The second entry in the Landmark Video Games series

BradyGames' Silent Hill 3 Official Strategy Guide features comprehensive maps that mark key locations of items and supplies, including areas without in-game maps! Detailed walkthrough that includes puzzle solutions. Boss tactics guide players through every aspect of Heather's ordeal, in the normal world and the horrifying Reverse World. Game secrets, complete item and weapon coverage, enemy information and more! This product is available for sale in North America only.

Silent Hill: The Terror Engine, the second of the two inaugural studies in the Landmark Video Games series from series editors Mark J. P. Wolf and Bernard Perron, is both a close analysis of the first three Silent Hill games and a general look at the whole series. Silent Hill, with its first title released in 1999, is one of the most influential of the horror video game series. Perron situates the games within the survival horror genre, both by looking at the history of the genre and by comparing Silent Hill with such important forerunners as Alone in the Dark and Resident Evil. Taking a transmedia approach and underlining the designer's cinematic and literary influences, he uses the narrative structure; the techniques of imagery, sound, and music employed; the game mechanics; and the fiction, artifact, and gameplay emotions elicited by the games to explore the specific fears survival horror games are designed to provoke and how the experience as a whole has made the Silent Hill series one of the major landmarks of video game history.

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Discussing the state of play in contemporary popular culture, specifically the role of crime and crime control in the video game medium, this book discusses the criminological importance of video games. Pulling together an international group of scholars from Brazil, Canada, Sweden, the United Kingdom, and the United States, this edited volume analyzes a wide range of noteworthy video games, including Bioshock, Death Stranding, Diablo 2, Beat Cop, The Last of Us, Disco Elysium, Red Dead Redemption, P.T., Spider-Man, Spider-Man: Miles Morales, Star Wars Jedi: Fallen Order, and Grand Theft Auto. The book thus seeks to advance dialog on video games as important cultural artifacts containing significant insights regarding dominant perceptions, interests, anxieties, contradictions, and other matters of criminological interest. Covering policing, vigilantism, different forms of violence, genocide, mental illness, and criminological theory, Video Games, Crime, and Control will be of great interest to students and scholars of Criminology, Media Studies, and Sociology, specifically those focusing on Game Studies and Cultural Criminology.

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.

This book examines the notion of storytelling in videogames. This topic allows new perspectives on the enduring problem of narrative in digital games, while also opening up different avenues of inquiry. The collection looks at storytelling in games from many perspectives. Topics include the remediation of Conrad’s Heart of Darkness in games such as Spec Ops: The Line; the storytelling similarities in Twin Peaks and Deadly Premonition, a new concept of ‘choice poetics’; the esthetics of Alien films and games, and a new theoretical overview of early game studies on narrative