{"id":2034,"date":"2024-05-14T21:03:23","date_gmt":"2024-05-15T01:03:23","guid":{"rendered":"https:\/\/www.ludov.ca\/observation\/jeu-video-dhorreur\/"},"modified":"2026-04-27T11:41:43","modified_gmt":"2026-04-27T15:41:43","slug":"horror-video-game","status":"publish","type":"page","link":"https:\/\/www.ludov.ca\/en\/observation\/horror-video-game\/","title":{"rendered":"Horror video games"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"2034\" class=\"elementor elementor-2034 elementor-448\">\n\t\t\t\t<div class=\"elementor-element elementor-element-12ec5a9 e-con-full observation mobnopad e-flex e-con e-parent\" data-id=\"12ec5a9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-253d48d collection-tabs video-game-tabs elementor-tabs-view-horizontal elementor-widget elementor-widget-tabs\" data-id=\"253d48d\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"tabs.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-tabs\">\n\t\t\t<div class=\"elementor-tabs-wrapper\" role=\"tablist\" >\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-3901\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"elementor-tab-content-3901\" aria-expanded=\"false\">Project<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-3902\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3902\" aria-expanded=\"false\">Outcomes<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-3903\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3903\" aria-expanded=\"false\">Publications<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-3904\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"4\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3904\" aria-expanded=\"false\">Events<\/div>\n\t\t\t\t\t\t\t\t\t<div id=\"elementor-tab-title-3905\" class=\"elementor-tab-title elementor-tab-desktop-title\" aria-selected=\"false\" data-tab=\"5\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3905\" aria-expanded=\"false\">Recommended Links<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t<div class=\"elementor-tabs-content-wrapper\" role=\"tablist\" aria-orientation=\"vertical\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"true\" data-tab=\"1\" role=\"tab\" tabindex=\"0\" aria-controls=\"elementor-tab-content-3901\" aria-expanded=\"false\">Project<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-3901\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"1\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-3901\" tabindex=\"0\" hidden=\"false\"><p>Project under the supervision of <a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/en\/university\/researchers\/#BernardPerron\" target=\"_blank\" rel=\"noopener\">Bernard Perron<\/a><\/p>\n<p>Since the majority of video games relies on the notion of survival, horror video games \u2013 and more specifically survival horror games \u2013 could be seen as the video game genre <i>par excellence<\/i>. From the gothic novel to the stories of Poe, Lovecraft and King, from Hammer movies to the slasher trend, horror literature and cinema have sparked a lot of interest in the academic world, despite their \u201cpopular\u201d aspect. By contrast, horror video games had only succeeded in catching the public\u2019s interest, thanks to landmark series such as\u00a0<i>Resident Evil<\/i>\u00a0et\u00a0<i>Silent Hill<\/i>. While game studies have soared since the end of the 1990s, few research projects had focused on a specific genre and few publications had taken horror video games into account. This project has remedied to the situation and provided the opportunity to explore the domain of horror video games through three parallel research avenues: history, transmedia exchanges, and the question of genre.<\/p>\n<p>If the history of horror video games already existed in an implicit manner among the videoludic community, a thorough and thoughtful historical study had still not been made at the beginning of the project. An extensive and reasoned ludography has thus been developed in order to document the phenomenon (this database is available in the Documentation part of the LUDOV website). Corpus analysis led to a better comprehension of the influence of literature and cinema on horror video games. We were able to shed light on the specificity of video game horror strategies and the corresponding emotional implication of the player. Finally, the aesthetic and discursive notion of \u201cgenre\u201d has been studied explored through an in-depth inspection of survival horror games.<\/p>\n<h5 style=\"margin-top: 20px;\">Grant Social Sciences and Humanities Research Council Canada (SHRC): \u201cFrom fictional fear to videoludic fear: a genre study of horror video games\u201d (2008-2011)<\/h5>\n<p><\/p>\n<h4>Research Assistants<\/h4>\n<p><\/p>\n<ul>\n<li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/en\/university\/researchers\/#DominicArsenault\" target=\"_blank\" rel=\"noopener\">Dominic Arsenault<\/a>\u00a0(2007-2011)<\/li>\n<li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/en\/university\/researchers\/#SimonDor\" target=\"_blank\" rel=\"noopener\">Simon Dor<\/a>\u00a0(2009-2011)<\/li>\n<li>Andr\u00e9ane Morin-Simard\u00a0(2009-2011)<\/li>\n<li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/en\/university\/researchers\/#MartinPicard\" target=\"_blank\" rel=\"noopener\">Martin Picard<\/a>\u00a0(2007-2011)<\/li>\n<li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/en\/university\/researchers\/#GuillaumeRouxGirard\" target=\"_blank\" rel=\"noopener\">Guillaume Roux-Girard<\/a>\u00a0(2007-2011)<\/li>\n<li><a title=\"Page chercheur\" href=\"https:\/\/www.ludov.ca\/en\/university\/researchers\/#CarlTherrien\" target=\"_blank\" rel=\"noopener\">Carl Therrien<\/a>\u00a0(2007-2011)<\/li>\n<\/ul>\n<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"2\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3902\" aria-expanded=\"false\">Outcomes<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-3902\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"2\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-3902\" tabindex=\"0\" hidden=\"hidden\"><p>&#8211; Database :\u00a0<a id=\"Bibliographie du jeu vid\u00e9o d'horreur\" title=\"Bibliographie du jeu vid\u00e9o d'horreur\" href=\"https:\/\/archive.nt2.uqam.ca\/ludicine\/search\/solr\/horreur\/index.html\" target=\"_blank\" rel=\"noopener\" name=\"Bibliographie du jeu vid\u00e9o d'horreur\">Bibliographie du jeu vid\u00e9o d&#8217;horreur<\/a><\/p>\n<p>&#8211; Database :\u00a0<a id=\"Ludographie du jeu vid\u00e9o d'horreur\" title=\"Ludographie du jeu vid\u00e9o d'horreur\" href=\"https:\/\/archive.nt2.uqam.ca\/ludicine\/search\/solr\/ludographie_horreur\/index.html\" target=\"_blank\" rel=\"noopener\" name=\"Ludographie du jeu vid\u00e9o d'horreur\">Ludographie du jeu vid\u00e9o