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数万字综述:关于游戏心理恐怖境遇氛围营造的系列分析

发布时间:2015-07-01 10:19:17 Tags:,,

篇目1,从恐怖与惊悚元素的潜移默化谈玩家的情感代入

前段时间有人在问恐怖游戏能不能最大范畴地为休闲玩家所接受,而有数亿次下载且风靡全球的休闲游戏Temple Run恰好是这方面最为有力的例证,Imangi Studios的这款跑酷游 戏一般被市场定位为益智休闲游戏,受众对象基本老少咸宜,好像每一次体验都很闲趣乐在其中,但事实上如果我们把Temple Run所设定的每一个细节放大深度探究却能够得到完 全不同的发现:其一,神秘属性,故事背景就发生在充满传奇色彩的Mayan culture及其诡深且宏大的怪异庙宇,人物奔跑在其中渺小且无力,随时都有被吞噬的可能;其二,探险 属性,玩家所扮演的角色潜入神庙盗窃有可能被诅咒的神器idols,完全符合险境与盗宝的逻辑;其三,凶险属性,前有各种即时致命的恐怖机关和断崖,后有世界上最穷凶极恶恨 不得把你猎杀撕碎的Demonic monkeys,任何的稍不留神都是万劫不覆;其四,压抑至极的属性,把玩家完全放置在一条只有绝望的不归路上,放慢脚步就被虐杀而死,而盲目狂奔 则有无处可逃的意外死陷阱,这是一种比寻常恐怖游戏更紧凑的压抑。

差不多这就是一款以闲趣表皮所展示出来的恐怖底蕴形态:玩家所扮演的角色在游戏中犯了禁忌,无处不在且能力超群的the devil随即派出了超级丑陋和有恶魔属性的僵尸猴子进 行猎杀,并在前面无尽的道路上设置了数不清楚的险恶机关。基本上玩家所能做的就是尽可能逃得远,但永远逃不开。

这里就触及了我们寻常所界定的关于恐怖氛围解构四要素:声效氛围、场景布置、玩家阅历和临境想象。

关于声效氛围

音效设计师Marc Lamber所最为推崇的是完全匹配游戏场景引发出来的声效在恰当的时候渲染出来最能够击中玩家的心扉,比如说玩家突然从阴暗地下室入口走出来第一刻见到阳光 的那种雀跃如果搭配上某种略显欢愉的声乐就能让玩家立即感受到某种再见天日的解脱喜悦,而身处在一个让人惶恐的环境如果让远处不时传来低沉且痛苦的呼喊声那种毛骨悚然 的心慌就会瞬间陡然提升起来。

slender(from ubergizmo.com)

slender(from ubergizmo.com)

Ariel Gross同样认为声效的这种场景因素能够将玩家的临境感通过听觉的迷幻陶醉带入到更为逼真和投入的层面。Temple Run(Imangi Studios)中无限循环的类似手拍鼓快节奏 敲击的背景乐让原本被Demonic monkeys追得仅差一个身位那种迫在眉睫的生死危机平添了异常莫名的紧迫意味,就好象一个惊慌失措的号角在吹响最紧急的呼号,再加上断崖残壁 、横峺和急促的拐角形成了一个落魄的狂奔画面;Silent Hill 2(Konami)的经典曲目The Darkness That Lurks In Our Mind和Forbidden Siren(Sony)的经典曲目Lament同样 恰如其分地将原先的画面以听觉的形式完美地渲染出来,前者用沉闷、嘈杂、混乱,特别是从头到尾萦绕不去的嗡嗡响将无尽的压抑酣畅淋漓地昭示出来,而后者几乎是纯粹的极 度空灵和哀婉,特别是其中有些碎掉的嗓音和一度重复的音节更是让人心情郁结。

这种听觉层面的渗透足以影响到恐怖游戏对玩家的实际冲击力,屏蔽掉背景乐那种丝丝入扣的阴沉暗示,屏蔽掉怪物毛骨悚然的咆哮,屏蔽掉玩家粗重的喘息和撕心裂肺的惨叫, 很多画面在玩家的信息接收处理中所映像出来的情境匹配就可能触碰不到身临其境的那种惊吓感,更多只是血腥或者需要再二次处理以满足立体化想象的需要。Jerry Ibbotson在 探讨MotorStorm Arctic Edge就认为如果游戏中涉及到汽车换档就必然要以引擎的声效变化来提示玩家游戏正在带来不断加速的冲刺愉悦,如果没有这种加速带给玩家的冲击就几 乎大打折扣,而这也是我们所想表述的:没有推搡拉扯的声音,没有粗重的鼻息,没有怪物大口咀嚼的声音,没有慌乱的脚步声,没有或远或近的嘶吼,没有枪击的声音和回响, 没有风卷纸片的摩擦声,游戏带给玩家全方位的触动就要被减弱为单纯的血腥展示。

关于场景布置

在一般的印象中,恐怖游戏涉及的场景设定总是能够很轻易地包括:衰败的景象,比如凄清无人的荒岛,幽暗的森林地带或者雾气腾腾的沼泽边缘,已经长期废弃并显得无比杂乱 的医院、监狱或者军事研究所,空无一人甚至已经开始长满野草的街道,幽深且阴暗的洞穴,蜘蛛丝密布到处烟尘满天的古宅;诡异的气氛,比如被穿洞且锈迹斑斑的门窗,各种 野生动物的标本作为装饰物的墙面,到处有成滩的或者拉得很长的血迹,伸手不见五指的黑暗或者忽明忽暗的灯光,弥漫得到处都是且吹散不开的浓雾,远处近处不时传来低沉的 嘶吼或者尖锐痛苦的呐喊;邪恶的影像,比如墙上电视不断轮播血腥的场面新闻,面目狰狞且张着血盆大口到处寻找猎物的变异怪兽,路边三五成群正在分食人类尸体的生化动物 ,偶尔有求助无门一路狂奔但无处躲藏的人哭喊着跑来跑去。

这种视域领域的直觉感触一般可再做两个角度的剖析,比如色彩差的映照,以及恐怖影像的展示。

在色彩差的映照方面,大部分的游戏整体色调都异常灰暗(游戏邦注:就如我们前文提到的废弃的建筑,诡异无光的洞穴),如果出现流血牺牲猩红色就会弥漫开来,直到这种血 色被强化到无与伦比的惶恐。在这个层面上或者可以套用动视的James Portnow的理论来阐述这种对比鲜明的色彩渲染,在他的理论中游戏界面色彩的布局就完全能够影响到用户的 进程心态(色彩心理学之所以能够独立分解出来是因为附着于颜色的符号意义几乎都是文化适应性所产生的结果,用户的普遍看法是颜色是我们获取图像信息的最基本方式,因此 也就必然存在着某些层面的文化参照考量,让玩家从原始的直觉机制切换至某种更正式的方式,比如有颜色意义的背景或者符号提示,并最终使颜色和画面具有和玩家对话的沟通 效能),前有阴暗色调作为整体面的阴沉印象,后有充满死亡暗示性的血红色流淌,让这种警示性的对比强烈到让玩家都能感受到被怪物肆虐的那种惨状和恐怖。

temple run(from zhihu.com)

temple run(from zhihu.com)

在恐怖影像的展示层面,更多采用的是丑陋变形(让形体和我们通常所熟悉的人有极大的实际冲击差),比如对面部进行怪物化处理(在具体的游戏中我们可以看到Silent Hill 3 中那些长相古怪的生物,Resident Evil: Retribution中那些没有穷尽的僵尸,Temple Run中哪些穷追不舍的僵尸Monkeys,The Walking Dead中那些面部经过摧残处理的活死人, doom3中的那些动物化变异体),比如对形体进行超比例放大处理(在具体的游戏中我们可以看到Final Fantasy中的巨兽巴哈姆特、Darksiders: Wrath of War中的火焰巨魔、 Monster Hunter中的大岩龙、God of War3中的宙斯之父克洛诺斯),使得这些形象以最显眼的方式来昭示自己在游戏中所扮演的负面价值,而玩家也能够一眼就马上辨识出来这些 形象在游戏中来者不善。

关于玩家阅历

我们知道任何的影像或者声效在向玩家传达以后需要再历经玩家自身的接收和二次信息加工处理才能形成为一次有效的沟通,让玩家辨别到传达内容所具备的含义,而这本身就需 要玩家在信息处理的阅历上具备相似的情境储备才能够对比较匹配的信息做出相应的共鸣,这种就必然需要长久的文化习得才得以养成一种能够快速做出判断的惯性特征:比如提 前预判某些场景或者声效可能意味着什么,或者在恐怖的场景和声效包围中能够瞬间感触到生存威胁。

换句话说,如果恐怖游戏要恰当地引起玩家紧张的情绪,就需要玩家有相应的条件反射基础作为接触酶来诱发身体中本来潜藏的那些情感。比如听到尖叫或者嘶吼(惨叫,呼救声 ,超出用户寻常所能判断的怪异的嘶吼)就能联想起不良的预感,看到废弃的医院或者平时都是人的街道突然空无一人就能有相应的警惕,看到丑陋的变异体就能马上做出受到生 存威胁的直观感触(在东西方一直以来的文化传统里,很多变异体直接指代了邪恶的破坏形象,比如人面虎足猪口牙的梼杌,羊身人面虎齿人手的饕餮,随便一个身躯都能环绕斯 堪的纳维亚半岛的大蛇尤蒙刚德,随便长大嘴巴就能卡住天地的巨狼芬里尔)。

这些都是约定俗成式的判断(比如大部分人都知道狼是凶悍的肉食者都能提前害怕,但从没听说过狼也没被做过任何暗示的人可能就不会对狼有任何的偏负面的先兆情绪),脱离 这个后天习得式阅历基础,恐怖的渗透影响就会减弱,当然重复式的强制渲染也会使得玩家的印象获得趋于麻木,Gamasutra很早以前曾经刊出Vertical Slice针对Alan Wake、 Resident Evil: Retribution、Dead Space 2和Condemned 2: Bloodshot四款恐怖游戏做玩家心理承受分析称偏休闲玩家或者没有相应的恐怖游戏体验累积的玩家在面对游戏场景 的惊悚设定反应并不相同,那些轻车熟路的老玩家对诸如一个人深陷在封闭空间,突如其来的鬼影,或者突然而至的惊吓声音等显得更习以为常而没有相关经验的外加则明显反应 过激许多,甚至一点脚步声的出现都提前感受到了恐惧(游戏邦注:比如呼吸频度变高、开始冒汗或者脸色变白),不安全感立马被完全呈现出来。

对于很多顶尖的开发者而言,捕获用户在情感线层面的投入已经成为未来必需的层面(特别是针对用户最容易被煽动的那些情感线),比如Michael Heald就认为杰出游戏最大的特 征是能够立即引起情感共鸣(投入情感就会立即同其建立联系),好像每个玩家都具有感知的真实性,都能够被这种预设的认知会被带进游戏中,并产生某种背景的熟悉度而与游 戏本身出现情感的契合度。

关于临境想象

在场景布置和声效渲染同步匹配玩家的个人阅历之后,最能产生效能的环节就是临境想象(从我的角度就是调动用户自身内在智识、情感和推理与外界的渲染相配合),将原本外 在的信息层面内化为玩家意识中充满立体感的能够让神经跟着颤动的意识流。比如在空旷的大街上,三五只僵尸正在啃噬一个刚倒下的尸体,在玩家的影像中就马上被渲染为:这 些是一些恐怖的食人怪兽;玩家孤立无助,没有办法得到有效的帮助;可能玩家还没有有效的防御手段,没有办法抵御这些怪兽的攻击;这些怪兽可能马上就会转移对象攻击玩家 本身;有可能还会有更多的怪兽汇集过来。马上这些影像的内化就会瞬间导致玩家开始焦虑、无助、惶恐,甚至惊慌得不敢移动害怕一下子就引到了怪兽的集体注意。

这里就是我们要阐述的两个关键元素:

一个是预感,通过环境和氛围的渲染,在还没有发生以前,就感受到了这种心惊肉跳的滋味(在潜意识里已经开始模拟了被攻击的最坏的打算,并开始筹划相应的应对策略),这 种预先渲染的一定会发生的(当然也可能会被避免掉)惨剧让恐怖游戏的这种先声夺人的渗透性直接致使每个人必需生活在完全的惴惴不安中得不到任何的喘息,用将死的威胁让 每一个人的下一步都充满了不确定的惶惑,在过往的文化作品中将这种预先渲染做得无比彻底的是《西游记》关于唐僧肉的吃法(将唐僧整个人进行蒸煮,必需是完整的活人不能 缺损,必需心态平衡不能受到惊吓,必需等到阴天妖怪们心情放松的时候,必需蒸熟后切小片慢慢吃),几乎每一个妖怪都知道,几乎每一个妖怪都在对唐僧说同一个事情,这是 针对活着的人做的最诛心的酷刑,而在恐怖游戏中,遭遇这些邪恶怪物的袭击也都是命中注定的结局,所有的玩家都要亲身去体验这种已经预知结局的残酷。

另外一个是直接的接触,比如恐怖的影像,恐怖的对手和恐怖的声音,在Dead Island:Riptide或者Resident Evil 5或者Dead Rising 2中玩家常常会深陷恐怖变异者的包围圈, 到处是咆哮声,到处是面目可憎的僵尸,到处是新牺牲者留下的充满腥气的猩红。

当然这两者在游戏中,带给玩家最深的触动就是三步骤:首先是换位思考(把自己当成游戏中正在险境中拼搏的角色),其次是感同身受(很快角色的困境就是玩家临摹的困境, 所有的紧张惶惑血腥恐怖都会被逼视出来),最后就是移情(玩家开始替代角色进行思考,开始把自己的情感都投放在角色身上,恐慌角色所恐慌的,设想角色所不能设想的)

篇目2,恐怖游戏关卡设计原则之规律与预期

电影和游戏中常会出现一些让观众/玩家吓得惊声尖叫的一系列规律和场景。这些元素最初还是原创理念,随着时间发展就变成了常见规律了。例如:

*灯光忽闪忽现的暗室。

*废弃的建筑或收容所。

*走廊尽头突然出现一个小女孩,但很快就消失了。

*电话响了,但接电话时对方却没有任何声音,或者只听到急促的呼吸。

*大雾迷漫的环境中,可以听到潜伏在某个角落的怪物发出的声响。

*角色们被滞留在一个被废弃的小镇中。

这种例子数不胜数。

这里的“规律”我指的是已经被过度使用,丧失其原本新意的想法。在上述例子中,有些规律的运用恰到好处,有些则并非如此。有些一开始可能是原创理想,但经过多年的电影和游戏熏陶,我们仍可一下子猜出接下来的剧情。

这些规律的问题在于,我们可以预知将发生什么情况,因为我们此前看过太多类似情景了。我们知道杀手不会在第一次出手时就死亡,他们总会不断回来骚扰主角。我们也知道当主角们分开时,通常意味着生离死别。这正是规律的问题,我们总能料想到结果。

有些运用恰当的规律使用了角色、故事和场景设置。在这方面表现良好的游戏,会在我们认为应该会很恐怖和吓人的地方做得更好。它们还是会制造出恐怖效果,引进新的玩法,体验和恐怖视觉效果。

这是《F.E.A.R and The Ring》中的幽灵女孩。

fear(from worldofleveldesign)

fear(from worldofleveldesign)

《求生之路》引进了合作玩法和受到感染的人群。他们并非丧尸,但就像《惊变28天》一样改写了“僵尸”电影的定义。

silenthill-town(from worldofleveldesign)

silenthill-town(from worldofleveldesign)

《寂静岭》中被废弃的小镇,或者《鬼屋魔影》中闹鬼的屋子。

condemned-2(from worldofleveldesign)

condemned-2(from worldofleveldesign)

《死刑犯2:充血》,融合了第一人称射击游戏以及恐怖求生游戏元素,并引进了混战格斗元素。游戏中含有足够的熟悉元素,同时又不乏新颖性。《死刑犯2》的关卡设计贯穿着混战格斗元素。

由此可见,规律很重要,它们有助于玩家理解游戏。

规律确实管用。

即便我们知道即将发生什么情况,它也还是能创造一些让我们回应的心理恐慌。这也正是它们被称为规律的原因,因为它们是被证实可行的做法。

所以我们的目标就是认识规律,并对其进行深华。

要了解规律的表现元素及其运行原理。这样你就能预知玩家的反应。了解玩家的预期以及他们可能采取的行动,可以让你为他们带来更多新意。要善于使用规律作为关卡和游戏设计的基础。

但规律本身并不会令人印象深刻,它们很容易被遗忘。它们确实会吓到玩家,但却只是一种小伎俩。只有使用规律并了解玩家对此产生的反应,你才有可能引进新元素。使用规律很简单,但要让玩家记住却很困难。

就像我们都记得《第六感》的结局,但却不记得其他使用相同结尾的电影。

有些规律包含故事元素,场景和特定事件,例如忽明忽暗的灯光,以及在镜中看到自己的身后之物。

你可以将这些规律作为起点,探索和引进吸引玩家融入情景、故事和关卡的新元素。

所以,在此我就总结4点,就是我认为对于创造恐怖感,让玩家在你的关卡设计中感到害怕的4个重要原则。如果使用得当,可以制造出一种令玩家在关卡/游戏结束后仍然心有余悸的情感反应。

这4个元素分别是:

*故事和场景

*关系

*预期和节奏

*道德决定

执行步骤:

在开始观看恐怖和悬疑片时,记录下你所看到的一些常见规律,以及你当时对这些特定事件的反应和预感。了解导演在此的意图是什么,何处会激发人们的心理反就。为何你在电影的紧张时刻会产生当时那种感觉。

总之要多玩恐怖救求生游戏,并研究人的心理,了解人们做某些事情的原因。

预期和节奏

预期和节奏是创造任何单人和多人地图的一个重要环节。这对于创造一款成功的恐怖求生游戏来说更为重要。

节奏指的就是速度。

预期就是对即将发生某事的预感。

alone_in_the_dark01(from worldofleveldesign)

alone_in_the_dark01(from worldofleveldesign)

节奏和预期可以让设计师知道如何吓到玩家,何时及如何执行设置。这一切都要取决于成功把握节奏,创造针对特定事件或结果的预期。

设计师应逐渐而一丝不苟地创造节奏。就好像上楼一样小小翼翼,一步一个阶梯地走到楼顶。而不是三步并作两步直奔到顶。

当你到达楼梯顶端时,就得开始创造预期,就好像猝不及防地从楼顶跌至楼底。如果你一开始就引入一个杀手或怪物,那就没有多少神秘感,最后就没有什么可以保持节奏,吊足玩家胃口的元素了。

好比是坐过山车。当你在排队等待时,会听到过山车呼啸而过的声音。听到其他人在尖叫,感觉地面在震动。随着你在队伍中往前移,就会看到排在前面的人坐上过山车。队伍越近,你越觉得自己心跳加速。直到你自己坐进车厢时,才发现已经无法回头了。你要被困在这个小小的车厢里。现在你开始慢慢等待自己平静下来,而后过山车首次垂直降落时,你会发现自己在等待中的一切预期全部得到验证。

如果所有等待的结果令人失望,那么就达不到预期效果了。你的体验也会被破坏,而如果你没有建立这种预期,你突然间被送上天,并飞快地翻滚几个回合之后就结束了,这也同样是个令人失望的经历。

可以把这想象成一个没有回转点的弧线。这正是多数电影的剧本创作方法。你可以用同样的方法设计你的关卡和事件。

curve(from worldofleveldesign)

curve(from worldofleveldesign)

当你为故事的事件创造节奏时,实际上也是在为玩家制造预期。最后这种预期必须符合玩家走在整个游戏或关卡时所产生的预期。你得通过为一系列事件的发展过程设置节奏而创造预期。

可以将关卡中的事件想象成一个事件发展始终的过程,其中不乏逐渐上升的冲突。例如在《反恐精英》中,你要购买武器,然后进入一个阻塞点,开始交火。你的多数队友阵亡了。一切暂时平息下来,你继续深入前进,安置炸弹,这里的预期又再次高升。随着倒计时进行,你清楚反恐精英们将在被炸区域四处作鸟兽散。在最后一秒弹药爆炸了,你的预期也得到了验证。

最好创造一些极为震撼的效果,如果玩家从中幸存,他们就会对此印象深刻。不要刚开始就一骨脑儿地亮出所有底牌,要通过引入预期而逐渐制造节奏。

要善于使用规律。认识到规律的本质,了解用户会如何回应,因为他们经过多年耳濡目染,已经能够预感即将发生什么情况。最好是数次引用规律,然后突然来一个大转变——引入不可预期的情况。

在地图上使用一个焦点,是创造预期的一个好方法。

alan wake(from worldofleveldesign)

alan wake(from worldofleveldesign)

可以使用光线和声音来调动玩家注意力,将其引向场景中的一个特定点。当然,不要抖出一切内容。

要使用提示信息。使用声音和噪音是一个创造预期的好方法。

在各个事件之间创造足够的空隙让玩家喘气,下一个事件应该比之前的更具趣味性和挑战性;要慢条斯理地引进事件。

制造风暴之前的平静假象

这是一种创造剧烈事件,在数秒之间从0飙到60的有效技巧。一开始要先确保场景中的一切都很平静,没有丧尸,没有杀手,也没有boss,好像一切都很完美,然后你要引入一个声音,数秒之后就突现险境。《求生之路》就是这方面的典型,玩家还来不及呼救就已经被敌人团团包围。

然后,引起大混乱。

这方面的完美典型是《拯救大兵瑞恩》。

saving-private-ryan(from worldofleveldesign)

saving-private-ryan(from worldofleveldesign)

在电影末尾,当他们准备在小镇中与纳粹战斗时,你可以看到他们坐着聊天和听音乐。看起来一切都很好。但在数秒之间,这个地方就沦为战场。

平静之中总是酝酿着风暴。

这里有3个为关卡设置节奏的方法。想想你的关卡设计中可以运用这种方法的特定事件。可以使用这里的弧线图,它同时适用于单人和多人游戏。

想想那些拥有明显上升弧线的电影,例如《铁血战士》和《泰坦尼克号》。

研究一下《拯救大兵瑞恩》中的节奏和预期设置方法。

你该如何为玩家创造预期,让他们在最终结果出来之间持续心跳加速呢?

故事是我们所记得的事物发生及结束过程。我们喜欢讲故事,也喜欢听故事。故事是我们通他人沟通和交流的最佳方式。我们并不在乎真相,如果要传授历史知识,通过讲故事的方法要比告诉我一些日期时间,以及我记不住的人名更有效。

在《求生之路2》发布时,我还在攻克《求生之路》的战役地图。我请女友来撰写关于Louis、Zoey、Bill和Francis这四个人在新奥尔良一路同丧尸作斗争的虚拟小说。

她写了这些人物出现在当地的原因,他们如何聚集到一起,他们为何相互支撑着活下去。他们每个人都有个独立的目标,需求和愿望。其中自然而然地提到了故事发生的环境。每个角色的背景就是由一系列事件和情况造就的。当他们宣布推出《求生之路2》时,我就放弃了自己的想法。

l4d2_01(from worldofleveldesign)

l4d2_01(from worldofleveldesign)

但这个举措对我来说却非常重要,极大开阔了我的眼界。虽然这个故事无法见到天日,但其中的深度却可贯穿至关卡设计。这一举措令我得以创造更有深度的角色和场景。

环境的故事

地点。

有些特定的环境更能传递恐惧感。例如,废弃的房子和旧旅馆房间就比全新的办公大楼更可怕。原因在于前者具有历史,含有过去居住其中的人遗留下的痕迹。而全新的环境却没有这些情况。所以我们在环境的故事中也可以看到恐怖片/恐怖游戏发生的一般规律。

要确定环境的以下要素:

*什么地点?

