PRESENTATION OF SELF IN THE SPACE OF TIME AND SPACE FRACTURED BY NEW COMMUNICATION TECHNOLOGIES

The idea of ​​the game is that a person opens up an imaginary space for himself and becomes like someone else. Creating other lives and living this life is the essence of the game experience. Throughout cultural history, the game experience has provided people with the opportunity to learn reality and has also opened up an aesthetic experience area. Since recent times, video games have been considered as a cultural phenomenon and new areas of experience. This study meets the sensory and emotional experiences created by video games as aesthetic experiences. The study does not aim to treat this experience in a perverse manner. The study aims to think about video games through the concept of uncanny. The uncanny is a word conceptualized by Sigmund Freud and psychoanalysis. The word refers to the emergence of subconscious scenes and situations belonging to the human race. According to Freud, the uncanny, as the return of the repressed, arouses terror and anxiety in people. From cinema to horror literature, the uncanny is seen as a situation and concept used by artists, whose works create an aesthetic experience. What is meant by this is the aestheticization of the uncanny. In other words, works of art produce a feeling similar to anxiety, fear and horror. However, these feelings are not real, they are artificial. The idea that such an experience can also be experienced in terms of video games constitutes the main interest of the study. In this context, three games that have brought important innovations to the horror genre have been selected for examination. These are Resident Evil, Outlast and Silent Hill series. While these games are considered aesthetically in terms of the uncanny, their ontological relationships with internal/external and interaction in terms of understanding the narrative, form, player experience have been examined. The study examines the studies on the uncanny in the literature and the categories of the word uncanny in terms of Freud. The results of the study are as follows: Video games have aesthetic features in terms of producing emotions. Furthermore, horror games appeal to those in the background of the viewer in terms of narrative. The form in horror games is effective in the viewer experiencing the uncanny aesthetic.

Keywords

Time, Social interaction, New communication tools, Self