Gaming has always had a close relationship with the occult. This is obvious for anyone who has followed our many features on horror, mysticism, and Gnosticism in different media. While occultism in movies and traditional literature allows viewers to peek into other worlds, occultism in gaming thrusts players into these worlds head-on.
Horror films offer the pleasure of the intended affects among which we can identify a sense of suspense, a sense of mystery, and a sense of horror.
The character of Hannibal Lecter, the cannibal psychiatrist, is well embedded in the pop-culture not only because of the tetralogy by Thomas Harris that introduced the character in the novel ‘Red Dragon’ in 1981 but also thanks to the filmic adaptations, mainly the ones with Anthony Hopkins in the leading role.
Of the particular vampire fiction that has, in the last 1960s, crossed over into film and subsequently redefined the vampire subgenre — that is to say, dismantled its “inherited conventions of the particular filmic kind in order to display [its] formal and ideological complexity, but also in order to put them back together, so to speak, in better working condition than before”, to borrow from Carl Freedman’s (2002: 91) analysis of the works of Stanly Kubrick — none in this category has achieved greater distinction perhaps than Richard Matheson’s 1954 vampire novel ‘I Am Legend’.