In Perron’s edited compendium of essays regarding horror video games subtitled Essays on the Fusion of Fear and Play (2009), much of the argumentation orbits debate regarding the definition and creation of the experience of horror compared between an ostensibly passive cinema reception (from whence the games take most of their conventions) and the ostensibly more active reception of ludological horror. As the argument goes, ludic activity creates greater identification with diegetic characters and therefore heightens the player’s experience of horror. But is this true, or is it a specious contention that does not really account for the complex mechanics of identification with characters in the ostensibly “passive” experience of cinema viewing, nor for the fact that lacking realism and “active” gameplay may actually compromise the experience of “transportation”?

With the ‘perfect marriage’ between horror and video games has come a concomitant cultural studies discourse surrounding these games. Previously, while Carol Clover insisted that identification through the perspectival screen is poorly understood, she seminally argued that slasher horror in particular allows for more progressive gender identifications. More broadly, and somewhat conversely, Carly Kocurek observes the most reactionary effects of the horror genre’s reduction of cultural ‘others’ to monsters and the problem with their prurient dispatch in video games. Lastly, Tammy Lin argues that the experience of virtual reality (VR) significantly heightens the experience of horror. In concert, these imply that VR should heighten the ideological effects and gender identifications identified by both Kocurek and Clover, for better or for worse. This paper examines the ways in which both ostensibly reactionary and progressive ideological elements have migrated into horror video games and the implications of VR on this phenomenon.