Few weeks ago, the gamer community was excited about a mysterious game demo available in the Playstation Network named “P.T.”. Sony announced the creepy game in the Gamescon Conference without more details and broke a record of downloads that day.
After many hours of puzzle solving and collective work in the Internet, gamers discovered the enigma behind P.T., the demo was a Playable Teaser of the new Silent Hill, entitled “Sillent Hills”.
The teaser is a mysterious first person experience inside a haunted house. You walk through the same door in a repetitive way. Each time you pass the same scenario, little details are altered and you need to investigate some puzzles to find clues about why you are jailed in this nightmare. There’s another sick element in this ambient: a kind of evil spirit that appears randomly (and trust me, it’s really creepy).
Check the end of the playable trailer and the moment that we discover the protagonist of this new adventure (Norman Reedus from Walking Dead) and the title of the new game (Silent Hills, now on the plural):
This playable teaser balances horror and terror to create a frightful atmosphere. Terror comes in tense moments of exploration and horror comes with the appearing of the ghost. As Ghita (2014, p.58) says as a “refining of fear, ‘terror’ constitutes a multifocal aesthetic emotion, whose main feature is the state of anxiety, brought about by a well-balanced series of artistic elements: plot, atmosphere, characters. As an intensification of fear, ‘horror’ represents a unifocal aesthetic emotion, whose main feature is the state of revulsion, brought about by the paroxistical development of the afore-mentioned artistic elements.”
In summary, “horror games have a strong tendency to use the uncanny in monster design, sound design, and level design (architecture) in order to induce fear and anxiety. Furthermore, the less the odds are of overcoming an immediate threat the greater the emotional response may be” (NIELSEN; SCHØNAU-FOG, p.45, 2013).
The playable teaser is available for free in Playstation Network. It’s a must play.
References:
GHITA, Catalin. Discussing Romanian Gothic. IN: KATTELMAN, Beth; HODALSKA, Magdalena. Frightful Witnessing: the rhetoric and (re)presentation of fear, horror and terror. Oxford: Inter-Disciplinary Press, 2014.
NIELSEN, Danny Langhoff; SCHØNAU-FOG, Henrik. In the mood for horror: a game design approach on investigating absorbing player experiences in horror games. IN: HUBER, Simon; MITGUTSCH, Konstantin; ROSENSTINGL, Herbert; WAGNER, Michael G; WIMMER, Jeffrey (Eds.). Context Matters! Proceedings of the Vienna Games Conference 2013: Exploring and Reframing Games and Play in Context. New Academic Press: Viena, 2013.
After many hours of puzzle solving and collective work in the Internet, gamers discovered the enigma behind P.T., the demo was a Playable Teaser of the new Silent Hill, entitled “Sillent Hills”.
The teaser is a mysterious first person experience inside a haunted house. You walk through the same door in a repetitive way. Each time you pass the same scenario, little details are altered and you need to investigate some puzzles to find clues about why you are jailed in this nightmare. There’s another sick element in this ambient: a kind of evil spirit that appears randomly (and trust me, it’s really creepy).
Check the end of the playable trailer and the moment that we discover the protagonist of this new adventure (Norman Reedus from Walking Dead) and the title of the new game (Silent Hills, now on the plural):
This playable teaser balances horror and terror to create a frightful atmosphere. Terror comes in tense moments of exploration and horror comes with the appearing of the ghost. As Ghita (2014, p.58) says as a “refining of fear, ‘terror’ constitutes a multifocal aesthetic emotion, whose main feature is the state of anxiety, brought about by a well-balanced series of artistic elements: plot, atmosphere, characters. As an intensification of fear, ‘horror’ represents a unifocal aesthetic emotion, whose main feature is the state of revulsion, brought about by the paroxistical development of the afore-mentioned artistic elements.”
In summary, “horror games have a strong tendency to use the uncanny in monster design, sound design, and level design (architecture) in order to induce fear and anxiety. Furthermore, the less the odds are of overcoming an immediate threat the greater the emotional response may be” (NIELSEN; SCHØNAU-FOG, p.45, 2013).
The playable teaser is available for free in Playstation Network. It’s a must play.
References:
GHITA, Catalin. Discussing Romanian Gothic. IN: KATTELMAN, Beth; HODALSKA, Magdalena. Frightful Witnessing: the rhetoric and (re)presentation of fear, horror and terror. Oxford: Inter-Disciplinary Press, 2014.
NIELSEN, Danny Langhoff; SCHØNAU-FOG, Henrik. In the mood for horror: a game design approach on investigating absorbing player experiences in horror games. IN: HUBER, Simon; MITGUTSCH, Konstantin; ROSENSTINGL, Herbert; WAGNER, Michael G; WIMMER, Jeffrey (Eds.). Context Matters! Proceedings of the Vienna Games Conference 2013: Exploring and Reframing Games and Play in Context. New Academic Press: Viena, 2013.
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