GURPS Classic Horror
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Runes Layout 210720
Written and developed by: Paul StJohn Mackintosh Foreword: Ramsey Campbell Editing and Proofing: Tobias Cooper, Paul StJohn Mackintosh, Lawrence Whitaker Design and Layout: Soph Conner Artists: Jerry Boucher, Jensine Eckwall, Anders Johansson, Oliver Specht Cartography: Lawrence Whitaker Cover: Jensine Eckwall Playtesters: Colin Brett, Tobias Cooper, Michael C. Connell, Soph Conner, James Machin Thanks to: Thanks to Lawrence Whitaker for backing and believing in this. Thanks also to Tobias Cooper and Sophia Conner, inveterate playtesters and co-creators. And finally, love and thanks to my family, my friends, my daughters and my girlfriend for just being who they are. Special thanks to Pia Eardley for her vision of a certain highly dangerous Egyptian lamp. Thanks to everyone at, or connected with, Pelgrane Press and GUMSHOE – Kenneth Hite, Robin D. Laws, Cathriona Tobin, Kevin Kulp, Gareth Ryder-Hanrahan, Tony Williams, et al. – for all the inspiration, pacesetting, good advice and sheer fun. FIND US AT www.thedesignmechanism.com Facebook: https://www.facebook.com/designmechanism/ This work is based on the GUMSHOE SRD (found at http://www.pelgranepress.com/?p=12466), a product of Pelgrane Press, developed,Sample written, and edited by Robin D. Laws with additional material by Kenneth Hite, and licensedfile for our use under the Creative Commons Attribution 3.0 Unported license (http://creativecommons.org/licenses/by/3.0/). Printed by: “Standartų spaustuvė” www.standart.lt, Vilnius, Lithuania. Casting the Runes 2 Contents Foreword 5 Fighting -
Nordic Game Is a Great Way to Do This
2 Igloos inc. / Carcajou Games / Triple Boris 2 Igloos is the result of a joint venture between Carcajou Games and Triple Boris. We decided to use the complementary strengths of both studios to create the best team needed to create this project. Once a Tale reimagines the classic tale Hansel & Gretel, with a twist. As you explore the magical forest you will discover that it is inhabited by many characters from other tales as well. Using real handmade puppets and real miniature terrains which are then 3D scanned to create a palpable, fantastic world, we are making an experience that blurs the line between video game and stop motion animated film. With a great story and stunning visuals, we want to create something truly special. Having just finished our prototype this spring, we have already been finalists for the Ubisoft Indie Serie and the Eidos Innovation Program. We want to validate our concept with the European market and Nordic Game is a great way to do this. We are looking for Publishers that yearn for great stories and games that have a deeper meaning. 2Dogs Games Ltd. Destiny’s Sword is a broad-appeal Living-Narrative Graphic Adventure where every choice matters. Players lead a squad of intergalactic peacekeepers, navigating the fallout of war and life under extreme circumstances, while exploring a breath-taking and immersive world of living, breathing, hand-painted artwork. Destiny’s Sword is filled with endless choices and unlimited possibilities—we’re taking interactive storytelling to new heights with our proprietary Insight Engine AI technology. This intricate psychology simulation provides every character with a diverse personality, backstory and desires, allowing them to respond and develop in an incredibly human fashion—generating remarkable player engagement and emotional investment, while ensuring that every playthrough is unique. -
The First but Hopefully Not the Last: How the Last of Us Redefines the Survival Horror Video Game Genre
The College of Wooster Open Works Senior Independent Study Theses 2018 The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre Joseph T. Gonzales The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Gonzales, Joseph T., "The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre" (2018). Senior Independent Study Theses. Paper 8219. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2018 Joseph T. Gonzales THE FIRST BUT HOPEFULLY NOT THE LAST: HOW THE LAST OF US REDEFINES THE SURVIVAL HORROR VIDEO GAME GENRE by Joseph Gonzales An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 7, 2018 Advisor: Dr. Ahmet Atay ABSTRACT For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game. -
