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Silent Hill Revelation 3D. Una Piramide Di Dolore a Ritmo Serrato Pubblicato Su Gothicnetwork.Org (
Silent Hill Revelation 3D. Una piramide di dolore a ritmo serrato Pubblicato su gothicNetwork.org (http://www.gothicnetwork.org) Silent Hill Revelation 3D. Una piramide di dolore a ritmo serrato Articolo di: Livia Bidoli [1] Sequel del primo Silent Hill diretto da Christophe Gans (Necronomicon, Patto dei lupi, Crying Freeman), questa pellicola in 3D diretta da Michael J. Bassett (Solomon Kane), e tutta ripresa dal terzo episodio del videogioco omonimo, torna con due dei protagonisti principali: Sean Bean nella parte del padre di Sharon, ovvero Christopher Da Silva qui noto come Harry Mason, e Rhada Mitchell in quelle della madre della ragazzina, Rose Da Silva. La prima attrice è invece la bravissima Adelaide Clemens che, anche in questo caso, è incaricata della doppia parte: la “buona” Heather Mason (nel primo episodio Sharon Da Silva) e Alessa Gillespie, il demone che infesta Silent Hill stavolta in 3D. La cortina fumogena di Silent Hill, come la madre di Alessa ricoperta di cenere, Dahlia Gillespie interpretata da Deborah Kara Unger, la stessa attrice che accoglie la madre di Sharon nel primo film, ci sono entrambe e la maledizione di questa collina ricoperta di odio, ricordi malsani, esseri orrendi e sfigurati, altrettanto. Pyramid Head, la Testa di Piramide (Rossa – Red Pyramid Head nel primo film), sbuca nell'Brookhaven Asylum (and Hospital), il manicomio dove il nonno di Vincent è rinchiuso dalla Setta (o Ordine) di Valtiel di cui ora è a capo la figlia, Claudia Wolf. Pyramid Head è una delle creature che, oltre a comparire come fil rouge in tutti i videogiochi della serie di Silent Hill a firma Konami, è tra i più impressi nella mente di chi ha giocato oppure ha visto il primo Silent Hill. -
Nordic Game Is a Great Way to Do This
2 Igloos inc. / Carcajou Games / Triple Boris 2 Igloos is the result of a joint venture between Carcajou Games and Triple Boris. We decided to use the complementary strengths of both studios to create the best team needed to create this project. Once a Tale reimagines the classic tale Hansel & Gretel, with a twist. As you explore the magical forest you will discover that it is inhabited by many characters from other tales as well. Using real handmade puppets and real miniature terrains which are then 3D scanned to create a palpable, fantastic world, we are making an experience that blurs the line between video game and stop motion animated film. With a great story and stunning visuals, we want to create something truly special. Having just finished our prototype this spring, we have already been finalists for the Ubisoft Indie Serie and the Eidos Innovation Program. We want to validate our concept with the European market and Nordic Game is a great way to do this. We are looking for Publishers that yearn for great stories and games that have a deeper meaning. 2Dogs Games Ltd. Destiny’s Sword is a broad-appeal Living-Narrative Graphic Adventure where every choice matters. Players lead a squad of intergalactic peacekeepers, navigating the fallout of war and life under extreme circumstances, while exploring a breath-taking and immersive world of living, breathing, hand-painted artwork. Destiny’s Sword is filled with endless choices and unlimited possibilities—we’re taking interactive storytelling to new heights with our proprietary Insight Engine AI technology. This intricate psychology simulation provides every character with a diverse personality, backstory and desires, allowing them to respond and develop in an incredibly human fashion—generating remarkable player engagement and emotional investment, while ensuring that every playthrough is unique. -
The First but Hopefully Not the Last: How the Last of Us Redefines the Survival Horror Video Game Genre
The College of Wooster Open Works Senior Independent Study Theses 2018 The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre Joseph T. Gonzales The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Gonzales, Joseph T., "The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre" (2018). Senior Independent Study Theses. Paper 8219. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2018 Joseph T. Gonzales THE FIRST BUT HOPEFULLY NOT THE LAST: HOW THE LAST OF US REDEFINES THE SURVIVAL HORROR VIDEO GAME GENRE by Joseph Gonzales An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 7, 2018 Advisor: Dr. Ahmet Atay ABSTRACT For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game. -
