BA7 | Concept and Pre-Production #26

“Horror Video Games: Essays on the Fusion of Fear and Play” (Bernard, P. 2009)

Here are the notes that I took whilst reading influential essays that helped me resource and write my research report draft.

“Gothic Bloodlines in Survival Horror Gaming”  By Laurie N. Taylor

(Bernard, P. 2009) 

 

“Patterns of Obscurity: Gothic Setting and Light in Resident Evil 4 and Silent Hill 2”  By Simon Niedenthal

(Bernard, P. 2009)

BA7 | Concept and Pre-Production #24

Research Report

As I begin the write up of my professional research report for the studio portion of BA7 I am still missing a few areas of information. To begin with, I wanted to include some more introductory based research into the design of horror games. Whilst I have looked at this already for the project, I want to include a formal write up of notes to introduce the topic in my report and the studies I have done so far just sort of “jump straight in” so to speak. 

Horror Design Video/Tutorial

Here is a really good video I found on YouTube which discusses the designs of horror games. I thought it would be good to watch and take notes to include in my report introduction.

 

“Tutorial - Basic Design of Horror Games” by YouTuber danpaz3d

VIDEO SOURCE 

As I began to watch the video, the first key design element discussed is OBSCURITY. This is perfect because one of the key texts I have been analysing for BA7 is “Gaming After Dark” by Ivana Muller who states that horror can be communicated through visual obscurities. Both the video and Muller refer to similar techniques used in horror games to intensify the horror which are: 

• Darkness
• Fog
• Camera angles
• Screen effects
• Blood and gore
• Distorted visuals

• Leave the player guessing and wanting more,  don’t give everything away, leave elements open to question.
• Getting the player to use their own imagination to fill in the gaps can heighten the horror.
• Interaction with the game world between the player, avatar and world are key to drawing them in and ensuring they feel fully immersed within the game.
  
  
• Too much information being revealed can be limiting to emotions for the player, but too little information can be confusing. Relating this to environment, the player should be able to find enough visually to question whats happened but not leave them confused. Make them question the narrative behind that environment, force them to ask whats happened.

World of Level Design (.com)

I then went to the amazing and influential website called “World of Level Design” who have a guide to creating horror/survival game levels. Chapter 1 focuses on the clichés horror games seem to follow and how they can work when re used properly. This backs up my project as I want to utilize a variety clichés psychological horror environments in my scene (such as the abandoned school/hospital, asylums, mansion, bathrooms etc).

"Clichés 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 clichés, because they have been proven to work." (World of Level Design, 2009)

Chapter 2 discusses anticipation and pacing. My project isn’t about making a playable horror experience, its about creating a visual horror experience (that is game ready). So elements such as pacing and anticipation don’t necessarily relate to my work, however, there are interesting parts to the chapter which I find helpful when applied to environment design. 

“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.”
(World of Level Design, 2009)

“Using clichés. 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.” (World of Level Design, 2009)

“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.”(World of Level Design, 2009)

 

Chapter 3 is the most relevant to me as it focuses on storytelling and environment. It confirmed my ideas and theories in my head with regards to the design options available to me when it comes to actually concepting and designing my horror environment whilst also challenging my thoughts. 

“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.” (World of Level Design, 2009)

“Identify the Environment

•What is the location?

•What is the setting?

•Time of day? Season?

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.”
(World of Level Design, 2009)

“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.”
(World of Level Design, 2009)

Gamasutra: “An Investigation into the Effects of Horror Games”

Darren McKettrick writes an article onGamasutra which analyses the effects of horror games. The article has some fantastic quotes in which will reinforce the research I have done for my studio project and help further explain my ideas, themes and notions towards designing and injecting horror into environments. I have underlined key points that solidify the ideas, themes, notions, theories and ideals I have made so far throughout this project. 

 

“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.”

“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. […]”

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

“[…] 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?” 

BA7 | Concept and Pre-Production #20

Surrealism Study 3 - Otto Dix

Otto Dix was a German artist, painter and print maker who create brutally vivid and disturbing depictions of post-war Berlin. Whilst not titled a “surreal artist” his work bears strong resemblance to the themes typically associated with surrealism. He was drawn to Expressionism and Dadaism but his inspiration came from trends in Italy and France to illustrate cold, harsh but realistic depictions of the time. 

