The "Lost memories" book was released as an addendum to the official Konami Silent Hill 3 Game Guide in It was printed in the second part of the guide. Book of Lost Memories: information, scans, translation. I try to find on internet, but I can't find this, someone knows where I can find this book in PDF?.
|Language:||English, Spanish, Hindi|
|Genre:||Children & Youth|
|Distribution:||Free* [*Registration Required]|
terney.info - Download as PDF File .pdf) or view presentation slides online. Silent Hill: Book of Memories enters new chapter on. Silent Hill: Book of Memories begins with the player selecting terney.info of Lost Memories - Silent Hill 2 : The. Silent Hill Book Of Lost Memories Pdf Download > terney.info Kunio Yanagita Kb Abe: The Box Man Comics Daijiro Morohoshi: Shiori and Shimiko's Incident.
Silent Hill : The Arcade is a traditional shooting arcade for up to 2 players. Team Silent is the development staff inside Konami responsible for the development of the original Silent Hill games. Silent Hill's debut on the Nintendo Wii makes the fear more real than ever before. According to this week's issue of Famitsu magazine after his unexpected departure from Konami Akira Yamaoka, Silent Hill series composer and producer, has signed on with Grasshopper Manufacture game studio.
Official Japanese site for Silent Hill : Shattered Memories has been updated with a new added microsite. First, it's the same team which worked on Silent Hill : Shattered Memories. A re-imagining of the original Silent Hill that turns everything you thought you knew on its head. New nightmare sequences focus on escape and evasion rather than direct confrontation.
The game process resembles Silent Hill : Play Novel which was a text adventure although it's not its remake. Silent Hill : The Arcade Brochure pdf, 3. However, of all the genres, it may be argued that horror is the one most often compared to a game.
In light of Batesons theory of play and fantasy, the depiction of horror has to be framed as a playful and fictional activity since it would be neither tolerated nor bearable otherwise which is the case of snuff movies, where showing the actual murder of a human being renders them Page 14 intolerable and unacceptable to the general viewerthe antithesis to playful.
To find pleasure in horror film, it is necessary to play by its rules. This is why, while many scholars have sporadically made references to a game analogy in order to explain the contemporary horror film experience, others like Ruth Amossy and Vera Dika have made a lengthy and narrower link that is also worth presenting.
Ruth Amossy associates the horror tales to play and games in a chapter of Les ides reues: Smiologie du strotype dealing with the industrialization of fear. She states that the art of frightening is openly put forward as a ludic activity. She then lists three categories of objects of fear: 1 transgressions of normality and elementary laws of the physical known world like the Old Ones of Lovecraft or King Kong; 2 harmless objects in themselves that become scary only through an abnormal and strange aggressive behavior, such as birds, furniture, and cars; and 3 objects already scary that undergo a hyperbolic processing, such as wolves, spiders, and snakes.
This closed repertory of fear and the fundamental use of stereotypes therefore serve as direction signs of the ludic domain. They announce at the entry and at critical points of the fictional terror: All those that enter here accept surrender to the dizziness of fear , ; my translation. To clarify the activity at stake, Amossy refers to board games: The progress of the game is not purely fortuitous, and the public expects that some moves mark out the itinerary of fear.
One thinks of those games where the participants have, with throws of dice, to cross a perilous space sown with ambushes until they reach the square of final resolution. If, therefore, the imitated reality is not defined by precise rules, the precise delineation of the terror will bring some to bear. It is the grid of the laws of terror applied on daily and banal scenery, or at least on what is claimed to be realistic, that produces the narrative of terror.
According to Amossy, the secret of the industry of fear lies less in the choice of the stereotyped object than in the choice of representation. Cinema thus occupies a preponderant place since it constantly invents and perfects its Page 15 realistic effects. The conclusions of Amossy put Steven Pooles reasoning in perspective: Why is it particularly the horror genre, and to a lesser extent science- fiction, that largely provides the aesthetic compost for supposedly filmlike videogames?
The answer is that horror genre can easily do away with character and plot; it is the detail of the monster, the rhythm and tension and shocks that matter.
Plot and characters are things videogames find very difficult to deal with. It also provides an ideal narrative framework: a small group of stereotypical characters barricade themselves in a placeor try to escapein order to fight against and to survive an evil force embodied in monsters or ghosts. This perfectly suits the video game the new media , which will inevitably, as did cinema the old media , continuously invent and refine its realistic effects in connection with computer manufacturers who constantly endeavor to sell new state-of-the-art technology.