Please Biofeed the Zombies: Enhancing the Gameplay and Display of a Horror Game Using Biofeedback
Please Biofeed the Zombies: Enhancing the Gameplay and Display of a Horror Game Using Biofeedback Andrew Dekker Erik Champion Interaction Design, School of ITEE, Media Arts, COFA, UNSW, PO Box 259 University of Queensland, Ipswich, Australia Paddington, NSW 2021 Australia [email protected] [email protected] ABSTRACT commercial computer game, allowing for more dynamic, This paper describes an investigation into how real-time but unpredictable, but also more personalized and situated low-cost biometric information can be interpreted by game experiences. computer games to enhance gameplay without fundamentally changing it. We adapted a cheap sensor, (the The primary benefit of incorporating this technique into Lightstone mediation sensor device by Wild Divine), to computer games is that game developers can offer control record and transfer biometric information about the player over direction of game play and game events to the player. (via sensors that clip over their fingers) into a commercial Rather than the flow and progression within the game being game engine, Half-Life 2. linear and scripted [13], a series of events can be strung together in a sequence that better appeals to the individual. During game play, the computer game was dynamically modified by the player’s biometric information to increase For example, Rouse [12] agrees that allowing the system to the cinematically augmented “horror” affordances. These choose methods of conveying emotion dynamically rather included dynamic changes in the game shaders, screen then forcing players to take specific emotional journeys is a shake, and the creation of new spawning points for the fundamental aspect of enhancing computer games. -
Video Games and the Mobilization of Anxiety and Desire
PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games. -
Threat Simulation in Virtual Limbo Preprint
This is a preprint of the article “Threat simulation in virtual limbo: An evolutionary approach to horror video games” by Jens Kjeldgaard-Christiansen and Mathias Clasen, Aarhus University. The final, published version has been published in the Journal of Gaming and Virtual Worlds and is available at https://doi.org/10.1386/jgvw.11.2.119_1. Page 2 of 33 Threat Simulation in Virtual Limbo: An Evolutionary Approach to Horror Video Games Keywords: horror, Limbo, game studies, evolution, simulation, evolutionary psychology Abstract Why would anyone want to play a game designed to scare them? We argue that an alliance between evolutionary theory and game studies can shed light on the forms and psychological functions of horror video games. Horror games invite players to simulate prototypical fear scenarios of uncertainty and danger. These scenarios challenge players to adaptively assess and negotiate their dangers. While horror games thereby instil negative emotion, they also entice players with stimulating challenges of fearful coping. Players who brave these challenges expand their emotional and behavioural repertoire and experience a sense of mastery, explaining the genre’s paradoxical appeal. We end by illustrating our evolutionary approach through an in-depth analysis of Playdead’s puzzle-horror game Limbo. Page 3 of 33 Introduction Imagine this: You are a little boy, lost somewhere deep in the woods at night. You do not know how you got there or how to get out. All you know is that your sister is out there, somewhere, possibly in great danger. You have to find her. The ambiance is alive with animal calls, the flutter of branches and bushes and a welter of noises that you cannot quite make out. -
Page 22 Survival Horrality: Analysis of a Videogame Genre (1) Ewan
Page 22 Survival Horrality: Analysis of a Videogame Genre (1) Ewan Kirkland Introduction The title of this article is drawn from Philip Brophy’s 1983 essay which coins the neologism ‘horrality’, a merging of horror, textuality, morality and hilarity. Like Brophy’s original did of 1980s horror cinema, this article examines characteristics of survival horror videogames, seeking to illustrate the relationship between ‘new’ (media) horror and ‘old’ (media) horror. Brophy’s term structures this investigation around key issues and aspects of survival horror videogames. Horror relates to generic parallels with similarlylabelled film and literature, including gothic fiction, American horror cinema and traditional Japanese culture. Textuality examines the aesthetic qualities of survival horror, including the games’ use of narrative, their visual design and structuring of virtual spaces. Morality explores the genre’s ideological