d&#8217;horreur<\/a><\/p>\n<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"3\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3903\" aria-expanded=\"false\">Publications<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-3903\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"3\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-3903\" tabindex=\"0\" hidden=\"hidden\"><p>\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"4759\" class=\"elementor elementor-4759 elementor-1222 elementor-1222\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6b19f2a e-con-full e-flex e-con e-parent\" data-id=\"6b19f2a\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e216582 elementor-widget elementor-widget-text-editor\" data-id=\"e216582\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>Books and periodicals<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-c1f9b00 e-con-full e-flex e-con e-parent\" data-id=\"c1f9b00\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-89a4bbc elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"89a4bbc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"654\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/TheWorldOfScaryVideogamesPerron-654x1024.jpg\" class=\"attachment-large size-large wp-image-1134\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/TheWorldOfScaryVideogamesPerron-654x1024.jpg 654w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/TheWorldOfScaryVideogamesPerron-192x300.jpg 192w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/TheWorldOfScaryVideogamesPerron.jpg 690w\" sizes=\"(max-width: 654px) 100vw, 654px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-df3d0b2 elementor-widget elementor-widget-text-editor\" data-id=\"df3d0b2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-widget-container\"><p>Perron, Bernard. 2018.\u00a0<i><a title=\"\" href=\"https:\/\/www.bloomsbury.com\/us\/the-world-of-scary-video-games-9781501316197\/\" target=\"\">The World of Scary Video Games: Study in Videoludic Horror<\/a><\/i>. New York: Bloomsbury.<\/p><div id=\"headingTen\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseTen\" aria-expanded=\"false\" aria-controls=\"collapseTen\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseTen\" class=\"collapse in\" aria-labelledby=\"headingTen\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>As for film and literature, the horror genre has been very popular in the video game. The World of Scary Video Games provides a comprehensive overview of the videoludic horror, dealing with the games labelled as \u201csurvival horror\u201d as well as the mainstream and independent works associated with the genre. It examines the ways in which video games have elicited horror, terror and fear since Haunted House (1981). Bernard Perron combines an historical account with a theoretical approach in order to offer a broad history of the genre, outline its formal singularities and explore its principal issues. It studies the most important games and game series, from Haunted House (1981) to Alone in the Dark (1992- ), Resident Evil (1996-present), Silent Hill (1999-present), Fatal Frame (2001-present), Dead Space (2008-2013), Amnesia: the Dark Descent (2010), and The Evil Within (2014). Accessibly written, The World of Scary Video Games helps the reader to trace the history of an important genre of the video game. Chapter 2 analyzes very closely how the label came to crystallize a common cultural consensus around what horror video games were, and was taken up as a universal term to name quite different games. It shows how the understanding of and the references to survival horror have not been the same, on the one hand, for journalists and reviewers who have witnessed its advent and followed the releases of games, and on the other hand, for scholars who aim to theorize and discuss these games in relation to a larger media landscape. And the term is certainly not as potent to younger gamers.<\/p><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-dc3868a e-con-full e-flex e-con e-parent\" data-id=\"dc3868a\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-126a248 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"126a248\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"127\" height=\"90\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Silent-Hill-VF.jpg\" class=\"attachment-full size-full wp-image-1192\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0245119 elementor-widget elementor-widget-text-editor\" data-id=\"0245119\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2016.\u00a0<i>Silent Hill : le moteur de la terreur<\/i>. Paris: Questions th\u00e9oriques.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-a9222cc e-con-full e-flex e-con e-parent\" data-id=\"a9222cc\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a1253ca elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"a1253ca\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"122\" height=\"176\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Z-pour-zombies.jpg\" class=\"attachment-full size-full wp-image-1195\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-fb19b3e elementor-widget elementor-widget-text-editor\" data-id=\"fb19b3e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, Samuel Archibald and Antonio Dominguez Leiva (ed.). 2015. <i>Z pour Zombies<\/i>. Montr\u00e9al: Presses de l&#8217;Universit\u00e9 de Montr\u00e9al.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-58e8545 e-con-full e-flex e-con e-parent\" data-id=\"58e8545\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-68235bb elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"68235bb\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"321\" height=\"475\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Revue-Otrante-Poetique-du-zombie.jpg\" class=\"attachment-large size-large wp-image-1197\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Revue-Otrante-Poetique-du-zombie.jpg 321w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Revue-Otrante-Poetique-du-zombie-203x300.jpg 203w\" sizes=\"(max-width: 321px) 100vw, 321px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6183f0a elementor-widget elementor-widget-text-editor\" data-id=\"6183f0a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, Samuel Archibald and Antonio Dominguez Leiva (ed.). 2013. <i>Otrante<\/i>.\u00a0<i>Po\u00e9tiques du zombie<\/i>, n\u00b0 33-34 (Winter), Paris: Editions Kim\u00e9.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-6fd6a09 e-con-full e-flex e-con e-parent\" data-id=\"6fd6a09\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-958f326 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"958f326\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"129\" height=\"204\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/figures-de-violence.jpg\" class=\"attachment-large size-large wp-image-1199\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8a8462e elementor-widget elementor-widget-text-editor\" data-id=\"8a8462e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, Richard B\u00e9gin and Lucie Roy (ed.). 