My Message close
GAME JOBS
Contents
Fight or Flight: The Neuroscience of Survival Horror
 
 
Printer-Friendly VersionPrinter-Friendly Version
 
Latest Jobs
spacer View All     Post a Job     RSS spacer
 
May 22, 2013
 
Wargaming.net
UI Scripter - AS3
 
NetherRealm Studios
Lead Software Engineer
 
Monolith Productions
Lead Mission Designer
 
Insomniac Games
Sr Network Programmer
 
Insomniac Games
Gameplay Programmer
 
Insomniac Games
Concept Artist- Environment
spacer
Latest Blogs
spacer View All     Post     RSS spacer
 
May 22, 2013
 
Using Small Studios As Stepping Stones In Your Career [1]
 
How Can You Find Jobs At Blizzard if You're an Artist?
 
Let’s produce HTML5 games with a serious approach.
 
An Object Of Lust [1]
 
Gamasutra Blog Guidelines - Updated and open for discussion [13]
spacer
About
spacer Editor-In-Chief:
Kris Graft
Blog Director:
Christian Nutt
Senior Contributing Editor:
Brandon Sheffield
News Editors:
Mike Rose, Kris Ligman
Editors-At-Large:
Leigh Alexander, Chris Morris
Advertising:
Jennifer Sulik
Recruitment:
Gina Gross
Education:
Gillian Crowley
 
Contact Gamasutra
 
Report a Problem
 
Submit News
 
Comment Guidelines
Sponsor
Features
  Fight or Flight: The Neuroscience of Survival Horror
by Maral Tajerian [Design]
15 comments Share on Twitter Share on Facebook RSS
 
 
June 12, 2012 Article Start Page 1 of 3 Next
 

[How exactly do horror games work on the brains of players? In this new feature, neuroscientist Maral Tajerian, of Thwacke! Consulting, unpacks the mechanism behind the scares in Amnesia, Dead Space and Silent Hill, among others.]

Fear is one of the most primitive instincts in humans. Although it has been particularly useful in keeping us alive in dangerous situations, it has also helped the entertainment industry capitalize on our sheer joy of being scared. The video game industry has done a good amount of scaring by taking advantage of these emotions and employing them in gameplay narrative and design.



This practice is best exemplified by putting the player in a vulnerable situation with limited resources to confront enemies. With proper execution, the genre can make your heart race, palms sweat and make you go to sleep with nightmares. However, when executed poorly, players feel as if they're simply "going through the motions".

Over the last two decades, several games (ranging from the early Resident Evil series to the more recent Amnesia: The Dark Descent) have defined the survival horror genre by successfully engaging fear and anxiety in players.

Although successful iterations of these games offer different enemies, gameplay mechanics and plot, they all share similar ways of handling the human psyche. This article will discuss how fear as an emotion has been employed in the gaming industry and discuss how the balance between scares and gameplay can lead to success or failure.

The Science of Terror

Anxiety. Next to fear, anxiety is perhaps the most prominent feeling experienced in video games. Unlike fear, which is a response to an imminent threat, anxiety is a response to a future potential threat.

When perceptual systems are taxed, research has shown that a looming threat results in anxiety that heightens attention and increases sensitivity to potential dangers. This implies that solving a puzzle the character is presented with in the game does not take away from the experience of fear and danger. In fact, according to many gamers, solving the puzzles under dangerous circumstances only increases the feelings of fear. Consider how riddles and puzzles in Silent Hill excel in this respect.


An example of a puzzle from Silent Hill 2 that needs to be solved in a dark and dilapidated room.

While games like first person shooters are notorious for desensitizing players to violence, games that raise the player's anxiety actually sensitize them to danger. This is simply how animals behave, and it's a highly adaptive behavior, since it keeps individuals on their toes in anxiety-causing environments. Raising the levels of anxiety in a video game will therefore ensure that the player is sensitized to the danger in the game. In a game like Amnesia, the entire experience teeters on anxiety created up to confrontation with an enemy since the player has absolutely no means to defend himself.

Helplessness. As mentioned earlier, players in the survival horror genre are often faced with terrifying and inescapable circumstances, with little means of self-defense. In other words, they are truly and utterly helpless.

In Amnesia, some may remember locking themselves in a closet, or hiding in a corner staring at a blank wall for several minutes, because you're convinced that if you move, even an inch, a certain and horrible death will soon ensue. Furthermore, elements like rigid camera angles, awkward control schemes (Silent Hill, and Early Resident Evil titles), lighting (Alan Wake, Dead Space), etc. all serve to obliterate what little control the player might have thought she possessed.

Helplessness is truly a powerful feeling. Studies have shown that animals that are faced with situations where they're helpless develop strong feelings of fear and anxiety. This is also true in the case of humans. You may remember this feeling from your last visit to the dentist. Whenever you experience feelings of helpless and loss of control, you are bound to feel more anxious and fearful. The same stays true in video games.

