Słowa kluczowe
video games
interactive horror
genre
game history
Jak cytować
Abstrakt
This article provides an introduction to the study of the transformation of the survival horror genre. The author discusses the genre determinants of horror games from the historical perspective, draw- ing particular attention to the moment when the classic survival horror formula emerged. She also describes the changes over the years that led both to the need to update the genre framework and to the division into classic and post-classic horror games. She also analyses the mechanics typical of contemporary productions using horror elements.
Bibliografia
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Adventure (William Crowther, Don Woods, 1976)
Alien Isolation (Creative Assembly, 2014)
Alone in the Dark (Infogrames, 1992)
Amnesia: The Dark Descent (Frictional Games, 2010)
Cold Fear (Dark Works, 2005)
Days Gone (Bend Studio, 2019)
Dead by Daylight (Behaviour Interactive, 2016)
Doom 3 (id Software, 2004)
F.E.A.R. (Monolith Productions, 2005)
Friday the 13th (Domark Software, 1985)
Friday the 13th (Gun Media, 2017)
Green Hell (Creepy Jar, 2019)
Halloween (Wizard Video, 1983)
Haunted House (Atari, 1982)
Haunting Ground (Capcom, 2005)
Kuon (FromSoftware, 2004)
Left4Dead (Turtle Rock Studios, 2008)
Mystery House (On-Line Systems, 1980)
Outlast (Red Barrels, 2013),
Red Ded Redemption: Undead Nightmare (Rockstar San Diego, 2010)
Resident Evil (Capcom, 1996)
Resident Evil 2 Remake (Capcom, 2019)
Resident Evil 4 (Capcom, 2005)
Silent Hill (Conami, 1999–2012)
Silent Hill 4: The Room (Konami, 2004)
Siren (Sony Interactive Entertainment, 2004)
Space Invaders (Taito, 1978)
Texas Chainsaw Massacre (Wizard Video, 1983)
The Last of Us (Naughty Dog, 2013)
The Long Dark (Hinterland, 2017)
The Quarry (Supermassive Games, 2022)
The Suffering (Surreal, 2004)
Undead Nightmare (
Until Dawn (Supermassive Games, 2015)
World War Z (Saber Interactive, 2019)
Licencja
Prawa autorskie (c) 2023 Dominika Staszenko-Chojnacka
Utwór dostępny jest na licencji Creative Commons Uznanie autorstwa 4.0 Międzynarodowe.