Gaming after Dark

Visual Patterns and Their Significance for Atmosphere and Emotional Experience in Video Games
  • Ivana Müller
  • Petra Sundström
  • Martin Murer
  • Manfred Tscheligi
Part of the Lecture Notes in Computer Science book series (LNCS, volume 7522)

Abstract

Design Patterns help a range of designers, architects, and others. However, there is surprisingly little such guidance for game artists. In this paper, we present our look at late 19th century art works and the emergent set of visual features commonly used to create an atmosphere of horror in visual art. Further, we show how we transformed these features into a set of seven patterns to be used in interactive artistry, based on an analysis of six well known survival horror games. Finally, we provide the full description of one of these patterns, the Visual Contrast.

Keywords

Design Patterns Visual Art Atmosphere Survival Horror Games 

References

  1. 1.
    Bunt, B.: Obliquereflections: softwareart & the 3d gamesengine. In: CyberGames 2006, Perth, Western Australia (2006)Google Scholar
  2. 2.
    Alexander, C., Ishikawa, S., Silverstein, M.: A Pattern Language: Towns, Buildings, Constructions (Center for Environmental Structure Series). University Press, Oxford (1977)Google Scholar
  3. 3.
    Gamma, E., Helm, R., et al.: Design Patterns: Elements of Reusable Object-Oriented Software. Pearson Education Corporate Sales Devision, Indianapolis (1995)Google Scholar
  4. 4.
    Obrist, M., Wurhofer, D., et al.: CUX patterns approach: Towards contextual user experience patterns. In: PATTERNS 2010, Lisbon, Portugal (2010)Google Scholar
  5. 5.
  6. 6.
    El-Nasr, M.: Projectingtension in virtualenvironmentsthroughlighting. In: CHI 2006, Montréal, Québec, Canada (2006)Google Scholar
  7. 7.
    Ravaja, N., Salminen, M., et al.: Emotional responsepatternsand sense ofpresenceduringvideogames: Potential criterion variables forgame design. In: NordiCHI 2004, Tampere, Finland (2004)Google Scholar
  8. 8.
    Ståhl, A., Höök, K., Sundström, P.: A Foundation for Emotional Expressivity. In: DUX 2005, San Francisco, USA (2005)Google Scholar
  9. 9.
    Von Ehrenfels, C.: Übergestaltqualitäten. Vierteljahrsschriftfürwissenschaftliche Philosophie. n/a (1890)Google Scholar
  10. 10.
    McCrea, C.: Horror Video Games: Essays on the Fusion of Fear and Play. McFarland & Company, Inc., Publishers, North Carolina (2009)Google Scholar
  11. 11.
    Welton, J.: Eyewitness Art – Looking at Paintings. Dorling Kindersley, London (1994)Google Scholar
  12. 12.
    El-Nasr, M., Zupko, J., Miron, K.: Intelligent lightingfor a bettergamingexperience. In: CHI 2005, Portland, Oregon, USA (2005)Google Scholar
  13. 13.
    Marschall, S.: Farbeim Kino. SchürenVerlag GmbH, Marburg (2009)Google Scholar
  14. 14.
    Eisemann, E., Assarsson, U., et al.: Casting shadows in real time. In: SIGGRAPH ASIA 2009, Yokohama, Japan (2009)Google Scholar
  15. 15.
    Schaap, R., Bidarra, R.: Towards emotional characters in computergames. In: ICEC 2009, Taipei, Taiwan (2009)Google Scholar
  16. 16.
    Björk, S., Holopainen, J.: Patterns in Game Design. Charles River Media, Inc., Hingham (2005)Google Scholar
  17. 17.
    Power, M., Dalgleish, T.: Cognition and Emotion: From Order to Disorder. Psychology Press Ltd., Hove (1997)Google Scholar
  18. 18.
    El-Nasr, M., Yan, S.: Visual attention in 3d videogames. In: ACE 2006, San Antonio, Texas, USA (2006)Google Scholar
  19. 19.
    Jie, L., Clark, J.: Game Design Guided by Visual Attention. In: Ma, L., Rauterberg, M., Nakatsu, R. (eds.) ICEC 2007. LNCS, vol. 4740, pp. 345–355. Springer, Heidelberg (2007)CrossRefGoogle Scholar

Copyright information

© IFIP International Federation for Information Processing 2012

Authors and Affiliations

  • Ivana Müller
    • 1
  • Petra Sundström
    • 1
  • Martin Murer
    • 1
  • Manfred Tscheligi
    • 1
  1. 1.Christian Doppler Laboratory for Contextual Interfaces, ICT&S CenterUniversity of SalzburgSalzburgAustria

Personalised recommendations