*什么背景?

*什么时间?哪个季节?

你想在此表达什么心情?要让环境补充故事,以及你所希望达到的意图。还要让环境推动故事向前发展。

收集参照图

这是一种技巧,可用于创造玩家与地点的情感联系。首先要自然引入环境,不要带有丧尸、连环杀手或你的设计中含有的恐怖元素。这个环境或许是角色工作的地方。

之后,待玩家熟悉这个地方后,在他们遇到恐怖事件时再重新把他们引进这一场所。

此时玩家会产生一种心理联系,鉴别这个场所。因为他们之前已经来过,对它很熟悉,而不是像初来乍到那样对它一无所知。

例如,在《英雄本色》(电影/游戏)的卧室中,Max Payne在游戏之后的环节又回到了那个地点 。

接下来就是创造恐怖环境和关卡设计的最重要环节。你得创造一种与玩家相关的环境,要让他们能够识别,以便感到有情况发生。

惊变28天(from worldofleveldesign)

惊变28天(from worldofleveldesign)

如果是上图这种情况,你就不一定要去过该地,也能够识别出来。因为多数人都知道伦敦大概什么样子,所以他们在《惊变28天》中也能够认出来。

只使用那些与你的游戏角色直接相关,以及支持故事发展的场所。如果你能够将一个场所同玩家联系起来,它就能够加强环境与玩家的联系。

实践:

*撰写一则游戏环境的故事。要想象你是在向好友讲故事。故事中有哪些人物,环境为何如此发展,为何所有人要离开?

*这个环境是如何造成的,其中发生了什么情况?

*想想其中的情感影响,以及这个故事如何为环境创造更多深度,并将其同角色和玩家联系起来。

关系

关系指的是玩家与其他角色、故事和环境之间的关联。在游戏中建立一种关系是极具挑战性的任务,在恐怖类游戏中尤其如此。没有太多游戏和电影能够巧妙处理这一点,而能够做到这一点的基本上是令人印象深刻的作品,并招来许多跟风之作。

我们很难不露痕迹地创造两个或更多角色之间的情感联系,因为建立关系需要时间。在电影中,我们常看到牵强的爱情故事,或家庭伦理故事。但很多时候我们并不在乎,因为在此要建立真正的关系根本就无从入手。所以这些故事看起来就像是事后再添加的一样。

要在游戏中插入一个强大,并且同玩家有关的联系是项极耗脑力和时间的工作。作为人类,我们总想与他们联系,我们希望分享自己的经历。

角色间的共同经历更易于让他们建立关系。有些强大的情感联系就是人们经过一些剧烈的事件而建立起来的。

任何共同的情感都会产生一些化学反应。例如悲伤,爱、兴奋和趣味等。如果你可以为正在体验游戏或地图的玩家引进其中任何一种情感,你就可以为他们创造一种情感联系。如果你尽早进行有效的铺垫,你就能够让用户沉浸其中。

最近还有许多游戏利用狗作为“伙伴”,其中原因之一是,狗更容易同玩家建立情感联系。这也是几年前的虚拟宠物如此盛行的原因。在电影中,我们可以看到成百上千万人死亡,但如果看到一只狗丧生我们就会觉得这是一个悲剧。例如电影《我是传奇》。

狗同玩家和角色之间的关系虽然也已经是一种过时的规律,但在电影游戏界仍然算是一种新颖的形式。例如《神鬼寓言2》、《辐射》等游戏中的主角与其四肢行走的伙伴之间都有强大的情感性关系。

fallout-3dog(from worldofleveldesign)

fallout-3dog(from worldofleveldesign)

那么在玩游戏过程中,你和动物之间已经建立深厚关系时,却发现因为前面有一个无法攀登的栅栏或牢不可破的玻璃墙,你和自己的狗不得不就此分离时,又该如何?

你只能眼睁睁,无可奈何地看着坏蛋或一群丧尸逼近并杀死你的狗。如果在此之前,你已经投入大量时间和精力玩游戏,你会有什么感想?

我不知道你会有什么反应,但我想象得到这种情景,也能感觉到这将发生什么情感影响。这就是你希望玩家体验的一种强大情感,这并不容易实现,但如果做到了,效果会很惊人。

在关卡设计中涉及建立情感这方面,我建议你参考以下原则:

*玩家同其他人类的关系要比同财物的关系更强大。我们通常会看到有人损失了一橦房子或汽车或一些财物,但实际上人只有失去了另一个人这种更重要的东西时,才更易于引起玩家的情感回应。

*如果我向你展示了一些创造悲伤情感的东西,并在该关卡之后环节中重新引进这一元素,你就会像初次看到它一样产生同样的反应。我现在可以用这一方法在关卡中重新激发你的同种情感。

例如,假如你是在《毁灭战士3》的洗手间这种场景中让玩家遭遇以下情景,那么他每次进入该洗手间,都会对这个环境产生一种心理反应。

doom3(from worldofleveldesign)

doom3(from worldofleveldesign)

《神鬼寓言1》和《神鬼寓言2》也是将角色重新引进他原来的出生地来实现这一效果。

*音乐可以创造出情感关系,并令其更为深厚。可以在你游戏的关键环节和高潮部分使用特定音乐,以加强玩家和角色之间的情感联系。

*角色同环境之间的关系可以发挥绝佳效果。例如,假如角色返回他们之前去过的环境,但现在环境发生了变化。

例如在《英雄本色》游戏刚开始时,主人公的妻子和孩子都被强闯家门的毒犯子杀死。在游戏后面,我们可以通过他的梦境回到这个场景。我们已经拥有同主人公的情感联系和对该场景的特定回应。这是一种令我们希望快速解决开场时所发生情况的强大动机。

要关注人的普遍情感,并创造使玩家融入其中的情境。这需要花费一些时间和精力。要了解你所处的情况,环境以及参与其中的角色。

道德决定

最后就是玩家在游戏中所做出的道德抉择。一般而言,道德是一个更改我们社会行为的规则系统,它要求我们行善而非作恶。

《求生之路》就是关于道德抉择的一个优秀典型。

你同其他4个人类玩家一起并肩作战时,通常就得针对团队做出一些决定。

要由谁最后摁下按钮召唤一群丧尸?你是否会等待最后一个玩家进入藏身房?你是否会关门让他们等死?你是否会不顾其他三名玩家的安危,跳出安全地带去救其中一名队友?

你们要并肩作战,如果一名角色走丢了,并受到丧尸攻击,作为玩家的你就要做出道德抉择,究竟是不管他们死活自己逃命,还是帮助他们从而让自己陷入险境?还要考虑你当时的命值、你离藏身房的距离,以及是否有其他玩家伸以援手等因素。

这一切都会影响到你所做的道德选择。我们很让自己作出决定,我们多数决定都要取决于其他人的境况以及一个特定的情境。

含有这种道德选择的游戏包括《神鬼寓言》以及《神鬼寓言2》,还有最新的PS3游戏《Infamous》。

在电影《惊变28周》中,当丧尸闯进藏身房的,主角就得决定离开还是陪在妻子身边。他和妻子都在同一个房间,但隔着丧尸。丧尸破门而入时,他就躲在门边,丧尸看到他妻子,但却没有发现他。

她看着自己的丈夫并向他呼救。这个主人公知道,如果他去施救就会死。这个时刻是其做出道德决定的最重要元素。他选择逃跑并将她关在门内。

在他逃跑过程中,我们可以看到他妻子趴在窗上无助地看着他远去的背景,任凭丧尸在她身后撕咬。这个场面令人难忘。

在《侠盗猎车手4》中有个任务拥有2种结果。在你同游戏中的两个角色建立良好关系后,你得到的任务就是杀死其中一人。PlayBoyX给你的一个任务是杀死他的好友,而后者正好也是你的朋友。在你去完成任务的路上,却接到你将杀之人打来的电话。他说自己需要你的帮助,因为他觉得PlayBoyX准备杀他。现在你就面临一个道德窘境了,你该杀谁?你会选择忠诚和友谊,还是选择金钱?

所以,你该如何让玩家开始同游戏和关卡产生更多情感联系?

*可以从向你的游戏、关卡设计引入选择入手,令其成为一个独特而罕见的地图。

*在玩家的路径中引进一个选择。

*让角色们分离。

*让角色们做出两难选择,让其中之一应对其他情况。

为某一情况下的玩家引进含有真正后果的选择

如果你已经建立了一种原先就成立的关系,并给予玩家一种会给游戏故事、环境和角色的幸福带来重大影响的选择,那么你就有望创造一种真正独特和具有情感影响力的游戏/关卡设计。

篇目3,研究称休闲玩家更易受惊吓且融入恐怖游戏

易用性和用户体验工作室将此次研究作为一次内部调查。因为研究结果不具商业目的,并且用于测试的游戏已经发行,所以“最恐怖”的Xbox 360游戏的评选不是出于批评或全面分析游戏的目的。

研究方式

本次研究,Vertical Slice工作室综合采用了不同的方式,包括采访、思考、研究者/参与者后期游戏分析和生物测定反馈等,旨在评估不同游戏的体验。参与研究的6名玩家是从一个单位超过500的数据库中挑选出来的。研究人员要求他们玩4款不同的游戏——各30分钟,或根据游戏的内容确定接近的时间长度。

Vertical Slice在英国布赖顿的实验室开展了本次研究。实验室特地布置成自然条件下的游戏环境。玩家可以像在自己家里一样玩游戏,可以像平时一样选择跳过过场动画、自由选择游戏难度。游戏也定在一天当中稍晚的时候,这样房间就会比较暗,而这个时候也正是玩家所习惯的游戏时间。

游戏规则对所有玩家都是相对平衡的,这样可以减少游戏规则可能产生的偏见。

生物测定技术

本次研究选择的测定对象是心率、皮肤表面温度和皮肤电反应(GSR)。对某些玩家还使用了呼吸测定技术。GSR可以完美地测定激励,即兴奋和挫折感,皮肤温度可以指示快乐或悲伤和波动,而心率可以突出玩家的投入程度。在图表中,上方的蓝线表示GSR,中间的绿线表示皮肤温度。

游戏的选择

通过社交媒体工具、投票和小规模非正式调查,我们得到了一份Xbox 360最恐怖游戏的名单。这份名单上最终削减至4款候选游戏用于测试。这4款游戏分别是《Alan Wake》、《生化危机5》、《死亡空间2》和《死刑犯》(游戏邦注:《Left 4 Dead 2》、《战争机器2》、《死刑犯2》、《FEAR》(1和2)、《死亡空间1》、《寂静岭:回家》、《鬼屋魔影》和《质量效应2》也是可以考虑的游戏,但最终没有用于本次研究)。

玩家的选择

6名参与玩家来自不同的游戏和人群背景。6名参与者均没有玩过这4款测试游戏,为了达到研究目的,他们被分为硬核玩家和休闲玩家。

Kira:33岁的中级玩家,每周至少5小时的游戏时间。虽然游戏历史颇长,但没有Xbox 360。自称对游戏很投入,容易受惊吓。[硬核]

Rosalind:31岁的高级玩家,每周到至少5小时的游戏时间。自己拥有三台主要的通用游戏机,坚称不是休闲玩家。[硬核]

Rob:34岁的游戏新手。刚脱手自己的 Xbox 360,所以最近没有花时间玩游戏。[休闲]

Mike:42岁的休闲玩家。每周少于2小时的游戏时间。限制游戏时间已有一段时间了。自己拥有家庭Xbox 360设备,但很少玩。[休闲]

Olivia:20岁的休闲玩家。玩不少游戏,但持续时间不长。没有通用游戏机,自称喜欢慢节奏的或派对游戏,玩动作游戏有压力。[休闲]

Matt:29岁的硬核玩家,每周玩自己的Xbox 360超过20个小时。是游戏《Fable》和《辐射》的粉丝。[硬核]

《Alan Wake》

《Alan Wake》的故事始于主角对噩梦的叙述,这也充当游戏的入门指南。一开始,玩家控制着主角Alan Wake,不久,他就被一个持斧的黑影追击。在出现黑风以前,玩家必须一边击败一小摄敌人,一边穿越恐怖的梦魇环境,然后到达一间光亮的小屋。

游戏的开场先是一个过场动画(显示了模糊的杀戮画面),里面出现了一些场景和阐述。在游戏难度上,只有一个玩家选择了“困难”,其余玩家都选择了“正常”。一旦玩家抵达灯塔,噩梦即结束,游戏也告终。

玩家的游戏分析

对抗。在开场影像部分,玩家大多无动于衷,但在口头上肯定了游戏的场景和简介。第一个重要的打斗是,当Alan环顾四周寻找那个声音低沉的非正常人时,那个人先口头吓唬他,之后又挥舞着斧头向他砍来。5名玩家在此毙命,其中2名玩家拖延了时间,似乎是没有反应过来此时的行动应该是转身逃跑。

从相对安全的开始突然变成出乎意料的惊慌打斗,激发了所有玩家的反应,休闲玩家的反应尤其激烈。玩家表示这既不是积极反应也非消极反应,尽管生物测定读数表明,玩家的反应确实很突然很强烈。4名玩家称这个场面确实使他们感到震惊,2名玩家同意这部分很吓人。

Rob游戏行为分析(from gamasutra)

Rob游戏行为分析(from gamasutra)

持斧人的出现让Rob吓得不轻,从GSR读表上可以看出明显的尖峰。

出人意料的是,黑影的重复出现不再激发玩家任何强烈的反应。最初的打斗改变了玩家的呼吸状况,但之后,呼吸又恢复成稳定的放松状态。只有1名玩家的反应一直很激烈,直到抵达中点——Alan暂时安全的地方。

杀戮场面。正是在这个时候,过场动画上演了非常血腥的戏码,相当恐怖。5名玩家的GSR在这时候出现变化,各个尖峰分别对应不同的打斗。然而,后期分析和发言表明,这些尖峰是出于游戏的沉浸感加深,与恐惧无关。但有1名玩家(Olivia)称自己确实觉得这部分很吓人,而另一个人(Mike)则认为他的反应到达尖峰是因为情绪缓和了,因为过场动画播放(陌生人正在被打)时,意味着此时是安全的。

Mike游戏行为分析(from gamasutra)

Mike游戏行为分析(from gamasutra)

Mike的GSR反应明显,但温度下降,呼吸平稳。他否认自己此时受到惊吓,表明图表上所示的反应与其他东西有关,如感到放松或兴趣。

房屋场景。游戏接下来的镜头是玩家被困在一间小屋里,外面是虎视眈眈的黑影。休闲玩家和硬核玩家在这部分的表现差别相当大。硬核玩家意识到这个环节是剧情活动,根据以往的游戏经验,此时玩家是安全的。后来的交谈证实了这个猜想。 Matt甚至称:“我知道我不可能在这个关头挂掉的,所以我一点也不怕。”当被灯照得通亮的出口出现时,三个硬核玩家都没有反应。

在此期间,两名休闲玩家的生物测定表明,这个场景引起了他们的极大恐惧感。从GSR和呼吸测定上可以得出这个结论。休闲玩家均称他们觉得这部分很恐怖。当出口出现时,这个结论再次得到证实——我们观察到了强烈的反应,既是恐慌也是舒缓。

Matt游戏行为分析(from gamasutra)

Matt游戏行为分析(from gamasutra)

虽然游戏的显著目的就是为了在这个场景吓到玩家,但对硬核玩家Matt来说,这反而成了激励,他还对这房间的布置做出了不以为然的评价。

结局。游戏的后半部,因为玩家面对数量庞大的敌人,所以动作就明显增多了。被敌人突袭时,2名休闲玩家当场跳起来,都是在非剧情环节。第3个玩家说:“太吓人了……没子弹,讨厌的持斧凶手盯上我了:吓死我了!”但测定呈现紧张的反应,而不是突然的“惊吓”尖峰。

游戏的最后一分钟,玩家终于抵达灯塔,但突然闯进了一帮黑旋涡似的东西,新的追击场面又来了,在这里,2名玩家“阵亡”。最后一分钟激发了大部分玩家的激烈反应,算是一个紧张又不失兴奋的结尾。皮肤温度随着游戏的进展冷却下来,反映了这是一个积极体验,5名玩家均证实了这一点。

Olivia游戏行为分析(from gamasutra)

Olivia游戏行为分析(from gamasutra)

与其他玩家相比,Olivia的GSR反应相当平和,表明了她对游戏的投入因为高潮和关卡而增强了,伴随着颤抖和恐慌。

发现

《Alan Wake》的测试中,存在四个重要的时刻。最初的对抗激发了所有玩家的恐惧感,玩家普遍认为这是一个令人恐惧的时刻。过场动画旨在吓倒玩家,但玩家的反应很大程度上与恐惧感无关。接下来的时间,即玩家单独呆在小屋内时,只有休闲玩家受到惊吓,而硬核玩家则没受影响。最后的时刻,在一定程度上,休闲玩家比有经验的玩家更害怕。

玩家的体验阶段图

比较玩家自画的《Alan Wake》体验过程,表明休闲玩家比硬核玩家更投入。之前描述的关键时刻也说明,硬核玩家只在某些时候受到惊吓,而休闲玩家却认为整个过程都很可怕,显然,后者也比前者更享受这款游戏。

玩家体验阶段图1(from gamasutra)

玩家体验阶段图1(from gamasutra)

《生化危机5》

《生化危机5》的开场是一系列的过场动画,显示了各种不是太恐怖的画面,阐述了非洲背景。玩家进入控制和背景时,游戏的节奏非常慢。不久之后,主角Chris Redfield就碰上僵尸了,玩家不得不采取行动。在决战以前,玩家得与更多僵尸展开殊死搏斗。

另一个画面,详细描述了Chris遇到的一个人的殉难过程,紧接着凶手朝主角的方向狂扑过来。紧张的打斗开始了,玩家在此阶段必须击败许多常规僵尸和一个挥斧的超级僵尸。玩家完成关卡或死亡,游戏就结束。

玩家的游戏分析

在开场慢悠悠的《生化危机5》中,前10分钟都没有重要的事件发生。

初次交锋。与僵尸的狭路相逢就是玩家遇到的第一件大事。第一次交战影响了玩家的呼吸和其中2名玩家的GSR反应。之前的过场动画创造第一个尖锋,之后的尖峰随着玩家与僵尸的战斗此起彼伏。

尽管这个场景看似吓到了玩家,特别是它突出了血淋淋的惨状,但没有玩家承认自己在这时候被吓倒了。玩家认为它激发了自己的兴奋感,更渴望下一波动作。

Mike游戏行为分析(from gamasutra)

Mike游戏行为分析(from gamasutra)

Mike对第一只僵尸的反应平平,但他渐减的投入感被武器再次点燃了。他的GSR稍微升高了,同时呼吸加深,皮肤温度的下降意味着他正在享受这款游戏的体验:他本人也证实了这个说法。

遭遇成群的僵尸。下一个重要打斗发生在玩家面对一大波僵尸,不得不正面抗击时。4名玩家的GSR读数突然升高,呼吸也同时变短促。只有2名玩家称这个场面一点也不吓人。另外,硬核玩家和休闲玩家之间的反应没有明显差别。

当玩家选择射击僵尸时,我们可以看到玩家的投入感增强了;当玩家选择“弃尸逃跑”时,害怕是普遍的情绪反应。有些玩家称这个场面至少有点让人惊恐。

Kira游戏行为分析(from gamasutra)

Kira游戏行为分析(from gamasutra)

Kira选择抗击迎面而来的僵尸群。她的心率改变了,GSR的波动表明她在游戏中的融入感加深了。然而,她否认自己那时受到惊吓,而称这是战斗的先知先觉反应和战斗本身引起的兴奋。

集会和杀戮。过场动画的主要高潮大约发生在20至25分钟后。所有玩家选择完整地观看视频,其中3名玩家对展开的事件产生了反应,特别是杀戮场面。玩家表示这段视频蛮惊悚的,恐怖的话,就是一点点吧,但Matt犀利地补充道“确实很恐怖,不止只是让人担忧。”

Rosalind游戏行为分析(from gamasutra)

Rosalind游戏行为分析(from gamasutra)

Rosalind对杀戮场面的反应比较突出,而过场的其他部分对她影响不大。震动和血块让玩家对即将发生的事件产生了恐慌,一种独立于“恐怖”之外预感型的恐惧产生了。在视频的结尾,我们看到了另一个反应尖峰。

最后的战斗。在这个高潮部分,我们可以看到玩家先是非常兴奋,因为能打这么多僵尸。大多数玩家称他们很喜欢这个场面,休闲玩家尤其享受。因为各个玩家应对战斗的策略和技巧不同,所以没有发现明显的反应。在这整个过程中,甚至是陷入求生挣扎时,也没有玩家表现出强烈的生物测定反应变化。

Kira和Matt 还发现,群涌而出的僵尸削弱了恐怖感、打不死僵尸的挫折感和战斗的难度,取而代之是其他情绪。Matt是唯一通关的玩家。

Matt游戏行为分析(from gamasutra)

Matt游戏行为分析(from gamasutra)

尽管Matt显然是周期性地陷入危险的境地、受到僵尸攻击,但他基本上没有明显的反应。他甚至淡定地说,这个结局比较平淡,原因是僵尸不太灵光了。

发现

参与者认为《生化危机5》中没有太多恐怖的地方。大多数玩家认为这款游戏好玩,场景和打斗部分都可圈可点,然而否认自己曾感到“非常恐惧”。

“这太奇怪了。怪异多过恐怖。”——Matt

“蛮酷的,但我没有被吓到。”—— Kira

尽管恐怖成分有限,但《生化危机5》确实展示了非常有氛围的场景。

“氛围感确实相当强。”——Rob

“那些黑洞洞的通道非常有气氛,虽然不太恐怖。”——Kira

血腥的场面激发了某些玩家的反应,特别是休闲玩家,大概是受氛围的影响而产生的恐慌。在事后的采访中,至少2名玩家赞同这个说法。之后,有些玩家自称有融入感,且在结尾部分的强度最高。而事实上,《生化危机5》的恐怖之处都出现在中间部分,也就是敌人仍然未知的时候。

玩家体验阶段图

首位登场的僵尸有幸刺激到所有玩家。这很大程度上是一种兴奋反应,但也有害怕的成分。休闲玩家的反应与硬核玩家的无异,但前者的融入感不断增强(虽然未必是惊恐),而后者的融入感则随着关卡的进展不断衰落。

玩家体验阶段图(from gamasutra)

玩家体验阶段图(from gamasutra)

《死亡空间2》

《死亡空间2》的开场波澜不惊,但颇有悬念,玩家从中可以慢慢明白,主角Isaac Clarke经过第一部游戏后,精神已经饱受推残。在开场部分,事件很快就变成半幻觉的恐怖,还好Isaac一下子就被一个医护唤醒了。

医护被莫名其妙地攻击致死后,主角被迫跑过一系列充满名为Necromorphs的走廊。敲打完微型反应系统之后,Isaac达到医院内相对安全的另一边,开始冷静地调查情况。很快,若干错误的警报之后,其他Necromorphs开始进攻Isaac。

玩家的能力不同,所以结束的进程也不同,但都坚持找到心灵遥感枪。没有玩家挨到获得等离子枪的时候。

玩家的游戏分析

开场恐怖和玩法启动。这部分没有激发玩家的兴趣,直到Isaac目睹自己死掉的妻子化身为恐怖的Necromorphs。

当医护被奇形怪状的东西杀害时,至少4名玩家觉得这部分很伤感很害怕。这些场面,因为震惊来得太过突然和强大,让玩家感到恐慌,也因为随处可见的惨景和血腥,再次加强了恐惧感。这个说法没有得到普遍认同,但3名玩家强烈同意这个假设,其他玩家则只是一定程度上赞成。

Mike游戏行为分析(from gamasutra)

Mike游戏行为分析(from gamasutra)

Mike的呼吸和GSR反应在视频中的“妻变”场面之后恢复正常,但医护被突然刺死时,Mike的反应又激烈了。他的惊叹声和事后的询问证实了,他那时被吓到了。其他玩家也在此时产生了相似的心情。

逃亡。这段追杀场面在不少地方都吓到了玩家,最终玩家的进程也结速在不同的地方。仅有一名玩家(Matt)死在最接近相对安全的房间的地方,而其他玩家中有不少都是在微型反应系统的剧情部分被Necromorphs”扑“死了。玩家在这部分非常投入。

引发惊恐反应的第一种情况是玩家身体受到攻击——这是影响最深远的,而且次次见效。当玩家命值不多时,惊吓效果就更好了。

然而,Matt对Necromorphs的生物测定反应虽与其他玩家一致,他却称:“我没顾上我是死是活。”这也是一种对恐惧的狡辩,抑或是玩家的另一种情绪,尽管他不记得当时的感受。

Olivia首次受到Necromorphs的直接攻击。显然,不规则的GSR曲线正呼应了这个场面。那时她正在惊叫:“天啊,我的天啊,吓死我了!”

