To Fear Or Not To Fear: Thesis Idea

The Impact of Literature, Folklore and Cultural Roots in Survival Horror Games: 

A study of fear and its connection with Southeast Asian upbringing and identity

Abstract:

This thesis explores the profound impact of literature, folklore, and cultural roots in shaping the thematic elements of survival horror games. This delves into the intricate relationship between fear and Asian upbringing and identity, examining how these games draw upon rich cultural traditions to evoke terror and emotional engagement. The findings contribute to both the domain of game studies and cultural studies, shedding light on the manner in which narratives and symbols resonate with players on profound emotional and cultural levels. This research aims to illuminate the ways in which storytelling and cultural influences converge to create unique and resonant gaming experiences.

Chapter 1: Introduction

I never place my bed in front of a mirror or clip my fingernails at night. I try not to take photos in three or whistle when I walk home. When I sign my name, I remember not to write it with a red pen or it might be my end. Superstition was the norm when growing up in my household. If I ever messed up, an elder would quickly point it out and warn me of the repercussions. Though it sounds a little absurd a huge part of me still believed in it. 

In some forms, the stories are moralistic while others remain a mystery for unexplainable circumstances. The biggest reason why I still believe in it is that Asian people are born in a community that is both spiritual and religious, fostering a fascination with the idea that nothing is entirely impossible in the realm of the living. As stated in this research paper regarding this subject, “Folklores and culture go beyond the boundaries and converge through different societies and nations […] there is a common motif of believing in supernatural beings. Supernatural being is defined as an incorporeal being believed to have powers to affect the course of human events.” (Vachiratamporn, 2013). 

My interest in this subject is if there’s more to unpack as to why Asian games rely on supernatural elements to create these specific games. Is it simply to scare the players or connect with one another. Despite these stories being written in literature and taking inspiration in creating social dynamics and psychological ambience, it must also be taken into account how powerful word of mouth is and how it becomes a social influence phenomenon grounded in trust and personal relationships. It somehow solidifies the truth of history surrounding these stories. 

This strong influence is embedded in most Asian households causing survival horror games to tap into the specific fear. It’s noticeable how this trope has a greater emphasis on the paranormal and supernatural elements, structuring their narratives around the act of confronting the known while attempting to escape from it.  Adding on, it is noticeable how in some households, religion plays a major role in creating a paranoia environment in return causing people to be more cautious when entering new territories and are afraid of challenging the otherworld because of the possibility that it could lead to a hostile situation. Perchance, players with strong emotional connections to their history and culture can give more power and fear to survival horror games.

By investigating the interplay between cultural elements and fear in survival horror games, this study offers insights into the ways in which narratives, symbolism, and emotions intersect. This understanding is crucial not only for game designers aiming to craft culturally resonant experiences but also for scholars and enthusiasts seeking a deeper appreciation of the multi-dimensional aspects of horror gaming. I seek to explore how literature, folklore, and cultural roots influence the creation and reception of fear within the Asian context, considering how these elements are woven into the fabric of survival horror games.

Chapter 2: Literature Review

2.1 Evolution of Survival Horror Games

Though it’s quite difficult to determine the exact originator of survival horror games, it’s evident that there are early forerunners of this genre. Games like Sweet Home and Alone In The Dark are most recognised as the ‘classic survival horror’. Their mechanics and storyline have laid the groundwork and provided influential elements that paved the way for subsequent horror games. Notably, the Silent Hill franchise emerges as a particularly influential and game-changer in this type of game. 