2013. <i>Figures de violence<\/i>. Coll. &#8220;Esth\u00e9tiques&#8221;, Paris: L&#8217;Harmattan.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-9c7ddb9 e-con-full e-flex e-con e-parent\" data-id=\"9c7ddb9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3ce0b0e elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"3ce0b0e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"253\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/SHbookcover252.jpg\" class=\"attachment-large size-large wp-image-1202\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-05323d4 elementor-widget elementor-widget-text-editor\" data-id=\"05323d4\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2012.\u00a0<i><a href=\"https:\/\/press.umich.edu\/Books\/S\/Silent-Hill2\">Silent Hill: The Terror Engine<\/a><\/i>. Ann Arbor: University of Michigan Press.<\/p><div id=\"headingEleven\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseEleven\" aria-expanded=\"false\" aria-controls=\"collapseEleven\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseEleven\" class=\"collapse in\" aria-labelledby=\"headingEleven\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Silent Hill: The Terror Engine, second ouvrage de la s\u00e9rie Landmark Video Games des directeurs Mark J.P. Wolf et Bernard Perron, propose un regard d&#8217;ensemble sur la s\u00e9rie vid\u00e9oludique Silent Hill, en plus d\u2019offrir une analyse approfondie de ses trois premiers opus. Silent Hill, dont le premier titre est paru en 1999, est l&#8217;une des s\u00e9ries les plus influentes du jeu vid\u00e9o d\u2019\u00e9pouvante. En scrutant l&#8217;histoire du genre et en comparant Silent Hill avec d\u2019importants pr\u00e9curseurs tels qu\u2019Alone in the Dark et Resident Evil, Perron inscrit les jeux dans le genre du survival horror. En adoptant une approche transm\u00e9diale et en soulignant les influences cin\u00e9matographiques et litt\u00e9raires du concepteur, l\u2019auteur analyse la structure narrative, les techniques de mise en image, le son et la musique utilis\u00e9s, les m\u00e9caniques ludiques et les \u00e9motions fictionnelles, artistiques et vid\u00e9oludiques suscit\u00e9es par les jeux afin d&#8217;explorer les peurs sp\u00e9cifiquement associ\u00e9es au survival horror et de r\u00e9fl\u00e9chir \u00e0 la mani\u00e8re par laquelle l&#8217;exp\u00e9rience, dans son ensemble, a fait de la s\u00e9rie Silent Hill l&#8217;un des principaux monuments de l&#8217;histoire du jeu vid\u00e9o.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-6802036 e-con-full e-flex e-con e-parent\" data-id=\"6802036\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ef60bab elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"ef60bab\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"575\" height=\"419\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/issueTAD.jpg\" class=\"attachment-large size-large wp-image-1204\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/issueTAD.jpg 575w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/issueTAD-300x219.jpg 300w\" sizes=\"(max-width: 575px) 100vw, 575px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-65e58bc elementor-widget elementor-widget-text-editor\" data-id=\"65e58bc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, Dominic Arsenault, Martin Picard, Guillaume Roux-Girard and Carl Therrien (ed.). 2010. &#8220;Thinking After Dark: Welcome to the World of Horror Video Games.&#8221; <i>Loading&#8230; Journal of the Canadian Game Studies Association<\/i>, vol. 4, n\u00b0 6, Special Issue (April). [<a title=\"Thinking After Dark\" href=\"http:\/\/journals.sfu.ca\/loading\/index.php\/loading\/issue\/view\/TAD\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8dd7490 e-con-full e-flex e-con e-parent\" data-id=\"8dd7490\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e2cab0f elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"e2cab0f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1206\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e6eb8f1 elementor-widget elementor-widget-text-editor\" data-id=\"e6eb8f1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard (ed.). 2009. <i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>. Jefferson : McFarland.\n<div id=\"headingTwelve\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseTwelve\" aria-expanded=\"false\" aria-controls=\"collapseTwelve\"><strong>+ Learn more<\/strong><\/a><\/div>\n<div id=\"collapseTwelve\" class=\"collapse in\" aria-labelledby=\"headingTwelve\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nIn this in-depth critical and theoretical analysis of the video game horror genre, fourteen essays explore the cultural foundations that motivate players&#8217; attraction to horror, as well as the evolution of \u2018survival\u2019 themes. The techniques and narrative effects of specific games \u2013 such as Resident Evil, Call of Cthulhu, and Silent Hill \u2013 are examined individually.\n\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-15d0c64 e-con-full e-flex e-con e-parent\" data-id=\"15d0c64\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8fb3ad7 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"8fb3ad7\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"170\" height=\"257\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Il-motore-del-terrore-2006.jpg\" class=\"attachment-large size-large wp-image-1208\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a1be247 elementor-widget elementor-widget-text-editor\" data-id=\"a1be247\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\tPerron, Bernard. 2006.<i>\u00a0Silent Hill. Il motore del terrore<\/i>. Milan: Costa Nolan.\n<div id=\"headingThird\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseThird\" aria-expanded=\"false\" aria-controls=\"collapseThird\"><strong>+ Learn more<\/strong><\/a><\/div>\n<div id=\"collapseThird\" class=\"collapse in\" aria-labelledby=\"headingThird\" data-parent=\"#accordion\">\n<div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\">\n\nBernard Perron&#8217;s investigation of the Konami series goes beyond traditional approaches based on contrasts and comparisons with similar texts, such as Resident Evil and Alone in the Dark. His transmedia analysis offers a literary, cinematic, and playful journey that his readers will not soon forget.