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Perhaps the most important genre convention for psychological horror is the underpowered (often defenseless) protagonist, who is ill equipped to deal with the horrors with which they are confronted. This paper presents a comparative analysis of a range of ten survival horror titles with a view to understanding how sight and seeing are used as story elements and game mechanics across the genre, in particular in relation to the emotional e? ct that the games are intended to have on their players. Particular attention is given to the way the games use sight and seeing to create feelings of dread and suspense, but other elements of horror are treated as well. I have found ? e distinct ways in which the games engage with sight and seeing and will discuss them in sequence, drawing examples from the ten titles. As a game design feature, obscuration (and consequently, revelation) is used in many survival horror games, and examples of its use range from very simple to highly complex. At the former end of the spectrum is a straightforward obscuration of the gameworld, such as the mist shrouding the town in Silent Hill 2 (2001) or the darkness obscuring the village in Siren (2003), both shown in Fig. 1. Light and darkness have of course been subject to considerable related work. However, for the purposes of this paper, we are mainly interested in the fog’s obscuratative power. Fig. 1. Obscuration: the fog in Silent Hill 2 and the darkness in Siren.

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This, we learn, Paglen has gleaned from the leaked insignia of a 1998 launch of a classified spacecraft out of Cape Canaveral. The Limit Telephotography series has Paglen sneakily use cameras and astronomical telescopes to uncover classified government sites. These are often in the deserts of the Western states, miles from anywhere. So we get N5177C at Gold Coast Terminal (2007), taken in Nevada at a distance of one mile. Or Large Hangars and Fuel Storage (2005), again taken from Nevada, a shot of the Tonopah Test Range at a distance of 18 miles. There is something of Thomas Demands autistic stare at work in these pictures. We dont know for sure, but you can bet it will end badly for someone. And theres the voyeuristic frisson of seeing what we are not meant to see. These are horizontal ground views, what Google Maps will never capture. In contrast there is The Other Night Sky series, vertical photographs of the heavens above, polluted by our space junk. A white streak traverses a warm orange-coloured liquefied sky, as vividly sensational as Frederic Edwin Churchs Cotopaxi (1862). KEYHOLE IMPROVED CRYSTAL from Glacier Point (Optical Reconnaissance Satellite; USA 186) (2008) captures more rotational scratches of orbital activity above Yosemite. We are immediately reminded of Ansel Adams or Eadweard Muybridge perching above the void. And here another dimension of Paglens output is suggested.

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ct for each worldview giving the expressive range of what areas of con? ct we can explore in this given work. In each ? ure, arrows show directions we can move in the space given some action, i. . if this action is taken, then the two points mark the new actual con? ct for both worldviews at the new actual world. For simplicity, we do not mark any action that keeps both worlds at the same distance. In this sense, the actions show the possible paths through the con? ct space and any point that does not have at least one arrow entering it is considered “inaccessible” unless it is the start position. Since the overarching goal is for all worlds to have an actual con? ct of zero, we can say that for the internal space, both characters want to reach point (0, 0), and for interpersonal space, they care more about reaching a position where their own con? ct is 0. If the 0 position does not exist, or is inaccessible, then we are in a state where that particular con?

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Just click HERE or click on either image above to go to amazon. om to see how to get your copy. One flaw: The ignorant mass of media “reporters” do not know that the Catholic church and its popes have spoken support for evolution since at least 1950. The media people, mostly actors who play journalists on TV shows designed to simulate a news broadcast, are confusing the protestant strain of fundamentalist with the Catholics, who have never taken the bible, which they stole from the Hebrews in order to invent their “backstory”, literally. Here is the citation awarded to the movie 2001: A Space Odyssey by the National Catholic Office For Motion Pictures back in 1968. Fundamentalists would have burned down the theater for what Kubrick shows. Remember, they are merely performers who seek to get ahead, not in the news business, but in the entertainment business. Print it on a single sheet, front to back, fold in the middle and there it is. Yet many people mistakenly write that it is in FOUR sections, with the second section not named. This from the prestigious WikiPedia: “The film consists of four major sections, all of which, except the second, are introduced by superimposed titles. Wrong. Totally wrong. There IS a title introducing the “second” section, but that section is not what they assume it is. The second section is clearly labeled “Jupiter Mission”.