However, there are debates as to why Resident Evil and Silent Hill are considered scary because of their restrictive aspect, ‘Resident Evil and Silent Hill so scary - fixed camera angles, restrictive movement controls, lack of weaponry - are today viewed as poor design mechanisms and would not be tolerated by modern gamers. [Jim Sterling at Destructoid] also asserts that modern takes on the genre, such as Resi 4 and Dead Space, don't really qualify as 'survival horror' experiences - they are action games with a few shocks lobbed in.’ (Kevin Stuart, 2008) On the contrary, I do believe that this to appeal for the Western audience and creates a certain atmosphere to invoke fear of the unknown and oneself, as stated in Fione's thesis on the success of Japanese survival horror games, ‘Japanese survival horrors significantly differ from their Western counterparts as they tend to focus more on psychological horror developed through the atmospheric and storytelling side of the game, whereas Western horror games tend to emphasise on throwing in graphical violence, gore and the occasional shock factor. ’ (Fiona Lee, 2011)

Although there is a predefined moment where survival horror games have a significant shift especially with ‘YouTube Gaming’ slowly booming in the market. Amnesia (Frictional Games, 2010) a game that centres around a man with no memory and having to defeat an evil baron would be considered a simple yet effective gameplay that paved the way for other horror games. It became clear the impact of online videos became a go-to for people to connect and be entertained, research was conducted on the impact of YouTube on the Gaming Industry’s Trends, “YouTube has significantly impacted gaming culture, with extensive and far-fetched consequences […] As per Ipsos, nearly 56% of YouTube gamers assert that the platform is where they primarily connect with their gaming community. By socially connecting through reaction videos, walkthroughs, let’s plays, as well as reviews, gamers can enhance their inclination towards the avenue’s recreational aspect, thus proliferating the overall gaming scenario.” (Inkwood Research, 2013) Because of this, indie game developers were able to produce and market their games without being buried by other popularised games. Doing so, culture-based games have slowly trickled through the market allowing more coverage and impact within the Asian community.

In addition, dissecting the appeal of survival horror games is knowing that it lies in our ability to connect with them on a personal level. The sense of relatability arises from urban legends, the working-class protagonist, the everyday objects, and the technology we have around us. Asian horror seamlessly integrates modern technology into supernatural narratives. Simply because, technology in Western horror is based on science gone wrong while on the other hand, ghosts and ghouls are slipping into the technological era. It further solidifies how no matter how technology evolves, it won’t stop tradition, history, and folklore. They have become the root of identity and upbringing. Video games are evolving in a way that becomes a cultural cachet, a source of entertainment to connect and explore other heritage. A story to be told through not only music, environment, and narrative. Thus, I’ll dissect three Southeast Asian games that have successfully marketed themselves in the global market and the impact it has in their respective communities. How their success has contributed to impact the game industry.

2.2 Survival Horror Games: A Cultural Perspective and Its Representation In Games

While acknowledging the presence of this divergence between Western and Asian horror games, it's crucial to recognize the significant influence of cultural disparities on the design of these games. Historically video games have been primarily tailored to cater for straight white men, but over the last decades, we’ve seen an explosive increase in indie games and triple-A franchises beginning to branch out where representation is becoming a critical priority and undeniable need within the community. As technology continues to advance, video games have evolved beyond entertainment and become a powerful tool for storytelling, cultural expression and social connection. As Robin Gray Founder of Gayming Magazine stated, “The notion of diversity not selling games is dead” (Robert Mullane, 2021). 

As a result, my analysis delves deeply into the intricate interplay of cultural identity and gaming. It seeks to unveil the influence of players' diverse cultural backgrounds on their gaming preferences and experiences, thereby examining the correlation between one's cultural heritage and emotional responses, particularly in the context of fear. Simultaneously, this investigation entails an in-depth examination of selected games, aiming to illuminate their representation, multifaceted gameplay elements, and cultural significance through comprehensive analysis.

PAMALI

Pamali (2018), it’s a narrative horror game set in the daily lives of Indonesian society. You’re engaged with a wide array of mystical artefacts while diving into haunted locations, mysteries and witnessing first-hand Indonesian myths, taboos and traditions. Its environment is responsive and hostile to the player’s presence. Its designers, in their desire to inform about Indonesian superstitions, took an approach that teaches the player through trial and error, with heavy emphasis on the error. In each of the game’s unique locations, supernatural phenomena are tied to the unique taboos the player can commit during gameplay. 