Please Biofeed the Zombies: Enhancing the Gameplay and Display of a Horror Game Using Biofeedback
Please Biofeed the Zombies: Enhancing the Gameplay and Display of a Horror Game Using Biofeedback Andrew Dekker Erik Champion Interaction Design, School of ITEE, Media Arts, COFA, UNSW, PO Box 259 University of Queensland, Ipswich, Australia Paddington, NSW 2021 Australia [email protected] [email protected] ABSTRACT commercial computer game, allowing for more dynamic, This paper describes an investigation into how real-time but unpredictable, but also more personalized and situated low-cost biometric information can be interpreted by game experiences. computer games to enhance gameplay without fundamentally changing it. We adapted a cheap sensor, (the The primary benefit of incorporating this technique into Lightstone mediation sensor device by Wild Divine), to computer games is that game developers can offer control record and transfer biometric information about the player over direction of game play and game events to the player. (via sensors that clip over their fingers) into a commercial Rather than the flow and progression within the game being game engine, Half-Life 2. linear and scripted [13], a series of events can be strung together in a sequence that better appeals to the individual. During game play, the computer game was dynamically modified by the player’s biometric information to increase For example, Rouse [12] agrees that allowing the system to the cinematically augmented “horror” affordances. These choose methods of conveying emotion dynamically rather included dynamic changes in the game shaders, screen then forcing players to take specific emotional journeys is a shake, and the creation of new spawning points for the fundamental aspect of enhancing computer games. -
Video Games and the Mobilization of Anxiety and Desire
PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games. -
Images of the Religious in Horror Films
Journal of Religion & Film Volume 5 Issue 2 October 2001 Article 7 October 2001 The Sanctification of ear:F Images of the Religious in Horror Films Bryan Stone Boston University School of Theology, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Stone, Bryan (2001) "The Sanctification of ear:F Images of the Religious in Horror Films," Journal of Religion & Film: Vol. 5 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol5/iss2/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The Sanctification of ear:F Images of the Religious in Horror Films Abstract Horror film functions both as a threat and a catharsis by confronting us with our fear of death, the supernatural, the unknown and irrational, ''the other" in general, a loss of identity, and forces beyond our control. Over the last century, religious symbols and themes have played a prominent and persistent role in the on-screen construction of this confrontation. That role is, at the same time, ambiguous insofar as religious iconography has become unhinged from a compelling moral vision and reduced to mere conventions that produce a quasi-religious quality to horror that lacks the symbolic power required to engage us at the deepest level of our being. Although religious symbols in horror films are conventional in their frequent use, they may have lost all connection to deeper human questions. -
Threat Simulation in Virtual Limbo Preprint
This is a preprint of the article “Threat simulation in virtual limbo: An evolutionary approach to horror video games” by Jens Kjeldgaard-Christiansen and Mathias Clasen, Aarhus University. The final, published version has been published in the Journal of Gaming and Virtual Worlds and is available at https://doi.org/10.1386/jgvw.11.2.119_1. Page 2 of 33 Threat Simulation in Virtual Limbo: An Evolutionary Approach to Horror Video Games Keywords: horror, Limbo, game studies, evolution, simulation, evolutionary psychology Abstract Why would anyone want to play a game designed to scare them? We argue that an alliance between evolutionary theory and game studies can shed light on the forms and psychological functions of horror video games. Horror games invite players to simulate prototypical fear scenarios of uncertainty and danger. These scenarios challenge players to adaptively assess and negotiate their dangers. While horror games thereby instil negative emotion, they also entice players with stimulating challenges of fearful coping. Players