Contents

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p. vii

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Introduction

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pp. 1-9

The typical starting point for any discussion about Silent Hill is a comparison to Resident Evil. Given that Capcom’s big hit console series (1996) was introduced before Konami’s Silent Hill (1999), it was and still is the obligatory reference. However, as the Official U.S. PlayStation Magazine stated on the cover of its issue of March 1999, SH11 was “more than just a Resident ...

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Chapter 1: Survival Terror

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pp. 10-32

The survival horror (and let’s accept forthright the label even if it has been criticized)1 is maybe the video game genre par excellence. There are many reasons—some more clear-cut than others—to make this claim. First and foremost, as the game designer of The Suffering (Surreal Software / Midway 2004) and The Suffering: Ties That Bind (Surreal Software / Midway ...

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Chapter 2: Characters’ Nightmarish Delusions in a Resort Town

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pp. 33-64

There is a secret plot behind Silent Hill: to target you, the intriguee, and control the order and pace of your discoveries and encounters. In order to accomplish this, Team Silent sticks to a fairly linear adventure, as compared to a RPG like Planescape Torment (Black Isle Studios / Interplay, 1999) as demonstrated by Diane Carr (2006, 59–71). The map of the city is marked ...

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Chapter 3: Designers’ Cinematic Depiction of a Game World

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pp. 65-94

When asked about what he was hoping to achieve with the release of SH2, Akihiro Imamura answered: “You know, in our daily lives we don’t really feel much fear. It’s not a common emotional state in day-to-day life. Our aim is to stimulate that emotion with Silent Hill 2, so we hope you enjoy that!” (Keeling 2001). This response brings to light an important paradox ...

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Chapter 4: Gamers’ Terrifying Exploration of Silent Hill

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pp. 95-125

The analysis of fiction emotions and artifact emotions remains relevant to the study of Silent Hill. The resort town and the stories that take place there are complex and compelling. They are part of the game. Needless to say, any study of the series cannot be reduced to an account of these sole aspects. Although story-driven games such as Silent Hill rest on the fate of ...

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Conclusion: An Endless Nightmare

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pp. 126-135

In order to bring some light on the dark world of Silent Hill, I have chosen to concentrate on an analysis of the experiential route through the resort town. I’m inclined to think that such detailed critical inspection of the fiction, artifact, and gameplay emotions elicited by the games is the best way to show both the greatness and the importance of Silent Hill. Inasmuch as ...

The Silent Hill Franchise (1999–2009)

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pp. 136-138

Notes

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pp. 139-148

Glossary

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pp. 149-150

Bibliography and Ludography

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pp. 151-158

Index

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pp. 159-162