\n\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-6968102 e-con-full e-flex e-con e-parent\" data-id=\"6968102\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6abd3ae elementor-widget elementor-widget-text-editor\" data-id=\"6abd3ae\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><span style=\"text-decoration: underline;\">Books Chapters and articles<\/span><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-5146e4b e-con-full e-flex e-con e-parent\" data-id=\"5146e4b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-1df1b4b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"1df1b4b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"678\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Playful-Undead-678x1024.jpg\" class=\"attachment-large size-large wp-image-1231\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Playful-Undead-678x1024.jpg 678w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Playful-Undead-199x300.jpg 199w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Playful-Undead-768x1161.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Playful-Undead.jpg 800w\" sizes=\"(max-width: 678px) 100vw, 678px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-d11bef3 elementor-widget elementor-widget-text-editor\" data-id=\"d11bef3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2019. &#8220;The Pace and Reach of Video Game Zombies.&#8221; In Stephen J. Webley and Peter Zackariasson (ed.), <i>The Playful Undead and Video Games. Critical Analyses of Zombies and Gameplay<\/i>, p.197-215. London: Routledge.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-b3ade3d e-con-full e-flex e-con e-parent\" data-id=\"b3ade3d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fad8583 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"fad8583\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"913\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Mort-intranquille.jpg\" class=\"attachment-large size-large wp-image-1234\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Mort-intranquille.jpg 600w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Mort-intranquille-197x300.jpg 197w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-71d3d27 elementor-widget elementor-widget-text-editor\" data-id=\"71d3d27\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2019. &#8220;L\u2019allure et la port\u00e9e des zombies vid\u00e9oludiques.&#8221; In Marie-Christine Lambert-Perreault, J\u00e9r\u00f4me-Olivier Allard and Simon Harel (eds.), <i>La mort intranquille: autopsie du zombie<\/i>, p. 147-174. Quebec: Presses de l\u2019Universit\u00e9 Laval.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-9093f4c e-con-full e-flex e-con e-parent\" data-id=\"9093f4c\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-62941ce elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"62941ce\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"840\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-975x1024.jpg\" class=\"attachment-large size-large wp-image-1236\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-975x1024.jpg 975w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-286x300.jpg 286w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-768x807.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-1462x1536.jpg 1462w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrages-39-1950x2048.jpg 1950w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-005563e elementor-widget elementor-widget-text-editor\" data-id=\"005563e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2018. &#8220;Les r\u00e9gimes effrayants de la vision vid\u00e9oludique.&#8221; In Selim Krichane (ed.), <em>D\u00e9cadrages<\/em>, n\u00b0 29 (Fall), p. 8-29. [<a title=\"\" href=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Decadrage_No_39-regimes_effrayants-2018.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-ef48b78 e-con-full e-flex e-con e-parent\" data-id=\"ef48b78\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-a20e16c elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"a20e16c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"528\" height=\"800\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cinemaction-168-jeux-video-cinema.jpg\" class=\"attachment-large size-large wp-image-1238\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cinemaction-168-jeux-video-cinema.jpg 528w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cinemaction-168-jeux-video-cinema-198x300.jpg 198w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6580b45 elementor-widget elementor-widget-text-editor\" data-id=\"6580b45\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2018. &#8220;Le jeu vid\u00e9o d\u2019horreur : Quel cin\u00e9ma !?&#8221; In Marion Poirson (ed.), <i>Cin\u00e9mAction. Jeux vid\u00e9o et cin\u00e9ma: une cr\u00e9ation<\/i>, n\u00b0 168, p. 64-74.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-632c6ad e-con-full e-flex e-con e-parent\" data-id=\"632c6ad\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-b42a457 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"b42a457\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"438\" height=\"627\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Ray-Horror-Literature-2017.jpg\" class=\"attachment-large size-large wp-image-1240\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Ray-Horror-Literature-2017.jpg 438w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Ray-Horror-Literature-2017-210x300.jpg 210w\" sizes=\"(max-width: 438px) 100vw, 438px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-14647d8 elementor-widget elementor-widget-text-editor\" data-id=\"14647d8\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, and Jean-Charles Ray. 2017. &#8220;Horror Video Games.&#8221; In Matt Cardin (ed.), <i>Horror Literature through History: An Encyclopedia of the Stories that Speaks to our Deepest Fears<\/i>, p. 121-125. Santa Barbara: ABC-CLIO.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-cf4d973 e-con-full e-flex e-con e-parent\" data-id=\"cf4d973\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-52d5d2b elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"52d5d2b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"268\" height=\"188\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Perron-Picard-Blanchet-Aventure-et-Guide-1.jpg\" class=\"attachment-large size-large wp-image-1247\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-74af7dd elementor-widget elementor-widget-text-editor\" data-id=\"74af7dd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2016. &#8220;Effrayantes aventures dans le champ aveugle du jeu vid\u00e9o et du cin\u00e9ma d\u2019horreur.&#8221; In Alexis Blanchet (ed.), <i>Cin\u00e9ma et jeux vid\u00e9o<\/i>, p. 5-16. Paris: Questions Th\u00e9oriques.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-4491dda e-con-full e-flex e-con e-parent\" data-id=\"4491dda\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-538059e elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"538059e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"284\" height=\"425\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture.jpg\" class=\"attachment-large size-large wp-image-1249\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture.jpg 284w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture-200x300.jpg 200w\" sizes=\"(max-width: 284px) 100vw, 284px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2eac0c7 elementor-widget elementor-widget-text-editor\" data-id=\"2eac0c7\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. [2005] 2016. &#8220;Coming to Play at Frightening Yourself: Welcome to the World of Horror Games.