 
Article Start Page 1 of 3 Next
 
Top Stories

image
Xbox One is Microsoft's biggest move for living room domination
image
Opinion: Xbox One is a desperate prayer to stop time
image
Unity's mobile licenses are now free
image
Xbox One isn't always-on, but it will require a regular connection
Comments

Ian Powell
profile image
Now edit and reissue the above to include the game changing DayZ mod.

Luis Guimaraes
profile image
It's so nice when there's a new article on horror games, makes me not feel so alone, in the dark, losing my sleep to prototype an upcoming horror game.

The only problem is because most of the articles mostly look back and never forward, so the discussion that follows mostly in where the interesting things are found.

No mention of the aspect of immersion? It's the very first thing to consider in a horror game. I'm seriously going to say Amnesia didn't work for me as horror, just because of that, and yes I know it's weird, as much that I extensively searched for a similar opinion to see if I was alone on it http://www.gamefaqs.com/pc/978772-amnesia-the-dark-descent/reviews/review-143018 Because it's exactly like the non-combat parts of F.E.A.R: http://www.youtube.com/watch?v=Tl0IyJWKRQg a virtual scare-house with lots, and lots, and lots of scripts trying to scary the player. Boo!!

Don't pretend to be scary, be scary.

As for Dead Space, I feel sad for the necromorphs, that schizophrenic psycho comes from outer space into their nest cutting their limbs off one by one and stomp their inane bodies for some cash, while all their attempts, attacks and ambushes to impede him fail miserably. That sure is a terrifying game for them.

Disclaimer:

My thoughts here mostly reflect the design philosophy behind my current project. Dead Space has success in being what it's trying to be, and Amnesia is an experimental child of Penumbra which not exactly follows all guidelines from Frictional itself: http://frictionalgames.blogspot.com.br/2012/04/10-ways-to-evolve-horror-games.ht
ml , which brings another question to the table: Where is the line of "too scary" for a game to be?

Christian Nutt
profile image
Well, the answer to both of your questions is that this article is written from the perspective of a neuroscientist, not a game designer. Ergo, she's concentrating on already-released games because they're available to the general public, and can thus be researched. And the reason that "immersion" is not being concentrated on (and it is, to some extent, in the bit entitled "context and environment") is because it's not something neuroscience touches on (possibilities for this include the fact that the definition seems to change from person to person and the fact that multiple phenomena contribute to it.)

That said, I could see there being some usefulness in an article that, in itself, explores the concept of immersion.

Luis Guimaraes
profile image
Thank you, Christian for this excellent follow-up. You're right, even with the disclaimer, that detail was missing in my comment.

Using the opportunity to add mention of one of the creepiest things I've seen in a game lately: http://gamingirresponsibly.com/wp-content/uploads/2011/11/12JungleGrab640 x360.jp
g

Joshua Oreskovich
profile image
What is interesting about Amnesia is it forces you to consider optional gameplay.

But I couldn't be bothered to go past the second floor. It was too contrived and I knew what was waiting, so knowing this it killed any illusions I had about diverse play or engaging with anything that was entirely un-intelligently contrived.

There is no way in hell, I would go downstairs after seeing witchcraft and only having matches. I would dig my way through the wall with a spoon or find a way througha window.

The game is just too contrived, it's unintelligent. Is it scary? Good build up certainly.

Luis Guimaraes
profile image
We'd also benefit from more precise terms to define genres and, therefore, the goals and intentions of the design of each title.

By a more detailed definition Amnesia would fit as Suspense, and Dead Space as either Slaughter Horror or Sci-Fi Thriller, which would easily soften some critics and help the problems of immersion.

Though nothing can do much about the locked arena rooms in Dead Space 2, which I can't help but instantly remember of Final Fight and Metal Slug, blinking "Go" so the player can keep going... forward.

Timo Tolonen
profile image
Great write-up. Very interesting.

Interactivity is a big part of the experience for me. Amnesia would not be nearly as scary if I didn't have to manually drag open every door and cupboard with my mouse. At first it seems like a clunky mechanic but it becomes so integral to the overall experience as the game goes on.

I've mentioned this before, but I'm a complete wimp about horror games and I though I have played the majority of them, I have not yet finished Amnesia, Dead Space 2 or Lone Survivor. I'm still compelled to try most horror games as they come out but all my knowledge about game mechanics and design as well as the psychology behind it all goes out the window when the game frightens me!

Kevin Patterson
profile image
Great article:)

I love Horror games and many are creepy, but none have been actually scary, at least to me. Amnesia has an amazing atmosphere, probably the best "scary game" out currently. The dead space series is a fav of mine, but as its so heavy on the action, I can be startled at times but still wouldn't say that the game is scary really.

I haven't yet felt dread when playing a game, though I might feel anxiety that I might die yes.

The atmosphere is Condemned was absolutely wonderful, the sequel lost touch with what made the original great, it relied too much on the melee gameplay. The slow build up to action was great in the first title, and to be truly scary, you need that.

