Embrace the spine-tingling journey into the evolution of horror villains through time and across mediums. From the pages of Gothic literature to the silver screen and beyond, witness the chilling transformation of fearsome antagonists. Dive into the origins of iconic monsters like Frankenstein and Dracula, and trace their metamorphosis as they haunt our nightmares and leave an indelible mark on popular culture. Explore the atmospheric horrors of early cinema, where shadowy figures emerge from the depths of German Expressionism. Uncover the atomic age's monster creations and delve into the depths of Cold War paranoia that fueled these chilling tales. Witness the emergence of slasher films, from the unforgettable Psycho to the unstoppable Michael Myers, and the rise of supernatural villains that plagued the 70s and 80s. As technology advances, so too do the horrors it brings. Witness the impact of special effects on villain design, the unsettling realism of digital terrors, and the blurred lines between reality and fiction in found footage films. Delve into the psychological depths of villains, their complex motivations, and how they reflect our collective fears and anxieties. Explore the presence of horror villains in other media, from the iconic figures in comics and graphic novels to the interactive horror of video games. Examine the evolution of villains in television series, from the eerie denizens of The Twilight Zone to the relentless walkers of The Walking Dead. The impact of horror villains on popular culture is undeniable. They have created enduring cultural icons, shaped our collective imagination, and mirrored social and political issues. Embrace the chilling narratives and spine-tingling characters that have defined horror and delve into their enduring legacy that continues to haunt our dreams.

Many critics and fans refer to the 1990s as the decade that horror forgot, with few notable entries in the genre. Yet horror went mainstream in the '90s by speaking to the anxieties of American youth during one of the country's most prosperous eras. No longer were films made on low budgets and dependent on devotees for success. Horror found its way onto magazine covers, fashion ads and CD soundtrack covers. "Girl power" feminism and a growing distaste for consumerism defined an audience that both embraced and rejected the commercial appeal of these films. This in-depth study examines the youth subculture and politics of the era, focusing on such films as Buffy the Vampire Slayer (1992), Scream (1996), I Know What You Did Last Summer (1997), Idle Hands (1999) and Cherry Falls (2000).

This two-volume set offers comprehensive coverage of horror literature that spans its deep history, dominant themes, significant works, and major authors, such as Stephen King, Edgar Allan Poe, and Anne Rice, as well as lesser-known horror writers. Many of today's horror story fans—who appreciate horror through movies, television, video games, graphic novels, and other forms—probably don't realize that horror literature is not only one of the most popular types of literature but one of the oldest. People have always been mesmerized by stories that speak to their deepest fears. Horror Literature through History shows 21st-century horror fans the literary sources of their favorite entertainment and the rich intrinsic value of horror literature in its own right. Through profiles of major authors, critical analyses of important works, and overview essays focused on horror during particular periods as well as on related issues such as religion, apocalypticism, social criticism, and gender, readers will discover the fascinating early roots and evolution of horror writings as well as the reciprocal influence of horror literature and horror cinema. This unique two-volume reference set provides wide coverage that is current and compelling to modern readers—who are of course also eager consumers of entertainment. In the first section, overview essays on horror during different historical periods situate works of horror literature within the social, cultural, historical, and intellectual currents of their respective eras, creating a seamless narrative of the genre's evolution from ancient times to the present. The second section demonstrates how otherwise unrelated works of horror have influenced each other, how horror subgenres have evolved, and how a broad range of topics within horror—such as ghosts, vampires, religion, and gender roles—have been handled across time. The set also provides alphabetically arranged reference entries on authors, works, and specialized topics that enable readers to zero in on information and concepts presented in the other sections.

The American Villain: Encyclopedia of Bad Guys in Comics, Film, and Television seeks to provide one go-to reference for the study of the most popular and iconic villains in American popular culture. Since the 1980s, pop culture has focused on what makes a villain a villain. The Joker, Darth Vader, and Hannibal Lecter have all been placed under the microscope to get to the origins of their villainy. Additionally, such bad guys as Angelus from Buffy the Vampire Slayer and Barnabas Collins from Dark Shadows have emphasized the desire for redemption—in even the darkest of villains. Various incarnations of Lucifer/Satan have even gone so far as to explore the very foundations of what we consider "evil." The American Villain: Encyclopedia of Bad Guys in Comics, Film, and Television seeks to collect all of those stories into one comprehensive volume. The volume opens with essays about villains in popular culture, followed by 100 A–Z entries on the most notorious bad guys in film, comics, and more. Sidebars highlight ancillary points of interest, such as authors, creators, and tropes that illuminate the motives of various villains. A glossary of key terms and a bibliography provide students with resources to continue their study of what makes the "baddest" among us so bad.

Step into a world of darkness! Towering castles…magical spells…demonic creatures…certain DEATH. The gothic video game has crossed generations, from 8-bit computers to the most powerful 4K PCs and consoles, to deliver dark thrills filled with atmosphere and peril. Gathered in this book are some of the most prominent and enduring games to be developed under a veil of gothic presentation, from their gloomy settings to spine-chilling audio design. Follow the histories of some of gaming’s most popular franchises, such as the decade-spanning Castlevania series and FromSoftware’s “Soulsborne” titles (Dark Souls, Bloodborne, Elden Ring). Packed with over a hundred screenshots that encompass all generations of gaming - with home console, handheld and PC gaming included - and featuring trivia and recommendations across a variety of genres such as strategy games, hack-and-slashers and first-person shooters, The History of the Gothic Video Game is an essential book for fans of all things macabre. The shadows await…

Why do humans feel the need to scream at horror films? In Why Horror Seduces, author Matthias Clasen looks to evolutionary social science to show how the horror genre is a product of human nature.

Since the 2000s, the Japanese word shōjo has gained global currency, accompanying the transcultural spread of other popular Japanese media such as manga and anime. The term refers to both a character type specifically, as well as commercial genres marketed to female audiences more generally. Through its diverse chapters this edited collection introduces the two main currents of shōjo research: on the one hand, historical investigations of Japan’s modern girl culture and its representations, informed by Japanese-studies and gender-studies concerns; on the other hand, explorations of the transcultural performativity of shōjo as a crafted concept and affect-prone code, shaped by media studies, genre theory, and fan-culture research. While acknowledging that shōjo has mediated multiple discourses throughout the twentieth century—discourses on Japan and its modernity, consumption and consumerism, non-hegemonic gender, and also technology—this volume shifts the focus to shōjo mediations, stretching from media by and for actual girls, to shōjo as media. As a result, the Japan-derived concept, while still situated, begins to offer possibilities for broader conceptualizations of girlness within the contemporary global digital mediascape.