&#8221; In Mark J. P. Wolf (ed.), <i>Video Games and Gaming Culture<\/i>, vol. 3, p. 181-196. New York: Routledge.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-4578bea e-con-full e-flex e-con e-parent\" data-id=\"4578bea\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-0df246e elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"0df246e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"284\" height=\"425\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture.jpg\" class=\"attachment-large size-large wp-image-1249\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture.jpg 284w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-et-Therrien-Wolf-Video-Game-and-Gaming-Culture-200x300.jpg 200w\" sizes=\"(max-width: 284px) 100vw, 284px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8720ab9 elementor-widget elementor-widget-text-editor\" data-id=\"8720ab9\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. [2004] 2016. &#8220;Sign of a Threat: The Effects of Warning Systems in Survival Horror Games.&#8221; In Mark J. P. Wolf (ed.), <i>Video Games and Gaming Culture<\/i>, vol. 3, p. 435-454. New York: Routledge.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-f657d22 e-con-full e-flex e-con e-parent\" data-id=\"f657d22\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-4c1d22f elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"4c1d22f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"577\" height=\"939\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Genre-et-jeu-video-2015.jpg\" class=\"attachment-large size-large wp-image-1251\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Genre-et-jeu-video-2015.jpg 577w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Genre-et-jeu-video-2015-184x300.jpg 184w\" sizes=\"(max-width: 577px) 100vw, 577px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e3bca0b elementor-widget elementor-widget-text-editor\" data-id=\"e3bca0b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2015. &#8220;Le survival horror : un genre vid\u00e9oludique id\u00e9al pour une \u00e9tude genr\u00e9e.&#8221; In Fanny Lignon (ed.), <i>Genre et jeux vid\u00e9o<\/i>, p. 95-117. Toulouse: Presses Universitaires du Mirail.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-4d5637b e-con-full e-flex e-con e-parent\" data-id=\"4d5637b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-aa53175 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"aa53175\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"352\" height=\"500\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg\" class=\"attachment-large size-large wp-image-1051\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013.jpg 352w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Encyclopedia-of-VG-Therrien-2013-211x300.jpg 211w\" sizes=\"(max-width: 352px) 100vw, 352px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6f49691 elementor-widget elementor-widget-text-editor\" data-id=\"6f49691\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2012. &#8220;Survival Horror.&#8221; In Mark J.P. Wolf (ed.), <i>Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming<\/i>, p. 636-639. Westport: Greenwood Press.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-ab5e774 e-con-full e-flex e-con e-parent\" data-id=\"ab5e774\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-7d9e6ed elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"7d9e6ed\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"129\" height=\"204\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/figures-de-violence-1.jpg\" class=\"attachment-large size-large wp-image-1255\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8a94d4b elementor-widget elementor-widget-text-editor\" data-id=\"8a94d4b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, and Guillaume Roux-Girard. 2012. &#8220;Entre synchronisation et action : son et violence dans les jeux vid\u00e9o d&#8217;horreur.&#8221; In Bernard Perron, Richard B\u00e9gin and Lucie Roy (eds.), <i>Figures de violence<\/i>, p. 81-91. Coll. &#8220;Esth\u00e9tiques,&#8221; Paris: L\u2019Harmattan.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-0c3bb61 e-con-full e-flex e-con e-parent\" data-id=\"0c3bb61\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-3ffcc37 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"3ffcc37\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"129\" height=\"204\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/figures-de-violence-1.jpg\" class=\"attachment-large size-large wp-image-1255\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-cd15c1f elementor-widget elementor-widget-text-editor\" data-id=\"cd15c1f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, Richard B\u00e9gin and Lucie Roy. 2012. &#8220;Introduction : Figures de violence.&#8221; In Bernard Perron, Richard B\u00e9gin and Lucie Roy (ed.), <i>Figures de violence<\/i>, p. 7-11. Coll. &#8220;Esth\u00e9tiques,&#8221; Paris: L&#8217;Harmattan.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-26bb87e e-con-full e-flex e-con e-parent\" data-id=\"26bb87e\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-cdc8546 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"cdc8546\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"117\" height=\"160\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Game-Sound-Technology-and-Player-Interactio.jpg\" class=\"attachment-large size-large wp-image-1258\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-d4e1c87 elementor-widget elementor-widget-text-editor\" data-id=\"d4e1c87\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Roux-Girard, Guillaume. 2011. &#8220;Listening to Fear: A Study of Sound in Horror Computer Games.&#8221; In Mark Grimshaw (ed.), <i>Game Sound Technology and Player Interaction: Concepts and Developments<\/i>, p. 192-212. Hershey: IGI Global. [<a title=\"Listening to Fear: A Study of Sound in Horror Computer Games\" href=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/roux-girard_chap_grimshaw_book.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-9b1ae65 e-con-full e-flex e-con e-parent\" data-id=\"9b1ae65\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fc5ba12 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"fc5ba12\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"247\" height=\"163\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Logo-CIAC.png\" class=\"attachment-large size-large wp-image-4763\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-86e349c elementor-widget elementor-widget-text-editor\" data-id=\"86e349c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2010. &#8220;Fatal Frame ou la hantise vid\u00e9oludique.