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Storytelling in horror games; From mythology and atmosphere to the unknown

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

horror genre has always been an attractive and popular genre. This genre overturns all the norms we are accustomed to, is against human nature and forces us to face our fears. When video games use fear as their main style, they allow players to willingly embark on a journey that stems From horror, excitement, and strange happenings.

This article we are going to examine, the elements of Storytelling in the genre of fear. In the following we will also discuss how this genre has influenced From myth to modern and how mythical and modern elements can create a scary atmosphere in today's video game storytelling.

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

In Western literature, many creators of the horror genre call Horace Walpole, The author of the castle of Otranto (1765) is thought to have been a myth. Common myths have been established. Whether these elements are shared between cultures or created separately, these anecdotes are widely known and are still used today. Here are three of these anecdotes to understand how they shape the atmosphere of the horror genre. The underworld or the world of the dead. A hero must enter the abyss or land of the dead to face its mysteries and overcome the obstacles that hinder his progress. The underworld is the most famous type of "other world". A supernatural realm of spirits that opposes reality. A realm that forces mortal human beings to question their judgment, their sanity, and their existence. Most of the time, the underworld is portrayed in the light of religion because life after death is one of the greatest mysteries of all religions. The underworld can be in the middle of heaven, hell or purgatory (like Dante's Divine Comedy). On the other hand, it can be the purgatory, the spirit world, the realm of shadows or hades in Greek mythology.

The underworld is simply a place of no return, where the souls of forgotten people tend to wander. If the characters always run away, they come back as changed people, and if they do not, the bad story is usually written. This is Frodo's journey to the terrible land of Mordor, where the earth is covered in ashes, fire and cruelty. This limbo is the deepest layer of dreams in Inception. This is the real death of Harry Potter and the last meeting with Dumbledore. The underworld may appear very different in each medium, but it has one element in common; This territory is considered as a place for spiritual commitment and forces the hero to face internal conflicts and psychological obstacles. Whether these are identity crises, relationship issues, or distrust of others or oneself. As Clyde Ford says:

The mythical journeys of the descent into the world of the dead symbolize the movement From the bright world of reality to the dark world of the unconscious. We are awakened by the wonderful world of forms and symbols within. For those who travel successfully in these flowing corridors, the challenge is to seek blessings or gifts From this inner realm; An insight or revelation that releases the energies hidden in the labyrinths of personal and social crises and re-energizes where old methods have become obsolete.

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

When you enter the underworld, it is very difficult to escape. Successful characters learn to look within themselves for a way out of this scary, confusing, and terrifying place. Thus, a hero's descent is not only to discover every secret he needs to progress in his physical mission, but also to overcome his fears. He must accept who he is, find his flaws, and at the same time understand his growth potential. The character must face personal hell within himself before he can leave the underworld. This does not necessarily mean rejecting death (although it sometimes does), but rather accepting death as a possibility. Characters learn to allow themselves to change in order to succeed in the ordinary world, whether they like it at first or not. There are myths available. Heroes who save their loved ones From death or strive for it, immortals who die and become gods of the underworld, or demigods who try to prove themselves. The famous example of the descent into the underworld lies in Homer's odyssey. Odysseus must travel to the underworld to find out how to return home and revive his life. He meets all the heroes killed in the Trojan War, as well as his late mother, and learns From them that he is a little wiser and thinks about what it means to be a hero. Was the glory of the Trojan War really worth it? Is it glorious to gain wealth and kill all those people? Odyssey takes these questions to heart and therefore can approach problems with a new perspective. The underworld and the meeting of the dead help Odysseus to fulfill her goal of returning home and protecting her family. He must overcome internal conflicts and transform the old self into a different person before he can continue his mission. The myth of horror is difficult. A hidden existence, that unspeakable, or whatever you call it, is a presence that pervades the whole space and drowns it with its terrible presence. This creature is usually never seen directly, but is felt instead. The character overcomes his skin with an inexplicable feeling of fear; Something that watches his every move, but he can not say what it is. It is an unspeakable formless creature that pollutes the air you breathe and surrounds you with its power. It has no shape or border and no real escape From this creature is possible.

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

App, the god of chaos in Egyptian mythology

This element appears in all forms of storytelling. In mythology, this creature can be an evil force that is constantly trying to destroy the world; For example, the god of chaos Apep can be named From Egyptian mythology. It can also be a creature that exists all over the world and is not limited to a specific place, such as Gaea From Greek mythology. Many times, however, it is simply "darkness" or "chaos," because nothing else can really describe such forces. They just exist and usually try to annoy the protagonists.

