This year we are featuring women from all over the world, including early stage entrepreneurs, seasoned business women, investors, inventors, makers, educators, and organizers; we also feature early career researchers, established academics, senior scientists and politicians. The unifying characteristic of all these women is their inspirational story, their enthusiasm, their fearlessness, their vision, ambition, and accomplishments. For some it was a wake-up call to the sexual harassment in tech cultureand for others it was just a public confirmation of what was already well-known. It seems negative, but the publicity around bias, harassment and lack of diversity does provide public vindication for women like Susan Fowler, Tracy Chou, Erica Joy Baker and Ellen Pao who took stands against sexism and suffered for it.
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.Welcome to ETDs @ Harvard. Harvard's Electronic Thesis & Dissertation Submission System. Please use this system to submit your approved manuscript to the FAS Registrar's Office for review.
July - June Master of Science Massachusetts Institute of Technology. I received my S.M. degree in Mechanical Engineering, continuing in the Field Intelligence Lab under the supervision of Professor Sanjay Sarma.. Thesis: "CloudThink and the Avacar: Embedded Design to Create Virtual Vehicles for Cloud Informatics " Development of unified, open-source and cross-platform vehicle .
the international journal of computer game research: volume 4, issue 1 November home: about: archive: Zach Whalen is a PhD student at the University of Florida.
His current writing and research includes work on video game genre theory, comics studies, House of Leaves, and digital pedagogy. In addition to his academic work, Zach is an author and webmaster for the weblog, Academic.
Delia Ann Derbyshire (5 May – 3 July ) was an English musician and composer of electronic music. She is best known for her pioneering work with the BBC Radiophonic Workshop during the s, particularly her popular electronic arrangement of the theme music to the British science-fiction television series Doctor Who.
She has been referred to as "the unsung heroine of British. Find: Paper and microfiche: Search the library catalog, Barton. Digital: Search MIT Theses in DSpace.. DSpace does NOT contain the complete collection of MIT theses. Use Barton to search for all MIT theses.; Recently submitted: Contact Institute Archives if the thesis is not found in Barton..
Theses are received one month after degrees are granted in February, June, and September. You may also want to consult these sites to search for other theses: Google Scholar; NDLTD, the Networked Digital Library of Theses and regardbouddhiste.com provides information and a search engine for electronic theses and dissertations (ETDs), whether they are open access or not.
Proquest Theses and Dissertations (PQDT), a database of dissertations and theses, whether they were published.