&#8221; <i>Magazine \u00e9lectronique du Centre international d\u2019art contemporain<\/i>, n\u00b0 38 (November). [<a title=\"\" href=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/BPerron-Fatal-Frame-Magazine_CIAC.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-234f1ad e-con-full e-flex e-con e-parent\" data-id=\"234f1ad\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-d667fa3 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"d667fa3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1206\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7cae5f1 elementor-widget elementor-widget-text-editor\" data-id=\"7cae5f1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2009. &#8220;Introduction: Gaming After Dark.&#8221; In Bernard Perron (ed.), <i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>, p. 3-13. McFarland: Jefferson.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-bcb6c24 e-con-full e-flex e-con e-parent\" data-id=\"bcb6c24\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-58bcbbd elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"58bcbbd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1206\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-13d663e elementor-widget elementor-widget-text-editor\" data-id=\"13d663e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2009. &#8220;The Survival Horror: The Extended Body Genre.&#8221; In Bernard Perron (ed.), <i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>, p. 121-143. Jefferson: McFarland.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-a9599af e-con-full e-flex e-con e-parent\" data-id=\"a9599af\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6ab46e0 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6ab46e0\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1206\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-25158fc elementor-widget elementor-widget-text-editor\" data-id=\"25158fc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Picard, Martin. 2009. &#8220;Haunting Backgrounds: Transnationality and Intermediality in Japanese Survival Horror Video Games.&#8221; In Bernard Perron (ed.), <i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>, p. 95-120. Jefferson: McFarland.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-23f3da2 e-con-full e-flex e-con e-parent\" data-id=\"23f3da2\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-c32f13e elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"c32f13e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1206\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e1dde00 elementor-widget elementor-widget-text-editor\" data-id=\"e1dde00\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Roux-Girard, Guillaume. 2009. &#8220;Plunged Alone into Darkness: Evolution in the Staging of Fear in the Alone in the Dark Series.&#8221; In Bernard Perron (ed.), <i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>, p. 145-167. Jefferson: McFarland.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-811f3d9 e-con-full e-flex e-con e-parent\" data-id=\"811f3d9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-85070f5 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"85070f5\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg\" class=\"attachment-large size-large wp-image-1206\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games-768x1152.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Horror-Video-Games.jpg 798w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-83a3f70 elementor-widget elementor-widget-text-editor\" data-id=\"83a3f70\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Therrien, Carl. 2009. &#8220;Games of Fear. A Multi-Faceted Historical Account of the Horror Genre in Video Games.&#8221; In Bernard Perron (ed.), <i>Horror Video Games: Essays on the Fusion of Fear and Play<\/i>, p. 26-45. Jefferson: McFarland.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8c99076 e-con-full e-flex e-con e-parent\" data-id=\"8c99076\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-f0e2b77 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"f0e2b77\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"250\" height=\"400\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008.jpg\" class=\"attachment-large size-large wp-image-712\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008.jpg 250w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Schermi-interattivi-Saggi-critici-su-videogiochi-cinema-2008-188x300.jpg 188w\" sizes=\"(max-width: 250px) 100vw, 250px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-73e3241 elementor-widget elementor-widget-text-editor\" data-id=\"73e3241\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2008. &#8220;Dal film al gioco: l\u2019esperienza forzata di paura.&#8221; In Matteo Bittanti (ed.), <i>Schermi interattivi. Saggi critici su videogiochi cinema<\/i>, p. 233-259. Rome: Meltemi.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-0ba3f0d e-con-full e-flex e-con e-parent\" data-id=\"0ba3f0d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e8b639e elementor-widget elementor-widget-text-editor\" data-id=\"e8b639e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<h5><u>Other relevant publications<\/u><\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-2deedda e-con-full e-flex e-con e-parent\" data-id=\"2deedda\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-dcd2baf elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"dcd2baf\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"686\" height=\"1024\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Boni-World-Building-686x1024.jpg\" class=\"attachment-large size-large wp-image-1269\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Boni-World-Building-686x1024.jpg 686w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Boni-World-Building-201x300.jpg 201w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Boni-World-Building-768x1146.jpg 768w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Boni-World-Building.jpg 858w\" sizes=\"(max-width: 686px) 100vw, 686px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-fd0fac1 elementor-widget elementor-widget-text-editor\" data-id=\"fd0fac1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2017. &#8220;Zombie Escape and Survival Plans: Mapping the Transmedial World of the Dead.&#8221; In Marta Boni (ed.), <i>World Building. Transmedia, Fans, Industries<\/i>, p. 215-230. Amsterdam: Amsterdam University Press.