Vera Dika has dedicated her book Games of Terror: Halloween, Friday the 13th, and the Films of the Stalker Cycle to demonstrating the way in which the stalker film formula of the s put the spectator in a condition less like watching a tennis match, for example, than like playing a video game.
Here the spectator is implicated by a number of conventional formal strategies, ones that encourage a play with the film itself , 22; emphasis added. For Dika, the formal opacity of the repeated patterns and the surface variations point-of-view shots, use of onscreen and offscreen spaces, frameline, screen time, etc.
Cunningham, andFriday the 13th Part 2 Steve Miner, , the safe and controlled interaction between the spectator and the stalker-film games established a play of knowing or not knowing the answer to those two questions, and of how they were asked.
Such play has become even more pervasive in the new cycle of stalker films initiated by the self-reflexive Scream Wes Craven, , a cycle created for a generation of teenagers who are as much film and television viewers as they are gamers. Page 16 As Amossys reference to game boards and Dikas video game analogy show, the contemporary horror film was already playful and interactive before the advent of video games and explicit interactivity. Moreover, when asked how he would like SH2 to be seen, the producer Akihiro Imamura answered: As a horror movie, but with the fantastic feeling of being active within it Roundell With an action-oriented narrative framework and all the prominently displayed formal direction signs along the experiential route to fear, the spectator-gamer was more than ready to get into the labyrinth of horror and virtually display his competitive spirit.
The relation between survival horror games and horror films underlines a central element of play and games, which is repetitiveness. As weve seen, there is a horror formula, and anyone who is even marginally familiar with the genre is aware of this fact. However, Nol Carroll made a point of noting, in his transmedia study, that predictability does not deter the horror audiences interest indeed, audiences would appear to desire that the same stories be told again and again , Its precisely the noticeable variations within the framework, the efficacious scare tactics and the novelty of the techniques, that thrill horror enthusiasts and reaffirm their appreciation for the genre; it is a way simultaneously both to maintain and to lose control over the experience.
This remark can be applied to many video games. In this type of game environment, its stunningly realistic graphics and the expandable exploring environment that succeed for the gamer. With their own variations and chief characteristics, many action games first- or third-person shooters and role-playing games still follow this adventure formula. As for survival horrorsometimes called horror adventureit shades the adventure with nerve-racking, morbid, and dark features.
There is a last reason to see survival horror as an exemplary genre. Page 17 The adventure maze embodies a classic fairy-tale narrative of danger and salvation. Its lasting appeal as both a story and a game pattern derives from the melding of cognitive problem finding the path with emotionally symbolic pattern facing what is frightening and unknown.
Like all fairy tales, the maze adventure is astory about survival. The maze is the road map for telling this story. Murray , ; emphasis added Survival horror clearly exhibits the ins and outs of a broad range of video games. Slowly Getting into a World of Survival Horror Even if we establish as the date of the origin of the survival horror genre, we still have to go back to the horror games of the s to construct an accurate genealogy of the genre.
Drawing from Robinetts design, James Andreasens Haunted House Atari, gave the adventure genre its first pitch-black representation.
If it is difficult to see anything when progressing through the catacombs of Adventure depicted as an orange-pathed network ; it is also hard to explore each of the six rectangular rooms in the four-story-high Haunted Houses mysterious mansion. As a pair of square eyes compared to the little square of Adventure , you have to discover the three pieces of a magic urn and bring it back to the houses entrance. In your search, with nine lives and an unlimited supply of matches to see your way around giving a reddish diamond-form view , you also need to find a master key to open locked doors, protect yourself with a magic scepter, or fight tarantulas, vampire bats, and ghosts.
As the manual warns the gamer: Every time one of these creatures touches you, youll be scared to death, and consequently lose a life. It also capitalizes on other specific sound effects, such as the sound of wind when creatures approach which also blows out your matches , creaking doors, a knock every time you slam into walls and locked doors, andsays the manual againa spooky tune three notes in fact when you use the stairs.
Nine game variations challenge your scoring based on the number of matches you use and the number of lives you have left at the end of the game. Page 18 While the scrolling of Haunted House is mainly vertical in a very limited space three rectangular double-rooms , other games had a horizontal layout so as to give a more realistic sense of the scene.