The most famous image of this mysterious creature can be seen in the popular Lovecraft stories. Lovecraft horror appears at the very beginning of the story and never leaves you. These monsters are a collection of different parts, From the tentacles to the eyeball and From the broken limbs to the inhuman mouth. These monsters can be unimaginable because Lovecraft himself hardly describes them. The fear of cosmic lovecraft represents unimaginable creatures that threaten the entire earth and space. Like Lovecraft monsters, it is unspeakably a force that does not belong to our share of space. A kind of force that grows and is formed by laws other than the laws of our nature. It is a creature that attacks our world like a parasite and drowns everything in its corruption. , Is the story of the Minotaur and the Labyrinth. The king of Minos, blaming the Athenians for his son's death, forced seven Athenian men and seven young women to become Minotaur food (creatures with human bodies and cow heads) as bloodthirsty. After the second round of sacrifices, Theseus, the son of the king of Athens, decides to go as one of the young men to kill this terrible beast and put an end to the sacrifices. Unfortunately, the Minotaur lives in a labyrinth created by the genius inventor Didlos and it is impossible to escape From its confusing parts. Luckily for him, Theseus enjoys the help of Prince Ariadne, the daughter of Minos. Ariadne gives him a string so he can find his way out of the maze. Tesus moves in the maze of the labyrinth, kills the Minotaur and becomes a legendary hero.

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

The previous two elements have horror-related features, but Minotaur and Labyrinth may seem like a very special and heroic story instead. However, it can be argued that the narration of a monster life in a hostile environment is one of the main elements of horror and something that makes the story deceptive and tense. The Minotaur knows the design of the maze, because he has lived there all his life, while Theos is unfamiliar with it. He and the people before him had a big weakness because they had to move in an alien and confusing environment. The Athenians were unfamiliar with the maze puzzle, while the Minotaur could easily find his way through it. To survive, Tessus had to find a trick to solve this puzzle, using a string. However, unlike Theseus, many characters can hardly find the string in their world labyrinth.

These characters had no outside help and had to build their own strings instead. All this time, they have to escape From the terrible force that wants to destroy them. Danger can occur in a real labyrinth, like the story of The Maze Runner, in which the labyrinth revolves. For a more visual version of Labyrinth in the same genre, The Hunger Games offers a world of survival. There are no mazes or spirals per se, but the environment for Katniss's hostile and alien character is full of killer enemies and lacks any acceptable means of escape. For a more concrete example of the story of the Minotaur and the Labyrinth, we can refer to Coraline by Neil Gaiman. Coraline must somehow find a way out of a distorted world that reflects her own little neighborhood. A world controlled by another mother, a person who wants to take over the girl's soul. Coraline must walk down the winding, changing corridors of the house, confront the corrupt forms of her other father and her neighbors, and save her parents From the dark perversions of space and shadows. The other mother creates an eerie version of the house and always watches Coraline. At the beginning of this dangerous journey, Coraline also has no strings and no way to know how to defeat the other mother and escape From her territory, but over time, she manages to overcome her fears, find some allies and resources. To fight the other mother and escape.

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

Miniature and Labyrinth story elements When used in a scary way, they create an atmosphere that fills the audience with stress and fear. The monster and the environment are combined in a force that heroes must overcome to succeed, even if the monster has the advantage of knowing where it's in space and time.

atmosphere in the horror genre h2>

Arguably the most important aspect of Storytelling in the horror genre is space and atmosphere. There is a special kind of space in a horror story, an atmosphere that penetrates directly into the skin of the reader, viewer or player and they nail it to their chair to the point where they do not trust what they see or hear. The first element of the horror atmosphere is related to the location of the story. In his article "Lutonian Space: Wall Luton Films and the New Space of Horror," Jeep Telot describes the distorted horror space as a place of turmoil that distorts our ordinary experience of space and becomes utterly disturbing. In fact, the conventional space, what the audience expects, has become a new environment, an environment full of unknown variables and situations. An environment that the audience does not know and is therefore afraid of.

Arguably the most important aspect of Storytelling in the horror genre is space and atmosphere.

Players They see objects on the screen, an open door, strangely placed furniture or a long dark corridor, but these highlight the phobias in their minds and create a complex space that blurs the objective reality on the screen. Space plays with the vulnerability of the human psyche. It leaves players with their inner fears and demons and allows them to grow. The atmosphere blurs the line between logic and madness, and traps the audience's fear of darkness and their eerie emptiness. The audience spreads their fear in space and ultimately has no choice but to face it.

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

Amnesia: The Dark Descent game offers one of the scariest atmospheres in the history of horror games.