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-7a1d954 e-con-full e-flex e-con e-parent\" data-id=\"7a1d954\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8cb7cce elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"8cb7cce\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"122\" height=\"176\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Z-pour-zombies.jpg\" class=\"attachment-large size-large wp-image-1195\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-42f2a96 elementor-widget elementor-widget-text-editor\" data-id=\"42f2a96\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard, Samuel Archibald and Antonio Dominguez Leiva. 2015. &#8220;Introduction.&#8221; In Bernard Perron, Samuel Archibald and Antonio Dominguez Leiva (ed.), <em>Z pour Zombies<\/em>, p. 9-10. Montr\u00e9al: Presses de l&#8217;Universit\u00e9 de Montr\u00e9al.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-4c2243f e-con-full e-flex e-con e-parent\" data-id=\"4c2243f\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9cee804 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"9cee804\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"587\" height=\"826\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Loading_vol4no6_Thinking_After_Dark.jpg\" class=\"attachment-large size-large wp-image-1271\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Loading_vol4no6_Thinking_After_Dark.jpg 587w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Loading_vol4no6_Thinking_After_Dark-213x300.jpg 213w\" sizes=\"(max-width: 587px) 100vw, 587px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b615aac elementor-widget elementor-widget-text-editor\" data-id=\"b615aac\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Arsenault, Dominic. 2010. &#8220;Introduction \u00e0 la pragmatique des effets g\u00e9n\u00e9riques : l&#8217;horreur dans tous ses \u00e9tats.&#8221; <i>Loading&#8230; Journal of the Canadian Game Studies Association<\/i>, vol. 4, n\u00b0 6. [<a title=\"\" href=\"http:\/\/journals.sfu.ca\/loading\/index.php\/loading\/article\/view\/87\" target=\"_blank\" rel=\"noopener\">Online<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-d9cb659 e-con-full e-flex e-con e-parent\" data-id=\"d9cb659\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e367266 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"e367266\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"782\" height=\"1000\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Gaming-Realities-2006.jpg\" class=\"attachment-large size-large wp-image-1274\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Gaming-Realities-2006.jpg 782w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Gaming-Realities-2006-235x300.jpg 235w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Gaming-Realities-2006-768x982.jpg 768w\" sizes=\"(max-width: 782px) 100vw, 782px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-295e222 elementor-widget elementor-widget-text-editor\" data-id=\"295e222\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2006. &#8220;The Heuristic Circle of Gameplay: the Case of Survival Horror.&#8221; In Dodo Santorineos (ed.), <i>Gaming Realities: the Challenge of Digital Culture<\/i>, p. 62-71. Confrerence proceedings of &#8220;Medi@terra 2006&#8221; (Athens, October). [<a title=\"The Heuristic Circle of Gameplay: the Case of Survival Horror\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Heuristic%20Circle%20of%20Gameplay%20-%20Mediaterra%202006.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingSec\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseSec\" aria-expanded=\"false\" aria-controls=\"collapseSec\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseSec\" class=\"collapse in\" aria-labelledby=\"headingSec\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>Building on a previous study examining the cognitive interactivity of viewers when watching a movie, this article examines the circularity at the heart of the gaming experience. Taking the survival horror genre, and more specifically the game Cold Fear, as a case study, it describes gaming activity as a heuristic circle. If, as Huizinga put it, playing a video game consists of entering a magic circle, it also involves being caught up in a magic cycle of questions and answers, analysis and implementation, entry and exit.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8a876f4 e-con-full e-flex e-con e-parent\" data-id=\"8a876f4\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-9ab1cbe elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"9ab1cbe\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"288\" height=\"373\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006.jpg\" class=\"attachment-large size-large wp-image-722\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006.jpg 288w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Cine-Bulles-2006-232x300.jpg 232w\" sizes=\"(max-width: 288px) 100vw, 288px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-db62079 elementor-widget elementor-widget-text-editor\" data-id=\"db62079\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2006. &#8220;Quand le brouillard se dissipe : Silent Hill, le film.&#8221; <i>Cin\u00e9-Bulles<\/i>, vol. 24, n\u00b0 4 (Fall), p. 42-47. [<a title=\"Quand le brouillard se dissipe : Silent Hill, le film\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Cinebulles%20-%202007.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-2591cb9 e-con-full e-flex e-con e-parent\" data-id=\"2591cb9\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-8f8a649 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"8f8a649\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"255\" height=\"195\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Perron-Aesthetics-of-Play-2005.jpg\" class=\"attachment-large size-large wp-image-1276\" alt=\"\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-dd40ace elementor-widget elementor-widget-text-editor\" data-id=\"dd40ace\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2005. &#8220;Coming to Play at Frightening Yourself: Welcome to the World of Horror Games.&#8221; Conference proceedings of &#8220;Aesthetics of Play. A Conference on Computer Game Aesthetics&#8221; (Bergen, 4-15 October 2005). [<a href=\"https:\/\/www.aestheticsofplay.org\/perron.php\">Online<\/a>] [<a title=\"Coming to Play at Frightening Yourself: Welcome to the World of Horror Games\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron%20-%20Bergen%20-%202005.