引发玩家恐惧感的第二种情况是,当玩家知道自己被敌人尾随时,而怪物并没有出现在屏幕上,Isaac也还没受到伤害。这种“隐式危险”是让玩家恐慌的主要原因。一路尖叫的Olivia 表示,知道怪物正跟在她背后,确实相当恐怖。

最后一种受惊的情况发生在开场的追击,那时候玩家还不清楚怎么摸索出去。4名玩家因为走错了路线而死。其中3人称这让他们感到惊慌,从而使追击更可怕。Kira却表示,迷路让她觉得受挫,游戏反而没那么可怕了。另一名玩家(Rob)同意她的观点,当然,那是在他反复找不到路时。

这种惊慌/受挫感又来了——当玩家到达微型反应系统处,最初的恐慌很快就变成受挫感,因为玩家得千方百计地接通它。

Rosalind游戏行为分析(from gamasutra)

Rosalind游戏行为分析(from gamasutra)

摸索黑乎乎的走廊和门时,Rosalind连挂四次。她害怕的尖叫变成了受挫的呐喊,因为她没办法出去。

非战斗惨景。经过头五分钟的惊慌,玩家就习惯了接下来更悲惨的10分钟了。血花四溅的房间并没有让玩家有太多反应,但不少令人震惊的场面不同程度上惊吓了所有玩家。

恐惧感的主要来源是:当一个明明静止不动的病号突然就抓住Isaac的时候;当地上的通风口突然陷落的时候;当奇怪的、警戒的声音响起来的时候。

以上情形吓倒了几乎所有玩家,只有Kira和Matt这两位玩家被hold住了,尽管他们也被其中至少一种情况吓到。另外,GSR发生了显著变化,呼吸情况也有所改变。玩家们遇到《死亡空间2》的惊悚场面时,叫得特别凶,所以我们很容易瞄准特殊情绪点(恐惧)的时刻,且玩家事后受访时仍然记得各个特别惊吓的地方。

Rob游戏行为分析(from gamasutra)

Rob游戏行为分析(from gamasutra)

“我觉得非常怕——哇!”Rob已经被《死亡空间2》中的前面几个惊悚场面吓到了,但游戏相对平静的部分加重了他的恐惧。他坚信这时候游戏也不会让他好过,可能地板就快陷下去了。

有趣的是,许多恐惧感在产生以前,生物测定反应就已经不稳定了,如心率增加和呼吸加深。这种“预感”性的恐慌让玩家紧张,从而成为实际上生成恐惧感本身的关键因素。这个说法是Mike和Rosalind提出的,其他玩家也赞同。

心灵遥感枪和打斗。所有玩家都到达的最后一部分是Isaac得到心灵遥感枪。有些玩家不知道怎么战斗,所以非常沮丧,这种反应在GSR的尖峰和渐升的确皮肤温度上可以看出来。但是,在遇到necromorph时,知道怎么战斗的玩家感到的反而是恐怖。

只有Matt和Rosalind成功地使用心灵遥控枪打中敌人,所以就没有那么惊恐。Kira和Olivia不知道怎么控制战斗,称重复死亡后,与其说是恐惧,不如说是受打击。

Matt游戏行为分析(from gamasutra)

Matt游戏行为分析(from gamasutra)

面对突然袭来的尸变魔,Matt几乎没有反应。他在房间里踱步寻找着出口,终于找到了电梯。虽然他相当冷静,但呼吸仍然不规律,可能一定程度上他还是被吓着了——或至少些时他正沉浸于游戏中。

我们从中可以发现,那些可以从容地对付敌人的玩家基本上不受惊吓,而那些完全没办法反击敌人的玩家则受挫到几乎忘了害怕。那些一心想靠混战杀掉尸变魔的玩家反而是被吓得最厉害的,可能是因为生还的机会很小,却又不是不可能。

与玩家对话发现,他们感到特别惊慌,但只有混战的玩家(Rob和Olivia)称被吓倒了。Matt再一次对场景感到迷惑,事实上决定只是绕过necromorph而不是与之死磕,不回应任何重要关头的威胁。

发现

《死亡空间2》中吓倒玩家的场面很多,还向我们揭示了不同类型的恐惧反应。如,对抗的预感增强了游戏中的恐怖感,经过一阵子的紧张的,增加了恐怖感的潜在影响。

声音和假恐怖(即不会威胁玩家的地方)的运用爆发了玩家的恐慌。此外,玩家以为自己要展开战斗时,心生惶恐,而事实上,当真正的战斗上演时,玩家反而不那么害怕了。

“我受不了了,太吓人了!”——Olivia

再者,游戏的快节奏与逼真的场景的配合。当玩家置身于一个恐怖的场景(战斗/逃跑,受惊)时,此时出现的怪物就更加恐怖了——相比于在安全的场所(过场动画、NPC自杀)遇到怪物。

血腥画面只有与其他恐怖元素搭配时才显得恐怖。总体上说,《死亡空间2》至少有一次成功地吓倒所有玩家,此外还包含即刻的恐慌、预感性紧张和挣扎于战斗和逃跑之间的恐惧。

玩家体验阶段图

玩家画下的《死亡空间2》体验表,比其他游戏更富动态,甚至一向淡定的Matt画下的线也呈波浪状,说明他在游戏中也很投入。另外,玩家很容易就回想起自己受到惊吓的各个事件。

玩家体验阶段图(from gamasutra)

玩家体验阶段图(from gamasutra)

《死刑犯》

《死刑犯》是这几款游戏当中资历最老的,但也是公认的著名的恐怖游戏,所以仍然适用于本次研究。这款游戏的开场是一宗刑事调查,随着案情的进展,玩家对角色的控制程度也增加。玩家利用各种小玩意、倾听其他人物的话语,会越来越了解手头上这宗谋杀案的来龙去脉。

10分钟的游戏时间后,玩家独自在一座黑暗、废弃的建筑内搜捕在逃嫌犯。之后玩家因为幻觉的作用,感到自己被一名蒙面人袭击。经过一段长时间的调查后,玩家又遇到更多敌人。

玩家的进程到接过另一名警员的斧头后就停止了,没有人迎来一场拿硬家伙混战的时候。

玩家的游戏分析

犯罪调查。《死刑犯》的游戏节奏是所有参与研究的游戏中最慢的,开头的10分钟什么冲突打斗场面也没有。玩家得设法处理调查工具,但这个时候没有什么吓人的东西出现。倒叙风格的过场动画确实让至少3名玩家的生物测定有了反应,但Mike和Rosalind否认自己害怕了,反而希望快点进入游戏内容。

Mike游戏行为分析(from gamasutra)

Mike游戏行为分析(from gamasutra)

在倒叙动画的过程中,Mike的GSR达到峰顶,但他那平稳的呼吸率又证明他只是单纯地产生了兴趣,而不是害怕:“太肮脏了,不过我还没产生危机感。”

第一次交锋。玩家开始独自探索那座建筑后,几乎马上就遭到出乎意料的袭击。5名玩家被吓着了,因为他们受袭时还走错了路。Matt一枪就解决掉敌人,非常幸运地走到了正确的方向,所以遭到袭击时的反应没有那么强烈。面对突如其来的袭击,其他玩家的激烈情绪均在生物测定曲线上反映出来。2名玩家(Mike和Olivia)惊声尖叫,大多数玩家认为这是该游戏最最恐怖的时刻。

Rob游戏行为分析(from gamasutra)

Rob游戏行为分析(from gamasutra)

当迫近的袭击露出苗头时,Rob沉浸其中——警员发出的刺激的声音和警告,崩紧了他的神经,那时他正准备战斗。被身后的敌人袭击时,他的反应非常惊恐。

探索和休息。每一个玩家在探索建筑方面犯难。这整个环节下来都没有什么突出点,但不同的玩家各有受惊的地方。Olivia听到大声的呻吟时,吓得又叫又跳;Rosalind被另一个蒙面人袭击时,几乎吓呆了——这两人的生物测定都有明显反应。

有些玩家认为过场动画的部分比较恐怖,有些认为在剧情事件时受到攻击让人非常恐慌。尽管如此,这款游戏没有哪个地方把几乎所有玩家一起吓倒的。

脚步声、玩家自己的影子和敌人的线索都多多少少让玩家产生了反应,仔细看的话,这些微妙反应还是可以观察出来的。“有气氛”、“毛骨悚然”、“凶兆”等词都可以用来形容这个阶段。10分钟后,渐增的疲惫感、毫无进度的事件,都让玩家大感沮丧。没有一个休闲玩家撑到事先约定的测试终点——从警员手中得到斧子,此外,玩家在这部分游戏进入尾声前就过早地竭尽了紧张感。

Kira游戏行为分析(from gamasutra)

Kira游戏行为分析(from gamasutra)

Kira虽然摸索得很辛苦,但完全沉浸在游戏的氛围里。甚至在没有大事件发生的10多分钟里,她仍然饶有兴致。她表示,游戏的气氛非常紧张,她渐渐地感到有那么些害怕了。

发现

有趣的是,这款游戏对硬核玩家的挫伤并没有休闲玩家那么厉害。确实,硬核玩家的震惊反应更加强烈,且他们对游戏保持专注的时间也比没什么经验的玩家长。他们更快在这道关卡中取得进展,也理解了开篇的阐述。因为游戏缺少描述或明显的事件,所以比较没经验的玩家大约会感到困惑,相反地,游戏透露太多,硬核玩家就会没兴趣。

Mike、Rob和Olivia这3名休闲玩家均表示感到困惑不解,特别是在调查这方面,他们在游戏开头产生的恐惧感最后渐渐被挫败感磨掉了。Matt和Rosalind却认为,随着进程,游戏越来越恐怖,紧张感也越来越强烈。

玩家体验阶段图(from gamasutra)

玩家体验阶段图(from gamasutra)

硬核玩家直到游戏的最后还是很投入,他们的反应产生了明显的尖峰和低谷。休闲玩家的兴趣就没有那么浓厚了,当然也没有那么害怕,不过仍然认为第一次交峰确实让人印像深刻。

结论

实际的战斗没有对战斗的预兆那么令人恐惧。最大的恐惧感谢来自无实际战斗的时刻——玩家自以为或害怕将要战斗,但结果并没有发生战斗。

过场动画一般不能让(大部分)玩家产生恐惧感,但相比之下,休闲玩家的反应比较激烈。硬核玩家鲜有被过场动画吓到。大多数玩家认为过场动画是游戏本身的缓和阶段,不过,绝大多数人看恐怖影片时也会吓得半死。

首次对抗几乎总是最恐怖的。在所有游戏中,所有玩家首次抗击敌人时产生的恐惧,总是比后来的对抗更强烈。

重复失败会消磨恐惧感。无论什么时候,玩家重复死亡或摸索太长,受挫感就会取代恐惧感。如果玩家手头上有更实用事要忙活,他就不会那么害怕了。

单纯的血腥场面可能有刺激作用,但起不到恐怖的效果。有些时候,如果还有其他可怕的元素相佐,奇形怪状的东西就会让场景更加恐怖。一般恐怖的东西搭配让人恶心或令人震惊的内容会更容易吓倒玩家。但单纯的血淋淋元素是不能吓唬玩家的。

休闲玩家比硬核玩家更容易受惊吓,但也更享受游戏。有经验的玩家对游戏的熟悉度,和固有期望,决定了他们不太可能比休闲玩家更害怕。第三人称、紧凑的事件对休闲玩家来说更可怕,但有经验的玩家更容易在第一人称、衍生型事件的游戏中感到惊慌。

强烈的氛围可以加重紧张感。这会让玩家更投入,从而最终使玩家更恐惧。在没有事件发生的时候,如果游戏还能吸引玩家的注意力,那么当事件确实发生时,玩家更可能受惊吓。

敌人数目过多反而削弱了恐怖感。一旦要求玩家一次解决的敌人超过二个,玩家就没那么害怕了,因为对敌人熟悉了。

最恐怖的游戏排名:

根据我们的观察研究,结合对玩家本人的直接提问,现结果如下:

硬核玩家 休闲玩家

《死亡空间2》 《死亡空间2》

《死刑犯》 《Alan Wake》

《Alan Wake》 《生化危机5》

《生化危机5》 《死刑犯》

《Alan Wake》生物测定图表(from gamasutra)

《Alan Wake》生物测定图表(from gamasutra)

《死刑犯》生物测定图表(from gamasutra)

《死刑犯》生物测定图表(from gamasutra)

 

《生化危机5》生物测定图表(from gamsutra)

《生化危机5》生物测定图表(from gamsutra)

篇目4,关于恐怖游戏的玩家心理调查和分析

“这不是你所看到的,而是你看不到的。这是建议;是对于潜意识的调侃;是空荡荡的走廊上地板发出的嘎吱嘎吱声;是在拐角处缓慢行进;就像始终存在的邪恶织布机拒绝揭示自己的恐怖感。恐惧并不是肾上腺素的急冲。这是在黑暗中独处的无助感。”(Fahs,2008)

这一关于Travis Fahs的《Alone in the Dark Retrospective》的介绍阐述了这个领域的方向。自从诞生以来恐怖类型便在游戏中占据着很重要的位置。回到基于文本的《Zork》(1980),这款游戏让玩家深陷于黑暗的洞穴中,并害怕被Grue所吃掉,这是人们在之前从未在游戏中体验过的情境。之后便诞生了更多恐怖游戏,包括《潜伏惊骇》(1987),《鬼屋魔影》(1992),《生化危机》(1996),《寂静岭》(1999),《极度恐慌》(2005),《死亡空间》(2008)以及《Slender》(2012)。对于玩家来说,恐怖游戏是一种全新的挑战,因为他们必须学习全新的打斗技能;恐怖游戏还要求玩家学会逃避威胁。

分析恐怖游戏很有趣主要有一些原因。从情感内容来看,恐怖游戏可以影响几乎任何一种情感——包括讨厌,快乐,怀疑,害怕以及轻松。恐怖游戏的情感影响可以体现为焦虑,害怕与担心,进一步研究将发现恐怖游戏是依赖于怪物去创造出恐怖与厌恶感。

本文将讨论:

*恐怖游戏是如何影响玩家——他们的心跳是否开始加快,他们是否频繁地移动,他们是否惊恐地从房间里跑出来

*恐怖游戏背后的心理原理——为什么你会害怕?

*恐怖游戏中的哪些元素创造了最大的恐惧感——这是让玩家感到害怕的氛围或敌人,或者是与角色间的关系。

定义

这一项目的目标是调查玩家是如何因为恐怖游戏感到害怕,以及这些游戏中的那些元素为玩家创造了最大的恐惧感。

《牛津词典》对于恐怖的定义是:“1.引起大恐慌或紧张。2.突然袭来的恐惧。”

因此这一项目的目的是调查恐怖游戏是如何让玩家感到害怕。

宗旨和目标

研究

在项目的研究阶段,我们将通过多个来源明确恐怖游戏背后的创造过程,恐怖游戏对人们的影响,这类型游戏背后的心理原理以及如何完善恐怖游戏。

我们将检查许多广受好评的恐怖游戏,判断为什么它们能够始终都被当成是最优秀的游戏。

在完成所有的研究后,我们将分成两部分:氛围和心理。氛围将深入挖掘如何通过环境,声音和非游戏角色创造恐惧感。而心理则将检查留给玩家发挥想象力的元素。

这一阶段的目标是收集能够用于创造恐怖游戏的信息。游戏产业也能够使用这一信息去创造并完善恐怖游戏或任何其它游戏。

测试

测试阶段要求一些参与者去玩一些恐怖游戏。这一试验将用于找到恐怖游戏中创造出最大“恐惧感”的元素。

研究

研究部分将专注于恐怖游戏让人害怕的元素以及其背后的心理原理。在深入研究了这两个部分后,它们将被分裂成更小的两个方面:氛围和心理。这两个部分将揭示每个元素是如何使用的。

恐怖游戏让人害怕的元素——这一部分将着眼于游戏中用于吓唬玩家的方法。可能是游戏所使用的音乐,游戏发生的地点或者游戏中战斗的发展。

氛围——这一部分将详细挖掘游戏使用怎样的方法去创造氛围。例如音轨是由心跳所组成的,当心跳越快就意味着玩家越接近目标。

心理原理——这一部分将检查改变玩家心理状态的元素。可能是当玩家在思考他们正被敌人追赶,但事实上却没人在追他们的时候。

恐怖游戏背后的心理原理——这一部分将描述为什么玩家在玩这类型游戏时会产生情感波动。例如,如果角色被怪兽追赶时玩家会产生同感并因此感到害怕。

广受好评的恐怖游戏——这一部分将综述那些被当成是最优秀的恐怖游戏的游戏。

恐怖游戏为什么会让人感到害怕?

并不明确-—–在恐怖游戏中,那些未说明的事总是能够吸引玩家发挥想象力。玩家比被引导着穿过一些关键区域和关键的信息点,但是他们也应该有种不妙的预感。例如,《寂静岭2》的介绍让玩家走到城镇,他们面前会发生一些事,不过等到他们意识到时一切都太晚了,在行走的时候,所有玩家能够听到的只有角色的脚步,这是一个非常小的声音,就好象有一只狗在角色后面追着他跑并咆哮着。然而玩家并未遇到任何敌人,但是音频和视觉效果却将玩家逼到了恐惧的边缘。

无需呈现其它内容;说服玩家去吓自己。

强大的场所感——在恐怖游戏中存在很多会让玩家立刻察觉到危险的地方,如废弃的学校,医院和宾馆。如果游戏中存在一个“安全场所”,那么它肯定不会被当成是玩家的中心或基地,而是让他们退缩到一个角落去思考下一个恐惧的地方。但是如果有个地方是玩家必须反复回去的,那么当它发生改变,恐怖感便会提升。在《寂静岭4》中,游戏提供给玩家一个房子,他们将离开并反复回到房子中。当游戏前进时,房子中的房间将变得更易受攻击,因为敌人有能力进攻它。

在恐怖游戏中没有一个地方是安全的。

环境的微小变化——当某些事情成为一款恐怖游戏中的常规,它就不会再让人害怕了,因为玩家知道将会发生什么。但是如果只出现微小的变化,它们便仍能够激起玩家的好奇心,并提高他们的恐惧感。如果游戏是发生在一栋建筑中,然后有些东西会逐渐消失,如果这时候玩家会收到相关消息,他们便会有所提防,那么游戏也就没有意义了。

不应该让玩家觉得他们精通了环境。

与主角间的关系——这是必要的。最恐怖的游戏使用同感作为情感选择,从而让玩家会感受到他们的英雄的感受,并担心角色的安危。但是其它类型的情感关系也能够用于创造干扰玩家的机遇。在电子游戏《狂城丽影》中,玩家是作为一个无能力的年轻女孩,她只能努力逃离不断追着自己的邪教徒。当玩家频繁地经历了这个女孩的不幸后他们便会更加害怕。然而,在游戏《特殊行动:一线生机》中,玩家扮演了Captain Martin Walker的角色。Walker是一个能够保护自己的士兵,所以玩家无需担心他的安慰。但是游戏会通过要求玩家的选择以及Walker的心态恶化到达某种程度而传达出恐惧感。在游戏的一个场景中,玩家会得到一个能够引起巨大破坏力的武器,

游戏告诉他可以用它去对付敌人。但在玩家这么做后,他将看到一个不可预期的结果。在玩家意识到自己做了什么后,他们会暂停游戏并离开房间。这说明玩家和角色在关于他们于游戏中的行动中都经历了同样的情感,因为控制着角色的玩家并不在意他们行动的结果。

害怕必须是有目的的——害怕必须是基于一些真正的内容。所有的情感都是个人的感受。害怕也应该是个人的,即与一些世俗的情况联系在一起。

这将带给玩家恐惧。

人际互动——将人类戏剧带进恐怖游戏中将加深玩家对角色的情感依附。然而在游戏中模拟一个人类是非常困难的;我们可以通过简单的行动去克服它。例如,在游戏《Ico》中,主角必须握着女孩的手并引导她通过游戏。

如果没有这种接触,女孩便会迷路或被怪物抓住。

预感——恐怖游戏需要一种预感。这必须尽可能被拉长。玩家始终都需要知道,一些可怕的事正等着自己。然而,当恐怖的事真正发生时,所有的这种紧张感便会消失。当玩家最终看到他们必须面对或克服的,他们便会知道某些恐惧只是自己的想象力所创造的。

战斗——恐怖游戏中的战斗应该足够简单。然而,玩家不能完全掌控情境,不管是敌人的行为是否难以预测或者角色是否比敌人更虚弱。真正的战斗并不如暗藏威胁的战斗来得吓人。如果游戏并不要求玩家打败敌人,战斗就应该是“近距离且个人化的”。通过在关卡中射击敌人而打败他们并不会添加任何恐惧感,因为角色并未处于任何危险中。如果使用的是远程武器。并拥有有限的弹药,那么玩家便会因为不知何时会用尽弹药而感到害怕。

声音——恐怖游戏中的声音总是会让玩家感到害怕,甚至是在见到敌人前。这也将创造一种氛围并营造紧张感。音乐通常是由冗长的调子以及不断反复的刺耳声音组合而成。一些不是恐怖游戏中的音乐也有可能带给玩家恐惧感。例如,在《刺猬索尼克》的水下关卡中,当索尼克的氧气快用完时,音乐的速度便会加快,从而让玩家感到恐慌。在一些恐怖游戏中,声音总是与一些特定的事件联系在一起,所以当玩家听到这些音乐,他们便会开始焦虑,因为他们自己便将音乐与可怕的事件联系在了一起。例如在《生化危机3:复仇女神》中,当玩家听到复仇女神的主题音乐响起时,他们便会开始焦虑,因为他们知道复仇女神就在四周。如果恐怖游戏并未包含音频,它便不再具有沉浸式和恐惧感。Raymond User便证实了这点,即创造了一个调查音频在计算机游戏中的重要性的实验。在这个实验中,他要求许多参与者去玩一些游戏,同时检测他们所做出的身体反应。有些参与者是伴随着音频游戏,有些则不是。在实验完成后,他发现当玩家在玩《失忆症:黑暗后裔》时,这两个群组的玩家具有很大的区别。伴随着音频的玩家心跳加速率会比没有音频的玩家明显。

