Silent Hill 2 PS2 Manual (Digital)
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Silent Hill Le Moteur De La Terreur
Bernard Perron SILENT HILL le moteur de la terreur Traduit de l’anglais (Canada) par Claire Reach L>P / QUESTIONS THÉORIQUES L’auteur emploie le titre Silent Hill pour désigner l’ensemble de la série. À la mémoire de Shantal Robert, Silent Hill (sans italiques) désigne la ville éponyme. lumière dans l’obscurité Et pour chaque jeu en particulier, les abréviations suivantes : SH1 Silent Hill (PS1), Konami/Konami (1999). SH2 Silent Hill 2 (PS2/PC), Konami/Konami (2001). SH3 Silent Hill 3 (PS2/PC), Konami/Konami (2003). SH4 Silent Hill 4: The Room (PS2/Xbox/PC), Konami/Konami (2004). SH: 0rigins Silent Hill: 0rigins (PSP/PS2), Konami/Konami (2007). SH: Homecoming Silent Hill: Homecoming (PS3/Xbox 360/PC), Double Helix Games/ Konami (2008). SH: Shattered Memories Silent Hill: Shattered Memories (Wii/PS2/PSP), Climax Studios/Konami (2009). SH: Downpour Silent Hill: Downpour (PS3/ Xbox 360), Vatra Games/Konami (2012). INTRODUCTION Le chemin est le but. Proverbe bouddhiste theravada Toute discussion sur Silent Hill débute immanquable- ment par une comparaison avec Resident Evil. Cette série de jeux sur console très populaire de Capcom (1996) ayant été lancée avant le Silent Hill (SH1) (1999) de Konami, elle était et demeure à ce jour la référence obligée. Toutefois, comme le soulignait l’Official U.S. PlayStation Magazine en couver- ture de son numéro de mars 1999, SH1 était « plus qu’un simple clone de Resident Evil 1 ». On a d’abord remarqué les progrès techniques et esthétiques. Les arrière-plans réa listes et pré calculés en 2D de Raccoon City cédaient la place aux environnements en 3D et en temps réel de Silent Hill. -
PT, Freud, and Psychological Horror
Press Start Silent Halls Silent Halls: P.T., Freud, and Psychological Horror Anna Maria Kalinowski York University, Toronto Abstract “What is a ghost?” “An emotion, a terrible moment condemned to repeat itself over and over…” —The Devil’s Backbone (Del Toro, 2001) This paper analyses P.T. (Kojima Productions, 2014), a playable teaser made to demo a planned instalment within the Silent Hill franchise. While the game is now indefinitely cancelled, P.T. has cemented itself not only as a full gaming experience, but also as a juggernaut in the genre of psychological horror. Drawing from Sigmund Freud’s concept of the uncanny, the aim of the paper is to address how these psychological concepts surface within the now infamous never-ending hallway of P.T. and create a deeply psychologically horrifying experience. Keywords psychological horror; the uncanny; Freud; game design; Press Start 2019 | Volume 5 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Kalinowski Silent Halls Introduction The genre of psychological horror is a complex one to navigate through with ease, especially for those that are faint of heart. Despite its contemporary popularity, when the sub-genre first began to emerge within horror films, it was considered to be a detriment to the horror genre (Jancovich, 2010, p. 47). The term ‘psychological’ was often used to disguise the taming of horror elements instead of pushing the genre into more terrifying territories. -
JMCS Newspaper.1
School IT John Muir Charter GR CCC Pomona Volume 1, Issue 1 November 2008 California Conservation Corps—Pomona Satellite DOWN UNDER, AS SEEN BY JOSH BEHRENS This month’s article is about none other than our esteemed Red Hat, Josh Behrens. Josh has recently returned from a trip to In this Issue: Australia. Josh left on Au- Australia; Josh Behrens gust 17th, and returned a Student Spotlight few weeks ago on October 17th. While asking him Spotlight on Staff; Lisa about his time there, the May subject of food came up, CORPSMEMBER SPOTLIGHT Music Review and we had to ask him what was the most exotic Malinda Allen Gaming Review or rather weird object he Random Photo ate. Josh gave us 2 an- Malinda Allen started here at the Pomona Satellite after having spent almost a year at the San Francisco Conser- Fire-Bag Checklist swers, the first being “Vegemite” Which is a pea- vation Corps. Malinda is almost finished with her High Monrovia Haunted Trail nut butter like spread that School graduation requirements and plans on attending Poetry Corner is actually made of yeast Community College. With an engaging personality and extract He also mentioned an infectious sense of humor, it is easy to see why Ma- Hard at Work... kangaroo meat which he linda is well regarded by her co-workers.. ∗ John Muir Charter School said was very lean and ten- Malinda is a loyal friend who cares deeply about social students work an 8-hour der and he said “it was the issues, including the environment. day “on the grade”. -
Loss, Guilt, and Restless Dreams