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingFirst\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseFirst\" aria-expanded=\"false\" aria-controls=\"collapseFirst\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseFirst\" class=\"collapse in\" aria-labelledby=\"headingFirst\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>From Haunted House (Atari, 1981) to Alone in the Dark (I-Motion Inc. &amp; Infogrames\/Interplay, 1992), Phantasmagoria (Sierra, 1995) and Resident Evil 4 (Capcom, 2005), this article examines how games have evolved from the perspective of their creators. Infogrames\/Interplay, 1992), from Phantasmagoria (Sierra, 1995) to Resident Evil 4 (Capcom, 2005), this article examines how horror video games scare us, or rather, how they make us scare ourselves. Of course, it is impossible to ignore the remediation of film aesthetics and strategies. But although these links are important, it is above all what interactivity brings to the genre that is examined. A dark alley, a half-open door, a distant and unusual sound, or an encounter with a monster are not just fictional signs of horror; they are, above all, signals to act, leading to a gain or loss of control. For example, the flickering glow of the lamps and flashes of light in Haunted House or the beam of light from the torch in Silent Hill (Konami, 1998) not only contribute to creating a sinister atmosphere, they also constrain the player&#8217;s field of vision in order to heighten their sense of insecurity. The same is true of the framing in Resident Evil (Capcom, 1996). While a surprise effect can be as effective in a video game as in a film, in its video game form, it is triggered by the player&#8217;s movement. Consequently, the player&#8217;s potential for adaptation is at the heart of the horror and terror experience. Without forgetting the warning system previously studied (2004), it is now relevant to examine devices such as the Panic Meter in Clock Tower 3 (Capcom, 2003), which, as it fills up, makes the player character&#8217;s actions increasingly erratic \u2013 to the point where they no longer respond to the player&#8217;s commands \u2013 or the Sanity Meter in Eternal Darkness: Sanity&#8217;s Requiem (Silicon Knights\/Nintendo, 2002), which, when it empties, strangely affects your player character, the game world, the television and the console.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-bbf4b4b e-con-full e-flex e-con e-parent\" data-id=\"bbf4b4b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6204451 elementor-widget__width-initial affiche elementor-widget elementor-widget-image\" data-id=\"6204451\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"780\" height=\"126\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/COSIGN-logo.png\" class=\"attachment-large size-large wp-image-4765\" alt=\"\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/COSIGN-logo.png 780w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/COSIGN-logo-300x48.png 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/COSIGN-logo-768x124.png 768w\" sizes=\"(max-width: 780px) 100vw, 780px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-ba4476c elementor-widget elementor-widget-text-editor\" data-id=\"ba4476c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Perron, Bernard. 2004. &#8220;Sign of a Threat: The Effects of Warning Systems in Survival Horror Games&#8221;. <i>4th Conference on Computation Semiotics<\/i>, p. 132-141. Conference Proceedings of \u00ab COSIGN 2004 \u00bb (Split, September 14-16, 2004). [<a title=\"Sign of a Threat : The Effects of Warning Systems in Survival Horror Games\" href=\"https:\/\/www.ludov.ca\/documents\/publications\/Perron_Cosign_2004.pdf\" target=\"_blank\" rel=\"noopener\">PDF<\/a>]<\/p><div id=\"headingLast\" class=\"card-header\" style=\"background-color: transparent;\"><a class=\"collapsed\" style=\"cursor: pointer;\" data-toggle=\"collapse\" data-target=\"#collapseLast\" aria-expanded=\"false\" aria-controls=\"collapseLast\"><strong>+ Learn more<\/strong><\/a><\/div><div id=\"collapseLast\" class=\"collapse in\" aria-labelledby=\"headingLast\" data-parent=\"#accordion\"><div class=\"card-body\" style=\"background-color: #ffffff; padding: 15px;\"><p>This article examines how survival horror games are designed to frighten and terrify players. By comparing video games to films, the experiential state of the player to that of the viewer, and the shock of surprise to the tension of suspense, the author focuses on the effects of forewarning and the emotional reactions of players to survival horror games.<\/p><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<\/p>\n<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"4\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3904\" aria-expanded=\"false\">Events<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-3904\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"4\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-3904\" tabindex=\"0\" hidden=\"hidden\"><p><a href=\"https:\/\/www.ludov.ca\/en\/video-games\/events\/#penserApresLaNuit\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-1601 alignleft\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Thinking-After-Dark-Poster-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Thinking-After-Dark-Poster-200x300.jpg 200w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Thinking-After-Dark-Poster-683x1024.jpg 683w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2024\/05\/Thinking-After-Dark-Poster.jpg 709w\" sizes=\"(max-width: 200px) 100vw, 200px\" \/>Thinking After Dark: Welcome to the World of Horror Video Games<\/a><br \/>International conference on the study of horror video games organized by Ludicin\u00e9.<\/p>\n<\/div>\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-tab-title elementor-tab-mobile-title\" aria-selected=\"false\" data-tab=\"5\" role=\"tab\" tabindex=\"-1\" aria-controls=\"elementor-tab-content-3905\" aria-expanded=\"false\">Recommended Links<\/div>\n\t\t\t\t\t<div id=\"elementor-tab-content-3905\" class=\"elementor-tab-content elementor-clearfix\" data-tab=\"5\" role=\"tabpanel\" aria-labelledby=\"elementor-tab-title-3905\" tabindex=\"0\" hidden=\"hidden\"><p style=\"text-align: left;\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-6373 alignleft\" src=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/02\/Chris-Survival-Horror-Questpng-300x62.png\" alt=\"\" width=\"300\" height=\"62\" srcset=\"https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/02\/Chris-Survival-Horror-Questpng-300x62.png 300w, https:\/\/www.ludov.ca\/wp-content\/uploads\/2026\/02\/Chris-Survival-Horror-Questpng.png 711w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><a title=\"\" href=\"http:\/\/horror.dreamdawn.com\/\" target=\"_blank\" rel=\"noopener\">Chris&#8217; Survival Horror Quest<\/a><br \/>\nDatabase, reviews and discussion forum about horror video games.<\/p>\n<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Project Outcomes Publications Events Recommended Links Project Project under the supervision of Bernard Perron Since the majority of video games relies on the notion of survival, horror video games \u2013 &#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1965,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-left-sidebar.php","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-2034","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - 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