Data taken from Bushman et al. Figure produced by Pete Etchells. To review or not review?
Figure 12a shows the player-character, Claire, exploring a hallway in the opening sequences of the game.
There are no enemies, so non-diegetic music is silent. The next scene initiates an encounter with zombies Figure 12band enacts the standard danger state accompaniment of rhythmically intense music in a diminished or minor key.
In other words, the silence has replaced the safe state music, and the danger music is more intense than similar music in, say, Ocarina of Time. As is the case with horror films, the silence of the first scene puts the player on edge rather than reassuring him that there is no danger in the immediate environment, increasing the expectation that danger will soon appear.
The appearance of the danger is, therefore, heightened in intensity by way of its sudden intrusion into silence. Silence versus "danger music" in Resident Evil: A Silent exploration B Dramatic zombie attack. These moments from the opening sequences of Resident Evil: Code Veronica are the first chance for the player to encounter and deal with forces of the undead, but Silent Hill 's opening sequences reveal a different approach to breaking the threshold of the supernatural that also reveals an allegiance to horror filmic uses of sound.
In Kubrick's The Shiningfor example, the music will often rise steadily to a cacophonous crescendo to parallel a character's escalating terror or psychosis, and in Silent Hill a similar effect is created by overlapping musical sequences that are cued as "event triggers" when the player enters progressively horrific spaces of the game.
The introductory full motion video FMV of Silent Hill provides the set-up for the story, which has to do with Harry Mason taking his daughter, Cheryl, on a vacation to the resort town of Silent Hill.
After a mysterious accident en route, Harry awakens to find himself alone in a mysteriously foggy and strangely abandoned Silent Hill with no sign of Cheryl. The music is faint, atmospheric ambience barely above the clarity of white noise that matches the foggy streets with a "swooshing" sound or a low throb.
Harry hears footsteps, and, in one of the eeriest sequences in any game, the player must follow a shadowy figure — who may or may not be Cheryl — who always stays just at the edge of vision.
The figure eventually leads Harry into an alley, which enacts the sequence of images and sound clips in Figures 13 to The fixed camera perspectives cause the point-of-view to careen wildly as Harry enters different rooms of the alley, and as the course way becomes suddenly darker, Harry's terror and the player's is respectively reflected and dictated by the soundtrack growing in volume and atonal chaos.
Further down the alley. Organ sound seems to trigger when Harry steps over puddle of blood. End of the alley. Final sound clip from alley sequence. The grunting or wheezing sounds in the clip are produced by the child-like zombie-creatures. Finally, after passing by a few ominous hospital implements and discovering what appears to be a flayed and crucified human corpse, Harry is trapped inside a room with a pair of child-like, knife-wielding zombies.
The player has control over Harry, but since Harry has no weapons, he is powerless to fight back and can only run away from the creatures in a tight space.
In a horrifying moment, the creatures attack and appear to chew on Harry, and the player must watch helplessly. The anxiety of this moment is heightened by the gruesome visuals, the sound track and by the standard videogame trope of player-character death.
The consequence or punishment in an adventure game for allowing the player-character to die is being forced to repeat material that has already been explored, and since the overarching, eponymous goal of survival horror is to survive, actual character death may only occur a handful of times throughout playing Silent Hill as opposed to the thousands of deaths that Mario or Link must endure to conquer their respective kingdoms.
The music that drives the growing terror of this alley sequence leads to an apparent death i. That is, the musical underscore seems to happen "outside" of the world of the story as a device to charge the emotional response to the sequence, and the music is, therefore, acting symbolically from Harry's point of view in that he does not "hear" it.
Harry is eventually equipped with weapons to fight against the various creatures that he will encounter as he proceeds through his quest to locate his daughter, but his most important tool is a "broken" radio that emits sound of a signature frequency whenever a monster is near.
The claustrophobic player perspective and ubiquitous fog or darkness make hearing this radio more important to successful game play than seeing.
Once a player is used to the system, she can use Harry's targeting ability to automatically aim at the nearest enemy whether it is visibly on screen or not upon hearing the specific noise emitted by the radio.
Since most of the enemies will approach from above or behind Harry, a player may not ever see certain enemies, and since the sounds appear gradually and swell to a crescendo as the monster gets nearer, the effect works on the same principle as the alley sequence in the opening of the game.
Since this is also a strategic device built into the game and because it merges with the soundtrack though its source is visibly present in the game environment, the radio's sounds again blend a motivational cue with atmospheric sounds of the fictional space.
By combining conventions of both videogame and horror film, the designers of Silent Hill create an experience that is driven musically by the grotesque exaggeration of musical functions familiar from earlier videogames.
Overall, the music in Silent Hill drives home the unique game play aspects that drive home its status as a classic Survival Horror title. Conclusion In this essay, I have sought to explore various functions of videogame music in specific videogames, but these observations are aimed at only a few of potentially dozens of genres of games.
At least, the function of positively reinforcing game interaction toward the achievement of a game's goal state is common practice. The use of music to characterize fictional spaces in game environments is obviously more relevant in games revolving around quest narratives and not as applicable for, say, Tetris The Sims.
Douglas and Hargadon's description of the processes of immersion, engagement and flow in the reception of hypertext and digital narratives provides one potential context for these initial observations about game music.Research on exposure to television and movie violence suggests that playing violent video games will increase aggressive behavior.
A meta-analytic review of the video-game research literature reveals that violent video games increase aggressive behavior in children and young adults.
Nov 27, · A new paper in American Psychologist, the flagship journal of the American Psychological Association, looks at the positive effects of video game .
“Studies have shown that, in general, people create slightly idealized avatars based on their actual selves,” says Nick Yee, who used to work as a research scientist at the Palo Alto Research Center but who now works at Ubisoft.
Oct 30, · The fever-pitch from those that claim that violent video games lead to real-life malicious activity is such that it produces some truly dumb diatribes and soundbites. Video games depict a variety of different concepts. Models of learning in games like the GLM (General Learning Model) and GAM (General Aggression Model) predict that exposing players to these in-game concepts can lead to important changes in player behaviour.
- The first violent video game invented was during the ’s (Anderson & Bushman, ), since then, the degree of violence present in a video game has significantly increased. Today, the graphics, sounds, characters in video games have become more realistic than before any of the past years.