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Perhaps the most important genre convention for psychological horror is the underpowered (often defenseless) protagonist, who is ill equipped to deal with the horrors with which they are confronted. This paper presents a comparative analysis of a range of ten survival horror titles with a view to understanding how sight and seeing are used as story elements and game mechanics across the genre, in particular in relation to the emotional e? ct that the games are intended to have on their players. Particular attention is given to the way the games use sight and seeing to create feelings of dread and suspense, but other elements of horror are treated as well. I have found ? e distinct ways in which the games engage with sight and seeing and will discuss them in sequence, drawing examples from the ten titles. As a game design feature, obscuration (and consequently, revelation) is used in many survival horror games, and examples of its use range from very simple to highly complex. At the former end of the spectrum is a straightforward obscuration of the gameworld, such as the mist shrouding the town in Silent Hill 2 (2001) or the darkness obscuring the village in Siren (2003), both shown in Fig. 1. Light and darkness have of course been subject to considerable related work. However, for the purposes of this paper, we are mainly interested in the fog’s obscuratative power. Fig. 1. Obscuration: the fog in Silent Hill 2 and the darkness in Siren.

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This, we learn, Paglen has gleaned from the leaked insignia of a 1998 launch of a classified spacecraft out of Cape Canaveral. The Limit Telephotography series has Paglen sneakily use cameras and astronomical telescopes to uncover classified government sites. These are often in the deserts of the Western states, miles from anywhere. So we get N5177C at Gold Coast Terminal (2007), taken in Nevada at a distance of one mile. Or Large Hangars and Fuel Storage (2005), again taken from Nevada, a shot of the Tonopah Test Range at a distance of 18 miles. There is something of Thomas Demands autistic stare at work in these pictures. We dont know for sure, but you can bet it will end badly for someone. And theres the voyeuristic frisson of seeing what we are not meant to see. These are horizontal ground views, what Google Maps will never capture. In contrast there is The Other Night Sky series, vertical photographs of the heavens above, polluted by our space junk. A white streak traverses a warm orange-coloured liquefied sky, as vividly sensational as Frederic Edwin Churchs Cotopaxi (1862). KEYHOLE IMPROVED CRYSTAL from Glacier Point (Optical Reconnaissance Satellite; USA 186) (2008) captures more rotational scratches of orbital activity above Yosemite. We are immediately reminded of Ansel Adams or Eadweard Muybridge perching above the void. And here another dimension of Paglens output is suggested.

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There was a deep, uneven dent in the back of the cranium, covered in knotted hair and dark, congealed blood. Then with his typical dry humour he added, 'Wasn't good for his health. . Grace turned and saw the police officer talk into his two-way radio, giving a report. Then he looked down at the corpse, studying it carefully, noting again the face, the clothes, the cheap watch and the even cheaper-looking plastic strap. He swept his hand across the corpse's face, brushing away the hovering flies. Yes, the corpse was definitely in the right place, but could they be sure this was Michael Harrison. The image he had of Michael Harrison was altogether someone more classy-looking. But whoever he was, he did not deserve to be lying here, being pecked away by blowflies, with the back of his head stove in. He's been here twenty-four hours max, possibly less. . He knew the statistics only too well, from all his years of searching for Sandy. Two hundred and fifty thousand people B year in England alone went missing. Some were dead, their bodies disposed of so efficiently they would never be found.

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