who brave these challenges expand their emotional and behavioural repertoire and experience a sense of mastery, explaining the genre’s paradoxical appeal. We end by illustrating our evolutionary approach through an in-depth analysis of Playdead’s puzzle-horror game Limbo. Page 3 of 33 Introduction Imagine this: You are a little boy, lost somewhere deep in the woods at night. You do not know how you got there or how to get out. All you know is that your sister is out there, somewhere, possibly in great danger. You have to find her. The ambiance is alive with animal calls, the flutter of branches and bushes and a welter of noises that you cannot quite make out. -
I STEVE JACKSON GAMES ,; Ancient Howor Crawls Into the Dark Future
I STEVE JACKSON GAMES ,; Ancient Howor Crawls into the Dark Future By Chris W. McCubbin Edited by Scott D. Haring Cover by Albert Slark Illustrated by Dan Smith GURPS System Design by Steve Jackson Scott Haring, Managing Editor Page Layout, Typography and Interior Production by Rick Martin Cover Production by Jeff Koke Art Direction by Lillian Butler Print Buying by Andrew Hartsock and Monica Stephens Dana Blankenship, Sales Manager Thanks to Dm Smith Additional Material by David Ellis Dickerson Bibliographic information compiled by Chris Jarocha-Emst Proofreading by Spike Y. Jones Playtesters: Bob Angell, Sean Barrett, Kaye Barry, C. Milton Beeghly, James Cloos, Mike DeSanto, Morgan Goulet, David G. Haren, Dave Magnenat, Virginia L. Nelson, James Rouse, Karen Sakamoto, Michael Sullivan and Craig Tsuchiya GURPS and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramid and the names of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license. Cull of Cihulhu is a trademark of Chaosium Inc. and is used by permission. Elder Sign art (p. 55) used by permission of Chaosium Inc. GURPS CihuIhuPunk is copyright 0 1995 by Steve Jackson Games Incorporated. All rights reserved. Printed in the U.S.A ISBN 1-55634-288-8 Introduction ................................ 4 Central and South America ..27 Hacker ..................................43 About GURPS ............................4 The Pacific Rim ...................27 -
D&D Player's Basic Rules V0.2
Player’s Basic Rules Version 0.2 Credits D&D Lead Designers: Mike Mearls, Jeremy Crawford Based on the original D&D game created by E. Gary Gygax and Dave Arneson, with Brian Blume, Rob Design Team: Christopher Perkins, James Wyatt, Rodney Kuntz, James Ward, and Don Kaye Thompson, Robert J. Schwalb, Peter Lee, Steve Townshend, Drawing from further development by Bruce R. Cordell J. Eric Holmes, Tom Moldvay, Frank Mentzer, Aaron Allston, Editing Team: Chris Sims, Michele Carter, Scott Fitzgerald Gray Harold Johnson, David “Zeb” Cook, Ed Greenwood, Keith Producer: Greg Bilsland Baker, Tracy Hickman, Margaret Weis, Douglas Niles, Jeff Grubb, Jonathan Tweet, Monte Cook, Skip Williams, Richard Art Directors: Kate Irwin, Dan Gelon, Jon Schindehette, Mari Baker, Peter Adkison, Bill Slavicsek, Andy Collins, and Rob Kolkowsky, Melissa Rapier, Shauna Narciso Heinsoo Graphic Designers: Bree Heiss, Emi Tanji Interior Illustrator: Jaime Jones Playtesting provided by over 175,000 fans of D&D. Thank you! Additional Contributors: Kim Mohan, Matt Sernett, Chris Dupuis, Tom LaPille, Richard Baker, Chris Tulach, Miranda Additional consultation provided by Horner, Jennifer Clarke Wilkes, Steve Winter, Nina Hess Jeff Grubb, Kenneth Hite, Kevin Kulp, Robin Laws, S. John Ross, the RPGPundit, Vincent Venturella, and Zak S. Project Management: Neil Shinkle, Kim Graham, John Hay Production Services: Cynda Callaway, Brian Dumas, Jefferson Dunlap, Anita Williams Brand and Marketing: Nathan Stewart, Liz Schuh, Chris Lindsay, Shelly Mazzanoble, Hilary Ross, Laura Tommervik, Kim Lundstrom Release: August 12, 2014 DUNGEONS & DRAGONS, D&D, Wizards of the Coast, Forgotten Realms, the dragon ampersand, Player’s Handbook, Monster Manual, Dungeon Master’s Guide, all other Wizards of the Coast product names, and their respective logos are trademarks of Wizards of the Coast in the USA and other countries. -
PT, Freud, and Psychological Horror