敌人——恐怖游戏中的敌人总是会让人心绪不宁,具有威胁性,或同时结合这两种。关于这点的显著例子便是Werewolf和Wolfman的区别。一开始它们都是狼,但它们是基于不同的设计。Wolfman是人类的变形。当你着眼于它时,你会害怕是因为你知道它曾经是人类,所以在它体内可能仍然留有一点人性。而你害怕自己遭遇和它一样的下场。另一方面,Werewolf则完全没有人性。它是纯粹的怪兽,具有天生的蛮性,它不会因为同情而犹豫是否杀你。在敌人设计中吓唬玩家的另外一种方法便是让他们感到不安。无辜也是一种让人害怕的元素。这会让玩家觉得自己在对抗一个孩童般的敌人,而大多数人都会因为自身的道德心而停手。

氛围——在《牛津词典》中,氛围被定义为“弥漫的语调或一个场所,情境的气氛,或创造性作品。”因此这一部分将详细挖掘创造恐怖游戏的语调或气氛的元素。这些元素是:强大的场所感,环境的微小改变,恐惧必须具有目的,战斗和声音。

强大的场所感——这一元素创造一个氛围感,因为玩家认为大多数恐怖故事都是发生在一个废弃的医院,学校,宾馆或黑暗的森林里。

环境的微小改变——当东西开始消失,音乐开始改变,其它角色的行为变得奇怪时,玩家便会察觉到一些不好的事要发生了。

恐惧必须具有目的——游戏中的某些事与玩家相关,不管这是设置,角色还是故事。

战斗——基于游戏设置,角色将根据它进行战斗。例如,如果游戏是以中世纪为背景,角色则需要带着剑与弓箭与敌人战斗。

声音——在游戏《Max Payne》中,在噩梦般的序列中,背景音乐是婴儿的哭泣,如果玩家掉进一个迷宫,婴儿便会开始尖叫。这会让玩家感到非常不安。

心理原理

这一部分将检查影响玩家心理和情感状态的元素,这些元素是:模糊,与主角间的关系,人类互动以及预感。

模糊——恐怖游戏永远不会在一开始就呈现出敌人的外观。这将让玩家能够创造自己想象中的怪物,并抱着害怕的心理等待着敌人的出现。

与主角间的关系——通过创造玩家与主角间的关系,玩家将与他们产生情感练习,并在主角遭遇危险时感到害怕。

人类互动——通过让玩家角色在游戏中与其它角色展开互动,将能够提高玩家对他们的依恋。

预感——预感是源自紧张。但玩家在游戏中感到紧张时,他们的神经会越绷越紧,直至最终释放出来。

敌人则同时适合这两种方面。它能够适应氛围是因为其设计和外观便是对于环境的反应。例如《生化奇兵》中的Splicers。Splicers是Rapture的公民,因为滥用的ADAM消费,他们的想法和身体突变至无法修复,并且是依靠于ADAM。敌人同样也适应于心理原理,因为敌人可能表现出无辜,并导致玩家犹豫是否要处理他们。

恐怖游戏背后的心理原理

镜像神经元-—–在20世纪90年代初期,一群神经系统科学家发现猴子大脑的某一组神经元会在执行一个行动以及观看其它猴子执行行动时被触发。

镜像神经元对人类产生同感能力来说非常重要。Marco Iacoboni教授说道:“镜像神经元是运动细胞。也就是说它们会发送信号到我们的肌肉去移动我们的身体,做出行动,抓取一个咖啡杯,微笑等等。然而,它们也区别于其它运动细胞,因为它们也可以通过看到别人的行动而被激活。”例如,当你深受去拿饮料时你的镜像神经元会被激活,而当你看到其他人也这么做时,它也会被激活。“甚至当我们什么都没做,只是看到别人移动时,它们也会在我们的身体内部创造关于别人行动的模拟。”

关于为什么会发生这种情况,Iacoboni以及一些成员组织了一次研究。在这一研究中,它们使用了装备去监视观看表示不同情感的脸部表情的人的大脑活动。通过看到表情,他们的镜像神经元会被激活,但同时边缘系统的神经元也被激活了。边缘系统是大脑中与情感相关的领域的一部分。所以在这种情况下对象在某种程度上也获得了一定的情感变化。

我们可以在《行尸走肉》中感受到镜像神经元的影响,因为游戏经常呈献给玩家角色的面孔以及他们的脸部表情。因此,当游戏中的一个角色生气或郁闷时,玩家的镜像神经元便会被激活,就像他们自己也在做着同样的标签并在某种程度拥有同样的情感。

同感-—–在《牛津词典》中,同感的定义是“理解并分享其他人的感受的能力。”通过是我们从别人的角度去理解他们的情感状态的能力。

心理学家Mark Davis认为总共存在三种同感类型。第一张是“换位思考”。即将你自己房产是同感对象。这将用于理解对方来自哪里的情况,而不是理解他们的情感。

第二种同感是“个人困扰”。这便是感受别人的情感。例如,在玩一款恐怖游戏时,你会在游戏中的角色遭到追逐或威胁时感到害怕。这一过程也叫做“情感感染”。情感感染是情感被当成是传播疾病的一种过程。

最后一种同感便是移情关怀。这是大多数人在听到同感这一词会想到的。即意识到别人的情感并理解他们。

举个例子来说吧,在《行尸走肉》的一个场景中,玩家需要将最后的四块实物分给10个人组成的群组,他们中的所有人都很久没吃过东西了。有些角色是小孩,还有一个带着心脏病的老人。通过游戏玩家已经与所有人建立起一定的关系,所以他们会在面对这一选择时感到沮丧。

战斗还是逃跑——战斗还是逃跑的反应是在面对一些可怕的事物时玩家的心理反应。这时候他们的身体将做出战斗或逃跑的反应。这种反应也会出现在面对虚构的威胁时。

是Walter Cannon在20世纪20年代发现了这一心理反应。Cannon发现动物在面对威胁时其交感神经系统会做出反应。交感神经系统是控制我们的内脏以及身体的一些肌肉。所以如果交感神经系统做出反应,这就意味着身体不知觉地将其呈现出来,并引出了逃跑或战斗的选择。

我们也可以在为该报告所进行的恐怖游戏实验中看到这种情况。当参与者在玩《Slender》时,他们会因为首次看到怪物而恐慌并尝试着逃跑,这在很多情况下将导致角色的死亡。而保持镇定的参与者反而更有机会成功脱离。

研究分析

从阅读过的文章以及玩过的游戏中,我们发现必须确保氛围是可信任的,而故事,角色和敌人能够映射出主角的心理状态。例如,在《寂静岭2》中,整个城镇及其居民都能够映射出James的心理状态。

设置必须尽可能现实且可信任,如此玩家才能够沉浸于其中。例如,《生化奇兵》创造了一整座城市让玩家在此探索。这是可信任的,因为通过音频日志玩家可以在到达前得知这座城市中发生了什么以及每个人为什么都发疯了。

游戏中的敌人不应该太过简单。如果他们拥有比玩家更多盔甲或生命值的话便能做到这点。我们必须通过这么做让玩家担心角色,而如果怪物是可被打倒的,那就确保玩家不需要花太长时间去做到这点,否则他们便会感到郁闷并退出游戏。

测试

测试将是一种实验。在实验中,许多参与者将玩一些恐怖游戏关卡。在游戏过程中,参与者的心率和身体反应将被记录下来并得到分析。该实验是发生在大学教室—-因为这是一个能够玩游戏的房间,并且能够关灯让玩家在黑暗中游戏。

该实验的目的是检测恐怖游戏,看看是否存在任何共同功能能够提高玩家的心率或引起他们做出身体反应,同时找到恐怖游戏中的哪个元素是“最恐怖的”。

该实验的设计是识别恐怖游戏中哪个元素是吓人的。这将由参与者的心率,身体反应以及对于问卷调查的回答所决定。

每个参与者在实验前需要填写一张关于他们之前的恐怖体验以及是否玩过任何游戏的表格(附录1)。他们还必须签订一份同意书(附录2)。在实验结束后,他们将再次回答一份表格(附录3)。这张表格是询问他们哪款游戏是最吓人而哪款最不吓人,并说出原因。心率监视器将测量参与者的心率。(附录4)他们的身体反应将被带有音频记录功能的摄像机记录下来。

实验中的游戏包括《生化危机5》,《死亡空间2》,《寂静岭3》,《生化奇兵》,《Slender》和《特殊行动:一线生机》。之所以会选择这些游戏是因为它们均获得了许多游戏评论者的称赞并且都是基于不同目的创造出恐怖感。

《生化危机5》——在这款游戏中,玩家必须在等待直升飞机摧毁阻碍他们道路的大门之前努力活下来。玩家将免费许多敌人,一个boss级别的敌人挥舞着巨大的斧头。玩家是从山上开始游戏,他们必须向下前进;然后进入一个房子,过场动画也因此而开始。领头的敌人将看到玩家并命令其他敌人对其发动攻击。玩家可以通过推倒门前和窗前的架子进行掩护,并从相关领域收集弹药。最终,boss将摧毁建筑的墙让其他敌人能够进入,而玩家也可以前往一个更大的领域。玩家必须在直升飞机到达并摧毁另一扇门前努力活下来。如果角色死了,游戏也就结束了。选择这一游戏关卡能够观察玩家是如何在无处可逃的情况下应对不断涌上来的敌人。

《死亡空间2》——玩家必须完成游戏的开始。在这期间,玩家所控制的角色必须想办法逃离追逐着自己的敌人。游戏一开始角色便遭到审问并产生幻觉。最终角色被锁了起来。当他们醒来时,他们发现另外一个遭到攻击的人将其释放了。玩家必须开始逃跑。他们想办法前往监事领域,在这里他们被另外一个持刀的角色抓住了,但之后将他们释放并引导着他们前往一个带有道具的橱柜。当角色转身时,站在其前方的人将掐断他的喉咙。如果角色死掉,他们将重生并继续游戏。之所以选择游戏的这部分内容是为了观察玩家是如何处理不能回击敌人的情况。

《寂静岭3》——选择的是介绍部分。在这一过程中,玩家不知道自己在哪里或者发生了什么,所以一切都取决于玩家如何行进。玩家将从一个游乐园入口出发,那里有许多穿着兔子服的角色带着残忍的微笑。当玩家离开这个地方,他们会前往一个小卖部,并在那遇到第一个敌人。玩家最终将到达一过山车区域,并开始走下轨道,并遇到一辆反向驶来的货车。当角色四驱时,游戏便会停止。之所以选择这部分游戏是为了观察玩家在没有明确指示时如何处理游戏中让人不安且反常的氛围。

《生化奇兵》——在这款游戏中,参与者将挑战介绍部分。玩家必须在获得第一个武器并被带向Rapture群体时前往Rapture第一个区域。游戏是从一个星球开始,在这里玩家将潜入大海。在找到一个带有生物圈且亮着的房子后,玩家将掉进Rapture。当生物圈浮出水面时,他们会看到另外一个角色被连接工具杀死。然后玩家将努力穿越关卡并与敌人战斗。在游戏中玩家可以在死后重生。选择这部分游戏是因为游戏氛围以及如何创造一个可信赖的世界。

《Slender: The Eight Pages》——在这款游戏中玩家必须在Slender的追逐下于黑暗的森林中寻找八页。当玩家遇到Slender时,静电将充满屏幕直到玩家只能看到静电以及Slender的脸。Slender将在玩家找到第一页时开始追逐玩家;声道将变成击鼓声。在玩家找到第二页时,将再次出现较短暂的静电。游戏过程中玩家只有一条生命。之所以选择这款游戏是为了观察玩家如何处理被一个不能反抗的实体追逐的情况。

《特殊行动:一线生机》——玩家将扮演一个必须使用迫击炮杀死敌人的士兵。当所有敌人都倒下时,玩家必须穿越他们所造成的大屠杀场景。当他们到达一个战壕时,他们会发现自己错杀了许多无辜之人。玩家可以在游戏中再生。这款游戏其实不能被归为恐怖游戏,但之所以被选为实验对象是因为它呈现给玩家他们行动的结果,从而能够观察玩家在面对错杀许多无辜之人的情况。

实验前的假设是,《Slender:The Eight Pages》能够凭借带给玩家的紧张感和恐慌而引起最高的玩家心率并刺激最大的身体反应。然而实验后参与者所选出的创造出最高心率的游戏却是《寂静岭3》,因为它的黑暗和让人不安的氛围。

控制对象

这一参与者在之前就玩过所有的这些游戏,并因为是这类型游戏的粉丝,所以对恐怖体验具有较高的免疫力。他是个22岁的男性,现在是游戏产业中的一名学生,每周会玩6至12小时的游戏。

他将《Slender》选为自己玩过最可怕的游戏,因为他认为游戏创大了巨大的紧张感与恐慌,同时还具有非常逼真的音频。而最不让人害怕的游戏是《特殊性的:一线生机》。他表示这款游戏所带来的并不是真正的害怕——更多的是心理的影响,如果他从头开始游戏或对于游戏情境有更多的了解,他可能会更加紧张。

在问卷调查中,他选择了在每款游戏中最让人害怕以及最不害怕的方面。以下是他的答案:

用户反馈数据表(from gamerboom.com)

用户反馈数据表(from gamerboom.com)

在玩这些游戏的同时他的心率和身体反应也被记录了下来。

用户数据反馈表(from gamerboom.com)

用户数据反馈表(from gamerboom.com)

*之后他说忘记敌人了

**这并不是真正让人害怕的访问,他并不需要人陪着继续玩游戏

***之后他说自己不喜欢针

参与者1

22岁的年轻男性,现在是一名音乐技术学生,每周会花12至24小时玩电子游戏。他玩过《生化危机5》和《生化奇兵》。对于恐怖游戏他已经有一些经验,不会轻易被吓到,但却也不是无所畏惧。他认为《寂静岭3》是最吓人

的游戏,因为“这是我玩过最让人毛骨悚然的游戏,并且很难理解发生了什么。”他认为最不吓人的游戏是《特殊行动:一线生机》,因为比起恐怖游戏它更像是动作游戏。

在问卷调查中,他选择了在每款游戏中最让人害怕以及最不害怕的方面。以下是他的答案:

玩家反馈数据解析(from gamerboom.com)

玩家反馈数据解析(from gamerboom.com)

在玩这些游戏的同时他的心率和身体反应也被记录了下来。

玩家反馈数据解析(from gamerboom.com)

玩家反馈数据解析(from gamerboom.com)

还应该注意的是参与者关于经历每款游戏的描述。

参与者2

参与者2是来自工程领域的23岁男性。他每周会花5至12个小时游戏,玩过《生化危机5》。他表示自己有一些玩恐怖游戏的经验,不会很容易被吓到,但却并不是什么都不怕。他认为《Slnder》是最吓人的,因为它呈现出了一种“未知的恐惧”以及“潜伏在身后的敌人”也很可怕。而最不让人害怕的是《特殊行动:一线生机》,因为这里没有任何突发事件。

在问卷调查中,他选择了在每款游戏中最让人害怕以及最不害怕的方面。以下是他的答案:

玩家反馈数据解析(from gamerboom.com)

玩家反馈数据解析(from gamerboom.com)

在玩这些游戏的同时他的心率和身体反应也被记录了下来。

玩家反馈数据解析(from gamerboom.com)

玩家反馈数据解析(from gamerboom.com)

*参与者在《生化危机2》中多次死亡

**在找到第二页时静电随机涌现出来

参与者3

一名20岁的男学生,有适度的恐怖游戏经验,不会很容易被吓到。他玩过《生化奇兵》和《生化危机5》。他认为最吓人的是《Slener》。主要是因为游戏的理念,简单的机制让人很难继续生存下去,并且你并不能杀死地图上威胁你的存在。而最不吓人的是《特殊行动:一线生机》,因为它缺少“让人毛骨悚然”的风格以及黑暗的背景,也不存在威胁或吓人的敌人,以及复杂的游戏控制。

在问卷调查中,他选择了在每款游戏中最让人害怕以及最不害怕的方面。以下是他的答案:

玩家数据反馈解析(from gamerboom.com)

玩家数据反馈解析(from gamerboom.com)

*参与者的意思是游戏被设定在白天

在玩这些游戏的同时他的心率和身体反应也被记录了下来。

玩家数据反馈解析(from gamerboom.com)

玩家数据反馈解析(from gamerboom.com)

*视频和音频数据被毁掉了

参与者4

从事计算机工作的20岁男性。他很少玩恐怖游戏,很容易被吓到,并且未曾玩过这些游戏。他认为《生化奇兵》是最吓人的游戏,因为“它创造了紧张感,你永远不知道什么时候敌人会从旁边蹦出来”。而《特殊行动:一线生机》是最不让人害怕的,因为“它一点都不吓人”。

在玩这些游戏的同时他的心率和身体反应也被记录了下来。

玩家数据反馈解析(from gamerboom.com)

玩家数据反馈解析(from gamerboom.com)

在玩这些游戏的同时他的心率和身体反应也被记录了下来。

玩家数据反馈解析(from gamerboom.com)

玩家数据反馈解析(from gamerboom.com)

在介绍过场动画时,角色被审问了。在这期间他开始幻想之前的游戏。

参与者5

学习表演艺术的22岁女学生。每周玩电子游戏的时间不会超过30分钟,从未玩过这里的任何一款游戏,很少玩恐怖游戏,并且很容易被吓到。他认为《Slender》和《特殊行动:一线生机》是最让人害怕的,因为《Slender》的“氛围和未知元素”,而《特殊行动:一线生机》“让人害怕的是看到自己的行动所产生的结果”。她认为《生化危机5》是最不吓人的,因为“氛围并未创造出任何恐惧感。”

在玩这些游戏的同时他的心率和身体反应也被记录了下来。

玩家数据反馈解析(from gamerboom.com)

玩家数据反馈解析(from gamerboom.com)

在玩这些游戏的同时他的心率和身体反应也被记录了下来。

玩家数据反馈解析(from gamerboom.com)

玩家数据反馈解析(from gamerboom.com)

*在真正的游戏中,角色遇到之前给自己武器的屠夫。

**她说找不到脉冲时不知道如何面对其它情境。

在线问卷调查

问卷调查(附录5)被刊登在网上一些相关的恐怖游戏或游戏网站上以要求人们观看一些视频并根据其恐怖程度进行排列。参与者所观看的视频是我们在之前所讨论的游戏和关卡的片段。

关于这一问卷调查的假设是,《寂静岭3》将被选为最吓人的游戏。因为它那黑暗且让人不安的氛围,女性角色的脆弱性以及游戏所具有的声誉。因为这一问卷调查是在网上进行,所以许多参与者可能已经玩过一些游戏,因此他们的回答将受到是否还记得视频中有关游戏片段的内容的影响,因此排名高低也是根据他们的体验。

每个参与者都回答了自己的年龄和性别,如果在工作了,主要从事怎样的工作,会花多少时间去玩游戏,玩过哪些恐怖游戏。回答完这些问题后他们将观看游戏片段,并根据1到10的顺序进行排名,1是最不让人害怕的,而10是最吓人的。在做出排名后,他们同样也要回答排行最高的游戏的吓人之处以及排行最低的游戏缺少些什么。

回应的总结

我们收到许多有关参与者选出的较高排名的游戏的评论。以下是其中的一部分内容:

“《生化奇兵》成功地吓到了许多人,因为玩家不知道是什么在攻击pod/电梯,并且在游戏中的视线总是很模糊,因为敌人的设置本来就很神秘且带有危险性。通过将玩家放置在pod中,并未交给他们任何武器,玩家便会感到深深的无助。《死亡空间》创造了适度的恐慌,让玩家因为被束缚的手腕/缺少武器而无助,这能够有效地诱导短期的恐慌心理。而之后探索废弃且黑暗的房间也能够有效地诱导玩家的想象。”

“孤独以及一般意义上的妄想都是源自游戏。你永远不会知道接下来会发生什么,这让你感到担忧。甚至当你完成游戏后,你也不会知道自己该期待些什么。在《Slender》中找到最后一页时你可以大松一口气,但这并不意味着结束。”

“其目的是关于恐吓并吓死玩家。具有沉浸感。逼真的氛围。鼓励玩家发挥想象力。在《寂静岭》中,黑暗夺走了玩家监视任何发展的能力。黑暗中可能会出现各种情况。例如在《寂静岭3》的视频中5:50的时侯出现的一个声音便标志着当下发生的某种情况。我们不知道发生了什么以及它有多危险,所以这便创造了一种让人紧张的氛围。‘我希望Satan先生并未在那等着我’,‘该死,这是什么。我不知道’—-我喜欢《生化危机5》视频中的生成元素,即玩家必须阻碍房间。让他们有一种受困感。”

“我认为《Slender》是最吓人的游戏。黑暗的氛围以及孤独感都很让人害怕。虽然其它游戏在某种程度上也有这种感受,但是它们添加了许多颜色,看起来更不现实。《Slender》让我觉得自己好像真的迷失在森林里,而来自自然的音效更是添加了沉浸感。”

“《Slender》和《寂静岭》在氛围控制上最突出。《特殊行动》并不像恐怖游戏,但却带有让人心寒的体验,所以是我最喜欢的游戏之一。《生化奇兵》很棒,但却不像其它游戏那么突出。与未知事物相抗衡,脑子里创造着随时都可能发生的各种恐怖场景。满满的无助感涌现出来,你不知道在潜伏着危险的黑暗中该如何保护自己。”

“当你思考着带有同样属性的其它战争游戏的人气时,战争游戏中的场景将会带来很大的影响。尽管将其看作是逃避现实,但《特殊行动》还是努力通过玩家的行动对其产生影响作用,以此强调了游戏背后的现实性。我之所以给予这款游戏最高排名的一部分原因也是我玩了其它款游戏很多次了。”

“《寂静岭》以其真实般的恐怖感而出现。可怕的生物,紧张的氛围,梦魇般的音效以及重击乐等都与游戏的噩梦结合在一起。我只玩过《寂静岭1》和《寂静岭2》,而前两款游戏的节奏都较慢。每次突然出现的敌人都会大大地吓到我。”

“有限的空间。我有轻微的幽闭恐惧症,所以我并不喜欢这样的内容。其次,音乐,环境噪音以及阴影等元素制造了这种恐怖感。”

还有许多评论是关于排行较低的游戏,即并未吓到参与者的游戏。以下是其中的一部分内容:

“《特殊行动》之所以不吓人是因为在这部分游戏中,玩家具有能量。在这里并不存在威胁。这与游戏作为现代军事射击游戏的评论的目的是维系在一起,即带给玩家所有的能量但却忽视了他们行动的结果。《特殊行动》是一款优秀的游戏,可以说是让人感到压抑并触发情感,但却不具有恐怖性。另一方面,《生化危机5》虽然尝试着表现出恐怖感,但却失败了,因为游戏中所有的一切都是可预测的,即关于敌人如何发动攻击以及如何出现,并且未曾留给玩家任何发挥想象力的空间——所有的一切都是显而易见,所以这里不具有未知元素的‘恐惧’。”

