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- All Subjects: Horror
- All Subjects: Board Games
- Creators: Mack, Robert
In Isle of Thrones, you must build up your kingdom to avoid being dominated by your opponent. Players start with a castle as their initial piece of land and draw cards from two decks, Event and Effect, which can influence the game. Each turn involves drawing an Event Card, playing Effect Cards, taking actions such as placing land tiles strategically on the board to expand territory, and potentially drawing more Effect Cards. Players earn points by placing land tiles with different named pieces of the same point value next to each other, and the game ends when the board is filled or when a player can no longer place more pieces. Land pieces can be destroyed and returned to the Land Pile, and the player with the most points at the end of the game wins.
An analysis of the relationship between haunted house films and economic anxieties of different cultures and time periods.
This story ---Under Still Faces--- is a horror fiction story. It is influenced primarily by classic, gothic literature with themes from the horror and true crime genres. The story includes critical/theoretical concepts, literary devices, and techniques from gothic literature primarily including Freud’s Uncanny, uneven framing, and an unreliable narrator. It employs themes from Edgar Allan Poe’s novels as well as his thesis regarding plot in The Philosophy of Composition. Particular descriptive themes in conjunction with the use of gothic elements surprise the reader about the story’s true ending similar to Poe’s The Oval Portrait. Included is an analysis of the literary decisions made in the piece to evoke specific reactions and feelings from the reader.
Interestingly, three recent horror films have achieved both critical acclaim and popularity among all audiences, horror and non-horror fans alike. Get Out, A Quiet Place, and It Follows are all noticeably lacking in the three features that commonly make a horror film “successful”, and yet it would be difficult to argue that they aren't successful horror films given that they have received critical acclaim, impressive box office returns, and have a strong crossover appeal. Therefore, they must use alternative methods to achieve the bodily response of fear that is necessary to be successful in the genre. I argue that these films put the audience member in a position that mirrors what Forced Lacanian Hysteric Neurosis and that this positioning produces the bodily response that is necessary for a horror movie to be successful. This manifestation has the additional benefit of allowing those spectators who do not like the fundamental aspects of horror (jump scares, gore, and suspenseful shots) to find the pleasure of horror without experiencing on-screen events that might cause them notable distress.