Since stalker films were mentioned earlier, lets refer to the Atari video game adaptation of Halloween Wizard Video Games, In the game, the player character has three lives to navigate adjacent spaces representing the sixteen rooms of a two- story house upper and lower levels accessible through connecting doors. She is a babysitter trying to save as many children as possible from the killer, who may appear anywhere, and bring them to safe rooms. Each child saved gives the gamer points toward his total score.
Occasionally, she finds a knife that enables her to defend herself. It is not mentioned either on the box or in the manual that the killer is Michael Myers, but his pale blue suit indicates that connection sadly, its not possible to recognize Jamie Lee Curtis.
In fact, the player character and the NPCs start to look like human figures. The terrified children manual wave their two-pixels arms and Michael brandishes his three- pixel knife and everybody moves their little feet.
This initial level of anthropomorphism is giving birth to the first images of gore because at the moment Michael stabs the babysitter, he cuts her head off and leaves her running around with a few pixels of blood spurting out of her neck same thing for children.
To enhance the atmosphere of the game, Halloween uses the first notes of the movie musical theme every time Michael appears. The effect of his sudden apparitions is increased by an electrical blackout manual , that is, a flickering effect that plunges you into darkness for a few seconds while the killer is pursuing you. Many other horror video games of the s could be introduced here to support the argument. Konamis Castlevania is also part of the horror game genre evolution.
Page 19 One of the primary inspirations for Resident Evil, Sweet Home follows classical horror patterns. An investigation team travels to the painter Ichiro Mamiyas haunted manor, situated beside a lake, in order to photograph his frescoes. But Mamiyas evil spirit traps them inside the dangerous, corpse-filled, mazelike manor, which the team must search while struggling to survive and escape. You can switch between the characters. The main screen of Sweet Home shows an overhead view of the manor.
To the beat of a few efficacious synthesized musical themes, you scroll through the space with the team in order to find clues, various items, and weapons that are scattered around. A menu of popup commands enables you to look at things, talk to people, manage items, and save your state of play as many times as you wish.
Clues are found in objects such as dolls and skeletons, in conversations with zombies or people and mainly in notes, blood messages, and frescoes that have to be cleaned beforehand by Asuka, or someone else who has a broom and photographs by Taro or another camera owner.
Various items are needed to overcome obstacles or monsters, such as tonic flasks that restore your life and pray points, pieces of wood or ropes to cross gaps, mallets to destroy rocks, statues, or mirrors, keys to open specific doors, two rings to bypass a guardian, and so on. Four items used in a certain order are necessary to beat the final boss, Mamiya.
Weapons have different attack powers. However, a player character may possess only one weapon at a time. For that matter, with their initial tools, player characters can carry only four items at a time, and the inventory only has two open slots. Therefore you need to manage your items strategically, giving them to teammates, exchanging them, or drinking your tonic flask in order to leave room for a necessary tool. Following the examples of Adventure and Haunted House, certain sections of the manor are plunged into darkness, and a wax candle is required to light up a square around your party.
Furthermore, similar to Adventures bat, which could remove objects or people, blue flying balls or ghosts can snatch one player character away and transport him to another room in the manor. Except for blue cats and mice, which dont hurt you, enemies such as flying bats, suits of armor, and mirrors wander around launching attacks if you do not avoid them.
However, there are many monsters corpses, evil dolls, hounds, ghosts, ghouls, worms, zombies, etc. The music changes, the screen turns black, and then the image of the monster appears in an attack screen.
You can attack, pray, run but you will fall down , use a tool, or call upon your teammate during a fight. While the action is under way and damages are displayed, red sparkles on the screen. For example, if one player character is poisoned, red flickering will occur when he moves and Akikos first-aid kit will be required.
Since you do not know which monster is going to show up or depending on your experience level how the battle will turn out, particularly with the tougher types, there is always a certain gameplay tension. Classical lighting effects enhance the atmosphere. Sweet Home even tries to create an interesting scare effect by making the Man enemy suddenly reveal a half-human half-skull face in a two- image switch from the back of the enemy to the front of his face.
It also keeps you on your toes by making things, such as a chair or a light, fall in a shaky image. When you decide to go left or right, to dive or pray, there is always a short lapse of time before you know if you made the right decision.