Building a proper fear inducing atmosphere takes time, too many games try to scare, shock, or startle you too fast. Audio in my opinion is the biggest part of a horror game. The right soundtrack, the proper audio queues, and the slow buildup in gameplay is what generates dread.

Many of the old movies used that technique and they are still scarier than any modern horror movie I can think of.

Ramin Shokrizade
profile image
Having tried to do related research over twenty years ago on animals, I can appreciate how great it is to have advanced radiographic technologies to measure these effects on humans. Doing this type of research on animals runs into the confound created by the stress related to "helplessness" when you cage them. This made me come to the conclusion that those early research attempts were a waste of both time and animal life.

From a gamer perspective, one of the most frightening games I ever played was the original X-COM. I remember literally leaping out of my chair during that first Terror Wave, which was appropriately named. I think the success or failure of the new remake will hinge largely on whether they can recreate this feeling.

Possibly an even more frightening (and engaging) play experience was the game Everquest. In EQ you could not only unlevel if you died, but you could even lose all of your gear if you did not recover your corpse in a certain time frame. The "save/restore" feature in almost all modern games really reduces the potential terror/horror involved in taking risks in games. As the top cleric on my server in EQ I would sometimes get calls that woke me out of bed to recover a group that wiped on a planes raid. Considering that I charged $300 for this, and they knew this, you can see that people took the game pretty seriously back then. Of course this also made me the "recovery option of last resort" so when I would get boosted up to the plane I would see all the other dead clerics that they asked first for help.

Removing that risk/threat is one of the worst things that WoW did for gaming. It was a necessity due to the weak and buggy state of their PvP model (it has improved a bit over time), but it really made the game much less thrilling. I think that lack of a save is one of the things that makes EVE so enduring, but again there the weaknesses in their PvP model, and the severity of the death penalty, go too far and make the game too harsh for new players.

Joshua Oreskovich
profile image
"Removing that risk/threat is one of the worst things that WoW did for gaming."
"

A thousand times this.

Joshua Oreskovich
profile image
There were other thing that were subtly lost like "ironically" travel immersion. Gating to other zones made sense for "downtime" as well as abstract explanation of dramatic environment change.

Also EQ did grouping far more intelligently. they screwed up balance but demostrated a need to play for a common goal.

Eq also had a better camera, WoW had no excuse to make a lesser one it didn't offer anything for the loss.

EQ also had travel immersion from large distances and wait times. It gave a necessary "world feel" vs. themepark WoW offered.

EQ also had a superior map system. ~ no map. Not a benefit to realism, but to game play.
Memorizing and drawing out a rough map getting the proportions wrong .. was deeply satisfying.

EQ also introduce the grind .... and the trinity ..... and the loss of narrative .....camping .... 100+ man raids ....... terribad customer service ..... horribly unbalanced gameplay .....

EQ is pre "vent" era, play was arranged with in game contact and forums. Adding voice to our MMOs added convenience not quality.

Josh Bycer
profile image
Interesting article. One of my favorite points was this one :

In addition to this priming, certain events characterized by unexpected novelty can, very efficiently, startle a player. For example, events that can lead a player through a relatively safe part of a level may lower our guard to new threats when revisiting the same environment (i.e.: consider the first 30 minutes of Doom 3 or the hubs in the Silent Hill and Dead Space series)."

Messing with the player's exceptions of the design is one of those points that has always made me jump. One of the problems with a lot of action horror titles these days is that the script never gets flipped in a matter of speaking. New enemies may be harder or scarier, but if they are used the same exact way as everything else then the horror is lost.

One of my favorite parts in the original Dead Space was you first encounter with the uber-necro-morph who can't be killed. The section forces the player to run and use objects to block its path or make one for you.

Luis Guimaraes
profile image
Just finished reading through A Trip Down Horror Lane. I agree with your point about subverting expectations, it's one of the strong points about the ill-called "backtracking", which is in fact a tool for establishing a relationship with the environment, and leverage the road through unknown ground. For the unknown to exist, there must the known.

Marck Ernest Thornton
profile image
Josh, great follow-up. I completely agree with you. Capitalizing on a player's memory of an environment, doing it well and consistently, is a great technique for any horror game developer to spook their audience.

I think a lesson can be learned from this article and the technique of changing a previous environment. And sadly, so many other genres fail to capitalize on this. Imagine the sense of thrill or delightful surprise a player can feel if used properly in RTS or "casual' games.

This technique is probably one of the biggest reasons I'm attracted to Survival-Horror titles.

Sid Tsai
profile image
As a school counselor/therapist, avid gamer and former social psychology researcher, I just wanted to express my appreciation for the author, Maral Tajerian, for writing this article.

I am very excited to read more about the neuroscience of other emotions in non-conventional gaming such as Journey, Heavy Rain, even some of the triple-A titles like Asssassin's Creed and Red Dead Redemption which both brought me to tears with themes of love, loss, and family legacy. I gravitate toward games that have an emotional narrative and consider gaming to be an interactive medium for great storytelling and enrichment of the human experience.


none
 
Comment:
 




UBM Tech