characteristics, the nature of survival horror violence, the familial politics of these texts, and their reflection on issues of institutional and bodily control. Hilarity refers to moments of humour and self reflexivity, leading to consideration of survival horror’s preoccupation with issues of vision, identification, and the nature of the videogame medium. ‘Survival horror’ as a game category is unusual for its prominence within videogame scholarship. Indicative of the amorphous nature of popular genres, Aphra Kerr notes: ‘game genres are poorly defined and evolve as new technologies and fashions emerge’;(2) an observation which applied as much to videogame academia as to the videogame industry. Within studies of the medium, various game types are commonly listed. These might include the shoot‘emup, the racing game, the platform game, the God game, the realtime strategy game, and the puzzle game,(3) the simulation, roleplaying, fighting/action, sports, traditional and ‘”edutainment”’ game,(4) or action, adventure, strategy and ‘processorientated’ games.(5) These clusters of game types tend to be broad, commonsensical, and undertheorized. -
Virtual Pacifism 1
Virtual Pacifism 1 SCREEN PEACE: HOW VIRTUAL PACIFISM AND VIRTUAL NONVIOLENCE CAN IMPACT PEACE EDUCATION A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS OF TELECOMMUNICATIONS BY JULIA E. LARGENT DR. ASHLEY DONNELLY – ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2013 Virtual Pacifism 2 Table of Contents Title Page 1 Table of Contents 2 Acknowledgement 3 Abstract 4 Foreword 5 Chapter One: Introduction and Justification 8 Chapter Two: Literature Review 24 Chapter Three: Approach and Gathering of Research 37 Chapter Four: Discussion 45 Chapter Five: Limitations and a Call for Further Research 57 References 61 Appendix A: Video Games and Violence Throughout History 68 Appendix B: Daniel Mullin’s YouTube Videos 74 Appendix C: Juvenile Delinquency between 1965 and 1996 75 Virtual Pacifism 3 Acknowledgement I would like to thank my committee members, Dr. Ashley Donnelly, Professor Nancy Carlson, and Dr. Paul Gestwicki, for countless hours of revision and guidance. I also would like to thank my friends and family who probably grew tired of hearing about video games and pacifism. Lastly, I would like to thank those nonviolent players who inspired this thesis. Without these individuals playing and posting information online, this thesis would not have been possible. Virtual Pacifism 4 Abstract Thesis: Screen Peace: How Virtual Pacifism and Virtual Nonviolence Can Impact Peace Education Student: Julia E. Largent Degree: Master of Arts College: Communication, Information, and Media Date: July 2013 Pages: 76 The following thesis discusses how virtual pacifism can be utilized as a form of activism and discussed within peace education with individuals of all ages in a society saturated with violent media. -
Emulating Authentic Dialogue in Roleplaying Video Games
Tips of Fingers, Tips of Tongues: Emulating Authentic Dialogue in Roleplaying Video Games Stephanie Caskenette The Department of Art History and Communication Studies, McGill University, Montréal October 2017 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of a Master’s of Arts (Communication Studies). © Stephanie Caskenette, 2017 1 Table of Contents Abstract ........................................................................................................................................... 3 Acknowledgements ......................................................................................................................... 4 Introduction ..................................................................................................................................... 5 Chapter 1 – Game Feel and Other Methodological Considerations ............................................. 22 Chapter 2 – Dialogue Systems in Roleplaying Games ................................................................. 44 Chapter 3 –Evaluating Contemporary Dialogue Systems ............................................................ 62 Chapter 4 – Designing Around Hardware Limitations ................................................................. 77 Conclusion .................................................................................................................................... 94 Works Cited ................................................................................................................................. -
Proposal for the Analysis of a Video Game, a Film, and Their Relationship
