Abstract
In Perron’s edited compendium of essays regarding horror video games subtitled Essays on the Fusion of Fear and Play (2009), much of the argumentation orbits debate regarding the definition and creation of the experience of horror compared between an ostensibly passive cinema reception (from whence the games take most of their conventions) and the ostensibly more active reception of ludological horror. As the argument goes, ludic activity creates greater identification with diegetic characters and therefore heightens the player’s experience of horror. But is this true, or is it a specious contention that does not really account for the complex mechanics of identification with characters in the ostensibly “passive” experience of cinema viewing, nor for the fact that lacking realism and “active” gameplay may actually compromise the experience of “transportation”?
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