Although web reviewers have stated that Haunted House still manages to instill a sense of fear and panic in the player and that Halloween captures the spirit of the movie quite well, and although the first line of the manual of The Texas Chainsaw Massacre Wizard Video Games, asserts that the game recreate[s] the chilling climax of the most horrifying movie ever made!
All things considered, we have to agree with the assertion made by Win Sical and Remi Delekta in Survival Horror: Un Nouveau Genre, an article from the first and only issue of the FrenchHorror Games Magazine: Survival horror [can] not exist without a minimum of technical capacities: sounds, graphics, processing speed.
Fear, to exist, needs to be staged, and this mise-en-scne requires capabilities Sical and Delekta , 13; my translation. Lovecraft box set and also inspired by the zombie movies of George A. Romero see Page 21 Provezza , 54 takes place in the s and follows the trail of private detective Edward Carnby or of Hartwoods niece, Emily Hartwood, but it is not possible to switch from one to the other as in Sweet Home in a haunted mansion called Derceto where the former owner, Jeremy Hartwood, who was translating ancient occult manuscripts, hanged himself.
Since devil worship makes Carnby smile, he looks for Dercetos terrible secret, which results in his having to fight evil creatures. It is certainly not on those narrative premises that Alone in the Dark should be considered innovative. It is the means of the game that changed things. Indeed, Alone in the Dark is the first game to display 3-D polygonal characters and objects in 2-D pre-rendered color backgrounds. This feature results in the game depicting a better immersive horror world and, above all, a remediated cinematic one since the action is always depicted from different fixed camera angles as the expressionistic vertical anglecompared to a flat overhead view as in Sweet Homewhich shows the character trapped in a corridor maze.
For instance, its a high-angle view that shows Edwards car arriving at Dercetos gate. Then, while Edward is walking toward it, another high-angle long shot of the mansion reveals a light in one of the second-floor windows, followed by its countershot from that window revealing only the hands of what we might guess is a strange creature looking down toward the player character.
Whats more, this opening cut-scene is an exceptional preview of the way in which gameplay is enacted. All of the shots, mainly typical views from the ceiling, which are used to lead Edward from the main entrance to the attic, disclose spaces that you will pass through later on, not without sudden, unexpected events.
Thus, although the graphics of the game look primitive in comparison to todays standards and the music and sound effects do not have the same range,Alone in the Dark is still viewed as one of the scariest games ever because, as noted, it stages fear.
The musical orchestration is compelling right from the beginning and varies during the game. You hear howls or strident sounds once in a while. The squeaking doors close heavily behind Edward. Floors creak. Footsteps produce quiet echoes in the tunnel. When you begin to explore the attic, you hear a sudden musical chord and see or the game will cut to it a long-fanged monster breaking through the window to attack you.
Later on, a shot from outside a bedroom window brings yet another monster through it, a monster that will even jump on the bed to attack you. In Alone in the Dark, the way a room is framed is sometimes employed as a technique to hide monsters from sight, as is the case when the Page 22 long-fanged monster appears and attacks you, just after youve taken Jeremy Hartwoods notebook in his first room. In the kitchen cupboard, while a low- angle shot from the coal on the floor shows Edward, a zombie suddenly appears behind him.
This kind of cinematographic mise-en-scne is based on a third- person perspective. In that sense, one has to agree with Daniel S. Yu that this perspective is more appropriate to survival horror games. Do his movements involve a change of angle? Does that limit the gamers vision? Is the player character in an open space where he can run or in a room where he can be caught?
And so on. There is also the dimension of the body, its movements, its strength or vulnerability, and the violence to which the body is subjected. It is easy to be overcome by panic in first- and third-person perspectives while being attacked by a monster, but youre more effectively overcome by horror when you actually see your player character out of your control being b eaten to death in a corner and dragged along the ground by a zombie to the stone altar an end sequence that might have inspired one in SH3.
This way of visualizing is more filmlike and is naturally associated with the horror genre. The gameplay of Alone in the Dark shows all the elements that will define the survival horror genre. To begin with, there is no map of the mansion available so you have to memorize the location of various rooms. You can switch to two screens. The first is the save, load, quit and parameter screen manual. It is, notably, possible to save and reload anytime during the game before a fight, an investigation, or after every jump onto pillars.