The concept of survival horror games with a unique supernatural twist isn’t necessarily a new concept, however, the thought process of choosing to produce a game that is closely related to your own history and culture despite living in a country that still believes in superstitions and taboos is an interesting choice to make. This can be further backed up by Sara Schonhardt of CNN as she wrote, ‘Indonesians believe in both good and bad magic, as well as the presence of the paranormal.’ J. Hays, 2015). Through this understanding perhaps the idea of wanting to integrate who you are and where you’ve come from is much stronger than the need to integrate with the Western standard. I find myself asking the same questions as these video game designers, which was the ‘desire to produce a game that represents oneself’. As StoryTale Studios’ Mira Wardhaningsih also explains: ‘Pamali was created to provide a glimpse into how horror is perceived in Indonesia. We want to introduce Indonesian horror, which is shaped by the culture of the people themselves, from their traditional taboos and folklore. As we believe traditional Indonesian horror shouldn’t be Westernised, Pamali strives to provide players with an authentic Indonesian horror experience.’ (Noisy Pixel, 2018) 

It is more than just ghosts and ghouls but a sense of self and wanting to make a mark in the world. That we are trying to make history and one way to connect with one another is through stories. To get a glimpse of our experiences, childhood and emotions. ‘Culture is an extremely vital determining factor in how a particular community responds, reacts, and grows, both individually and together […] creates a great sense of belonging for so many people, especially when they speak the same language that unites them,’ (N.A, 2021). This is not to say that Asian horror games are better than their counterparts, but it has a much different approach as it is more ambiguous and personal. A lot is left for the viewer’s imagination and how they interpret the story. It is more than a scary game because of its ability to stay within us and has an unshaken grip. 

It is almost crucial for Asian representation that it must be authentic and not be influenced by Western approaches. It’s the strive for authenticity and originality, that perhaps is because most popular Asian survival games have been westernised. This is further explored in, Horror Video Games: Essays on the Fusion of Fear and Play, 'An approach to the specificity of Japanese horror games that would be lying uniquely on Japanese characteristics is inappropriate when we look at the diversity inside the genre. Almost all the biggest Japanese video game companies have their own particularities. Konami wanted to make "modern American horror through Japanese eyes.' (Carlos Ramirez-Moreno, pg. 96-97, 2009).

DETENTION

Detention, a haunting and ominous paranormal horror game, marks the inaugural major release from the Taiwan-based studio Red Candle. One of its compelling aspects is its distinctive setting in 1960s Taiwan, a period overshadowed by the foreboding era known as the "White Terror." During this time, the nation lived under martial law, perpetually vigilant for any signs of communism. This dark historical backdrop, spanning from 1949 to 1987, although deeply unsettling in real history, provides a captivating foundation for an adventure game. Its impact goes beyond surface-level aesthetics; it intricately weaves into the narrative, leaving a profound impression that only exceptional character-driven psychological horror tales can achieve. Paired with an elegant point-and-click interface, clever puzzles, and mystical elements drawn from Taoism and Buddhism.

When it comes to survival horror games I've come to realise that I'm accustomed to the constant barrage of jump scares and intense environments that typically trigger a fight-or-flight response in players. However, "Detention" offers a significantly different experience. Its portrayal of reality can be far more chilling than the imagined horrors. What truly distinguishes Detention from the typical horror game is its unique incorporation of religious elements deeply rooted in Taiwanese religion, culture and mythology, adding an eerie and culturally rich layer to the gameplay.

We’ve known that survival horror games that often put players in powerless situations often lead players to believe that there will be triumph at the end, but Detention sets itself apart from that narrative. It’s the type of game that directs your attention towards a historical period and culture that most of us had little knowledge of. The use of personal and political elements that are further exemplified by the character’s personal struggles that intertwine with the oppressive martial law regime. However, what is interesting about this historical horror game is the fact that there is no happy ending. The sense of helplessness and desperation echoes throughout the game, whether it be from the enemies or the environment itself.

