The current work is devoted to the analysis of the sound paradigm in video games of the horror genre. The sound in computer games is an important component, since the game is a syncretic medium. The aim of the work is an attempt to establish the most relevant typology of sound elements of a given genre, as well as the correlation of the considered paradigm with various game interfaces. Understanding the functioning of sound and its relationship with various interface forms in computer games makes it possible to better comprehend their cultural significance, to better see their relationship with other media, as well as their impact on the playing subject. The article offers an analysis of the most popular and canonical elements of the video game audio paradigm. The author of the article defines the game sound, indicates its functions (semantic, immersive, gameplay), considers the concept of “diegesis” in the context of the game sound, describes the emergence and characteristics of the horror genre in computer games, taking into account various forms of interfaces, and also constructs the paradigm of sounds in accordance with typology of interfaces. As a result, the author comes to the conclusion about the variety of canonical sound elements of the horror genre, each of which has a different effect on the player experience and structures the game.
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