DiGRA D-A-CH Game Studies Watchlist #43

?? AHOI there, game studies operators!

When Games as Literature publishes a new article these days, it can be seen as an early Christmas present (in late October anyway!). And gifts are not to be resisted (as my grandmother already knew). In his analysis, he takes on the title Fatal Frame III.

Fatal Frame III: The Tormented is the least beloved and least remembered of this classic horror trilogy. It's also my favorite, and today, we're gonna talk about why this game is the most narratively and thematically meaningful game of the series.

https://youtu.be/JqmPMdxCw8I?si=IopFsE5tJ5vj_CMd

Fatal Frame III: The Tormented (2005) is a fascinating subject for game studies because it combines horror with unique mechanics, narrative complexity, and psychological themes. The game uses a "camera obscura" as a primary weapon, forcing players to face their enemies directly through a first-person lens. This mechanic not only amplifies tension but also heightens the sense of vulnerability, challenging conventional player empowerment in games by limiting their control in terrifying situations.

Narratively, Fatal Frame III explores trauma, grief, and memory through its protagonist, Rei Kurosawa, who is haunted by her past and tormented by visions of a dead lover. The story unfolds in dreams and reality, merging both realms in a way that examines the human psyche and blurs the lines between the supernatural and psychological horror. The game's setting—a haunted mansion that players navigate both in Rei’s dreams and in waking life—adds layers of ambiguity, forcing players to question what is real, which offers a potent exploration of the mind’s response to trauma. The audio-visual design in Fatal Frame III is also significant.

The game uses minimalistic sounds and visuals to create a deeply immersive horror experience, tapping into the unsettling potential of silence, ambient noise, and shadow. This approach has had an impact on how horror in digital games is analyzed, emphasizing how audio and visual cues influence player perception and emotional response.

In terms of cultural analysis, the game draws heavily from Japanese folklore and Shinto spiritual beliefs, especially ideas around spirits, purification, and cursed spaces. This culturally specific lens enriches the understanding of horror as both a global and localized genre, showing how cultural context can shape game design and narrative elements, which is of broad interest to scholars in fields such as cultural studies and digital humanities.

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There is a new podcast in town I'd like to point to: Say It Like You Play It.

For the last few months, [they] been working on a podcast covering the intersections of linguistics, cultural studies, and play/game design. "Say It Like You Play It" is available on all of the major podcasting platforms, and our first three episodes have covered; constructed languages in D&D, archaeolinguistics in Heaven's Vault, and the games-as-language metaphor in the concept of the "ludeme".

Check them out right here: https://shows.acast.com/games-and-language

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I had the great pleasure to talk to Maurice Suckling about his new book Paper Time Machines on my Podcast Game Studies (New Books Network)- if you want to support me, please listen, like, and share this episode.

https://newbooksnetwork.com/paper-time-machines

Cheers and stay healthy - Rudolf

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