The second is the options screen, which has three frames: one for the inventory, one for the possible actions, and one that shows your player characters life Page 23 points and the selected items. The inventory is limited; therefore its important to manage the items that youll choose to take with you. To save space its possible to combine them.
For example, youll need to use the oilcan to fill the lamp and the matches to light it. This lamp is essential to investigate a dark bedroom in order to find 1 a heavy statuette, 2 the library to get to a secret room, and 3 a maze you have to pass through. Incidentally, like Adventure and Haunted House, the screen of this maze is entirely black except for a small lit circle around the player character.
As in a standard adventure game, you have to toil through scattered clues that are discovered in books and parchments. The clues explain what happened in Derceto and how to solve the various puzzles encountered. For instance, references to Lovecrafts Cthulhu, his call, and the danger of the infamous Necronomicon are found in books. In order to discover the way to pass by the medusas at the top of the stairs you must refer to the first book found and then apply the section that states shields that may shine like mirrors.
Hartwood also writes in his notebook about the caverns you need to discover under the house. You have to open various boxes or search the furniture to find items and then collect the objects required to fulfill a particular task, for instance: acquire a gramophone, search for a key to obtain a record album, and finally fight a pirate for the key to get to the ballroom in order to play a dance song.
Daniel S. Yu and other reviewers have noticed that there are not very many enemies Lovecrafts monsters and creatures to fight in Derceto, but neither are there many health drinks two and one box of cookies or ammunition in the game eight shells and 18 bullets.
It is very evident that Alone in the Dark is more about survival than horror. In fact, there are fewer pixels of splashing blood, and monsters arent drenched in blood when they are defeated; they supernaturally vanish in smoke instead.
You have to accomplish the final part of the game in the caverns without any new supplies. Additionally, falling into the water cuts down on the items that might be used because the matches and shells get wet. You have to be very careful while making your way back up to the mansion, saving as often as possible and repeating actions that have not been performed perfectly.
If the link between Resident Evil and Alone in the Dark is not well established, it is the contrary in regards to Sweet Home. With its door- opening loading screens, its in-game note saying, You must escape this Page 24 house of residing evil!
Therefore, we can compare the gameplay experiences of these three games and notice significant connections. Alpha team trapped in Spencer Mansion. In order to escape, the team has to confront many zombies and biotech monstrosities and traitors inside the team. Guided by a map this time, the teams investigations uncover the secret machinations of the Umbrella Corporation.
The tasks necessary to achieve their goal include finding clues in notes and documents, pushing things around as in Alone in the Dark , looking for keys and various crests, and acquiring items for specific undertakings. Two player characters are on hand: Chris Redfield and Jill Valentine. As opposed to Edward Carnby or Emily Hartwood, the adventure is not similar for each character. Right from the start of the game, Chris ventures out alone, with only a survival knife to defend himself, while Jill has a gun and is followed by teammate Barry Burton.
Without being a RPG, the story revolves around the S. Jill is helped by Barry at key moments throughout the game, and Chris is aided by Rebecca Chambers from the Bravo Team. You also come across teammates, one of whom is poisoned by a huge snake and, similar to Sweet Home, youll have to get a serum to try to cure him.
If you are the one bitten, youll have to get the serum in order to survive. Otherwise, you heal yourself with a variety of herbs green, red, and blue during the course of the game. You discover from a botany book that these herbs can be mixed to increase their healing power. In the course of action, mixing plants and combining items weapon and clip, as inAlone in the Dark also saves space in the inventory. The inventory of Resident Evil, like its two predecessors, is limited.
Chris can carry six items and Jill eight. Therefore, inventory needs to be managed. As opposed to Alone in the Dark, it is not possible to drop or throw items anywhere or anytime. Instead, the herbs, weapons you come across new and more powerful ones , and items have to be stored in boxes near save points. This way, you can retrieve things later in the game. This device complicates your mission and has been criticized on numerous occasions. If Steven Poole finds this inconsistent and laughable , 66 , Daniel S.
Yu provides a more qualified opinion: In truth, this was both good and bad. Good in that it created additional tension by somewhat arbitrarily limiting the players inventory. Bad in Page 25 that it tended to break the illusion of an interactive horror movie by inadvertently reminding players that they were still playing a gameI have to stash the ammo I cant for some reason carry in this arbitrarily placed storage box so I can come back for it later?