D e L i n t | 1 Loss, Guilt, and Restless Dreams: Representing the complex emotions of grief through gameplay and narrative in Silent Hill 2 Brian de Lint 4049969 Dr. Jasper van Vught and Dr. Stefan Werning MA Thesis New Media & Digital Culture 9 May 2018 Word Count: 10,748 D e L i n t | 2 Abstract The purpose of this thesis is to identify the way in which the complex notion of grief is expressed in the videogame Silent Hill 2. This research builds upon works by Sabine Harrer and Jonathan Frome. It takes their assertions into new directions, tackling specifically the expression of emotion through predominantly ludic elements of videogames by adding to them a symbolic narrative dimension through contextualization within the overarching narrative. Furthermore this thesis argues that this symbolic narrative dimension becomes only available to the player after a certain familiarity is reached with the game, throughout multiple playthroughs. D e L i n t | 3 Index Introduction 4 Theoretical Framework 7 Method 11 Chapter One: Story and Endings 14 Chapter Two: James 18 Chapter Three: Failure 20 Chapter Four: Non-Player Characters 21 Chapter Five: Enemies 26 Chapter Six: Objects, Notes, and Puzzles 28 Chapter Seven: Spaces 30 Conclusion 32 Bibliography 35 Ludography 38 D e L i n t | 4 Introduction Death is an ever present aspect of our daily lives, and the representations of death in art often serve as mortal reminders. Throughout the many centuries that humanity has consciously dealt with the concept of death, our attitudes towards it has changed many times. -
Take a Road Trip Through Hell in EA and Grasshopper Manufacture's Psycho-Punk Action Thriller Shadows of the Damned
Take a Road Trip Through Hell in EA and Grasshopper Manufacture's Psycho-Punk Action Thriller Shadows of the Damned REDWOOD CITY, Calif.--(BUSINESS WIRE)-- Electronic Arts Inc. (NASDAQ:ERTS) and legendary Japanese developer Grasshopper Manufacture today announced that Shadows of the Damned™ is now available at retail stores across North America. Created by renowned developers Suda51 (director of No More Heroes), Shinji Mikami (director of Resident Evil) and music composer Akira Yamaoka (sound director of Silent Hill), Shadows of the Damned combines visceral, grindhouse-style action with a psychologically twisted setting to provide a truly one-of-a-kind vision of hell, and is already receiving worldwide critical acclaim, with Game Informer giving it 9.25 out and 10, stating "Shadows of the Damned is a road trip to Hell well worth taking." GamesMaster UK also says that the game is "a kitsch, punk rock and roll assault on the senses," scoring it 90% out of 100%. Heavily influenced by grindhouse-style projects, Shadows of the Damned takes gamers on a demented journey through a tortured underworld where death and destruction are around every corner. Playing as professional demon hunter Garcia Hotspur, gamers must harness the power of the light to save Paula — the love of his life — from the Lord of Demons. Manipulating this balance of light versus dark gameplay in different settings and scenarios, gamers can discover new ways to defeat vicious enemies and solve mind-boggling puzzles. Along this hellish adventure, players will be aided by Johnson, a former demon with the ability to transform into an arsenal of upgradeable, supernatural weapons, giving Garcia the power to rip apart the forces of the damned and ultimately protect what he loves most. -
Silent Hill 2 PC Manual (Digital)
ABOUT PHOTOSENSITIVE SEIZURES A very small percentage of people may experience a seizure when exposed to certain visual images, including flashing lights or patterns that may appear in video games. Even people who have no history of seizures or epilepsy may have an undiagnosed condition that can cause these “photosensitive epileptic seizures” while watching video games. These seizures may have a variety of symptoms including: Lightheadedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, or momentary loss of awareness. Seizures may also cause loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents should watch for or ask their children about the above symptoms–children and teenagers are more likely than adults to experience these seizures. The risk of photosensitive epileptic seizures may be reduced by: • sitting farther from the television screen, • using a smaller television screen, • playing in a well-lit room, and • not playing when you are drowsy or fatigued. If you or any of your relatives have a history of seizures or epilepsy, consult a doctor before playing. AVOID DAMAGE TO YOUR TELEVISION Do not use with certain televisions. Some televisions, especially front-or rear-projection types, can be damaged if any video games, including Xbox games, are played on them. Static images presented during the normal course of game play may “burn in” to the screen, causing a permanent shadow of the static image to appear at all times, even when video games are not being played. -
