Charles Onyett (2012), for example, called it a вЂњdevastatingly effective game of harrowing escape,вЂќ and according to Kirk Hamilton (2012), it was one of the scariest games of the year. Although intended to be a small project, it later became one of the most popular horror digital games of that time receiving a substantial number of positive reviews. Hadley was completing his amateur horror game Slender - The Eight Pages.

In 2010, two years before Slender Man became the center of international media attention due to horrific events that took place in Wisconsin (Astor 2018 Coscarelli 2014), Mark J. Keywords: slender man, fear, anxiety, digital games, cognitivism, emotions, game design, horror, closure, game mechanics, multimodality Introduction It may also be useful to game researchers involved in the study of multimodality in fiction. This articleвЂ™s findings and novel approach may be relevant to horror game designers and media scholars interested in in particular. The article also emphasizes the importance of making a crucial distinction between a number of key concepts used in the study of horror. The gameвЂ™s components, such as game world design, weather conditions, objectives, the elements with storytelling potential, perspective, interactive items as well as the opponent, prove to be fully capable of inciting a multimodal feeling of dread. The results show that although relatively simple in structure, especially when compared to other horror digital games, Slender is a great repository of fear and anxiety inducing mechanics. In doing so, I identify a number of cognitive stimuli in Slender - The Eight Pages (Parsec Productions, 2012), explaining their form and purpose. This paper will argue that horror digital games make use of several fear- and anxiety-inducing techniques, making their gameplay not only narrative-driven, but also fully embodied experiences. This structure is comprised of a network of multifaceted game mechanics which, if harmoniously set together, is able to exploit human cognitive potential remarkably well. Literature, games and films all invent and develop new ways of delivering truly horrific experiences in order to meet a growing demand, but only digital games with their complex structure seem to be able to fully satiate this demand. The burning need for these emotions to be experienced in a controlled environment is addressed rather widely in fiction. A Sense of Fear and Anxiety in Digital Games: An Analysis of Cognitive Stimuli in Slender - The Eight Pages by Bartosz Dudek AbstractДЇear and anxiety are two powerful and fundamental emotions.

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