As the second element of the horror atmosphere, it is linked. This element is a pure force and current. In this definition, demons are not sharp creatures with horns, venom, and tails. Instead, they occupy no space, have no physical presence, and are in fact something that man can neither touch nor describe. The demonic force, as an inhuman being, remains inaccessible to us and, as the horror genre reminds us, is often the main source of fear or panic. The evil force is so contrary to the natural laws of the universe that it does not exist in our realm, and yet human existence is defined and conquered by its presence. It is an inhuman and intangible force that violates all the known laws of nature and frightens us, because it is human nature to be afraid of anything that does not look like us, especially if its features are a mystery. Humans can not understand the meaning of Satan, but it is a force that constantly surrounds them.

In horror literature, film and play, the two concepts of horror space and evil force are combined to turn the environment into a complex version of psychological fear. Characters can never touch or restrain it because it is everywhere. The evil atmosphere is both a horrible monster waiting to be attacked and the dirty walls that trap the character inside. It is both darkness that hides everything in the shadows and illusions caused by a character's neurosis. That he is being tortured. The demonic atmosphere is very important for the horror genre, because it forms the basis of a good narrative.

Storytelling in horror Games

So far we have dealt with the three mythological elements that appear in horror stories in the form of stories, as well as looking at the elements of a horror atmosphere. All of these are interconnected and work together to form the basis of Storytelling in horror stories, especially video games. The story of the journey to the underworld talks about the journey of a hero and forces the character to enter the world of the soul and the unconscious. So the underworld is a scary space. A place full of the dead and the supernatural, where the living are involved in the conflict between life and death, body and mind, consciousness and dreams. In horror games, the element of descent into the underworld is the basis of the whole game. The goal is for the player to find a way out of the ordeal.

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

Silent Hill is undoubtedly an embodiment of an underworld

utopia rapper

In horror games, the element of descent into the underworld is the basis of the whole game. Elements of travel to the underworld and scary atmosphere can be seen in the dark city of Rapture in the BioShock series. The rapper for the main character of the game, Jack and the player, is a new place with different rules and norms. The city at the bottom of the ocean was built in 1946 and initially invested in American aspirations for prosperity and success. However, when Jack enters the city, its corridors are empty of life and instead full of corpses. Bloody messages seen throughout the city, various weapons and glass walls separating Jack From the ocean, groan against the silence of the city. Not only is the city somewhat unusual at the bottom of the ocean, but it also has a heavy atmosphere due to its violent emptiness and background. Unlike Odysseus, who willingly traveled to the underworld, the player and Jack are left in this world without explanation and no way to escape. They are confronted with dark and eerie rapper halls without any clue as to what and why they are fighting. However, they know that in order to survive, they must simply fight.

The rapper also distorts the concepts of life and death. Ocean life surrounds the bloody massacre in the city and creates an existential conflict between the living and the dead. This can also be seen in Jack himself. Mostly other people in the game are dead and yet you as a player are still alive. You must live in a place surrounded by greed, corruption and destruction. It is a symbol of the underworld, where life is not welcomed and escape is a daunting and seemingly impossible goal. It is a city that has been changed by death and fear and makes the player doubt every corner, every character and every action he takes.

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

Both Jack and the player have no idea in the first place what is going on or why they are in the rapper. All they know is that they must somehow get out of this horrible, worn-out place before anyone kills them. The player must survive and move forward to uncover the secrets of the rapper, Adam's character, and Jack's character; A person about whom the player has very little information. So the rapper shows a space full of mystery. Discover the space you need during the game. This city is a kind of embodiment of Jack's psychosis, which has been corrupted by his previous chaotic life. His subconscious mind penetrates the atmosphere of this place and reminds him and the player of his tortured childhood, criminal tendencies and sick mind.

At one point in the game, the player finds a powerful shotgun lying on the ground has fallen. However, when the jack picks up the new weapon, all the lights go out. The player can hear sounds that signal the enemy. Then a floodlight comes on and illuminates a small part of the room. . . . . . .

. . .

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

SOMA

PATHOS-II

. Metroid Fusion X . System Shock 2 . . SOMA Frictional Games PATHOS-II . . . . . WAU .

. . . WAU WAU PATHOS-II . WAU . .

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

. . .

Amnesia: The Dark Descent . . . . . . . .

. . . . . ( ) . . Frictional Games . .

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

Amnesia: A Machine For Pigs

(PT)

. . . . . . . .

. . . . . .

BingMag.com <b>Storytelling</b> in <b>horror</b> <b>games;</b> <b>From</b> <b>mythology</b> and <b>atmosphere</b> to the unknown

. Amnesia: A Machine For Pigs . . . . . . .

. . .


Source: With A Terrible Fate

Tags: storytelling, horror, games;, from, mythology, atmosphere, unknown

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