Do Androids Dream of Computer Music? Proceedings of the Australasian Computer Music Conference 2017
Do Androids Dream of Computer Music? Proceedings of the Australasian Computer Music Conference 2017 Hosted by Elder Conservatorium of Music, The University of Adelaide. September 28th to October 1st, 2017 Proceedings of the Australasian Computer Music Conference 2017, Adelaide, South Australia Keynote Speaker: Professor Takashi Ikegami Published by The Australasian University of Tokyo Computer Music Association Paper & Performances Jury: http://acma.asn.au Stephen Barrass September 2017 Warren Burt Paul Doornbusch ISSN 1448-7780 Luke Dollman Luke Harrald Christian Haines All copyright remains with the authors. Cat Hope Robert Sazdov Sebastian Tomczak Proceedings edited by Luke Harrald & Lindsay Vickery Barnabas Smith. Ian Whalley Stephen Whittington All correspondence with authors should be Organising Committee: sent directly to the authors. Stephen Whittington (chair) General correspondence for ACMA should Michael Ellingford be sent to [email protected] Christian Haines Luke Harrald Sue Hawksley The paper refereeing process is conducted Daniel Pitman according to the specifications of the Sebastian Tomczak Australian Government for the collection of Higher Education research data, and fully refereed papers therefore meet Concert / Technical Support Australian Government requirements for fully-refereed research papers. Daniel Pitman Michael Ellingford Martin Victory With special thanks to: Elder Conservatorium of Music; Elder Hall; Sud de Frank; & OzAsia Festival. DO ANDROIDS DREAM OF COMPUTER MUSIC? COMPUTER MUSIC IN THE AGE OF MACHINE -
Repositorium Für Die Medienwissenschaft
Repositorium für die Medienwissenschaft Martin Hennig Why Some Worlds Fail. Observations on the Relationship Between Intertextuality, Intermediality, and Transmediality in the RESIDENT EVIL and SILENT HILL Universes 2015 https://doi.org/10.25969/mediarep/16505 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Hennig, Martin: Why Some Worlds Fail. Observations on the Relationship Between Intertextuality, Intermediality, and Transmediality in the RESIDENT EVIL and SILENT HILL Universes. In: IMAGE. Zeitschrift für interdisziplinäre Bildwissenschaft. Themenheft zu Heft 21, Jg. 11 (2015), Nr. 1, S. 17– 33. DOI: https://doi.org/10.25969/mediarep/16505. Erstmalig hier erschienen / Initial publication here: http://www.gib.uni-tuebingen.de/image/ausgaben-3?function=fnArticle&showArticle=319 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. -
Restless Dreams and Shattered Memories: Psychoanalysis and Silent Hill
B R U M A L Revista de Investigación sobre lo Fantástico DOI: http://dx.doi.org/10.5565/rev/brumal.182 Research Journal on the Fantastic Vol. III, n.° 1 (primavera/spring 2015), pp. 161-182, ISSN: 2014–7910 RESTLESS DREAMS AND SHATTERED MEMORIES: PSYCHOANALYSIS AND SILENT HILL Ewan Kirkland University of Brighton [email protected] Recibido: 25-01-2015 Aceptado: 18-05-2015 Abstract This paper applies psychoanalytic frameworks to the survival horror franchise Silent Hill, a series which is itself informed by psychoanalytic themes. Concerns include the construction of game space as maternal womb, cinematic sequences as primal fanta- sies, and the representation of memory across the games within a psychoanalytic con- text. The horror genres’ preoccupation with monstrous mother figures is evident in boss battle adversaries, the depiction of gamespaces as bloody «maternal caves», and in narratives concerning characters’ searching for their parental origins Distinguishing between videogames’ playable sequences and cinematics as conscious and sub-con- scious aspects, cut-scenes are analysed as reproducing primal fantasies, serving to ex- plain protagonists’ backstory and situating play within narrative contexts. Such mo- ments intrude into the game, marking transformations between the ordinary world and the abject Otherworld, or heralding the emergence of psychoanalytically-resonant monstrous creatures which the protagonist must destroy. Finally, Silent Hill: Shattered Memories is examined as a game which, even more than others, foregrounds the series’ explicit reference to psychoanalytic preoccupations, engaging with contemporary un- derstandings concerning the relationship between memory, media and fantasy. Keywords: Silent Hill, survival horror, psychoanalysis, videogames, memory. Resumen En el presente artículo se aplica el marco de estudio psicoanalítico a la serie de survival horror Silent Hill, ella misma basada en temas psicoanalíticos. -
I PERFORMING VIDEO GAMES: APPROACHING GAMES AS