DEPARTAMENT DE COMUNICACIÓ AUDIOVISUAL I PUBLICITAT Proposal for the analysis of a video game, a film, and their relationship. (Silent Hill as a subject of the horror genre) Martha S. Ramos Ibarra Director: Dr. María T. Soto Sanfiel Bellaterra, Junio de 2012 INDEX INTRODUCTION 1 I. OBJECT OF STUDY 9 II. OBJECTIVES 11 1. Objectives 11 1.1. General Objectives 11 1.2. Specific Objectives 11 III. THEORETICAL FRAMEWORK 13 1. What is a Narrative? 15 1.2. Parts of a Narrative 15 1.2.1. Story 16 1.2.2. Discourse 19 1.3. Levels of a Story 21 1.3.1. Level of Functions 21 1.3.2. Level of Actions 23 1.3.3. Level of Narrative 23 1.4. Time and Space 24 1.4.1. Time 25 1.4.2. Space 26 1.5. Propp‘s Functions 27 1.5.1 Mischief 28 1.5.2 Spheres of Action 30 1.5.3. Types of Heroes 31 1.5.4. Character attributes 32 1.6. Suspense 32 1.7. Denouement 35 2. Narrative Formats 37 3. Literary Genres 38 4. Introduction to Horror Literature 39 4.1. Fantasy Literature 39 4.1.1. The supernatural unknown element 40 4.1.2. Identifiable Universe 41 4.1.3. Radical break between the protagonist and the universe 41 4.2. Horror Narratives 42 4.2.1. Origins of horror fictions 44 4.2.1.1. Gothic Novel 44 5. Themes and Structure of Horror Narratives 53 5.1. The Complex Discovery Plot 53 5.1.1. Onset of horrific event (evidence). -
Universidad De Guadalajara
Universidad de Guadalajara Centro Universitario en Arte, Arquitectura y Diseño Doctorado Interinstitucional en Arte y Cultura Tema de Tesis: En contra de la momificación. Los videojuegos como artefactos de cultura visual contemporánea: la emulación y simulación a nivel circuito, a modo de tácticas de su preservación Tesis que para obtener el grado de Doctor en Arte y Cultura Presenta: Romano Ponce Díaz Director de Tesis: Dr. Jorge Arturo Chamorro Escalante Línea de Generación y Aplicación del Conocimiento: Artes Visuales. Guadalajara, Jalisco, febrero del 2019 1 En contra de la momificación. Los videojuegos como artefactos de cultura visual contemporánea: la emulación y simulación a nivel circuito, a modo de tácticas de su preservación. ©Derechos Reservados 2019 Romano Ponce Díaz [romano.ponce@ alumnos.udg.mx] 2 ÍNDICE DE ILUSTRACIONES. 8 ÍNDICE DE TABLAS. 8 1.1 PRESENTACIÓN 9 1.2 AGRADECIMIENTOS 11 1.3 RESUMEN 13 1.4 ABSTRACT 14 2 PRIMER NODO: EXPOSICIÓN. 16 2.1.1 CAPÍTULO 2. EL PROBLEMA PREFIGURADO: 19 2.2 OTRO EPÍLOGO A MANERA DE PRÓLOGO. 19 2.3 EL RELATO COMO PRESERVADOR DEL TESTIMONIO DE LA CULTURA. 20 2.4 LA MEMORIA PROSTÉTICA, SU RELACIÓN CON LOS OBJETOS, Y, LA NATURALEZA FINITA 27 2.4.1 CINEMATOGRAFÍA, EXPLOSIONES Y FILMES PERDIDOS 29 2.4.2 LOS VIDEOJUEGOS Y LAS FORMAS DE MIRAR AL MUNDO 33 2.4.3 VIDEOJUEGOS, IDEOLOGÍA, VISUALIDAD Y ARTE: 35 2.4.4 LA ESTRUCTURA DE LA OBSOLESCENCIA Y EL MALESTAR DE LA CULTURA 46 2.5 ANTES DE QUE CAIGA EN EL OLVIDO: UNA HIPÓTESIS 49 2.5.1 SOBRE LOS OBJETIVOS, ALCANCES, Y LA MORFOLOGÍA DEL TEXTO 51 3 CAPÍTULO 3. -
Video Game Music: a Connection Beyond the Controller
1 Video Game Music: A Connection Beyond the Controller by Zach Nicely David lightly grasps the controller of his Nintendo 64 as he leans back in his leather gaming chair. His character casually explores the depths of the Shadow Temple, when something catches his attention. The environment changes, and suddenly something does not seem right. David moves to the edge of his seat and leans forward, locking his gaze on the television screen and strengthening his grip on the controller. The music has changed and he cannot only hear it, he can feel it. Pressing the “A” button, he draws his sword and scans the environment for the enemy of which the music warns. Holding his index finger steady over “Z,” he rotates his character until he finds a Stalfos moving side-to-side, preparing to attack. David locks on to the target and engages the warrior skeleton in combat. The quick pace of the music raises his adrenaline and keeps him alert, anticipating every move the enemy makes until its defeat. After the Stalfos dissolves into flames, the music returns to that slow, eerie theme. David notices his heart pounding louder and faster than usual, and his hands are covered in sweat. He leans back in his chair, wipes his hands on his jeans, and returns to the calm state of his body before this encounter. All players experience this situation while playing any kind of game: the player finds himself completely wrapped up in the moment, not realizing the physical reactions he has to the game. Why does this happen? The things that occur in a video game obviously are not real, so how can someone react to these things as though they are? Multiple factors contribute to this, but the biggest reason for such occurrences is the music.