However, creating a sense of immersion is a vital aspect of enriching the gaming experience, needing players to be fully engrossed as they interact with in-game characters and tackle challenges within the virtual world. Historical video games, like many other gaming genres, expand their content by establishing a connection with the broader world. Within this framework, players may find themselves intrigued by the possibility of representing or even reconstructing history through the medium of gaming.

“Players can see history through the eyes of various characters. In traditional teaching styles, history is often told from the perspective of the victors or dominant culture. However, by recreating the world itself in a digital setting, players can see every angle of events and understand the motives of all involved. War, politics, and even cultural expansions can be viewed from the perspective of the dominant culture or those impacted by the shifting of diplomatic borders,” (The Lurkit Team, 2022)

Adam Chapman, in his analysis of Civilization and Brothers in Arms, argues that the developers of historical video games aspire not merely to depict history but to actively create it. This perspective challenges the conventional view that historical narratives, typically found in books, are the sole legitimate means of producing "proper" history. Chapman's critical argument questions the privileged status given to the written form and underscores the potential of video games to engage with and portray historical realities. This viewpoint finds further support in Erik Champion's observation,

‘Gaming can touch on and investigate the wider spectrum of issues and research questions in the humanities that are relevant both to scholars and to the general public. That said, I am not convinced that the ideological aspects of computer games have been fully developed, and these issues need further clarification in order for us to grasp the value, promise and problematic natures of game-based learning applied to interactive history and digital heritage.’ (Champion, 2015)

History and video games often have a stronger connection than many realise. Whether it is loosely or accurately based, Detention encourages players to explore and engage in topics that were and still are considered taboos. We’re exposed to a history where people were once ruled by a cruel regime and to survive is to be silent. The game reinforces the idea that reconciliation should not be mistaken for forgetfulness; in order to heal is to remember the past.

THE PLIGHT

"The Plight" is an immersive first-person horror game with a Malaysian-Chinese theme, centred around the horrific murders perpetrated by an elderly woman in her home nearly twenty years in the past. Additionally, it delves into the baffling disappearance of three childhood friends more than a decade ago.

Originally, I played The Plight on Game Jolt and it was still in the early development phases. The main reason why I decided to explore this game is because it was the first Malaysian-Chinese horror game that had some exposure online. To an everyday player, the game would look like your average horror game that requires the player to solve the mystery. However, there were many instances in the environment that reminded me of home. From the red qi-pao top, the household shrine to the concrete water tank in the bathroom just to shower. 

Experiencing the scene where the grandmother is reprimanding the child at the dinner table almost reminded me and other Asians how much we have no control or voice but to respect elders, even if it means they were in the wrong. It was apparent that the grandmother was the killer and yet, we had no other choice but to only retrace the memories of the child. It’s interesting the different reactions between non-Asian players who see the game and myself, the instant connection and deep-rooted understanding of toxic family dynamics are still ingrained. Kyu-Taik Sung and Ruth Dunkles expressed similar understanding in the writing, Roots of Elder Respect: Ideals and Practices in Southeast Asia, “The values deeply rooted in their family systems and social structures are preserved even while the manifestation of these values is being modified.” (Sung and Dunkles, 2009) 

Following the development journey of the game on Steam, I’ve noticed that several Asian influences were added to the environment to further enhance players’ understanding and immersion in the Chinese household. Simultaneously, the feeling of dread and uneasiness continued to reemerge. The snippets of the grandmother saying, ‘I did everything for you, do you understand?’, recognising the exasperation and disappointment in the tone is almost bone-chilling, perhaps the language spoken had a much stronger effect. I’ve realised that making a game in the language you’re born in is important in storytelling. Listening to the language helps create the environment to be more believable, it creates an immersive gameplay experience as it allows players to be invested in the character and storyline. Transperfect Gaming further adds on the significance of localising narrative video game storytelling, ‘Players are more likely to be invested in a game that speaks to their cultural background and speaks in their native languages […] Using language and cultural references that players understand, developers can make players feel like they’re part of the game's world. Moreover, localising the game's narrative can help to create a deeper connection between players and the game's characters.’ (Transperfect, N.D) 

In the end, it became clear the significance of weaving native language and cultural elements into the game development. It’s not simply about crafting a convincing game environment, it’s about forming a genuine connection between players and characters. Adding a piece of your culture, language, or even religion can make the narrative more captivating and meaningful. 

