Ulteriori informazioni
This book explores the many ways Gothic literature and media have informed videogame design. Through a series of detailed case studies, Videogames and the Gothic illustrates the extent to which particular tropes of Gothic culture -neo-medieval aesthetics, secret-filled labyrinthine spaces, the sense of a dark past impacting upon the present - have been appropriated by and transformed within digital games.
Moving beyond the study of the generic influences of horror on digital gaming, Ewan Kirkland focuses in on the Gothic, a less visceral mode tending towards the unsettling, the uncertain and the uncanny. He explores the extent to which imagery, storylines and narrative preoccupations taken from Gothic fiction facilitate the affordances and limitations of the videogame medium. A core contention of this book is that videogames have developed as an inherently Gothic form of popular entertainment.
Arguing for close proximity between Gothic culture and the videogame medium itself, this book will be a key contribution to both Gothic and digital game scholarship; as such, it will have resonance with scholars and students in both areas, as well as those interested in Gothic novels, media and popular culture, digital games and interactive fiction.
Sommario
Introduction 1. Haunting Ground 2. BioShock 3. Gone Home 4. What Remains of Edith Finch 5. Night in the Woods 6. Conclusion
Info autore
Ewan Kirkland is Principal Lecturer in Animation and Games Art & Design at the University of Brighton, UK.
Riassunto
This book explores the many ways Gothic literature and media have informed videogame design. Through a series of detailed case studies, Videogames and the Gothic illustrates the extent to which particular tropes of Gothic culture –neo-medieval aesthetics, secret-filled labyrinthine spaces, the sense of a dark past impacting upon the present – have been appropriated by and transformed within digital games.
Moving beyond the study of the generic influences of horror on digital gaming, Ewan Kirkland focuses in on the Gothic, a less visceral mode tending towards the unsettling, the uncertain and the uncanny. He explores the extent to which imagery, storylines and narrative preoccupations taken from Gothic fiction facilitate the affordances and limitations of the videogame medium. A core contention of this book is that videogames have developed as an inherently Gothic form of popular entertainment.
Arguing for close proximity between Gothic culture and the videogame medium itself, this book will be a key contribution to both Gothic and digital game scholarship; as such, it will have resonance with scholars and students in both areas, as well as those interested in Gothic novels, media and popular culture, digital games and interactive fiction.