“它们给予你很多能量。例如在《死亡空间2》中,当你拥有一把手枪时你便可以射击敌人。我是认真的。如果玩家太强大了游戏也就不可怕了。如果游戏限制了我的弹药,并规定我的枪只能爆头,然后我的第一个选择便是开始奔跑,并节省子弹的使用。《生化危机5》和《死亡空间2》并未这么做。”

“《Slender》有点糟糕。主要是因为它做了太多宣传。《Penumbra》系列(我认为这系列游戏更加吓人,特别是第2部)使用同样的机制(巨大且容易迷失的环境,怪物将追逐着你,但除了找地方躲起来以及不断逃跑,你找不到其它反抗方法),但却更有效,因为怪物藏在世界上的某个地方寻找着你,而不是瞬间移动到你面前。”

“背着小小的军械库行走并不吓人。《生化奇兵》——可怕的敌人并没有太大的威胁。笨拙的移动——我从未玩过任何《生化危机》游戏,但从旁观者的角度来看,它的控制真的很笨拙。缓慢移动的僵尸便是结果。我宁愿我的角色拥有有限的能力(如弹药,奔跑),而不是看到有限和笨拙的界面。这会打破沉浸感。虽然跳跃式恐慌是有效的,但同时也是非常无聊且可预测到的。《毁灭战士3》在这方面做得特别糟糕,不管何时进入一个房间,我总是会将其清除干净,通过适当的位置,转身,然后向目标发射。”

“以我个人来讲,我发现在一个开放的环境中奔跑是很难出现恐惧心理。此外,当你被丢到一个必须在此生存一段时间的区域,并且你还手握着枪时,你将不会感到害怕。”

“我是个神经质的人,所以恐怖游戏并不会真正影响到我,因为跳跃式恐慌是廉价的,而真正刺激到心理的恐慌才是具有分量的,即当你能够真正感受到角色所遭受的痛苦。”

“分数最低的游戏通常是因为它们只是通过跳跃式恐慌去吓玩家。这并不会让我感到害怕;这只会让我吃惊。让我们看看《生化危机》视频2:48处。这是喜剧中才会出现的内容。Chris Redfield是一个特别爱发牢骚的人,我想象不到将他那树干般粗的手臂置于战斗中并由此衍生出身体的其它部分。《特殊行动》是一款优秀的游戏,但却不是以呈现恐怖内容为目标。Walker是这里真正的怪物,所以玩家唯一会感到害怕的地方便是不知不觉地帮助他实现目标。这两个视频的共同点在于主角都带有巨大的能量。敌人会畏惧他们。在这一调查中出现的游戏,我认为只有《Slenderman》,《失忆症》,《寂静岭》足以称得上是真正的恐怖游戏。而其它游戏中的所有怪物都只能说是在战斗中最难应付的角色。”

“《Slender》是关于创造紧张感,但是其视频中血腥的神秘人却太晚出现了。所以那时候我因为太过厌烦而并未感到害怕。《特殊行动》看起来很棒,我也愿意去玩这款游戏。但是我却不觉得它吓人。如果我在玩这款游戏,我会因为自己的行动所引起的一切感到自责,但并不是害怕。”

“《特殊行动:一线生机》以及《生化危机5》都是非常出色的游戏。这两款游戏都具有真正吸引人的场景,但却并不让人害怕。场景可能会让我们感到冲击,但其作用绝不是害怕,也许士兵/村民的无辜牺牲会吓到人们。同样地,我觉得《Slender》也没有多吓人。对于我来说,这款游戏的模式太古板了,我想不到任何受惊的理由。”

分析

实验结果——结果证实《Slender》能够引起参与者最大的身体反应,同时它也被评为了最吓人的游戏,而最不让人害怕的游戏便是《特殊行动:一线生机》。

玩家数据反馈解析(from gamerboom.com)

玩家数据反馈解析(from gamerboom.com)

《特殊行动:一线生机》排行最低;因为参与者认为这更像是一款行动游戏。虽然游戏中的某些部分可以划分到恐怖游戏类中,但从总体上来看它还是更倾向于行动游戏。另外,它还缺少黑暗背景,并且也没有什么突发状况。不过也有位参与者将其评为最吓人的游戏,因为“你所做的事会实现,玩游戏的时候你只需要不断地杀人便可。这款游戏会呈现出你的行动的结果。”

《Slender》被选为最吓人的游戏并会激发玩家最大的身体反应。玩家会做出身体反应是因为《Slender》是一款侧重跳跃式恐慌的游戏,游戏通过让玩家跳跃而获得恐慌感。这是氛围与简单机制的结合所创造出来的。游戏发生在弥漫着烟雾的黑暗森林里,这样的环境会让玩家感到不安。游戏的音频是不断重复的缓慢的击鼓声,并伴随着玩家的脚步和呼吸,当Slender靠近或玩家找到第二页时,静电便会出现。此外,这款游戏之所以会成为最吓人的游戏还有些原因:“想知道地图的悬念,”“经典的快速爆发创造了一个随机元素让玩家忍不住跳起来,”以及“未知的恐惧。”

网上结果——最终收集到的结果是,《寂静岭3》以26%的比例成为最吓人的游戏。而《特殊行动:一线生机》也以53%的投票当选为最不吓人的游戏。

《寂静岭3》当选为最吓人的游戏主要是因为它那让人不安的氛围以及玩家不知道该做什么或者会发生什么。一个参与者便说道:“玩家会从敌人和环境中感到不祥之兆,但是玩家却不知道该做什么。”

《特殊行动》再次被选为最不吓人的游戏。问卷调查中的大多数参与者都认为这是款行动游戏而不是恐怖游戏。其中一位参与者说道:“这是款行动游戏。它侧重的是图像而不是恐怖感。”

结论

我们的目的是研究玩家如何受到恐怖游戏的影响,并检查这些游戏中的哪些元素最让玩家感到害怕。

在研究过程中,我们发现许多元素被用于创造恐怖感,但为了创造出最恐怖的内容,这些元素就必须相互维系起来。例如在《寂静岭2》中,城镇本身是以现实为基础,所以带着吓人的目的;它创造了强大的场所感并带有明显的模糊性。

游戏中的其他角色带来了人际互动;主角必须在游戏中的某一部分保护女人,并与遇到的一些角色交谈。与主角的关系是从James进入寂静岭开始,那时候我们还不了解他,他是作为玩家反射自己的白板,但当你开始探索城镇时你将会遇到其他正在寻找自己的城镇版本的角色,反过来你将开始询问James看到了什么。

游戏中的敌人都会呈现出一个角色心理元素,例如人体模型代表他的性冲动。这些敌人不仅能够反应当下的环境,同时也能够呈现出角色的心理变化,从而让它们显得更吓人。在游戏中的某一部分,在一间公寓中你将发现,当自己越靠近栅栏时,它后面便会显现出一个人形,因为太暗了你根本看不清楚它到底是什么。你不能碰到它它也不会碰到你,这便营造了一种猜测与模糊感。在进入相邻房间并离开后,怪物将消失,而因为环境的改变,玩家的恐惧感也会加深。正是因为结合了所有的这些元素,这款恐怖游戏才会被无数玩家选为最吓人的游戏。

不管是实验还是在线调查都取得了成功。关于这两方面的假设只有部分是正确的。关于实验的假设是《Slender》会激发最大的身体反应,这并没错,但关于《Slender》会被选为最吓人的游戏却并非如此,最终参与者选出的最吓人的游戏是《寂静岭3》。因为《寂静岭3》的介绍很吓人,当玩家真正进入游戏后会更加害怕。而《Slender》在一开始就将玩家放置在一个黑暗的森林中,并被怪物追赶着,不知道为什么自己会在那里也不知道会发生些什么。在在线问卷调查中,《寂静岭3》凭借26%的得票率当选为最吓人的游戏。

在项目过程中也出现了一些问题,如记录数据的崩溃,场所问题,生病以及游戏选择等等。在其中的一个实验中,视频和音频数据未能够得到有效保存,所以被损坏了。其中有2位参与者不能前往试验地点,因为其中1名参与者摔断了腿,所以实验不得不在他们的公寓进行,并因此可能会影响结果。

许多人都因为《特殊行动:一线生机》更像行动游戏而非恐怖游戏将其选为最不吓人的游戏。然而,游戏中的某些事件也是很恐怖的。此外,游戏强迫玩家做出选择的机制以及角色的精神状况在游戏过程中的变化也让这款可能作为行动游戏的游戏足以被归类到恐怖游戏行列中。

篇目1,篇目2篇目3篇目4

本文由游戏邦编译和原创,转载请注明来源,或咨询微信zhengjintiao

篇目1,Horror/Survival Level Design: Part 1 – Cliches

June 26, 2009

Following series of articles are going to go in depth and explain how to create horror and bring fear in level and game design.

Survival horror level design.

This is part 1 out of 5.

There are sets of rules and situations that seem to appear in movies and games to induce fear and scare the audience/player. That may have started as original ideas, over time became cliches.

Dark room with flickering lights.

The abandoned building or an asylum.

A little girl that shows up at the end of the hallway and then disappears.

A phone that rings, when answered no one is on the other side, or you hear heavy breathing.

Foggy environment with noises and sounds of creatures awaiting for you just around the corner.

Characters that stay around in abandoned small towns.

The list goes on.

Definition of cliche is ideas that have been overused to the point of losing its intended force or novelty. In the examples above, some cliches were used very effectively, others weren’t.

Some may have started as original ideas in the beginning but over the years of watching movies and playing same videogames, we know what is going to happen.

Problem with cliches is we know what to expect because we have seen it so many times. We know that the killer doesn’t die after the first try; they always come back and jump at the character one more time. We know that when characters split up, it usually means death for one of them. That is the problem with cliches. We know their anticipated outcome.

Some effective cliches are use of characters, story and environment settings. As an example of what some of these games did well is they took what we used to consider to be scary and terrifying and they made it better. They made it scary again. They took the cliches that were no longer effective and introduced new ways of playing, experiencing and looking at the horror genre.

A mob of villagers in Resident Evil 4.

Resident Evil 4

Monolith’s F.E.A.R and The Ring ghost girl

Monolith’s F.E.A.R

Left 4 Dead introducing co-op play and infected. Not zombies. As well as the ability to play as the infect. Just as ’28 Days Later’ redefined what “zombies” movie should be.

Left 4 Dead

Abandoned small town in Silent Hill or a Haunted House in Alone in the Dark.

Silent Hill

BioShock. Combining first person shooter with survival horror elements and creating a setting that is memorable and unforgetable.

Bioshock

Condemned 2:Bloodshot Taking the first-person shooter and combining with survival horror elements and then introducing melee combat. There is enough of familiarity and yet enough originality. Level design of condemned 2 is driven through the melee combat elements.

Condemned 2

Now cliches are important. They are important to know and understand.

Cliches do work.

Even when we know what is going to happen, there are certain psychological triggers that make us react. That is why they are cliches, because they have been proven to work.

The goal is to recognize the cliches and then take it a step further.

Knowing how cliches work and what they are. You would then be able to anticipate the player’s reaction. Having that knowledge of player’s expectation and their possible next step you are able to put a new spin on them. Use cliches as a base for your level designs and game designs.

But cliches alone are not memorable. They are forgettable and unremarkable. They scare the player yes, but they become a gimmick. Use the cliches and by knowing the players reaction to them you are able to introduce new elements. Using cliches is easy; making the player remember them is hard.

Just as we all rememeber ‘Sixth Sense’ ending, but we all forget dozen of other movies that use the same ending.

Some cliches include story elements, environments and setting and specific events such as the flickering lights and the seeing things in the mirror behind you.

Using the cliches as a starting point you can begin to explore and introduce new elements that hook the player to your environment, your story and your level.

So, I’ve come up with 4 points, 4 important criteria that I believe are important to create horror and bring fear in the players in your level designs. If used right, it can engage and

create an emotional response that will stay with the player way after the level/game is finished.

These four elements are:

Story and Environment

Relationships

Anticipation and Pacing

Moral Decision

Action Steps:

Begin watching horror and suspense film and start taking notes what cliches you see, what reaction and anticipation you feel to those specific events. Begin recognizing what the director is trying to do and where the psychological triggers are. Why are you feeling the way you are during the heightened moments of the film? Play survival horror games and study human psychology.

Learn why people do the things they do.

Anticipation and Pacing

This is part 2 out of 5.

Anticipation and pacing is an important part of creating any single player and multiplayer map. It’s even more important to creating a successful horror and survival level.

Pacing is the tempo, the speed that something is revealed.

Anticipation is waiting for something to happen, an expectation.

Pacing and anticipation is knowing how to scare the player, what to do and when to do it. All this comes down to successfully pacing and creating anticipation to a certain event or an outcome.

Bioshock

Pacing should be build slowly and meticulously. Thinking through every event as each step on a staircase. One step at at time until you reach the top. You never want to go from step one to step ten without hitting every step along the way.

When you reach the top of the stairs, and you have built the anticipation so high, that now it is time to release by jumping down from the top step to the bottom. If you introduce the killer or the monster at the beginning then you don’t have anything at the end to keep up the pacing or to keep the player’s interest.

Think of a roller coaster. As you wait in line, you hear the sound of the roller coaster go up and down. You hear others screaming and yelling. You feel the ground shake. As you slowly make your way you see others in front get in and they are gone. As you get closer and closer you feel your heart pumping faster and faster. So once you are inside the cart, there is no point of going back. You have been strapped in and ready to go. Now you are going up slowly waiting for your decent, and then all that waiting and build up is justified by the roller coaster being released as you plummet on the first dive.

If all that waiting around comes to a disappointing release then the intended effect is lost. Nothing would make up for it. Your experience would be ruined. At the same time if you didn’t have the build up, and all of a sudden you get on and whoosh, its over. It would be a disappointing ride.

Think of an arc with a point of no return at the end. This is how most films are written. You want to design and think of your events in your level the same way.

Arc:

As you pace your story and the events you are creating anticipation in the player. Then the anticipation at the end has to justify the expectation that the player had through out your entire game or level. You have to build up anticipation by setting the pace from one progression of events to the next.

Think of your events in your level as progression of one event to the next, but with rising conflict. For example in Counter-Strike you buy weapons, then you run towards a choke point, firefight happens. Most of your team dies. Everything calms down for a second; there is a moment of serenity. You advance further, plant the bomb, anticipation is built even higher. Timer ticks down as you know that the CTs are going to rush the bombsite to diffuse. At the last second it goes off. Expectation justified.

Build it up to something great and then release hell. If the player survives then it is something to remember. Never introduce and give away everything in the beginning. Wait till later. And build up your pacing slowly by introducing anticipation.

Using cliches. Recognizing what they are and knowing how the audience will react to it, because over the years they have been conditioned to know what is going to happen. Do it a few times then switch it up.

Be unpredictable.

Use a focal point in your map is a great way to build anticipation.

Use lights and sound to drive the player’s focus to a specific spot in the environment. But of course don’t give away everything.

Use hints. Use of sound and noise is a great way to build anticipation.

Create enough space between each event to let the player breath before the next even happens. Next one comes, should be harder and more interesting and challenging then the previous one. Introduce your events slowly, meticulously and well thought out.

Sparingly.

Create calm before the storm.

This is a very effective technique that allows creating an exciting event and going from 0 to 60 in a few seconds. You make sure that everything is calm in the environment, no infected, no killers, and no bosses. Almost like everything is perfect, then you introduce a sound or two and few seconds later, all hell breaks loose. L4D uses this in a great way, when you call for help and you have a few seconds before the horde gets there.

Then, all hell breaks loose.

Dead Space

Saving Private RyanPerfect example of this is in Saving Private Ryan.

At the end of the movie when they are getting ready to fight the Nazis in the small-bombed town, you see them sitting around, talking and listening to music. It’s almost perfect. But within few seconds the entire place breaks into a war zone.

Calm before the storm.

Come up with three ways you could introducing and pace your level. Think of specific events in your level design you could introduce this. Use the arc image to help you. This could be used for single player or multiplayer.

Think of the movies that have a clear rising of the arc. Pacing and anticipation and then the drop off such as Predator or Titanic.

Study Saving Private Ryan for Pacing and Anticipation.

How can you create anticipation in your player that where their heart begins to pump way before the final outcome is revealed?

篇目2,Horror/Survival Level Design: Part 3 – Environment

Following series of articles are going to go in depth and explain how to create horror and bring fear in level and game design.

Story and Environment

This is part 3 out of 5.

Story is king.

The power of story in your level comes down to two things. The story of the environment; and character’s story in that environment. As well as the relationship between each other.

Story is what we remember after everything is done and over with. We love to tell stories. We love to listen to stories. There is no better way to communicate and to connect with someone.

We don’t care about facts. If you teach me history and just give me facts about dates and people I won’t remember it.

I was working on a Left 4 Dead campaign map before they announced L4D 2. I asked my girlfriend to write a fictional story of the 4 characters Louis, Zoey, Bill and Francis and what would be their story as they are fighting through infected in New Orleans.

She wrote why the characters were there, how they got together and why they would stay with each other to survive. Each of them had individual goals and their own needs and wants. The environment came together all by itself. Each character’s background created a set of circumstances and events. When they announced L4D, I had to scrap my idea.

Left 4 Dead 2

But, the exercise was very important eye opener for me. Even though the story may not have been shared in its entirety if my campaign saw the light of day. The depth would seep through the

level design. Doing that exercise helped me create more depth to the characters, and more depth to the environments.

I want to introduce to you another story.

Story of the environment.

Location.

There are certain environments that are more effective in communicating horror and fear then others. For example abandoned buildings and old hotel rooms are scarier then brand new office buildings. Reason is because they have history and past associated with them. There are traces of human history in the environments. Brand new spanking environment doesn’t have that. So we already are seeing traces of clichés in the story of the environments.

Identify the Environment

What is the location?

What is the setting?

Time of day? Season?

etc

What is the mood you want to communicate? The environment has to compliment the story and the purpose you are trying to achieve. It also has to drive the story forward.

Collect reference images.

Here is a technique you can use to create more of an emotional connection between the player and the location. First introduce the environment as it is, without the elements of infected, serial killer or the fear element you have in your design. Perhaps it’s a place they work in.

Then after the player is familiar with the place re-introduce them to it after they have encountered the horror.

What happens it this situation is the player has a physiological relationship, identification with the place. Because they were already there before, they associate and relate to it more then if you just throw them into a location with no background history.

For example the Max Payne bedroom. Both in the game and the movie, Max Payne comes back to that location later in the game.

Next is the most important aspect of creating an environment in horror and survival level design. You have to create an environment that players can relate to. They need to identify with the location in order to feel anything towards it.

Now, you don’t necessarily have to have visited the location, but being able to relate to it, is important. Most people know what London looks like and were able to relate to it in 28 Days Later.

Use locations only as it directly relates to the character in your game and if it supports the game’s story. If you can relate that location back to the player then it will strengthen the environment and player’s connection to it.

Exercise:

Write a story of your environment. Think as if you are telling a story to your friend. Who lived here? How did it get to be how it is? Why did everyone leave?

How it was created, what happened to it.

Think of the emotional impact and how this story can be used to create more depth in your environment and relate it back to the character and the player.

Relationship

Relationship refers to the connection that the player has to other characters, to the story and to the environment. Establishing a relationship in a game is very challenging thing to do.

It’s even more challenging to do so in a survival/horror genre. Not many games and movies have been able to pull this one off well. Those that do, are remembered and often imitated.

It is difficult to create emotional connection between two or more characters without seeming to force it. It takes time to establish and create relationships. In movies we often see a forced love story, or a family story. Often times we don’t even care, because there is no real connection there to begin with. It seems like it was created as an afterthought.

Pulling off a powerful relationship in game through which a player can relate to and connect to takes a bit of thought and time. As humans we want to connect to other people and we want to share experiences.

Nothing connects and establishes a relationship faster then a shared experience. Some of the strongest bonds that people have were established through a highly emotional circumstances.

Any shared emotion that releases chemicals. Sadness, love, excitement and fun are to name a few. If you can induce any of these emotions in a player while they are playing the game and your map, you will create an emotional connection. If you do this early enough and effective enough, you have the player hooked.

There have been many more games lately that have been using a dog as a “sidekick”. One of the reasons they do so, is because nothing more creates an emotional connection to the player then a dog. That is why few years ago virtual pets were so popular. In movies we could see thousand of people die, but if one dog dies it is a tragedy. Just look at I am Legend.

Now the dog relationship between the character and the player is becoming a cliche but it is still something new in videogames. Fable 2, Fall out. All of these have a strong connection between the character and their four-legged friend.

What if while playing the game and after having an established relationship to your canine, you find yourself split by an unclimbable fence or an unbreakable glass from your dog.

You would then see but unable to help when a villain or a horde of infected comes in and kills your canine friend. What if this happened after you have invested time and effort in playing the game for majority of the time.

I don’t know about you but just writing that makes me imaging the situation and I feel the emotional consequences of this. I would want to finish the game just to get to whoever was responsible. That is a strong emotional drive you want to try to induce into your players. Its not easy, but if you pull it off, it is powerful.

Let me give you few principles to begin to incorporate into your level designs when it comes to relationships:

Relationships to other human beings are more powerful then to material possession. We often times see someone loosing a house or a car or some sort of a possession but in reality when a

person looses something more valuable to them like another person is more emotionally responsive.

If I show you something that creates a sad emotion and then re-introduce it later in the level. I would elicit the same response in you as I did when you first saw it. I now can use this to keep re-introducing through out the level and same emotion will come up.

For example if you do something that happens to the player in the bathroom as in Doom 3. Then everytime the player goes into the bathroom, he/she will have an emotional response to that
environment.

Fable 1 and 2 does the same thing by having the character being re-introduced to the original place where he was born in.

Music can create relationships and make them stronger. Using specific music during crucial parts of your game and during high emotional impact moments will heighten the connection between the player and the character.

Relationship that a character has to their environment could be used to great effect. For example if the character comes back to an environment that they have previously been to and now
it is not the same.

For example in Max Payne, in the beginning of the game his child and his wife are killed by drug addicts who break in. Later in the game through his dreams we get to replay and come back to
the same location. By doing that we already have emotional connection and certain response to that environment. It is such as strong motivator that we want to just run up and undo what was
done in the beginning.

Focus on universal emotions and create situations where you can induce the following emotions within the player. This will require some time and effort. Knowing your situation, your environment and characters involvement within your environment.

Moral Decision

Last part in our five article series is the moral choice that a player makes while playing the game. Generally, morality is a system of rules that modifies our behavior in social situations. It’s about doing of good instead of harm.

Left 4 dead is a good example of moral decision-making.

As you play with 4 other human players you are often have to make certain decisions about your group.

Who will push the button at the finale to call the herd of infected? Will you wait for the last player to cross through to the safe house? Or will you close the door and let them die? Will you risk the safety of three other players and jump down from a good strategic position to help one of your teammates?

Left 4 Dead

You have to stick together and if one character gets lost and attached by infected you as a player have to make a moral decision to leave them die and escape or help them and risk death yourself. Other factors such as your health, how far you are from the safe house point and if other players are helping or running away from it.

All this comes down to moral choice that you consciously have to make. We rarely make decisions all by ourselves. Most of our decision-makings are done within a context of others and within a given situation.

