{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,7,7]],"date-time":"2026-07-07T07:44:42Z","timestamp":1783410282713,"version":"3.54.6"},"reference-count":38,"publisher":"SAGE Publications","issue":"3","license":[{"start":{"date-parts":[[2010,5,18]],"date-time":"2010-05-18T00:00:00Z","timestamp":1274140800000},"content-version":"tdm","delay-in-days":0,"URL":"https:\/\/journals.sagepub.com\/page\/policies\/text-and-data-mining-license"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Games and Culture"],"published-print":{"date-parts":[[2010,7]]},"abstract":"<jats:p>This article explores the construction of Silent Hill\u2014Konami\u2019s survival horror video game series\u2014as art. Adopting a discursive approach to the notion of \u2018\u2018art,\u2019\u2019 the extent to which traditional formations of cultural value are mobilized is explored across three aspects of the series\u2019 first four installments. The Silent Hill game texts are examined as evoking formal devices of art cinema, including realism, ambiguity, psychological complexity, and self-reflexivity. Next the games\u2019 advertising is considered as emphasizing these qualities, privileging narrative over ludic gaming aspects. Finally the games\u2019 representation in the documentary \u2018\u2018The Making of Silent Hill 2\u2019\u2019 is discussed as positioning the series within frameworks of artistry and authorship.<\/jats:p>","DOI":"10.1177\/1555412010364976","type":"journal-article","created":{"date-parts":[[2010,5,18]],"date-time":"2010-05-18T22:30:59Z","timestamp":1274221859000},"page":"314-328","source":"Crossref","is-referenced-by-count":11,"title":["Discursively Constructing the Art of Silent Hill"],"prefix":"10.1177","volume":"5","author":[{"given":"Ewan","family":"Kirkland","sequence":"first","affiliation":[{"name":"Kingston University, London, United Kingdom,"}],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"179","published-online":{"date-parts":[[2010,5,18]]},"reference":[{"key":"atypb1","volume-title":"Cybertext; perspectives on Ergodic literature","author":"Aarseth, E.","year":"1997"},{"key":"atypb2","unstructured":"Aarseth, E. ( 2004). 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Compton (Ed.), Gamers: Writers, artists & programmers on the pleasures of pixels (pp. 225-237). New York: Soft Skull Press."},{"key":"atypb21","volume-title":"Screenplay: Cinema\/videogames\/interfaces","author":"King, G.","year":"2002"},{"key":"atypb22","doi-asserted-by":"publisher","DOI":"10.1177\/1354856507081964"},{"key":"atypb23","unstructured":"Kirkland, E. ( 2009). Storytelling in survival horror video games. In B. Perron (Ed.), Horror video games: Essays on the fusion of fear and play (pp. 62-78). Jefferson, NC: McFarland."},{"key":"atypb24","doi-asserted-by":"publisher","DOI":"10.1093\/screen\/38.2.107"},{"key":"atypb25","volume-title":"Power up: How Japanese video games gave the world an extra life","author":"Kohler, C.","year":"2005"},{"key":"atypb26","unstructured":"Krzywinska, T. ( 2002). Hands on horror. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema\/videogames\/interfaces (pp. 206-23). 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