Sound Research WIKINDX

WIKINDX Resources  

Carr, D. (2003). Play dead: Genre and affect in silent hill and planescape torment. Game Studies, 3(1). Retrieved September 16, 2003, from http://www.gamestudies.org/0301/carr/ 
Added by: Mark Grimshaw-Aagaard (9/8/04, 7:55 AM)   Last edited by: Mark Grimshaw-Aagaard (9/4/06, 3:01 PM)
Resource type: Web Article
BibTeX citation key: Carr2003
Email resource to friend
View all bibliographic details
 Categories: General
Keywords: Genre, Illusion, Sonic Narrative
Creators: Carr
Collection: Game Studies		 Views: 14/1075
Abstract
Both Planescape Torment (Interplay 1999) and Silent Hill (Konami 1999) feature zombie assailants, violent confrontation, exploration, peril and death. But Planescape Torment and Silent Hill belong to different genres, and they employ different strategies in their bid to generate generically appropriate affect. Planescape Torment offers its players intersecting worlds, bizarre creatures, amnesia, gore and questing. It's a fantasy roleplaying game (RPG), and its meandering structure enhances its capacity to honour its generic roots. Silent Hill is a 3D survival horror game. The success of the Silent Hill series is a result of its capacity to frighten its users.

Each of these games uses a navigational orientation that aids and abets its generic intent; each proposes goals and gameplay that nurtures a particular affect. The avatars, Harry in Silent Hill, and The Nameless One in Planescape Torment, perform differently for their players, and the relationship of each avatar to the worlds they infiltrate on our behalf is another factor to consider in relation to the games' generic intentions.
Added by: Mark Grimshaw-Aagaard  Last edited by: Mark Grimshaw-Aagaard
Notes
pp.11
Added by: Mark Grimshaw-Aagaard  Last edited by: Mark Grimshaw-Aagaard
Quotes
   Quoting Jonathan Ree: "the spatial indeterminancy of sound means that auditory illusion can be even more disconcerting than either optical or visual onces".   Added by: Mark Grimshaw-Aagaard