Some games that allow this moral decision-making include Fable and Fable II as well as latest PS3 title Infamous.

In the beginning part of the movie “28 Weeks Later” when infected break into the safe house; the main character has to make a decision to stay or leave his wife. As he and his wife are in the same room, they are separated by the infected. He stays near the door while infected bust in and see his wife, but they don’t see him.

She looks at her husband and yells for help. The main character knows that if he helps, he dies. That moment of decision is the most important element of the moral decision. He chooses to run and shuts the door on her.

As he runs away, we see her at the window right before the infected rips her out form our view. That is very powerful.

28 Weeks Later

In GTA4, one of the missions has 2 outcomes. After establishing a good relationship with both characters in the game you are given a mission to kill one of them. PlayBoyX gives you a mission to kill his friend, who is also your friend. As you are on the way to complete your mission you get a phone call from the guy you need to kill. He says that he needs your help because he thinks PlayboyX is trying to kill him. Now you are faced with a moral dilemma. Who do you kill? Do you go for loyalty and friendship or do you choose money?

So how do you begin to have your player have more of a connection with your game and your level?

Begin by introducing decisions into your game, into your level design it will stand out as a unique and very rare map.

Introduce a choice in player’s path.

Make your characters split up.

Make characters pull levers, as another one has to defend something else.

Introduce choice to the player in a situation with real consequences.

If you established a previous relationship and then give a choice that the player needs to do something drastic that will have real game consequences to the story, environment and your character’s well being, then you are on your way to creating something truly unique and emotionally impactful.

篇目3,Scary Game Findings: A Study Of Horror Games And Their Players

by Joel Windels

[In this feature, usability studio Vertical Slice measures player reactions to four Xbox 360 horror games to find out which game is the "scariest," how casual and core players react to the same games, and whether or not they are scared in the same way.]

This study was undertaken by usability and user experience studio Vertical Slice as an internal investigation. As this piece was not for commercial use, and used games that have already been released, it seeks to determine which Xbox 360 game is the “scariest,” and is not intended to be a criticism or full analysis of the games in question.

Study Format

Using some of Vertical Slice’s unique approaches to user research, the study used a number of methods including interview techniques, think-aloud, researcher/participant post-play analysis and biometric feedback in order to evaluate the player experiences with each game. A group of six players, selected from a comprehensive database of over 500 individuals, was asked to play four different games — each for 30 minutes, or an otherwise similarly appropriate length of time, depending on the game’s content.

The study was conducted in Vertical Slice’s labs in Brighton, UK, which are designed to emulate natural gaming conditions. Players were invited to play exactly as they would at home, skipping cutscenes and selecting difficulties as they usually would. The sessions also took place late in the day, so that the room was darker and the play took place during a more familiar time of day for the gamers.

The order of games was counter-balanced across all players, as this helps reduce any bias that may have arisen from play order
Biometrics

The biometrics chosen for this study were heart rate, skin surface temperature, and GSR (Galvanic Skin Response). Respiration biometrics were also used for some of the participants. GSR is ideal for measuring arousal (excitement or frustration), skin temp is an indicator of valance (happiness or sadness) and fluctuations in the other two can highlight key moments of engagement. GSR is the top blue line in the graphs, and skin temperature is the middle green one.

Games Selected

Using social media tools, polls and small-scale informal investigation, a short list of the scariest Xbox 360 games was created. This list was whittled down to four candidates, which were then used for the final study. The selected games were Alan Wake, Resident Evil 5, Dead Space 2 and Condemned. Other games, such as Left 4 Dead 2, Gears of War 2, Condemned 2, FEAR 1 & 2, Dead Space 1, Silent Hill: Homecoming, Alone in the Dark and Mass Effect 2 were considered, but ultimately disregarded, for use in this research.

Players Selected

Six players were used, from a variety of gaming and demographic backgrounds. None of the participants have played any of the titles beforehand, and for the purposes of this study, they are broadly classified as either core or casual.

Kira – A 33 year old intermediate gamer, who spends at least five hours playing a week. She doesn’t own an Xbox 360, though has a rich history of gaming experience.

Claims to become very absorbed in games and scares easily. [core]

Rosalind – A 31 year old advanced player, who also spends at least five hours a week gaming. She owns all three major current consoles and insists she is not a casual gamer. [core]

Rob – A 34 year old novice gamer. Recently sold his Xbox 360 so currently does not spend any time playing gamers. [casual]

Mike – 42 year old casual player. Spends less than two hours a week gaming. Does have limited experience with games, and has for an extended period of time (since ZX81). Also owns a family Xbox 360, but rarely plays it himself. [casual]

Olivia – A 20 year old casual gamer. She plays a lot of games, but seldom for long sessions. Owns no current consoles and professes to enjoy slower-paced or party games, finding action games quite stressful. [casual]

Matt – 29 year old hardcore gamer that plays his Xbox 360 over 20 hours a week. He is a fan of titles in the Fable and Fallout franchises. [core]

Alan Wake

Outline of Play

Alan Wake begins with a narrated nightmare experience that also serves as the game’s tutorial. It starts with the player assuming control of the eponymous Alan Wake, who before long is pursued by a shadowy axe-man. Combat and light-wielding dynamics are introduced and the player must defeat a handful of enemies and navigate a horror-infused nightmare environment, before being chased by a massive black storm-like entity.

This opening sequence also features a cutscene (showing the non-explicit severing of another man’s head) and includes some narrative framing and exposition. All players chose to play on the “normal” difficulty rating, except for one one (opting for “hard”). The play ended once the participants reached the lighthouse, thus ending the nightmare.

Analysis of Play

Confrontation. Players were largely unresponsive to the opening cinematic, but were generally vocally positive to the setting and introduction. The first significant beat is when Alan turns around to the deeply-voiced supernatural form of a man, who then threatens Alan vocally and then appears in front of him, before lunging at him with his axe. Five of the players died at this point, two of them multiple times, seemingly unaware that the correct course of action would have been to turn and flee.

This sudden change from the relative safety of the start to the panic of a supernatural conflict provoked a response from all of the players, with the casual players reacting more significantly. Players suggested this was neither a positive nor negative response, though the changes in biometric readings implied a sudden and sharp reaction. Four of the players stated that the scene came as a shock to them, with two agreeing that the moment was scary.

Rob was frightened as the axe-man approached, as a clear peak in his GSR reading confirms.

Perhaps surprisingly, the repeat appearances of the shadowy figure failed to provoke any significant response. Changes in respiration rate were attributed to tension arising from the initial combat, but relaxed into a more stable pattern. Only one player continued to react strongly until the mid-point was reached, a house within which Alan seeks safety from his pursuer.

Decapitation cinematic. It is at this stage when the cutscene depicting a non-graphic decapitation is played, which features intense horror scenes. Five of the players elicited a change in GSR at this stage, with multiple peaks each corresponding to different beats in the scene. However, post-analysis and speak-aloud connote that these peaks were the result of heightened engagement not relating to fear. Although one player (Olivia) said she did find this part scary, though another (Mike) said his response spike was the result of relief, meaning all the while the cutscene was playing (and the stranger getting mauled), he would be safe.

Here, Mike elicits a medium GSR response, but his temperature drops and breathing remains steady. He denies he was scared at this point, indicating that the response was related to something else, for example, relief or interest.

House scene. The following moment in the game sees the player trapped in a house, surrounded by dark spirits, eager to get in. This part saw a marked difference between the casual players and the core ones. The core gamers recognised this section as a period of scripted action, in which they knew through prior knowledge of gaming language that they would be safe. This was confirmed after talking with them, with Matt even offering “I knew I couldn’t die at this bit, so I wasn’t scared at all.” When an illuminated exit appears, the three core players did not react.

In juxtaposition to this, two of the three casual players’ biometrics indicated that this scene was very tense. The GSR and respiration metrics indicated stimulation, and the casual players all stated that they found this part to be scary. To reinforce this notion, a strong response was observed once the exit appeared, provoking both panic and relief in these casual players.

Despite the game’s clear intention to scare during this scene, core player Matt fails to become stimulated and makes idle comments about the decor.

Final sequences. The second half of the demo features increased action, as players face larger numbers of enemies. Two players jumped when surprise attacked by enemies, both at unscripted moments. A third said, “very frightening… no ammunition, nasty axe murderer after me: that’s frightening!” but registered sustained intense responses rather than sharp “surprise” peaks in biometrics.

The final minute sees players wander towards the lighthouse, but are interrupted by a black swirly mass. A chase scene ensues, in which two players died. This last minute provoked strong responses from most of the players, and was an incredibly tense, exhilarating finale. Skin temperature levels cooled as the game progressed, indicating a positive experience which was confirmed by five of the players.

Olivia, a player with generally mild GSR response compared to the other participants, demonstrates a marked increase in engagement for the climax of the level, accompanied by shrieking and admissions of fear.

Findings

There were four significant moments in the Alan Wake sessions. The initial confrontation provoked a scare response from all types of gamers, and was universally a scary moment. The horror cutscene was possibly designed to scare players, but responses were largely unrelated to fear. The following moment, which sees the players alone in the house, was interesting in that it scared only the casual players, with the core players unaffected. The final moment also managed, but perhaps to a lesser extent, to scare the casual players more than the experienced gamers.

This disparity in the player experience between core and casual gamers is illustrated by the post-session player experience diagrams. Most players, especially the casual players, enjoyed Alan Wake. It was a popular choice for the players when they were asked which title they wished to continue playing after the session had ended.

More player experience graphs displayed overleaf

Comparing the self-drawn player experiences for Alan Wake shows that casual players found the game more engaging than core players. The previously described key moments also illustrate that while core players were scared at times, the casual players found the experience generally quite scary throughout, and also enjoyed it more than the core gamers did.

RESIDENT EVIL 5

Outline of Play

Resident Evil 5 starts with a series of cutscenes, showing various acts of mild terror and providing exposition for its African backdrop. The play is very slow-paced, as the player is introduced to the controls and the setting. Before long, the protagonist Chris Redfield is confronted by a zombie, thrusting the player into the action. After this encounter, some fight/flight scenarios with further zombies are played out before a final showdown.

Another cinematic is shown, depicting in graphic detail the decapitation of one of Chris’s acquaintances, followed by the ringleader’s wild gestures in Chris’s direction. An intense fight scene ensues, within which the player must defeat dozens of regular zombies and an axe-wielding superzombie. The play ended when players either completed this section (and thus the chapter) or when they died at a late stage in the chapter.

Analysis of Play

The slow opening of Resident Evil 5 meant that no significant events occurred until around the ten minute mark.

First contact. The primary contact with a zombie was the first major event for most players. This initial encounter made players modify their breathing and two players also showed a GSR response. The preceding cutscene was the cause of an initial peak, followed shortly after by another, when the player is left to fight the zombie.

Though it seemed that this scene may have been scary for players, particularly as it features some gory horror, none of the players agreed that they were scared at this point. The stimulation was deemed to be of a more excitatory nature, with players keen to engage in the upcoming action.

Response to this first zombie was mild, but Mike’s gradually dwindling engagement was rekindled by this call to arms. His GSR rose slightly and his breathing became heavier, while his lowering temperature suggests he was enjoying playing the game: a sentiment he agreed with.

Mob encounter. The next key beat is when players face a large mob of zombies, prompting a flight-or-fight decision. GSR readings jumped for four players, and a shortness of breath/gasp was also observed. Only two players stated that this scenario was not scary at all, and no particular difference in reaction was noted between the core and casual gamers.

When players chose to shoot the zombies, a gradually decreasing level of engagement could be seen, while players that chose to flee the mob experienced a greater degree of emotion, with fear being the most common feeling. Some of the players said that this scene in general was at least mildly scary.

Kira chose to fight the oncoming horde of zombies. Her changing heart-rate and fluctuating GSR reading indicated she was engaged with the game much more than before this moment. However, she denied it was fear she was experiencing, and instead described this as anticipation of combat and the exhilaration of the combat itself.

Rally and beheading video. The main cutscene and precursor to the climax of the level is met around the 20 to 25 minute point. All of the players chose to watch this video in full, with three players demonstrating a reaction to the events unfolding, most specifically to the beheading. Players described the video as quite horrific, and perhaps a little scary, though Matt was keen to add “it’s not really scary, more just alarming”.

Here Rosalind’s reaction to the beheading is the solitary response to the cutscene, which otherwise fails to provoke her very much. In this case, shock and gore manage to make the player feel fearful of the upcoming events, an anticipation-based fear that is independent of “scariness.” We see another peak at the end of the video as play resumes.

Final shoot-out. The climax of the chapter saw players initially become very excited to be fighting against so many zombies. Most of the players stated that they were enjoying this scene, with casual players especially engaged with the action. There were no standout signature responses from the players, as each player approached the conflict with different tactics and skillsets. Even when struggling to survive, no player displayed any major biometric changes during this stage of the playthrough — though sustained, minor stimulation could be observed.

Kira and Matt also noted that the flood of zombies actually detracted from any scariness they may have felt, and frustration at the size of the horde of undead, as well as difficulties in combating them, replaced any other emotions. Matt was alone in completing the level.

Although Matt is evidently regularly in peril and constantly attacked by the zombies, there were few moments where he was noticeably aroused, this bit being the most so. He even went so far as to say that parts of the finale were boring, due to the desensitization of the enemies.

Findings

Resident Evil 5 did not have many moments considered scary by the participants. Most players agreed that the game was enjoyable, and appreciated both the spectacle and the fun in the combat parts, yet denied they were “very scared” at any point.

“This is weird. More weird than scary.” – Matt

“It’s quite cool, but I’m not scared.” – Kira

Despite limited amounts in the way of scariness through jumps or fear, Resident Evil did present a very atmospheric setting.

“It’s really quite atmospheric actually.” – Rob

“These dark tunnels are atmospheric; not really scary though.” – Kira

The moments of gore also provoked a reaction in some of the players, particularly the casual gamers, which likely heightened the atmosphere and generated fear. This is a sentiment that was echoed by at least two of the players in post-play interviews. The game followed an upwardly-rising level of self-declared engagement amongst some of the players, with intensity high for the closing stages, though any scariness Resident Evil 5 managed to convey was during the middle sections, when the enemy was still an unknown.

Player Experience Graphs

When looking at the player experience graphs on the following page, it can be seen that for all players, they were stimulated by the first encounters with the zombies.

This is largely an excitement response, but also moments of fear too. The casual players also responded to these moments in the same way as the core, but they continued to be engaged by the game by increasing amounts (though not necessarily scared), whereas the core players’ engagement waned as the level progressed.

Dead Space 2

Outline of Play

Dead Space 2 begins with a calm but interrogative cutscene, in which it becomes clear that the protagonist from the first game, Isaac Clarke, is mentally ill. During the opening, the events soon turn to semi-hallucinatory horror, and soon Isaac finds himself woken by a medical orderly.

A grotesque attack upon the orderly means Isaac is forced to run through a necromorph-infested series of corridors, bound by a straightjacket. Isaac reaches the relative safety of another part of the hospital after beating a mini-QTE, and embarks on a quieter fact-finding role. Shortly, after a number of false alarms, other necromorphs attack Isaac.

The sessions ended at various stages depending on the player’s abilities, but never earlier than the part where the telekinesis gun is found, and no players succeeded in reaching too far beyond the point at which the plasma gun is sourced from the device operating upon a screaming man.

Analysis of Play

Opening terror and start of gameplay. None of the players’ interest was stimulated during the cutscene that played at the start, at least not until Isaac witnesses his dead wife become a necromorph in a horrific fashion.

At least four of the participants found this moment distressing, and were frightened further still when throttled by the orderly, only to have him gruesomely slaughtered by a grotesque creature.

It was suggested that these scenes were not only scary due to the abruptness and potency of the shocks, but were also heightened because of the liberal presentation of horror and gore. This was not universally agreed upon, but three of the players strongly agreed with this hypothesis, with another player agreeing to some extent.

Mike’s breathing and GSR had returned to normal following the wife-horror of the intro video, but is again interrupted as the orderly is unexpectedly impaled from behind. An exclamation of “Oh wow!” and questioning confirmed that this moment was scary for him. He was not alone in this thought, as other players also experienced similar emotions at this point.

Straightjacket flee. The chase scene provided a number of scary moments for the players, arriving at different stages for each player. All but one of the players (Matt) died at least once before reaching the relative safety of the next room, with players especially struggling on a scripted mini-QTE sequence after being pounced upon by a necromorph. The points at which players were most engaged were at three definable but partially generative beats.

The first type of scare-inducing moment was whenever players were physically attacked by an enemy. This was most profound in the first instance of attack, but remained significant on each occurrence. The response was also elevated when players had little health remaining.

However, for one player (Matt), although his biometric reactions to necromorph attacks were in line with the other players, he did state “I couldn’t really care less if I lived or died”. This is either a case of participant denial of fear (for any number of reasons), or an alternative emotion felt by the player to what the other participants were feeling, though he was unable to remember what he was feeling at the time.

Olivia suffers her first direct attack from a necromorph. Clearly, her irregular GSR patterns are aligned with this moment, and she was shouting, “God, Oh my God, this shit is so scary!”

The second feature of the scene that regularly prompted a fear response was when players were knowingly pursued by enemies, but said aliens were not visible on-screen, and Isaac was just out of harm’s way. This “implied danger” was a key cause of scariness for the participants, with Olivia suggesting, amongst screams, that knowing they were behind her was really scary.

The final cause of scariness in this opening chase was observed whenever players had trouble navigating. Four of the players took the wrong route, often resulting in death. Three of them said that this caused them to panic, making the chase even scarier. Kira, however, said that losing her way was frustrating and made the game less scary, which another player (Rob) found himself in agreement with, though only after he repeatedly had trouble with navigation.

This panic/frustration theme recurred when the mini-QTE part was reached, with initial fear soon dissipating into frustration as players took multiple attempts to survive it.

Rosalind died consecutively four times whilst struggling to navigate the dark corridors and locked doors of the asylum. Her shrieks of fear became cries of frustration as she failed to work out where to run to.

Non-combat horror scenes. After the panic of the first five minutes, players settled into the more somber pace of the following 10. The blood-splattered rooms and scenes of implied disgusting violence didn’t elicit much response from the players, but there were a handful of shock-inducing moments that managed to scare every player, although, of course, to varying degrees.

The main sources of scares were when a screen abruptly blares on; when an apparently stationary patient suddenly grabs Isaac when he approaches; when the floor of a vent falls through; and a more subtle point when strange, alarming noises can be heard.

All of these managed to scare almost every player, with only Kira and Matt resisting, though even they were scared by at least one of these moments. Again, at all of these points, a dramatic change in GSR could be seen, and a modified respiration pattern could also be observed. Participants were particularly vocal during the scary parts of Dead Space 2, which helped with pinpointing specific emotions (fear) and they also remembered some of these individual scares in the post-session evaluation as being especially scary.

“I’m feeling very vulnerab — woah!” Rob had already been scared by previous shocks in Dead Space 2, but the relative calmness of the game had heightened his expectations of fright. His suspicions that the game was about to throw another scare his way were confirmed when, mid-sentence, the floor fell through beneath him.

It is interesting that many of these scares were preceded by a period of unstable biometrics responses, such as an increased heart-rate and heavy or stunted breathing.

This “anticipation” fear served as a key factor in building up the tension leading to the actual scares themselves, which was commented on by both Mike and Rosalind; an idea that other players also agreed with.

Telekinesis gun and combat. The final part that every player reached was when Isaac first receives the telekinesis gun. Some players couldn’t work out how to progress, which made them frustrated, observed by both a peak in GSR and a gradual rising of skin temperature. Regardless, once they were confronted by a necromorph, those that worked out how to fight it using melee combat found it very scary.

Only Matt and Rosalind managed to use the telekinesis to impale the enemy, and were less scared as a result. Kira and Olivia were unable to figure out the combat controls, and claimed they were again more frustrated than scared after repeatedly dying.

Matt barely responds to the imminent threat of a sudden appearance of the necropmorph. He wanders around the room searching for an exit, and makes his way to the lift.

Despite his relative nonchalance, his respiration is still irregular and it is possible that he is somewhat scared — or at least engaged with the game — at this point.

We can see from this that players that could comfortably dispatch enemies were barely frightened by the confrontation, and those that were entirely unable to fight back were too frustrated to be scared. The players that depended on melee combat to kill the necromorph(s) were the most scared by this part, perhaps as the chances of survival were low, but not impossible.

Speaking to players suggested that they felt a great deal of panic, but only the melee-using players (Rob and Olivia) said they felt scared. Once more, Matt remained nonplussed by the scenario, and actually decided to simply walk past the necromorph instead of engaging with it, not responding to the threat in any significant amount.

Findings

Dead Space 2 not only had numerous occasions in which players were universally frightened, but also revealed multiple types of fear response. The anticipation of a confrontation heightened the scariness in the game, and increased the potency of the scares when they followed periods of tension.

The use of sound and false-scares (whereby the shocks represented no threat to the player) generated short bursts of fear in the players. Despite this, for some of the times when genuine conflict occurred, players were actually less scared than they were for when they thought they were going to be engaging in combat.

“Pretty spooky in here… Oooh… That was horrible!” – Mike upon seeing NPC slit throat

“I can’t take this, this is so scary!” – Olivia

Furthermore, the fast pacing of the game was coupled with scenes of graphic violence. These depictions of the grotesque were far scarier to players when they were presented at moments that were also scary in another respect (fight/flight, surprises), than when presented during a sequence in which the player is safe (cutscenes, NPC suicide). Gore is apparently only scary when it is featured alongside another scary element. Overall, Dead Space 2 managed to scare every player at least once, and also had moments of immediate fright (surprises), sustained anticipatory tension and fight/flight conflict-based fear.

Player Experience Graphs

The player-drawn graphs for Dead Space 2 were more animated than for any other game, with even the usually-disinterested Matt drawing a fairly wavy line showing his engagement with the game, including a number of peaks. Participants also easily managed to remember isolated incidents during which they were scared.

Condemned

Outline of Play

Condemned is the oldest of the games in the study, but it was agreed that it was renowned as a scary game, and is certainly still appropriate to examine. It opens with a criminal investigation, within which the player is given increasing degrees of control. The player finds out more about the context of the murder at hand, using various pieces of gadgetry and by listening to the other characters.

After 10 minutes of play, the player is left alone to investigate the dark, abandoned building to find the fleeing suspect. The player is attacked by a hooded man, under an implication of otherworldly influence. Long periods of navigation through the building follow, before further encounters with enemies occur.

Players generally stopped playing around the point at which they are handed an axe by another detective, but never before they have experienced the weapon-based melee combat.

Analysis of Play

Criminal investigation. The pacing of Condemned is the slowest of the games studied, and the opening 10 minutes feature no conflict whatsoever. Players got to grips with the investigative tools, but were not scared at this point.

The flash-back style cutscenes did evoke biometric reactions from at least three of the players, but Mike and Rosalind countered suggestions that they were scared with the notion that their intrigue was piqued, and had become eager to embark upon the game proper.

Mike’s GSR peaked enormously during the flashback cutscene, but his regular, unchanged respiration rate backed his claim that he was merely intrigued, rather than scared: “It’s all very nasty, but I don’t feel any immediate peril”

First combat. Once the players were left alone to explore the building, they were almost immediately confronted by a surprise attack. This scared five of the players, as they were facing the wrong way at the time of attack. Matt dispatched the enemy in a single shot, and was lucky enough to be facing in the exact correct direction to witness the attack comfortably, so did not react strongly. The other players all elicited a strong biometric reaction to this surprise encounter. Two players (Mike and Olivia) yelped, and most of the participants said this was the scariest moment of the game.