FATAL FRAME II: Crimson Butterfly

It’s undeniable that Japanese horror games stood out among their counterparts. Their unique ways of portraying imagery, environment design, animation, storytelling and even game cinematography are memorable and have a lasting impact to this day. While I aim to shed light on East-Asian games, it's essential to acknowledge the significant influence of Japanese survival horror games within the broader Asian gaming community. Fatal Frame II: Crimson Butterfly, solidified its position as one of the top horror games of its time. It became one of many memorable experiences, particularly after its English translation. The ripple effect of games like Fatal Frame II opened doors and new opportunities for other Asian developers to pierce through the global market. 

The reason why I wanted to explore Fatal Frame is its ability to integrate horror with technology. The game mechanics allow players to use a camera to capture images of vengeful spirits as protection. This clever use of modern technology as a tool in the supernatural narrative not only adds a unique gameplay mechanic but also intensifies the sense of dread and vulnerability. In contrast, Western horror often explores the consequences of science gone awry, creating a dichotomy between scientific and supernatural explanations. In Asian horror games, ghosts and ghouls find their way into the technological era, creating a fascinating juxtaposition between tradition and modernity. This integration of age-old beliefs and folklore into the digital age serves as a reminder that, no matter how much technology evolves, it cannot erase the psychological effect of superstitions and taboos that have been ingrained and rooted in most Asians’ identity and upbringing. 

This theory of how far and deep religious and cultural beliefs can have an impact on everyday lives. For instance, Makoto Shibata, the director of the Fatal Frame series believed that he had a spiritual attraction towards supernatural beings and had personally seen them. It is to say that Fatal Frame was created based on the image of these ghosts and ghouls. Although, we have an account that Japan still remains a superstitious society. Perhaps Makoto might have been influenced by the community or perhaps he actually did see spirits, but one cannot diminish his ability to successfully create horror games that to this day scare a lot of people. He has a specific understanding of how horror functions and he called this approach, ‘subtracting horror.’ Which he further explained, ‘We do not simply show scary things, but provide fragmental information and create a situation that forces the player to imagine these horrors.’ (Guardian.co.uk, 2006). 

His approach of making players use their own imagination enhances the overall eeriness of the experience. Fatal Frame unique game mechanic where players use a camera to capture images of vengeful spirits. This clever use of modern technology as a tool in the supernatural narrative not only adds a unique gameplay mechanic but also intensifies the sense of dread and vulnerability. In contrast, Western horror often explores the consequences of science gone awry, creating a dichotomy between scientific and supernatural explanations. In Asian horror games, ghosts and ghouls find their way into the technological era, creating a fascinating juxtaposition between tradition and modernity. This integration of age-old beliefs and folklore into the digital age serves as a poignant reminder that, no matter how much technology evolves, it cannot erase the roots of cultural identity and upbringing. 

2.3 Fear and its Psychological Aspects in Asian Literary and Folklore Traditions

The roots of horror in video games are often traced back to literature, and one author whose work has left an indelible mark on the genre is H.P. Lovecraft, as many gravitate and took inspiration from. As the quote goes, “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” (Lovecraft, 2009) Lovecraftian horror games explore fascinations and fixation with insanity to create terrifying situations, for instance, Bloodborne and Amnesia The Dark Descent. Lovecraft's stories continue to resonate because they tap into our primal fears, the fear of what lurks just beyond the edge of comprehension. This demonstrates the enduring impact of literature on various art forms, including the gaming industry. 

