Nothing does, but Gone Home does have a disturbing backstory that the perceptive player will pick up on, and many of the clues that help piece that subplot together are located down in that basement. Getting into the basement is one of the high points of the game’s mounting tension, as it’s classic horror film fashion to have something go down in there. Later, you find a crumpled up note warning you not to look in the attic, newspaper clippings that explain why the kids at school call your sister “The Psycho House Girl,” a ton of hidden rooms in the walls, a jump scare involving a creepy cross, and other clues that, among all the cute romance stuff, start to point to something having gone afoul while you were away. While it’s definitely a creepy level, the scare factor kind of fades when you’re running around slinging saw blades at everything with the Gravity Gun, but it would be a shame to leave this iconic level off the list. The first Poison Headcrab awaits you here, as does the dreaded Fast Zombie. The seasoned horror game fan won’t find much to fret about when it comes to Ravenholm’s generically spooky atmosphere, this is the place you run into some of Half-Life 2’s most feared enemies. One of the most clever and unexpected parts of the game. Bruce’s parents taunt him from bodybags on the table and from the last bag, Scarecrow leaps out, plummeting you into a bizarre stealth sequence set across a hallucinatory obstacle course. The room has looped in on itself, leading you back to the same morgue. Once inside, you might be prompted to roll your eyes: the spooky whispers and slamming freezer doors are a little cliche. It starts pretty tame: as you approach the double doors of the Arkham morgue, swarms of roaches begin to skitter across the dirty linoleum. That said, it was really awesome to see such a classically scary sequence in Batman: Arkham Asylum. Furthermore, this study is one of the first to demonstrate these relationships and test them simultaneously, breaking new ground in research on game enjoyment.Batman is a dark series to begin with, but I wouldn’t classify the Arkham games as straight-up horror. The relationships among interactivity, spatial presence, perceived reality, and enjoyment hold for games played on handheld or console devices. Patterns of prediction for games on each platform, as demonstrated using path analysis, were similar and aligned with predictions based on mental models and the psychology of play.Ĭonclusions: The psychological theory of play and the mental models perspective offer firm theoretical grounds for understanding how enjoyment is wrought in the process of playing casual games. Results: The results show that spatial presence is a powerful predictor of videogame enjoyment for both console- and mobile-based casual games. Path analysis demonstrated the interrelationships among these variables. They then answered a questionnaire assessing their evaluations of the game's interactivity level, their sense of spatial presence in the game, their perception of the game's realism, and, most importantly, their enjoyment. Materials and Methods: A student sample of players ( n=363) played a variety of casual games on mobile (iPad ® or iPod ® Touch ® ) or console (Wii™, Xbox ® 360 Kinect ®, or PS3™ Move ) platforms. The grounding assumption of this research is that playing videogames produces enjoyment that contributes to mental health in the form of a brief distraction from the stress of daily life, social connections with family and friends through casual gameplay, and, in some cases, a compelling reason to engage in physical activity. Building upon a foundation in mental models theory and the psychology of play, the study focuses on how performance and experience-based variables impact enjoyment of casual videogames played on mobile devices and console devices. Objective: This study investigated the processes leading to enjoyment of casual videogames on both mobile devices and console systems.
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