Rob is engaged as the cues for the imminent encounter play out; the provocative noises and warning from the officer both make Rob tense as he prepares for the impending fight. He is attacked from behind and responds in an accordingly frightened fashion.

Exploration and rest of level. Every player struggled with navigation as they explored the building. This whole sequence had few standout moments, but different players had specific parts at which they found to be scary. Olivia jumped and shouted when she heard a loud moan, and Rosalind was shocked when she was attacked by another hooded enemy — both backed by an observable biometric response.

There were also some players that found the flashback cutscenes to be scary, and others that found the scripted non-controlled attack upon the player very frightening.

Nevertheless, there was no one standout moment that universally scared the majority of the players.

A great number of subtle responses were also noticed, with the noise of footsteps, the player’s own shadow and hinted-at enemies all provoking mild responses in the participants. The adjectives used to describe this stage were “atmospheric”, “spooky”, “sinister”, and “haunting”, among others. After 10 minutes of this, fatigue set in, as players became frustrated at their lack of progress. None of the casual players reached the predetermined end point of the test, receiving the axe from the officer, and much of the tension experienced earlier on had faded by the end of the session.

Kira found navigation slightly frustrating, but remained absorbed in the atmosphere. Even 30 minutes in to the game, and over 10 minutes since any significant event, she was still responding to the game. She said that she found the atmosphere to be very tense, instilling a “medium” level of fear in her.

Findings

Interestingly, the core players were far less frustrated with the game than the casual ones. Indeed, the shocks and jumps were greater in core players, and they also retained their engagement with the game for a longer time than the less experienced participants. They were quicker to progress though the level, and also to absorb the exposition at the start. It is possible that the relative lack of scripted or obvious events confused the less experienced players, and the unpredictable nature of the game unnerved the core players.

Mike, Rob and Olivia (casuals) all said they found it to be confusing, especially in terms of navigation, and any scariness they felt at the start began to wane by the end. Conversely, both Matt and Rosalind said the game got scarier as it developed, with the tension in the building rising gradually as they progressed.

The core players were still engaged by the end of the session, and also demonstrated greater peaks and troughs, with the first encounter and later tension both proving memorable. The casual players were less engaged, and also less scared, but still found the first encounter particularly memorable.

Conclusions

Actual combat is not as scary as the implied threat of combat. The biggest cares result from moments devoid of any physical combat; instances in which players anticipate or fear they are about to fight, but do not actually end up doing so.

Cutscenes are generally not sources of fear for most players, but casual players react more strongly to them. Core players seldom find cutscenes scary. Most players find cutscenes to be a respite from the game itself, though a minority of players is capable of being scared by some videos.

The first confrontation is almost always the scariest. In every game, across all player experience-levels, the first encounters with the enemies are much scarier than later ones.

Repeat failure prevents scenes from retaining any initial scariness they may have had before. Whenever players repeatedly die or spend too long struggling with navigation, frustration replaces fear. If major usability issues exist/occur, then players will be far less scared.

Gore in isolation can be provocative, but not scary. In some cases, the grotesque can make scenes scarier, providing there are other factors also contributing.

Players are frightened even more when normal scares are accompanied by disgusting or shocking content. This gory material alone, however, fails to scare players.

Casual players are more easily scared than core players, but also enjoy the games more. Experienced gamers’ familiarity with the medium, and their existing expectations of it, means they are less likely to become scared than casual gamers.

The closer a game resembles film, the more casual players are scared. Conversely, the less scripted a game is, the more the core players are scared. Third-person, tightly scripted events are scarier to casual players than to core gamers, while first-person, generative events are scarier to experienced players.

Heightened tension can be created by a potent atmosphere. This will keep the player engaged and ultimately make the scares bigger. Games which keep players engaged even when events are not occurring (by presenting a stimulating atmosphere) are more likely to scare players when those events do occur.

Large numbers of enemies makes games less scary. Once players are asked to dispatch more than two or three enemies at a time, they become less scared. Familiarity with enemies renders them less scary.

Scariest Game Rankings: “The scariest game on the Xbox 360″

Based on our observations and analysis, as well as direct questioning of the players themselves, the following order was determined:

CORE CASUAL

Dead Space 2 Dead Space 2

Condemned Alan Wake

Alan Wake Resident Evil 5

Resident Evil 5 Condemned

Biometric Storyboards

(Where conflict between player experiences exist, core players were used for these storyboards rather than casual)

Conduction and analysis by: Joel Windels with Graham McAllister, Adam Smith, Gareth White and Pejman Mirza-Babaei

篇目4,An Investigation into the Effects of Horror Games

Darren McKettrick

Introduction

“It isn’t what you see, but what you can’t see. It’s the suggestion; the subtle teasing of the subconscious; the lonely creaking of the floorboard resonating throughout an empty hallway; the slow advance around the corner; the swelling sense of dread as the ever-present evil looms near refuses to reveal itself. Fear is not an adrenaline rush. It’s that helpless feeling of be alone in the dark.” [Fahs, 2008]

This introduction to Travis Fahs’ Alone in the Dark Retrospective illustrates the direction of this project. The horror genre has featured in games since its creation. Going back to the text based game Zork (1980) a section of the game had the player stumbling around a dark cave scared of being eaten by a Grue, a situation no one had experienced before in a game. Horror games then continued to be produced, including The Lurking Horror (1987), Alone in the Dark (1992), Resident Evil (1996), Silent Hill (1999), F.E.A.R (2005), Dead Space (2008 and Slender (2012). Horrors present a new challenge to players after years of game where the player must learn new fighting skills; horrors required the player to escape from the threat.

Horror games are interesting to analyze for several reasons. In terms of emotional content, horrors can affect almost every emotion possible – raging from disgust to happiness, suspense and fear to relief. The emotional effects of horror can be seen as suspense, fear and worry, further studies suggests that horrors relies on monsters creating a feeling of horror and disgust.

This Dissertation will examine:

How players are affected by horror games – do their hearts start being faster, do they move about more, do they run from the room terrified

The psychology behind horror games – why are you afraid?

Which factors within horror game create the biggest scare – it is the atmosphere or enemies that make a player terrified or is it the relationship with the character

Definition

The aim of this project is to investigate how players are affected by horror games, and which factors within these games create the greatest scare from the player.

The Oxford Dictionary definition of scare is: “1 cause great fear or nervousness. 2 a sudden attack of fright”.[i]

The purpose of this project is, therefore, to investigate how horror games can cause the player to be scared.

Aims and Objectives

Research

At the research stage of the project, multiple sources will be viewed which will show the creation process behind horror games, the effects of horror games on people, the psychology behind the genre and how to improve horror games.

A number of critically acclaimed horror games will be played and examined to determine why they are rated as some of the best games of all time.

After all the research has been completed, it will be split into two different sections. The two sections are: Atmosphere and Psychological. The atmosphere section will detail the aspects that create a sense of dread and terror from the environment, sounds and non playable characters. The psychological section will examine the elements that are left to the players’ imagination.

The aim of this stage is to gather information that can be used in the creation of horror games. This information can also be used by the game industry for the creation and improvement of horror games or any other game where it could be applicable.

Testing

The testing section will require a number of participants to play several horror games. This experiment will be used to find the factors within the horror games that produce the biggest ‘scares’ for the player.

Research

The research section will focus on what makes horror games scary and the psychology behind horror games. After both sections have been researched and detailed, they will be split into two further sections which are: Atmosphere and Psychological. These two sections will reveal how each element can be used.

What makes a horror game scary – This section will look into the methods that are used within a game to scare the player. This could be the music that is used, where the game takes place or how combat is dealt with in the game.

Atmosphere – This section will detail which methods are used to create an atmosphere in a game. For example how the audio track could consist of a heartbeat, beating faster as the character gets closer to an objective.

Psychological – This section will examine the methods that will alter the player’s mental state. This could be done be the player thinking that they are being chased by an enemy when there is actually nothing chasing them.

The psychology behind horror games – This section will describe why a player feels the emotions they do when playing a horror game. For example, how the player feels empathy if a character is being chased by a monster and so will feel afraid as well.

Critically acclaimed horror games – This section will be a review of horror games which have been noted to be some of the best horrors created.

What makes horror games scary?

Ambiguity – In horrors it is the things that are left unsaid that will engage the player’s imagination. The player must be guided through key areas and key points of information, but they should have a hunch that something just isn’t right. For example, the introduction of Silent Hill 2 makes the player walk to the town. The area is covered in a thick fog so the player cannot see if there is anything in front of them until it is too late, and while walking, all the player can hear is the character’s footsteps, a minimal sound track and occasional sounds as if a dog is running near the character and growling. However, the player encounters no enemies, but because of the audio and visuals the player is put on edge.

Don’t show; persuade the player to scare themselves.

Strong Sense of Place – Within horrors there is a wide array of places that the player will instantly understand as a dangerous and spooky, for example abandoned schools, hospitals and hotels. If there is a ‘safe place’ within the game, this should not be used by the player as a hub or base, but as a place for them to cower in a corner and to contemplate the next horror. But if there is a place that the player must return to again and again, it is more terrifying when something about it changes. In the game Silent Hill 4 the player is given a home which they leave and come back to throughout the game. As the game progresses, the room becomes vulnerable because enemies have the ability to invade it.

Within a horror game no place is safe.

Subtle changes to the environment – When something becomes routine within a horror game then it is not a horror anymore because the player knows what will happen. But if minor changes are made they can both excite the player’s curiosity and increase their fear. If the game is taking place within one building then items should slowly start to disappear, the music should change while progressing through the story, and if the character can receive messages they should eventfully become warnings that make very little sense.

The player must never feel as if they have mastered the environment.

Relationship with the Protagonist – This is essential. Most horror games use empathy as the emotion of choice so that the player feels for the hero, and will fear for the characters’ safety. But other kinds of emotional relationships can be used to create more opportunities to unsettle the player. In the video game Haunting Grounds, the player is cast as a powerless young girl who can only run from the cultists who are chasing her. This makes the game more frightening as the player often experiences distress at the girl’s circumstances. However, in the game Spec Ops: The Line, the player takes the role of Captain Martin Walker. Walker is a soldier who can defend himself, so the player should not fear for his safety. But the game forces the player’s choices and the degree to which the mental condition of Walker’s mind deteriorates, to express horror. During one scene in the game the player is given a weapon which can cause massive destruction, and told to use it against their enemies. But after doing so, the player learns that there is an unexpected consequence to what they have done. When the scene was being focus tested, after the players had realized what they had done, they were pausing the game and leaving the room. [ii] This shows that both the player and the character are experiencing some of the same emotions about what they have done within the game, because the player who was controlling the character was oblivious to the consequences of their actions.

Fear Must Have a Purpose – Fear must be grounded within something real. All emotions are personal. Fear should be made personal by linking it to something that is mundane.

It should bring the fear home for the player.

Human Interaction – Bringing a human drama into a horror will deepen the player’s emotional attachment to the characters. However, simulating a human being within a game is a difficult problem; this can be overcome with simple actions. For example, in the game Ico the protagonist must hold a girl’s hand and guide her through the game. Without this contact the girl would be lost or taken by the monsters that are chasing her.

Anticipation – Horror games need a sense of anticipation. This must be drawn out for as long as possible. The player needs to know, at all times, that something horrible is waiting for them just around the corner. However, when the horrible thing actually happens all of the tension is lost. When the player has finally seen what it is they must face or overcome, something becomes defined which doesn’t need to be feared as much as the being their own imagination has created.

Combat – Combat in horror games should be simple. However, the player shouldn’t have full control over the situation, whether the enemy’s behaviour is hard to predict or the character is weaker than the enemy. Actual combat is not as scary as the implied threat of combat. If the game does require the player to fight enemies, the combat should be ‘up close and personal’. Defeating an enemy by shooting them from across the level does not add any sense of fear because the character is not in any real danger. If ranged weapons are used, having limited ammo ensures that the player is constantly afraid that they will run out.

Sound – Sound in horror games allows the game to scare the player even before they see an enemy. It also creates atmosphere and in some cases a build up of tension. The music is usually composed of long dawn out notes or repeats of harsh sounds mixed with soothing ones. Some music that is not in horror games can nevertheless instil a sense of dread in a player. For example, during the underwater levels in Sonic the Hedgehog, as Sonic started the run out of oxygen the music’s tempo would increase, which would in turn cause the player to start panicking. Within some horror games sounds are linked to certain events so that when the player hears them they will begin to get anxious because of the link they have made with the sound and the event. For example in Resident Evil 3: Nemesis, when the player hears the Nemesis theme played, they start getting nervous because they know that Nemesis is nearby. If a horror game did not include audio, then it would not be as immersive or scary. This has been proven by Raymond User who created an experiment which investigates the importance of audio in computer games [iii]. In this experiment a number of participants are required to play a number of games while being monitored for physical responses. The participants played the games with, and without, audio. After the experiment was finished, it was discovered that when playing the game Amnesia: The Dark Descent, there was a significant difference between the two groups. The group with audio had a significantly increased heart rate compared to the group with no audio.

Enemies – An enemy in a horror must either be unsettling, threatening or a combination of both in design. An example of this is the difference between a Werewolf and the Wolfman. To begin with they are both wolf based but they focus on different designs. The Wolfman is a twisted distortion of mankind. When you look at it you are afraid because you know at one point it was human and somewhere inside it there still might be a shred of humanity left. You are terrified because you can put yourself in its shoes and see it happening to you. On the other hand, the Werewolf has a complete lack of humanity. It is a pure beast which just follows its instincts with rage and savagery. It is the unconscious thought of being haunted by something that will not show mercy and which is doing this for no peculiar reason other than its own nature. Another way to scare players in the enemy design is the use of innocence. In horrors if the enemy has a sign of innocence it will disturb the player. Innocence is scary for a number of reasons. It shows the fear of a person’s own children performing horrible acts against others, becoming something hideous, and the fact that most people’s own moral conscience would stop them from killing something like a child.

Atmosphere – In the Oxford Dictionary atmosphere is defined as: ‘the pervading tone or mood of a place, situation, or creative work’ [iv]. This section will therefore detail the elements that create a tone or mood of a horror game. The elements are: – Strong sense of place, subtle changes to the environment; fear must have a purpose, combat and sound.

?Strong Sense of Place – This factor creates a sense of atmosphere because of the player’s knowledge that most horror stories happen in an abandoned hospital, school, hotel or dark woods.

?Subtle Changes to the Environment – As items start to disappear, the music starts to change and other characters start acting bizarrely, this will alert the player that something is not right.

?Fear must have a Purpose – Something within the game should relate to the player, whether this is the setting, characters or story.

?Combat – Depending on the setting of the game, a character will have to fight according to it. For example, if the game is set in the medieval ages the character will have to fight their enemies with swords or bows.

?Sound – In the game Max Payne, during a nightmare-like sequence, the background music is a baby crying and if the player falls off the maze the baby will start screaming. This creates a very disturbing section of the game.

Psychological

This section will examine the aspects that affect the player’s mental and emotional states. It will examine the elements within a horror game that will change a player’s emotional or mental state.

The elements are: – ambiguity, relationship with the protagonist, human interaction and anticipation.

Ambiguity – A horror game should never show what the enemy looks like at the beginning of the game. This will allow the player to create their own monster and will have the player scared at every corner while they wait for an enemy to appear.

Relationship with the Protagonist – By creating a relationship between the player and protagonist, the player will have an emotional connection to them and will feel fear when the hero is in danger.

Human Interaction – By having the player’s character interact with other characters within the game it will increase the player’s attachment to them.

Anticipation – Anticipation is the build up of tension. As tension builds throughout the game the player will become more and more tense until it can be released.

The Enemies aspect can fit within both sections. It fits into the Atmosphere because design and look of the enemy could be a reflection of the environment. For example, Splicers in Bioshock.

Splicers are the citizens of Rapture, due to abusive ADAM consumption, their minds and bodies are mutated beyond repair and are dependent on ADAM. It also fits in Psychological because the enemies could show innocence which would cause the player to be hesitant when faced with them.

The Psychology behind Horror

Mirror Neurons – In the early 1990s, a team of neuroscientists made the discovery that a certain group of neurons in a monkey’s brain fired when it performed an action and also when it watched others perform actions.

Mirror neurons are believed to be very important for a human’s ability to empathize with others. Dr Marco Iacoboni says “Mirror neurons are motor cells. That is, they send signals to our muscles to move our body, make actions, grab a cup of coffee, smile, and so on. However, they differ from other motor cells because they are also activated by the sight of somebody else’s actions.” For example, a mirror neuron is fired when you reach for a drink, but also when another person is reaching for a drink. “By being active even when we do not move at all and simply watch other people moving, they sort of create an inner imitation of actions of others inside us.” [v]

Wondering how exactly this happens, Iacoboni and several others conducted a study (Carr,Iaconboni and Dubeau 2003). [vi] In this study they used equipment to monitor the brain activity of subjects who watched images of faces expressing different emotions. Upon seeing facial expressions mirror neurons fired, but also the neurons in the limbic system fired. The limbic system is a portion of the brain which is related to emotions. So in a way the subjects were actually feeling the emotions themselves to some degree.

The effect of mirror neurons can be seen in the game The Walking Dead, because the game frequently shows the player, the faces of the characters and their facial expressions. Therefore when a character in the game is angry or disgusted, the mirror neurons in the player activate as if they are making the expression themselves and so feel some of the emotions to some degree.

Empathy – Empathy is defined in the Oxford Dictionary as “the ability to understand and share the feelings of another”. [vii] Empathy is the ability to understand another person’s emotional condition from their perspective.

The psychologist Mark Davis suggests that there are three types of empathy. The first is ‘Perspective Taking’. This is putting yourself in another’s shoes. It is used to understand where others are coming from, but not understanding their emotions.

The second type of empathy is ‘Personal Distress’. This is feeling another’s emotions. For example, while playing a horror game, you may start to feel scared when the character in the game is being chased or threatened. This process is called ‘emotional contagion’. Emotional contagion is the process where emotions are treated like a disease and spread. [viii]

The final type is Empathic concern. This type is what the majority of people think of when they hear the term empathy. It is the ability to recognize another’s emotions and understand them.

For an example of this in a game, during one scene in The Walking Dead the player has the task of giving the last four pieces of food to a group of ten people, all of whom have not eaten for days.

Some of the characters are children, and one is an old man with heart disease. Throughout the game the player has made relationships with all the characters, so the player will feel upset if the people they do not feed get upset or angry.

Fight or Flight – The fight or flight response is a psychological reaction that happens in the presence of something that is terrifying. The body will prepare to either fight the threat or flee from it. It is also noted that this can happen even if the threat is imaginary.

This was first discovered in 1920s by Walter Cannon [ix].Cannon discovered that animals react to a threat with a general discharge of the sympathetic nervous system. The sympathetic nervous system regulates our internal organs and controls some of the muscles within the body. So if there is a general discharge of the sympathetic nervous system it means the body involuntarily takes over and causes the animal to either flee or fight.

This can seen in horror games in the experiment performed with this report. When the participants were playing the game Slender, some of them when seeing the monster for the first time would panic in an attempt to escape, which in most cases would end up with the character’s death. But the participants that remained calm had a better chance of escaping.

Research Analysis

It appears from the articles read and games played that it is important that the Atmosphere must be believable and that the story, characters and enemies should be a reflection of the protagonist’s mental state. For example, in Silent Hill 2 the whole town and its inhabitants are a reflection of James’s mental condition.

The setting should be as realistic and believable as possible so that the player will be immersed into it. For example, Bioshock creates a whole city which the player can explore. It is believable because from the audio logs the player can gather they had a sense of what happened to the city before they arrived and why everyone is crazy.

The enemies in the game should not be easy to defeat. This can be achieved if they have more amour or health than the player, have powerful weapons or they are greater in number. This should be done so that the player does feel fear for the character, however if the monster can be defeated, then make sure it does not take the player a long time to do so as they will just get irritated and quit the game.

Testing

The test will be an experiment. In this experiment a number of participants will play several horror game levels. During play the participant’s heart rate and physical reactions will be recorded and analyzed. The experiment will take place in a university lecture room. This was decided because the room had the capabilities to play the games and it had a black out feature so that the players would be playing in darkness.

The aims of the experiment are to examine horror games, see if there are any common features in them that will increase a player’s heart rate or cause a physical reaction and to find which elements in a horror could be classed as the ‘scariest’.

The design of the experiment is to identify which elements in a horror game are scary. This will be determined by the participant’s heart rate, physical reactions and the responses from a questionnaire, which will be completed after the experiment has finished.

Each participant will be asked before the experiment to fill in a form (Appendix 1)which will ask them about their previous experience with horror and if they have played any of the games beforehand. They must also sign a consent form (Appendix 2). After the experiment is finished they will again be asked to fill in a form (Appendix 3). This will ask participants which games they found the most and least scary and the reasons for this. The participants’ heart rate will be measured by a heart rate monitor which will be clipped onto the player’s ear or finger. (Appendix 4)

Their physical reaction will be monitored via a video camera with audio recording capabilities.

The games that will be played for the experiment are Resident Evil 5, Dead Space 2, Silent Hill 3, Bioshock, Slender and Spec Ops: The Line. Each game has been chosen because they all have received praise from a number of game reviewers and each creates horror through different means.

Resident Evil 5 – During this game the player must survive while waiting for a helicopter to destroy a gate blocking their path. The player will face a large number of enemies and one boss-type enemy who wields a giant axe. The player starts the game on a hill which they must descend; the player then enters a house where a cut scene begins. In this they see another character being executed. The enemy leading the execution then sees the player and orders the crowd of people to attack them. The player can then fortify the building they are in by pushing shelves in front of doors and windows, and gather ammo from the area. Eventfully the boss-type enemy destroys a wall of the building allowing other enemies to enter and the player is allowed to roam a bigger area. The player must then survive until the helicopter arrives to destroy another gate so the player can escape. If the character dies, the game is stopped. This level was chosen to see how players cope with constant attack from enemies while having nowhere to run.

Dead Space 2 – The player must complete the beginning of the game. During this the character the player is in control of is stuck in a straight jacket and must flee from enemies who are chasing him. The game begins with the character being interrogated and hallucinating. Eventually the character blacks out. When they awaken they are being released by another person who gets attacked and starts to mutate in front of them. The player must then escape. They make their way to an observation area where they are then grabbed by another character who holds a knife to their throat but releases them from the straight jacket and directs them to a locker with items inside. When the character turns around, the other person then cuts their own throat in front of the player. If the character dies they will respawn and continue. This section of the game was chosen to see how players coped with not being able to fight back against their enemies.

Silent Hill 3 – The section of the game chosen is the introduction. During this the player has no knowledge of where they are or what is happening, so it is up to the player how they proceed. The player starts at an entrance of an amusement park where there are a number of rabbit costumes all with bloody smiles. When the player leaves this area they go to a retail section where they encounter the first enemy. The player will eventually reach a rollercoaster and start to walk down the tracks, only to be met by a cart coming from the opposite direction. Once the character dies, the game is stopped. This game has been chosen to see how players cope when there are no clear instructions on what to do and to see how players cope with the disturbing and unnatural atmosphere of the game.