i PERFORMING VIDEO GAMES: APPROACHING GAMES AS MUSICAL INSTRUMENTS A Thesis Submitted to the Faculty of Purdue University by Remzi Yagiz Mungan In Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts August 2013 Purdue University West Lafayette, Indiana ii to Selin iii ACKNOWLEDGEMENTS I read that the acknowledgment page might be the most important page of a thesis and dissertation and I do agree. First, I would like to thank to my committee co‐chair, Prof. Fabian Winkler, whom welcomed me to ETB with open arms when I first asked him about the program more than three years ago. In these three years, I have learned a lot from him about art and life. Second, I want to express my gratitude to my committee co‐chair, Prof. Shannon McMullen, whom helped when I got lost and supported me when I got lost again. I will remember her care for the students when I teach. Third, I am thankful to my committee member Prof. Rick Thomas for having me along the ride to Prague, teaching many things about sound along the way and providing his insightful feedback. I was happy to be around a group of great people from many areas in Visual and Performing Arts. I specially want to thank the ETB people Jordan, Aaron, Paul, Mara, Oren, Esteban and Micah for spending time with me until night in FPRD. I also want to thank the Sound Design people Ryan, Mike and Ian for our time in the basement or dance studios of Pao Hall. -
Universidad Distrital Francisco José De Caldas Facultad De Artes Asab Proyecto Curricular De Artes Musicales
UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES MÚSICA PARA VIDEOJUEGOS DEL GÉNERO SURVIVOR HORROR PROPUESTA DE SONORIZACION Y COMPOSICION DE LA MÚSICA PARA EL TRAILER DEL VIDEOJUEGO OUTLAST MÓNICA PAOLA VEGA SUÁREZ COD: 20102098035 ENFÁSIS COMPOSICIÓN Y ARREGLOS DIRECTOR DE TRABAJO DE GRADO GUSTAVO LARA PAZ MODALIDAD CREACIÓN O INTERPRETACIÓN BOGOTÁ D.C. OCTUBRE DE 2017 RESUMEN Este trabajo es un acercamiento al tipo de sonorización que puede ser empleado en un videojuego del género Survivor Horror teniendo como objetivo la realización de una propuesta sonora para el video del tráiler oficial del videojuego OUTLAST. En la primera parte, se hace un acercamiento a las generalidades que envuelve la música para videojuegos, hablando de los aspectos técnicos y teóricos que se utilizan en la sonorización y de cómo la música teniendo en cuenta la direccionalidad emotiva, interactúa para resaltar ciertas situaciones que el género plantea. La segunda parte hace un acercamiento al género Survivor Horror mediante el análisis de la banda sonora del videojuego Silent Hill y la sonorización empleada en este, con el objetivo de encontrar ejemplos de los recursos musicales y sonoros empleados y resaltados en videojuegos de este género, tomando como referente de análisis el aspecto psicológico y la direccionalidad emotiva. Esta parte incluye una encuesta realizada a personas que jugaron el videojuego IB -que hace parte del género Survivor Horror-, y de su experiencia a nivel musical en la interacción con este. Para concluir, se elabora una propuesta sonora que incluye la composición musical para el video del tráiler del videojuego OUTLAST desarrollado por RED BARRELS. -
Case 2:08-Cv-00157-MHW-MRA Document 64-6 Filed 03/05/10 Page 1 of 306 Case 2:08-Cv-00157-MHW-MRA Document 64-6 Filed 03/05/10 Page 2 of 306
Case 2:08-cv-00157-MHW-MRA Document 64-6 Filed 03/05/10 Page 1 of 306 Case 2:08-cv-00157-MHW-MRA Document 64-6 Filed 03/05/10 Page 2 of 306 JURISDICTION AND VENUE 3. Jurisdiction is predicated upon 28 U.S.C. §§ 1331, 1338(a) and (b), and 1367(a). As the parties are citizens of different states and as the matters in controversy exceed the sum or value of seventy-five thousand dollars ($75,000.00), exclusive of interest and costs, this court also has jurisdiction over the state-law claims herein under 28 U.S.C. § 1332. 4. David Allison’s claims arise in whole or in part in this District; Defendant operates and/or transacts business in this District, and Defendant has aimed its tortious conduct in whole or in part at this District. Accordingly, venue is proper under 28 U.S.C. §§ 1391(b) and (c), and 1400(a). PARTIES 5. David Allison is a sole proprietorship with its principal place of business located in Broomfield, Colorado, and operates a website located at www.cheatcc.com. David Allison owns the exclusive copyrights to each of the web pages posted at www.cheatcc.com, as fully set forth below. 6. The true name and capacity of the Defendant is unknown to Plaintiff at this time. Defendant is known to Plaintiff only by the www.Ps3cheats.com website where the infringing activity of the Defendant was observed. Plaintiff believes that information obtained in discovery will lead to the identification of Defendant’s true name.