Silent Hill Downpour Puzzle Guide
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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. -
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. -
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. -
P.T Game Pc Download Punity
p.t game pc download Punity. Punity is the Windows adaptation of the brilliant game P.T., the Silent Hills technical demo by Hideo Kojima and Guillermo del Toro that so thoroughly amazed and terrified players on Playstation 4. In this tribute to the Konami classic, players walk through the legendary terrifying hallway. The game system in Punity is very similar to the original P.T. Players can walk up and down the sinister hallway and take in all the details. The sounds, bumps, and strange movements you'll start noticing are what make this game amazing. The game has very similar graphics to the technical demo mentioned earlier. Most surprisingly, it uses the versatile motor Unity, so if you have a powerful operating system and can set the graphics at the highest settings, you'll be able to enjoy this spectacular terror even more. Silent Hills' P.T. teaser is now playable on PC thanks to fan remakes. P.T. was the playable teaser for Silent Hills—the reboot of the Silent Hill series that was cancelled in 2015—and even though it was short it still ranks among the best horror games of all time (and certainly one of the scariest). It never made it to PC, but thanks to a couple of fan remakes you can now give it a whirl on your mouse and keyboard. The first remake is called Corridors, and is a recreation of the game in Unreal Engine 4. It's still very much a work in progress (expect bugs), and creator SmoggyChips plans to update it with more levels in the future. -
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. -
Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created. -
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. -
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 ................................................................................................................................. -
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. -
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.