysis with support from cognitive theories of emotion to analyse the ludic and mechanical, in addition to representative and narrative, qualities of these games. By doing so it is shown how guilt, grief and loneliness have more chance of being elicited from the player, with emphasis on the use of ambiguity and violation of player expectations. It is hoped that this approach will encourage further work of this type in an area so that both theoretical work and future development might benefit

The Tragedy of Betraya: How the design of Ico and Shadow of the Colossus elicits emotion

Ico and Shadow of the Colossus are two games of high critical acclaim that are well known for their emotional affect – particularly because some of those emotions are unusual amongst digital games. Analysis of emotion in video games often focuses on narrative and representative elements, and emotions regularly experienced by gamers such as frustration, victory, joy of discovery etc. This paper uses close textual analysis with support from cognitive theories of emotion to analyse the ludic and mechanical, in addition to representative and narrative, qualities of these games. By doing so it is shown how guilt, grief and loneliness have more chance of being elicited from the player, with emphasis on the use of ambiguity and violation of player expectations. It is hoped that this approach will encourage further work of this type in an area so that both theoretical work and future development might benefit

Królowie nie giną w wypadkach drogowych : teorie spisku i narracje gier wideo

The author proposes to view conspiracy theories from a new angle resulting from a comparison between their rhetorical features, the mechanisms of emergent narratives and the procedural rhetoric which characterises contemporary video games. Conspiracy theories offer their recipients a rhetorically rich alternative reading of historical events, challenging the crises caused by the lack of the sense of agency, which is a mark of the societies where such theories gain greatest popularity. In turn, the artistic and commercial success of video games is based on a similar illusion of agency whereby players are under an impression that it is them who control the events within the game’s world. By referring to the most popular of all conspiracy universes constructed around the assassination of President Kennedy and to the theory of procedural rhetoric proposed by Ian Bogost, the author presents numerous common traits of both types of rhetoric. The most important among them is the focus of rhetorical attention on expected action: while video games, in order to exist, require action from the gamer, conspiracy theories, resorting to similar mechanisms of the emergent narrative, also expect action, even if symbolic. This conclusion explains why conspiracy theories are continuously politically valid, despite the fact that many consider them to be harmless hobbies. The aim of juxtaposing conspiracy theories and video games is itself rhetorically laden as it is effectuated by a conviction that the contemporary academia seems to have exhausted the possibility of influencing the social perception of conspiracy theories in the world saturated with constant new‑media messages. The academic world is thus more of a remote commentator than a participant in social debates. From such a sense of exhaustion and ineffectiveness flows the proposal to view conspiracy theories from new perspectives, including perspectives so unorthodox that they may even seem unserious