Wondrous and Strange: The Matter of Twin Peaks

Weinstock, Jeffrey Andrew

doi:10.1007/978-1-137-55695-0_2

Cited by 8 publications

(3 citation statements)

References 4 publications

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“…As Weinstock (2016) notes, possession is the uncanny horror at the heart of Twin Peaks-where the interior self is revealed as an alien duplicate or consciousness. In the series the malevolent spirit Killer BOB is able to inhabit both the bodies and identities of others.…”

Section: Possession In Twin Peaks and Deadly Premonitionmentioning

confidence: 99%

“…The expansive and consistently subversive nature of the uncanny aesthetic of Twin Peaks has been difficult to replicate in gameplay (if not in narrative and representational content), and cannot be easily accommodated by the type of "gamerly uncanny" identified by Huber and Hoeger, which develops out of the strict minimalism of survival horror titles. Frost andLynch (1990-1991)'s cult television series Twin Peaks is considered a distinctively and unusually uncanny television series (Weinstock 2016), which likely contributes to its continuing influence on a wide variety of media, including videogames, and in particular, survival horror titles. Many of the most memorable scenes and images from Twin Peaks stray into uncanny territory, particularly in the sequences that most closely align with horror or supernatural genres of storytelling.…”

Section: Introduction: the Uncanny In Survival Horror Video Gamesmentioning

confidence: 99%

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Expansion, Excess and the Uncanny: Deadly Premonition and Twin Peaks

Novitz

2018

Arts

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The influence of the cult television series Twin Peaks (1990–1991) can be detected in a wide range of videogames, from adventure, to roleplaying to survival horror titles. While many games variously draw upon the narrative, setting and imagery of the series for inspiration, certain elements of the distinctive uncanniness of Twin Peaks are difficult to translate into gameplay, particularly its ability consistently disrupt the expectations and emotional responses of its audience. This paper examines the ways in which the 2010 survival horror title Deadly Premonition replicates the uncanniness of Twin Peaks in both its narrative and gameplay, noting how it expands upon conceptualizations of the gamerly uncanny. It contends that Deadly Premonition’s awkward recombination of seemingly inconsistent and excessive gameplay features mirrors the ways in which David Lynch and Mark Frost draw upon and subvert audience expectations for police procedurals and soap operas in the original Twin Peaks in order to generate an uncanny effect. Furthermore, Deadly Premonition uses the theme of possession—a central element of the television series—to offer a diegetic exploration of the uncanny relationship between the player and their onscreen avatar. In these regards, Deadly Premonition provides a rare example of how the subversive uncanniness of Twin Peaks can be addressed through gameplay, rather than solely through the game’s narrative or representational elements.

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Section: Possession In Twin Peaks and Deadly Premonitionmentioning

confidence: 99%

Section: Introduction: the Uncanny In Survival Horror Video Gamesmentioning

confidence: 99%

Expansion, Excess and the Uncanny: Deadly Premonition and Twin Peaks

Novitz

2018

Arts

View full text Add to dashboard Cite

show abstract

“…As Weinstock (2016) notes, possession is the uncanny horror at the heart of Twin Peaks -where the interior self is revealed as an alien duplicate or consciousness. In the series the malevolent spirit Killer BOB is able to literally inhabit both the bodies and identities of others.…”

Section: Possession In Twin Peaks and Deadly Premonitionmentioning

confidence: 99%

Expansion, Excess and the Uncanny: Deadly Premonition and Twin Peaks

Novitz¹

2018

Preprint

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The influence of the cult television series Twin Peaks (1990-91) can be detected in a wide range of videogames, from adventure, to roleplaying to survival horror titles. While many games variously draw upon the narrative, setting and imagery of the series for inspiration, certain element of the distinctive uncanniness of Twin Peaks are difficult to translate into gameplay, particularly its ability consistently disrupt the expectations and emotional responses of its audience. This paper examines the ways in which the 2010 survival horror title Deadly Premonition attempts to replicate the uncanniness of Twin Peaks in both its narrative and gameplay, noting how it expands upon conceptualisations of the gamerly uncanny (Hoeger and Huber 2007). It contends that Deadly Premonition's awkward and uncanny recombination of seemingly inconsistent and excessive gameplay features mirrors the ways in which David Lynch and Mark Frost draw upon and subvert audience expectations for police procedurals and soap operas in the original Twin Peaks, while also providing a similarly disorienting excess of “realistic” detail. Furthermore its exploration of the theme of possession – a central element of the television series – offers a diegetic exploration of the uncanny relationship between the player and their onscreen avatar.

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Movement in the Box: The Production of Surreal Social Space and the Alienated Body

Hawkes

2019

Critical Essays on Twin Peaks: The Return

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Wondrous and Strange: The Matter of Twin Peaks

Cited by 8 publications

References 4 publications

Expansion, Excess and the Uncanny: Deadly Premonition and Twin Peaks

Expansion, Excess and the Uncanny: Deadly Premonition and Twin Peaks

Expansion, Excess and the Uncanny: Deadly Premonition and Twin Peaks

Movement in the Box: The Production of Surreal Social Space and the Alienated Body

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