It opens the question of whether the horror genre is considered successful only because of the fear of the unknown. However, if we were to explore Asian survival horror games, it doesn’t necessarily rely on cheap jump scares and gore but on subtlety, psychological terror and atmospheric tension to make the horror feel more real and sinister. Perhaps fear of the unknown isn’t the one fear to rule them all. Perhaps fear of the known has a lasting psychological effect on people, especially Asians. It’s the fact that knowing something is lurking around the corner and is waiting for you. You can see it watching you and it doesn’t go away; it forces you to approach it rather than make you hide. Most Asian horror games’ inspirations come from cultural pasts and folklore. The ghost itself isn’t hiding in the shadows but why does it feel more terrifying. In essence, it suggests that the fear of the known can be just as potent, if not more so, than the fear of the unknown in crafting a truly horrific gaming experience. Often, we unconsciously gravitate towards our culture as the stories we grew up with are often more terrifying than most, Douglass C. Perry touched on the subject matter of the impact of literature and myths in video games, ‘Whether people think so or not, basically, we are immersed in the mythologies in our culture. In some sense, mythology defines culture. It’s unavoidable. Any typical storyline almost always falls back to some mythology.’ (Perry, 2012)

Our exploration of fear and its psychological facets within the realm of Asian literary and folklore traditions reveals a profound intertwining of cultural heritage, symbolism, and universal human emotions. Asian horror literature, with its distinct themes of vengeful spirits, cursed objects, and supernatural phenomena, serves as a testament to the enduring power of storytelling to evoke fear and provoke introspection. The rich tapestry of supernatural beings and symbols drawn from folklore deepens our understanding of cultural anxieties and values. Furthermore, the negotiation of cultural memory within Asian diaspora communities and the empirical investigation into the interplay between fear and cultural identity provide valuable insights into the complex dynamics of heritage and self-identity. 

However, it poses another question as to why Asian folklore scares Asians the most. To trace back that fear is to understand how it was instilled in our identity in the first place. We understand the exposure of myths, legends, and folklore through literature and religion. These stories are often layered with subtexts addressing societal issues, gender roles, and the consequences of human actions. The uncanny and grotesque play pivotal roles in evoking fear by challenging cultural norms and expectations. According to Kahan, cultural cognition has three characteristics: ‘One of them is how cultural cognition measures cultural worldviews. Second, cultural cognition pays attention to the social and psychological mechanisms that explain how culture shapes individual beliefs about risk. The third is the practical goal of cultural cognition, which is to promote public perception of risk and the collective management of policy impact that mitigate them.’ (Kahan et al., 2006).

Simultaneously, societal contexts also play a vital role. In rapidly modernising Asian societies, traditional beliefs often clash with contemporary values. This tension is reflected in many horror stories, where the supernatural was set to explore anxieties about cultural erosion and moral decay. Religion and folklore contribute significantly to these narratives. Most Asian households, especially religious ones, were often reminded of this narrative, how to be conscious of the way we move around the world and to always be respectful. This specific theme has been explored in the games I’ve mentioned previously. The use of supernatural elements as a mirror to the reality of the world, the religious context of respecting the dead and the living, and the balance between morality and ethics. Perhaps these unshaken values are one of many reasons why our reactions towards Asian horror games differ from the West. The fact that we see ourselves in the players and unintentionally create a bond within the game itself, letting it control our psyche causing our inability to differentiate reality and fiction.

Drawing from my own experience as well as other Asians I have discussed this similar issue on the conceptualisation of zombies, the bogeyman, and even Dracula and how it doesn’t evoke the same level of fear and uneasiness as entities like pocong, yurie or the hungry ghost. This phenomenon speaks to the influential impact of culture and belief on the perception of fear. While the Western version of horror can be unsettling and terrifying as they associated fear with the undead coming back to life, within the Asian community the concept of death and afterlife is perceived in a different light. Western horror does not carry the same weight and symbolism in cultures where supernatural entities are deeply ingrained in the collective psyche. Stuart Vyse, a psychologist and author of ‘Believe in Magic: The Psychology of Superstition’ was fascinated with the concept of superstitions and how they behave and affect a person’s entirety, ‘They also come from the uncertainty of life – if you have something you desire that you cannot make sure will happen," you might engage in superstitious behaviour. That's because superstitions often provide the illusion of control.’ (Colino, 2016)