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Unlike Lamont Cranston, the titular Shadow, who regrets the evil acts he has done in the past, Khan revels in his evil deeds. Khan uses his Psychic Powers to force a security guard to kill himself, forces a cabbie to crash into a gas tanker and makes a sailor jump off the Empire State Building because the sailor made fun of the way Khan dresses. Khan also forces Margo Lane, Cranston's Love Interest, to try and murder Cranston, hoping that Cranston would kill her instead and then return to his old evil ways. Khan also kills one of his Mongol warriors when Cranston was able to control him. Khan kidnaps Margo's father, a nuclear physicist, and forces him to build a crude nuclear weapon, which he plans to use to destroy New York City, so the world will bow in fear to him. Shadow Builder (1998): The evil demon known as the Shadowbuilder was an angel who despised God for creating light and humanity. Massacring the sect who summoned him, the Shadow Builder aims to sacrifice a pure-hearted child to usher in Hell on Earth, stealing through his town to murder multiple people and taking their souls while torturing others. In one incident, the Shadowbuilder forces a man to murder his own wife and sends him after the heroes before capturing the child, Christopher, and attempting to murder him to open a portal to hell that will devour all humanity. Shadow Killers Tiger Force: Mr. Davis is the ninja leader of a prison camp where women are kidnapped and made into slaves, planning on selling 53 of them to a Middle Eastern buyer. He allows his guards to sexually abuse, torture, and murder them should they try and escape. Once Lady Ninja rescues some women and destroys his empire, Davis tries to kill her. When his niece discovers evidence of his dark secret, Charles sets about attempting to murder her, sabotaging a staircase to make her fall to her death, locking her in a garage with a running car to asphyxiate her, and ultimately attempting to throw her off a speeding train. A misanthropic maniac who has no remorse for his petty actions, Uncle Charlie stands out as one of the earliest, and most vile, depictions of a sociopath in film.

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He’s this guy who tells these very American stories in a very timeless way. What better guy to tell this big origin story that takes place in America than John Lee Hancock? . With “The Founder,” that period is 1954-1961, a time in America when much of the country was quickly catching on to the idea of mass production. In this optimistic post war period of Elvis Presley, a new modern suburbia of interstate highways, roadside motels, and fast food was also first coming into existence. “It’s always a lot of fun to do films set in the past,” Hancock says. “Because of the cars, because of the clothing, and also looking for anachronisms. It’s definitely easier to do a contemporary movie, but there’s something satisfying about being able to time travel. . Every time I pass by a McDonald’s now I don’t see this massive corporation that makes fast food. I see two brothers who loved each other and who wanted to make fast food for families that was affordable and good. Even though “The Founder” presents the candid origin story of the fast food chain, producer Aaron Ryder believes that McDonald’s should be very excited about “The Founder. “Every time I read the script, I wanted to go out and eat a McDonald’s hamburger. Every person in the United States has some sort of relationship or familiarity with McDonald’s.

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There was a deep, uneven dent in the back of the cranium, covered in knotted hair and dark, congealed blood. Then with his typical dry humour he added, 'Wasn't good for his health. . Grace turned and saw the police officer talk into his two-way radio, giving a report. Then he looked down at the corpse, studying it carefully, noting again the face, the clothes, the cheap watch and the even cheaper-looking plastic strap. He swept his hand across the corpse's face, brushing away the hovering flies. Yes, the corpse was definitely in the right place, but could they be sure this was Michael Harrison. The image he had of Michael Harrison was altogether someone more classy-looking. But whoever he was, he did not deserve to be lying here, being pecked away by blowflies, with the back of his head stove in. He's been here twenty-four hours max, possibly less. . He knew the statistics only too well, from all his years of searching for Sandy. Two hundred and fifty thousand people B year in England alone went missing. Some were dead, their bodies disposed of so efficiently they would never be found.

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rent creators involved in the process and they need to be considered during “delivery”. It is proposed that the principle of “memory” be reframed to “revision”. Instead of developing a narrative and delivering it into the world in a one-tomany linear manner, IDNs have the potential to be a work in progress. As per HCI best practices, testing the technical aspects of interaction and understanding the audience’s response will determine if the IDN achieves rhetorical goals, if it needs to be updated, re-released or if a subsequent or spin-o. This framework is presented in seven phases, but A Framework for Creative Teams of Non-? tion IDNs 147 the process should be cyclical, involve a negotiation between phases, and evolve as the IDN production progresses. It aims to aid collaborate authorship in considering how the properties of digital media and interactivity a? ct the IDN and ability to achieve rhetorical purposes. This framework could be supplemented with more artistic-driven approaches and format-speci? creation tools. References 1. Koenitz, H. Towards a theoretical framework for interactive digital narrative. Swartjes, I.

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