His work is incredibly shocking with regards to content but Dix managed to create a balance between realism and allegorical within his imagery. His work was ripe with metaphors communicating trends of the time such as injured war veterans and prostitutes symbolising a damaged society in both the physical and moral sense. 

I have picked work I find disturbing and eerie with regards to face value, contents and subject matter. The way Dix creates his work successfully communicates horrific narratives which is something important to me and my environment. 

Image #1 "Totentanz anno 17"

  Totentanz anno 17 (Hohe Toter Mann) [Dance of death 1917 - (Dead Man's Hill)] - Otto Dix

IMAGE SOURCE 

This is “Totentanz anno 17” (Dance of Death) by Otto Dix. It was painted in 1924 and was a part of Dix’s portfolio Der Krieg (“The War”). This portfolio contained brutally realistic, graphic and vivid imagery of World War 1. Dix would fixate on the aftermath in an attempt to capture the dead, dying and shell shocked soldiers, he would also focus on bombed out landscapes and graves. 

The idea behind  this particular image was to horrifically illustrate a formation of fence posts wrapped in barbed wire with impaled bodies strung amongst them with body parts confusing the composition which demonstrates the surreal/expressive nature of Dix’s work.

How this Influences my Environment

How will this painting be a visual inspiration and influence for my project?

• Disturbing imagery and juxtaposition of death and entrapment.
• Using limbs and body parts to communicate the horror.
• Surreal/expressive/abstract composition to promote obscurity and discomfort.
• Realistic depiction of a scene infused with surreal imagery and form. 

Image #2 "Wounded Veteran"

“Wounded Veteran” - Otto Dix

IMAGE SOURCE 

This is “Wounded Veteran” created with water colour and pencil in 1922. As the title suggests, it shows a scarily haunting depiction of a severely wounded veteran with an painfully open  facial wound.

Dix’s use of colours draw the viewers eye straight to the large gaping wound, as if to say that it’s the focal point. It doesn’t make the veteran appear heroic, it simply depicts the wound in a disturbingly realistic manner which illustrates the severity of the condition and times.

 

How this Influences my Environment

How will this painting be a visual inspiration and influence for my project?

• Focus on the disturbing element of the image.
• Use of bold and vivid colour to illustrate the focal point, although the colours reflect the wound and communicate blood, harm and discomfort.
• Using human flesh and an open wounds to communicate horror and pain.
• Disfigurement and obscurity of the natural form. 

Image #3 "Portrait of a Prisoner"

“Portrait of a Prisoner” - Otto Dix

IMAGE SOURCE 

This is  “Portrait of a Prisoner” by Otto Dix. I am referencing this image more with regards to the texture and feel of it. The contrast between the cold brittle blue and darker red tones create an uncomfortable environment with connotations of heaven and hell.  There is barbed wire around the head of the character which communicates pain and suffering; a common theme in Dix’s work. 

 

How this Influences my Environment

How will this painting be a visual inspiration and influence for my project?

• Inspiration for texture creation for psychological horror assets.
• Careful consideration of juxtaposed colours to enhance the haunting essence and atmosphere.
• Placement of objects with others to communicate themes.
• Texture of painting appears “thick” which makes you feel uncomfortable.
• Texture of painting is scratched, distorted and blurred which emphasises the atmosphere. Its not “perfect”.

Otto Dix Study Summary

Otto Dix creates horrific imagery through expressionism, abstract tones and surreal elements to build hauntingly dark art.  I want to try and recreate the atmosphere he captures in his work within my environment. I think I can utilize multiple elements from his work such as his use of mark making, tone, colours, subject matter and focal points in order to communicate and inject horror through my environment. 

The themes Dix illustrates within his images are closely associate with those demonstrated in psychological horror games such as repression, death, darkness, violence, injury, bodily harm, grievance and decay. There is plenty here I can use to stimulate and influence my own psychological horror environment.