Videogames are full of horrors – and of horror, a facet of the media that has been largely overlooked by the academic community in terms of lengthy studies in the fast-growing field of videogame scholarship. This book engages with the research of prominent scholars across the humanities to explore the presence, role and function of horror in videogames, and in doing so it demonstrates how videogames enter discussion on horror and offer a unique, radical space that horror is particularly suited to fill. The topics covered include the construction of stories in videogames, the role of the monster and, of course, how death is treated as a learning tool and as a facet of horror.
Videogames are full of horrors – and of horror, a facet of the media that has been largely overlooked by the academic community in terms of lengthy studies in the fast-growing field of videogame scholarship. This book engages with the research of prominent scholars across the humanities to explore the presence, role and function of horror in videogames, and in doing so it demonstrates how videogames enter discussion on horror and offer a unique, radical space that horror is particularly suited to fill. The topics covered include the construction of stories in videogames, the role of the monster and, of course, how death is treated as a learning tool and as a facet of horror.
The year is 1862. Prospectors swarm over the Sierra Nevada, hunting for gold, desperadoes roam the range, and the Indians are on the warpath. Dr. Henry Lockhart is so busy setting broken bones that he hasn't any time for women. Just as well. There's hardly a woman worth thinking about in the entire Nevada Territory. Then Erica James appears out of nowhere. Erica is different. She wears running shoes, totes around a contraption she calls a 'video camera,' and says she's from the future. From 1989, to be exact.
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