The second entry in the Landmark Video Games series

A troubled man travels to a mysterious town from his past after receiving a letter from his wife... who's been dead for years. And while our "hero" explores dark corridors and battles countless disturbing enemies, his journey offers more psychological horror than survival horror. Welcome to Silent Hill, where the monster is you. Silent Hill 2 doubles down on what made the first game so compelling: The feeling of being lost in a foggy, upside-down town as unsettling as it is familiar. Nearly two decades after first experiencing Silent Hill 2, writer and comedian Mike Drucker returns to its dark depths to explore how this bold video game delivers an experience that is tense, nightmarish, and anything but fun. With an in-depth and highly personal study of its tragic cast of characters, and a critical examination of developer Konami’s world design and uneven marketing strategy, Drucker examines how Silent Hill 2 forces its players to grapple with the fact that very real-world terrors of trauma, abuse, shame, and guilt are far more threatening than any pyramid-headed monster could ever be.

As for film and literature, the horror genre has been very popular in the video game. The World of Scary Video Games provides a comprehensive overview of the videoludic horror, dealing with the games labelled as “survival horror” as well as the mainstream and independent works associated with the genre. It examines the ways in which video games have elicited horror, terror and fear since Haunted House (1981). Bernard Perron combines an historical account with a theoretical approach in order to offer a broad history of the genre, outline its formal singularities and explore its principal issues. It studies the most important games and game series, from Haunted House (1981) to Alone in the Dark (1992- ), Resident Evil (1996-present), Silent Hill (1999-present), Fatal Frame (2001-present), Dead Space (2008-2013), Amnesia: the Dark Descent (2010), and The Evil Within (2014). Accessibly written, The World of Scary Video Games helps the reader to trace the history of an important genre of the video game.

Chris Barney’s Pattern Language for Game Design builds on the revolutionary work of architect Christopher Alexander to show students, teachers, and game development professionals how to derive best practices in all aspects of game design. Using a series of practical, rigorous exercises, designers can observe and analyze the failures and successes of the games they know and love to find the deep patterns that underlie good design. From an in-depth look at Alexander’s work, to a critique of pattern theory in various fields, to a new approach that will challenge your knowledge and put it to work, this book seeks to transform how we look at building the interactive experiences that shape us. Key Features: Background on the architectural concepts of patterns and a Pattern Language as defined in the work of Christopher Alexander, including his later work on the Fifteen Properties of Wholeness and Generative Codes. Analysis of other uses of Alexander’s work in computer science and game design, and the limitations of those efforts. A comprehensive set of example exercises to help the reader develop their own patterns that can be used in practical day-to-day game design tasks. Exercises that are useful to designers at all levels of experience and can be completed in any order, allowing students to select exercises that match their coursework and allowing professionals to select exercises that address their real-world challenges. Discussion of common pitfalls and difficulties with the pattern derivation process. A guide for game design teachers, studio leaders, and university departments for curating and maintaining institutional Pattern Languages. An Interactive Pattern Language website where you can share patterns with developers throughout the world (patternlanguageforgamedesign.com). Comprehensive games reference for all games discussed in this book. Author Chris Barney is an industry veteran with more than a decade of experience designing and engineering games such as Poptropica and teaching at Northeastern University. He has spoken at conferences, including GDC, DevCom, and PAX, on topics from core game design to social justice. Seeking degrees in game design before formal game design programs existed, Barney built his own undergraduate and graduate curricula out of offerings in sociology, computer science, and independent study. In pursuit of a broad understanding of games, he has worked on projects spanning interactive theater, live-action role-playing game (LARP) design, board games, and tabletop role-playing games (RPGs). An extensive collection of his essays of game design topics can be found on his development blog at perspectivesingamedesign.com.