Bioshock – In this game the player will play the introduction. The player must navigate the first area of Rapture during which they are given their first weapons and plasmids and introduced to the population of Rapture. The game starts with the plane which the character is aboard crashing into the sea. After finding a light house with a biosphere inside, the player descends into Rapture.

When the biosphere resurfaces they see another character being killed by a splicer. The player then makes their way through the level while fighting a number of enemies. The player can respawn during the game. This game was chosen because of the atmosphere and how it creates a believable world.

Slender: The Eight Pages – In this game the player must search dark woods while looking for eight pages and being stalked by Slender. When the player encounters Slender, static will start to fill the screen until the only thing the player can see is static and Slender’s face. Slender will only start stalking the player after they have found the first page; the soundtrack will change to a beating drum. After finding the second page, short bursts of static will occur. The player will only have one life while playing. This game was chosen to see how players dealt with being chased by an entity which they cannot fight against or reason with.

Spec Ops: The Line – The player takes the role of a soldier who must use a mortar to kill a number of enemies. When all the enemies have been disabled, the player must then walk through the carnage they have caused. When they reach a trench they see they have mistakenly killed a large number of innocents. The player can respawn during play. This game is not classed as a horror game, but it was selected because it shows the player the consequences of their actions, and to see how players cope with killing a large number of innocents.

The hypothesis for this experiment is that the game Slender: The Eight Pages will cause the highest heart rates and create the greatest physical reactions because of how it builds tension and has numerous jump scares. However, the game that will be rated highest by the participants will be Silent Hill 3 because of its dark and unsettling atmosphere.

Control Subject

This participant has played all the games previously and has a high tolerance to horror since he is a fan of the genre. He is a 22 year old male, currently a student within the games industry and plays games for 6 – 12 hours a week.

He rated Slender as the scariest game that he had played. He chose this because of the high level of tension, the jump scares and excellent audio. The least scary game in his opinion was Spec Ops: The Line. He says it was not really scary – more psychological, and if he had played it since the beginning or had more knowledge of the situation, he might have been more distressed.

In the questionnaire he was asked to identify the scariest and least scary aspect in each of the games he played. They were:

Game

Most Scary Aspect

Least Scary Aspect

Resident Evil 5

Out numbered

Strongest enemy could not reach you when you were on top of the bus

Silent Hill 3

Chaos, not understanding of what is happening

Difficult controls and the camera

Dead Space 2

No chance to fight back

Felt scripted

Bioshock

Excellent atmosphere

Instant respawn if you did die

Slender

High tension and brilliant at making people jump

Low graphics and was laggy

Spec Ops: The Line

Gore

More of an action game than horror

While playing these games his heart rate and physical reactions were recorded.

Game

Heart Rate Increases

Physical Reactions

Resident Evil 5

No significant increase

-

Silent Hill 3

At the end of the first cutscene and first encounter with enemy*

‘jumped’ at first encounter with enemy *

Dead Space 2

Increase when watching a patient’s interview **

-

Bioshock

Increase when character first injects the plasmid***

Looked uneasy at injection***

Slender

Major increase when caught by Slender

Swearing at the computer

Spec Ops: The Line

Increased when seeing burnt person talking to the player

-

*He later said he forgot about that enemy

**Not really a scary or disturbing interview and does not need to be watched to continue the game

***He later said he does not like needles

Participant 1

22 year old male, is a student in music technology spends 12-24 hours a week playing video games. He has played Resident Evil 5 and Bioshock. He has some experience with the horror genre and he is not easy to scare but also it not fearless. He rated Silent Hill 3 as the scariest game. His reasons for this are “It was the creepiest of the games played and was fairly hard to understand what was going on.” The game he rated the least scary was Spec Ops: The Line because it was more action based than horror.

In the questionnaire he was asked to identify the scariest and least scary aspect in each of the games he played. They were:

Game

Most Scary Aspect

Least Scary Aspect

Resident Evil 5

Getting overrun

More action based than other games

Silent Hill 3

The theme

Enemy movements

Dead Space 2

The mutants

Just had to follow a path and you would be fine

Bioshock

The setting

More fun than scary

Slender

Not knowing where it is

Graphics

Spec Ops: The Line

Trying to make you feel for your actions

More of a action game

While playing these games his heart rate and physical reactions were recorded.

Game

Heart Rate Increases

Physical Reactions

Resident Evil 5

When grabbed by an enemy from behind and when hit by the axe boss

‘jumped’ when grabbed

Silent Hill 3

At the end of the first cut scene and first encounter with the enemy

-

Dead Space 2

Ally being mutated, when being chased and the throat cut scene

-

Bioshock

First look at the Big Daddy and Little Sister

-

Slender

Increase over time after finding the first page and when caught by Slender

-

Spec Ops: The Line

-

-

It should also be noted that the participant talked his way through each game.

Participant 2

Participant 2 is a 23 year old male who works in the engineering sector. He plays games for 5 to 12 hours a week, has played Resident Evil 5. He says he has some experience with horror and is not easily scared but is not fearless. He rated Slender as the scariest game; his reason for this was “Fear of the unknown” and “Things sneaking up behind you”. The game rated as the least scary was Spec Ops: The Line, saying that there was nothing sudden.

In the questionnaire he was asked to identify the scariest and least scary aspect in each of the games he played. They were:

Game

Most Scary Aspect

Least Scary Aspect

Resident Evil 5

Turning around to find someone behind you.

Stand and shoot.

Sheva*

Silent Hill 3

Odd creatures

Falling in holes**

Dead Space 2

Dark and things jumping at you

The beginning credits

Bioshock

Dark and things jumping at you

The Irish man***

Slender

Sudden noise and dark

-

Spec Ops: The Line

Burnt People

Non-burnt people

While playing these games his heart rate and physical reactions were recorded.

Game

Heart Rate Increases

Physical Reactions

Resident Evil 5

-

-

Silent Hill 3

At the end of the first cut scene, first encounter with enemy and death on the rollercoaster

-

Dead Space 2

First death*

-

Bioshock

None

-

Slender

First encounter, sudden sounds** and death

-

Spec Ops: The Line

None

-

*Participant died multiple times on the Dead Space 2 playthrough

**After finding the second page random bursts of static occur

Participant 3

A 20 year old student male, who has moderate experience with horror and is not easily scared. He has played Bioshock and Resident Evil 5. The game that was rated the highest was Slender. His reasons for this are the concept of the game, the simple mechanics made it hard to survive, the fact that you couldn’t kill the threat and the suspense of wandering around the map. The game he rated the lowest was Spec Ops: The Line. He chose this as the lowest because it lacked driven suspense, it lacked an overall ‘creepy’ style and dark settings, there were no threatening or scary enemies, and difficult/mediocre game-play controls.

In the questionnaire he was asked to identify the scariest and least scary aspect in each of the games he played. They were:

Game

Most Scary Aspect

Least Scary Aspect

Resident Evil 5

Relentless threat

Game maps

Silent Hill 3

Creepy setting

Realism of enemies and weapons

Dead Space 2

Gore and brutality aspect

Simple game-play, introduction

Bioshock

Creepy enemies

Soundtrack

Slender

Suspense Building

Graphics

Spec Ops: The Line

Graphic cut-scene

The games light setting and art*

*Participant means how the game is set in the day

While playing these games his heart rate and physical reactions were recorded.

Game

Heart Rate Increases

Physical Reactions

Resident Evil 5

When hit by the axe enemy, on the run with low health and grabbed by an enemy to then be hit by the axe enemy

-

Silent Hill 3

At the end of the first cut scene and first encounter with enemy and death

-

Dead Space 2

-*

-*

Bioshock

-*

-*

Slender

When a page was collected, the first encounter and death

-

Spec Ops: The Line

When seeing the burnt bodies of the innocents

-

*Video and audio data was corrupt

Participant 4

20 year old male works in computing. He has little experience with horror and is easily scared and he has not played any of the games before. This participant rated Bioshock as the scariest game because “it built up tension and you never know when the next enemy would show up.” Spec Ops: The Line was the least scary game because “it was not scary”.

In the questionnaire he was asked to identify the scariest and least scary aspect in each of the games he played. They were:

Game

Most Scary Aspect

Least Scary Aspect

Resident Evil 5

Big zombie

The zombies did not look like zombie

Silent Hill 3

Very haunted, troubling place

Creatures did not look scary

Dead Space 2

Very dark. Second part was scary because it went dark

Was not expecting much to happen since I’m in a straight jacket

Bioshock

Dark didn’t know what was going to appear

Was scared the whole time

Slender

When Slender appeared

Running around the woods

Spec Ops: The Line

Was not scary

Was not scary

While playing these games his heart rate and physical reactions were recorded.

Game

Heart Rate Increases

Physical Reactions

Resident Evil 5

When surrounded by enemies and seeing axe enemy approaching, first fight and death

-

Silent Hill 3

At the end of the first cut scene and death

-

Dead Space 2

Hallucination* and death at the door quick time event

-

Bioshock

First fight, the flooding tunnel, watching the Big Daddy fight a Splicer, death and when trapped at the end of the level

-

Slender

First encounter, when collecting the first page and death

‘Jumped’

Spec Ops: The Line

Erratic beat when finding the innocents

-

*During the introduction cut-scene the character is being interrogated. During this he starts to hallucinate about the previous game.

Participant 5

22 year old female, is a student studying the performing arts. Plays video games for less than 30 minutes a week, has not played any of the games and has little experience of horror and is very easily scared. She rated Slender and Spec Ops: The Line as the scariest games, her reasons for these are: in Slender – “The atmosphere, and the unknown aspect it played on”. In Spec Ops: The Line – “the scary part was seeing what your actions have caused”. She rated Resident Evil 5 as the least scary game because “The atmosphere didn’t create any horror.”

In the questionnaire she was asked to identify the scariest and least scary aspect in each of the games she played. They were:

Game

Most Scary Aspect

Least Scary Aspect

Resident Evil 5

Nothing

The game as a whole

Silent Hill 3

The music and darkness

The monsters

Dead Space 2

Nothing

The game as a whole

Bioshock

The darkness

Everything else

Slender

Everything, the atmosphere; the music, the darkness, the sense of the unknown

There wasn’t, everything scared me

Spec Ops: The Line

Seeing what your actions had done

The actual game play

While playing these games her heart rate and physical reactions were recorded.

Game

Heart Rate Increases

Physical Reactions

Resident Evil 5

Death of the butcher*, first encounter, grabbed by zombie and death

‘Jumped’ at every time the character was grabbed

Silent Hill 3

-**

-

Dead Space 2

Hallucination and first encounter

Looked uneasy at the mutation

Bioshock

Seeing Rapture for the first time and Splicer attacking the biosphere

-

Slender

-**

‘Jumped’

Spec Ops: The Line

When seeing the burnt mother holding her child

Covered face with hands and looked physically disgusted

*In the actual game the characters meet with a butcher beforehand who gives them weapons.

**She said that she had difficulties in other situations when her pulse could not be found.

Online Questionnaire

A questionnaire (Appendix 5) was posted online on a number of horror related or gaming websites asking for people to watch a number of videos and rate each one for how scary it. The videos the participants watched were playthroughs of the games and levels that have been discussed in previous sections.

The hypothesis for this questionnaire is that Silent Hill 3 will be rated as the scariest game. This is due to its dark, unsettling atmosphere, the vulnerability of the female character and the reputation that the game has. Because this questionnaire was conducted on online, a number of people might have already completed some of the games and might consequently be influenced by remembering sections of the game that are not in the videos and therefore rate it higher or lower according to their experience.

Each participant was asked their age, gender, if they were employed, and if so which sector they are employed in, how much time they spent playing video games and which horror games they have played. They were then asked to watch a playthrough of the games discussed in previous sections of this report (page 12 -13) and rate them on a scale of 1 – 10, 1 being not scary and 10 being terrifying. After watching and rating all the videos they were also asked what did they found scary about the game/s that they had rated the highest and what was lacking in the games they rated the lowest.

Summary of Responses -

A number of comments were received about the games that were rated highest by the participants. Here is a select few:

“Bioshock succeeds in being scary because the player has no idea what’s attacking the pod/elevator, has obscured vision and because the sight of Rapture has already set up an element of mystery and danger. By putting the player in the pod and giving them no weapon, they also provoke a feeling of helplessness. Dead Space has a moderately successful jump scare and makes the player helpless due to the bound wrists/lack of weaponry, which is great to induce a short term panic. The subsequent section exploring abandoned, dark rooms is good for inducing paranoia”

“Being alone and the general sense of paranoia emitted from the games. You never really knew what was going to happen next most of the time, and it made you worry. Even when you completed the game, you never knew what to expect. You could take a breath after the last page in Slender, but that didn’t mean it was over.”

“The intent about both horryfying and scarying to death the player.Immersion -Great atmosphere. – Player encouraged to use their imagination. – In the Silent Hill the use of darkness removes the player’s ability to keep tabs on what’s going on. Anything can be out there in the darkness. For example at 5:50 in the SH3 video a sound effect denotes something is out there. We don’t know what is could be or how dangerous it is, creating a tense atmosphere. “I hope Mr Satan isn’t waiting out there for me.”, “Oh shit, what was that. *I don’t know*” – I liked the survival element in the ResE5 video in which the player had to barricade the room. Gives a great sense of being trapped.”

“Slender is a scarier game in my opinion. Darker atmosphere and a sense of being alone. The others feel that way, to some extent, but they add a lot of color, making it feel unrealistic. Slender seems like it actually could be me really lost in the woods, sounds of natural things(crickets) add to the immersion. ”

“Slender and Silent Hill are masters of atmosphere. Spec Ops is not like most horror games, but it’s a chilling experience and one of my favorite games. Bioshock is nice, but doesn’t quite measure up to the others.Being pitted against the unknown, with your mind creating various horrifying scenarios that *could* happen at any second. The feeling of helplessness, in which you have little to no way of protecting yourself against whatever is lurking in the dark.”

“A scene like that in a war game carries a lot of impact when you think about the popularity of other war games of a similar nature. Although we use it as escapism, Spec Ops manages to make an impact on the player through his actions, which highlights the reality behind the game. Although, I’ll also mention that I rated this the highest partially due to the fact that I’ve played most the other options multiple times already.”

“Silent Hill games are known for being truly horrifying. The demonic creatures, tense atmospheres, disconcerting sound effects, and pounding music all combine into a nightmare of a game. I had only ever played Silent Hill 1 and 2 and those started off more slowly than this one. The abruptness of the enemies appearing threw me off and made the video terrifying.”

“Confined Spaces. I Have a slight claustrophobia, so i’m generally not a fan of those. Secondly, There’s this feel of danger, generated mostly by good mixture of music, ambient noise and use of shadows, (but not overuse)”

A number of comments were received about the games that were rated lowest and deemed not scary by the participants. Here is a select few:

“Spec Ops isn’t scary because during this segment of the game, the player has the power. Nothing in the section is threatening. This ties in with the intention of the game as a commentary on modern military shooters, which give the player all the power but ignore the consequences of their actions. Spec Ops is a great game, and could definitely be described as depressing or emotionally draining, but scary it is not. On the other hand, RE5 IS trying to be scary, but fails, because everything is predictable in terms of how the enemy attacks and appears, and because nothing is left up to psychology – everything is in plain sight, so there is no ‘fear of the unknown’ element.”

“They gave you a lot of power. For example, its hard to be scared of jack in Dead Space 2 when you have a pistol that can set people on fire when you shoot them. I mean seriously? A game is only as terrifying as the player is powerful. If my ammo is limited, and my gun is only good for headshots, then my first option is going to be to run if I am offered it, and save the ammo for an enemy more ferocious. RE5 and DS2 did not do that, and really killed themselves by doing that.”

“Slender kinda sucks. Mostly because of it’s over hype. Penumbra series (which for me are the most scary games ever made, especially the second one) used symialar mechanics( huge, easy to get lost enviroment hubs, monster the will chase you and you don;t really have any way of opposing them other then hiding and fleeing) but there it works, because monster are SOMEWHERE in the world looking for you rather then teleporting right in front of your face.”

“Walking about with a small armoury on your back isn’t scary. Bioshock – Scary enemies that aren’t much of a threat. Clunky movement – I’ve not played any of the Resident Evil games, but from an onlooker’s perspective it looks horribly clunky to control. The super slow moving zombies seem like a result of this. – I’d much rather my character have limited abilities (such as ammo, running), than a limited and clunky interface. It breaks immersion. Jump scares, whilst effective, are super boring and often very predictable. – Doom 3 is especially bad at those, whenever entering a room I always cleared it out, walked past the conveniently place vent, turned around, shot the thing.”

“Personally, I find it hard to get in to a horror mind set when you’re running around in the middle of the day, in an open environment. Furthermore, being thrown in to an area in which you just have to survive for a certain amount of time isn’t at all scary when you’re a walking steroid with a gun.”

“To me, scares only land if they’re jump scares, because I’m a jumpy person. Horror doesn’t really affect me because jump scares are cheap and psychological scares only have weight when you’ve become attached to the character they afflict.”

“The games with the lowest scores usually just rely on jump scares to scare you. That’s not scaring me; that’s startling me.Atmosphere and vulnerability. Seriously, just look at 2:48 of the Resident Evil clip. That’s something that should be in a comedy. Chris Redfield is an ass kicker-extraordinaire and I feel sorry for anything that thinks it can take his tree sized arms on in a fight and come out of it with all of their body parts attached. Spec Ops is a great game but it isn’t aiming for the kind of horror that these others try (and mostly fail) to achieve. Walker is the real monster here, so the only fear that the players feel is what they are helping him to unwittingly achieve. Something that both these clips have in common is that the protagonist is the one with all the power. The enemies should be scared of them, and thus the player, and not the other way around. Of the games mentioned in this survey, only Slenderman, Amnesia, and Silent Hill are what I would call legitimate horror games. Out of all the monsters in the other games, it’s the playable characters who would be the most frightening to get into a fight with.”

“Slender is all about building tension but in that video the bloody slenderman took too long to turn up. I was too bored to be frightened when he bothered to make an appearance. Spec Ops the line looks fantastic and I will play it. But I didn’t find it scary. If I was playing it I would feel really guilty about causing that suffering, but not frightened.”

“Spec Ops: The Line and Resident Evil 5 are both pretty tame. While both games have truly visceral scenes, they are not very scary. The scenes may shock people, but the impact is not horror, it is the violent deaths of the soldiers/villagers that might scare people. Also, I do not find the Slender games to be too scary. The model of slender to me looks dumb and I see no reason to be afraid if you’re only adversity is a motionless model. Also, I believe that the Slender games have bastardized one of the coolest entities to come out of SomethingAwful/Creepypasta and that may be the source of my contempt for Slender games.”

(All comments and statistics can be seen here.)

Analysis

Experiment Results – The results bore out of the hypothesis in that Slender: The Eight Pages produced the greatest physical response out of the participants but it was also rated as the scariest game. The game that was rated as the least scary was Spec Ops: The Line.

Participant

Scariest Game

Least Scary Game

Control

Slender

Spec Ops

1

Silent Hill 3

Spec Ops

2

Slender

Spec Ops

3

Slender

Spec Ops

4

Bioshock

Spec Ops

5

Slender/Spec Ops

Resident Evil 5/Dead Space 2

Spec Ops: The Line received the lowest rating; it gained this rating because it is an action game. Some parts of Spec Ops could be classed as horror or disturbing but the game as a whole is classed as action. Other reasons for the rating are that it lacked dark setting and there was nothing sudden. However, one participant did rate it has the scariest game her reason for this are “The realisation of what you had done, playing games you just get use to killing things. This game gave you consequences to your actions.”

Slender: The Eight Pages was rated as the scariest game and gave the greatest physical reactions. The reason for the physical reactions is because Slender is a jump scare game, the game relies on making the player jump to get its scares. This is achieved by the combination of the atmosphere and simple mechanics. The game takes places in dark woods shrouded in fog which will make the player uneasy. The audio in the game is just a repeating slow drum beat, the players footsteps and breathing, and the static which appears when Slender is near or randomly after finding the second page.

The reasons for it having the highest rating were “The suspense of wondering around the map”, “shot quick burst of static creates a random element which will make people jump” and “the fear of the unknown”.

Online Results – When the results were all gathered and examined, the results were that Silent Hill 3 was deemed the scariest game with 26% rating it 8 out of ten. The least scary game was Spec Ops: The Line with 53% of the vote with a rating of 1 out of 10.

Silent Hill 3 was deemed the scarcest game this was mainly because of its unsettling atmosphere and the player having no sense of what to do or what was happening. As one participant says “The enemies and the environment are deeply foreboding you get the real feeling that the protagonist is at what little mercy they have to offer.”

Again as in the experiment Spec Ops was rated as the least scary game. The majority of participants in both questionnaires noted that it is an action game not a horror. As one participant commented, “It was action, what was supposed to be scary. Spec Ops seems like an action game here. The victims at the end, that was graphic not scary.”

Conclusion

At the beginning of the project, the stated intention was investigate how players are affected by horror games, and to examine which factors within these games create the greatest scare from the player.

During the research it was found that a number of factors are used to create scares but to create the greatest scare these factors should be used in conjunction with each other. For example in Silent Hill 2, the town itself is grounded in reality so gives the fear a purpose; it creates a strong sense of place and has excellent ambiguity, just what is out there in the fog?

The other characters within the game bring in human interaction; the protagonist must defend a woman during one section of the game and talks to a number of characters throughout. The relationship with the protagonist starts with James entering Silent Hill, at this point we know nothing about him and he is used as a blank slate for the player to project themselves onto, but as you start exploring the town you meet other characters who are seeing their own version of the town and in turn you start to question what James sees.

The enemies within the game all take after a characters mental aspects, for example the mannequins represent his sexual urges and one of the boss fights is another characters representation of her abusive father. These enemies both reflect the environment and the mental aspects of the characters and so make them the more terrifying. During one section of the game in a block of apartments you see what appears to be a man behind some bars as you get closer, you cannot see exactly because it is dark and the figure is just out of sight. You cannot reach it nor can it reach you, and this builds up the sense of anticipation and ambiguity. After going into the adjacent room and leaving again the monster is gone, the sense of fear deepens due to the change to the environment. By using all of these factors together, a terrifying game has been created that has been rated by countless people as the scariest horror game of all time.

The experiment and online questionnaire were both successful. The hypotheses on both were only partially correct. The hypothesis for the experiment was that Slender would produce the greatest physical reactions, which it did but Silent Hill 3 was to receive the highest rating from the participants. Instead Slender was rated as the scariest. This was because Silent Hill 3′s introduction is scary but it becomes scarier only as the player progresses through the game. Slender puts the player on edge instantly located in a dark forest while being stalked by a monster and not knowing why they are there or what is happening. In the online questionnaire Silent Hill 3 was rated as the scariest game. This occurred with 26% rating 8 out of 10 for being scary compared to other games which scored lower.

Some problems occurred during the project namely the corruption of recording data, location issues, sickness and game selection. During one of the experiments the video and audio data did not save correctly and so was corrupted, rendering the data unusable. Two of the participants could not travel as one had a broken leg so the experiment had to take place in their flat which would have affected the results, personal illness lasted for several days but time was allocated for this event.

The selection of Spec Ops: The Line was seen as an odd choice by a number of people due to it being an action game and not a horror. However, some of the events in the game are horrifying.

Additionally, the way the game forces the player’s choices and how you see the character’s mental condition deteriorates throughout the game does make it into an action game that could be classed as a horror.

 


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