Press Start Silent Halls Silent Halls: P.T., Freud, and Psychological Horror Anna Maria Kalinowski York University, Toronto Abstract “What is a ghost?” “An emotion, a terrible moment condemned to repeat itself over and over…” —The Devil’s Backbone (Del Toro, 2001) This paper analyses P.T. (Kojima Productions, 2014), a playable teaser made to demo a planned instalment within the Silent Hill franchise. While the game is now indefinitely cancelled, P.T. has cemented itself not only as a full gaming experience, but also as a juggernaut in the genre of psychological horror. Drawing from Sigmund Freud’s concept of the uncanny, the aim of the paper is to address how these psychological concepts surface within the now infamous never-ending hallway of P.T. and create a deeply psychologically horrifying experience. Keywords psychological horror; the uncanny; Freud; game design; Press Start 2019 | Volume 5 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Kalinowski Silent Halls Introduction The genre of psychological horror is a complex one to navigate through with ease, especially for those that are faint of heart. Despite its contemporary popularity, when the sub-genre first began to emerge within horror films, it was considered to be a detriment to the horror genre (Jancovich, 2010, p. 47). The term ‘psychological’ was often used to disguise the taming of horror elements instead of pushing the genre into more terrifying territories. -
9. List of Film Genres and Sub-Genres PDF HANDOUT
9. List of film genres and sub-genres PDF HANDOUT The following list of film genres and sub-genres has been adapted from “Film Sub-Genres Types (and Hybrids)” written by Tim Dirks29. Genre Film sub-genres types and hybrids Action or adventure • Action or Adventure Comedy • Literature/Folklore Adventure • Action/Adventure Drama Heroes • Alien Invasion • Martial Arts Action (Kung-Fu) • Animal • Man- or Woman-In-Peril • Biker • Man vs. Nature • Blaxploitation • Mountain • Blockbusters • Period Action Films • Buddy • Political Conspiracies, Thrillers • Buddy Cops (or Odd Couple) • Poliziotteschi (Italian) • Caper • Prison • Chase Films or Thrillers • Psychological Thriller • Comic-Book Action • Quest • Confined Space Action • Rape and Revenge Films • Conspiracy Thriller (Paranoid • Road Thriller) • Romantic Adventures • Cop Action • Sci-Fi Action/Adventure • Costume Adventures • Samurai • Crime Films • Sea Adventures • Desert Epics • Searches/Expeditions for Lost • Disaster or Doomsday Continents • Epic Adventure Films • Serialized films • Erotic Thrillers • Space Adventures • Escape • Sports—Action • Espionage • Spy • Exploitation (ie Nunsploitation, • Straight Action/Conflict Naziploitation • Super-Heroes • Family-oriented Adventure • Surfing or Surf Films • Fantasy Adventure • Survival • Futuristic • Swashbuckler • Girls With Guns • Sword and Sorcery (or “Sword and • Guy Films Sandal”) • Heist—Caper Films • (Action) Suspense Thrillers • Heroic Bloodshed Films • Techno-Thrillers • Historical Spectacles • Treasure Hunts • Hong Kong • Undercover -
Grimdark Magazine Issue 27 PDF
1 Contents From the Editor Beth Tabler Outliers A.M. Shine Crossing the Monster Kaaron Warren Island of Sin Jack Murphy An Interview with Chuck Wendig Beth Tabler The Tesseract Evan Marcroft An Interview with Paul Tremblay Beth Tabler The Jewels of the Mermaids Marisca Pichette The Case for Conflict Sadie Hartmann Tubes Jeremy C. Shipp An Interview with Graham Masterton 2 Beth Tabler Gingerbread Lindsay King-Miller 3 From the Editor BETH TABLER Hey, there. My name is Beth Tabler, and I am guest editing the horror crossover issue of Grimdark Magazine. As a young connoisseur of all horror and science fiction movies inappropriate for my age, I remember seeing Poltergeist for the first time when I was seven years old. I had snuck down to the television while my folks were sleeping. I never quite got over demonic trees, clowns, and an old woman screaming, "Carol Anne." I remember reading my first Stephen King book, Salem's Lot, at 12. I knew at that moment that my reading life would never be the same. I remember the first grimdark book I read at 25; it was Mark Lawrence’s Prince of Thorns, by the way. I realized sometimes heroes aren't heroic, bad guys can be protagonists, and life is full of a lot more gray than I had thought. Horror and grimdark are a part of who I am and how I see the world. They are my jam. The themes of horror and grimdark have always gone hand in hand. But often, a thin gray line separates the two, a place where the story does not fall one way or another but sits on that terrifying spot between the two, where you can't quite tell what is what.