Video games take players on a trip through ancient battlefields, to mythic worlds, and across galaxies. They provide players with a way to try on new identities and acquire vast superpowers. Video games also give people the chance to hit reset – to play again and again until they achieve a desired outcome. Their popularity has enabled them to grow far beyond their humble origins and to permeate other forms of popular culture, from comic books and graphic novels to films and television programs. Video games are universal. In 100 Greatest Video Game Franchises, editors Robert Mejia, Jaime Banks, and Aubrie Adams have assembled essays that identify, assess, and reveal the most important video games of all-time. Each entry makes a case for the game’s cultural significance and why it deserves to be on the list, from its influence on other games to its impact on an international scale. In addition to providing information about the game developer and when the franchise was established, these entries explore the connections between the different video games, examining them across genre, theme, and content. This accessible collection of essays gives readers an opportunity to gauge their favorite video game franchises against the best of all time and argue how they each fit among the 100 greatest ever created. Whether casually looking up information on these games or eager to learn how franchises evolved over the years, readers will enjoy this entertaining and informative volume. Comprehensive and engaging, 100 Greatest Video Game Franchises will appeal to fans and scholars alike.

This anthology examines the various facets of video game music. Contributors from the fields of science and practice document its historical development, discuss the music’s composition techniques, interactivity and function as well as attending to its performative aspects.

The Game Design Deep Dive series examines a specific game system or mechanic over the course of the history of the industry. This entry will examine the history and design of the horror genre and elements in video games. The author analyzes early video game examples, including the differences between survival, action-horror, and psychological horror. Thanks to recent hits like Five Night’s at Freddy’s, Bendy and the Ink Machine, and recent Resident Evil titles, the horror genre has seen a strong resurgence. For this book in the Game Design Deep Dive series, Joshua Bycer will go over the evolution of horror in video games and game design, and what it means to create a terrifying and chilling experience. FEATURES • Written for anyone interested in the horror genre, anyone who wants to understand game design, or anyone simply curious from a historical standpoint • Includes real game examples to highlight the discussed topics and mechanics • Explores the philosophy and aspects of horror that can be applied to any medium • Serves as a perfect companion for someone building their first game or as part of a game design classroom Joshua Bycer is a game design critic with more than eight years of experience critically analyzing game design and the industry itself. In that time, through Game-Wisdom, he has interviewed hundreds of game developers and members of the industry about what it means to design video games. He also strives to raise awareness about the importance of studying game design by giving lectures and presentations. His first book was 20 Essential Games to Study. He continues to work on the Game Design Deep Dive series.

Games allow players to experiment and play with subject positions, values and moral choice. In game worlds players can take on the role of antagonists; they allow us to play with behaviour that would be offensive, illegal or immoral if it happened outside of the game sphere. While contemporary games have always handled certain problematic topics, such as war, disasters, human decay, post-apocalyptic futures, cruelty and betrayal, lately even the most playful of genres are introducing situations in which players are presented with difficult ethical and moral dilemmas. This volume is an investigation of "dark play" in video games, or game play with controversial themes as well as controversial play behaviour. It covers such questions as: Why do some games stir up political controversies? How do games invite, or even push players towards dark play through their design? Where are the boundaries for what can be presented in a games? Are these boundaries different from other media such as film and books, and if so why? What is the allure of dark play and why do players engage in these practices?

This book reconsiders audiovisual culture through a focus on human perception, with recourse to ideas derived from recent neuroscience. It proceeds from the assumption that rather than simply working on a straightforward cognitive level audiovisual culture also functions more fundamentally on a physiological level, directly exploiting precise aspects of human perception. Vision and hearing are unified in a merged signal in the brain through being processed in the same areas. This is illustrated by the startling ‘McGurk Effect’, whereby the perception of spoken sound is changed by its accompanying image, and counterpart effects which demonstrate that what we see is affected by different sounds accompanying sounds. This blending of sound and images into a whole has become a universal aspect of culture, not only evident in films and television but also in video games and short Internet clips. Indeed, this aesthetic formation has become the dominant of this period. The McGurk Universe attends to how audiovisual culture engages with and mediates between physiological and psychological levels.

This title examines the relationship between identity and technology in the learning and lives of young people.