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08 DECEMBER 2009

Gamers and Gorehounds: The Influence of Video Games on the Contemporary Horror Film

"In translating a digital game to the big screen, these titles rely on the integration of aesthetics and narrative from their game counterparts to further enhance the viewing experience. The utilization of game narrative in the horror adaptation film is partially based on the acceptance of the video game medium as a cyberdrama, which emphasizes 'the enactment of the story in the particular fictional space of the computer.'[54] Many popular titles were not only about motor coordination and skill, but about becoming immersed in good storytelling. Author Janet Murray states, 'A story has greater emphasis on plot; a game has greater emphasis on the actions of the player. But where the player is also the protagonist or the god of the story world, then player action and plot event begin to merge.'[55] Murray describes the player's attachment to the game narrative as dramatic agency, which 'requires that we script the interactor as well as the world, so that we know how to engage the world, and so that we build up the appropriate expectations.'[56] "

(Timothy D. Alley, p.47, 2007)

54. Janet Murray, "From Game–Story to Cyberdrama." First Person. Eds. Noah Wardrip– Fruin and Pat Harrigan (Cambridge, MA: The MIT P, 2004) 4.

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TAGS

aesthetics • Brainscan • consoleconvergenceculture • cyberdrama • David Cronenbergdigital culture • Doom • Duke Nukem 3Ddystopia • eXistenZ (1999) • first-person point of viewfirst-person shooterFPS • Freddys Dead • gamesGrand Theft Autohorrorhorror filmJanet Murray • Lawnmower Man • mediumQuakeremediationrepresentationtechnologytechnophobiaThe Matrix (1999)The Wizard of Ozvideo gamevirtual realityvisual communicationvisual designvisual languageWolfenstein 3Dzombie • zombie invasion

CONTRIBUTOR

Simon Perkins
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