Anche lo spazio "gioca" la sua parte .
(di Luigi Marrone)
La Silente Collina opera un rapimento avvolgente su molti gamers, un risultato quasi decennale ormai. Da dove prende forma tale fascinazione?
In realtà Silent Hill possiede qualità tentacolari: blandisce David Lynch e la rarefazione atmosferica dell’Angelo Badalamenti di Twin Peaks , si tende verso la visionarietà dell’Adrian Lyne di Allucinazione perversa e infine abbraccia la demiurgica malvagità presente nel Session9 di Brad Anderson.
Classiche cittadine americane di periferia macchiate da follie private dietro facciate ordinarie, con la story-line arricchita dal plot dell'ultimo "Origins" che come da titolo rimane ancorato alle ideologiche incarnazioni della serie.
Non è fuori luogo parlare di “incarnazioni” (tutt’altro che fantomatiche) in Silent Hill, dato il background di "città di nativi americani con poteri mistico-spirituali" (sciamani): l’inflazione di proiezioni astrali in grado di creare realtà parallele/alternative ( Otherworld ) nelle quali ci si imbatte in deformità partorite da visionari animi rancorosi - uomini dal passato torbido e traumatizzato, spesso omicida - in Silent Hill é semplicemente the norm. The broth
etheric / noospheric - that makes possible such emanations in Origins is once again proven the mind of the poor Alessa Gillespie in the first Silent Hill: her innocence made the devil knows that hatred and personality that attracts the powerful psychic energies, the-development kit for the traumas of the actors who are themselves from monster-designer.
Approach to Silent Hill is synonymous with enmeshed in a web symbolic / metaphorical in which the image / movie questions intimately (and simultaneously) the viewer through an exchange anything but incidental and superficial. Skip this item will inevitably lead to the mystification of the approach (Silent Hill? A simple survival horror game where you kill monsters) with corresponding data from the inevitable boredom lack of ludo-appeal. In reality the work
Konami, to an extent similar to the films mentioned above, question the gamer / viewer whose fascination is guaranteed by an intriguing challenge playing on the polysemy of interpretation, for which active and critical participation factors are fundamental theoretical speculation.
A trip into a journey, each time, from the recesses of the human psyche virtual experience offered in the case last incarnated on PSP: 6 hours and 38 minutes total time of my crossing Origins , a short adventure featuring a satisfying synthesis of the strengths of the series, beautifully optimized for size hend-held.
What most surprised Sony is the preservation of sensation confined to the outdoor space of Silent Hill. It 's still an expanded sense of openness and breath, air and soothing one that captivates when, through the unmistakable sign of an aesthetic never abandoned, you feel the emotional relief to go back to saving the misty whiteness of roads after the jarring cacophony of dell'Otherworld stage. The different nature of these environments in Silent Hill creates de facto the conditions for a dialogue that has entropy suggestions, implications, and at the same time creates a very clear distance between the experiences of video games today.
Silent Hill is still the only video-interactive experience in which internal and external spatial location take precedence unsurpassed narrative through a dialogical relationship with a brilliantly staged re-shape the agency's environmental contextual gamer / tourist (game-designer budgeted).
environments of Silent Hill is equivalent to living entities, buttons, with a personality psychosomatic (caused by trauma, human) and then loaded with paradoxes visual and symbolic details liminal idiosyncrasies: ogni luogo, ogni spazio, ogni cartello pubblicitario, topografia e onomastica stradale si trasforma in fertili tessuti metaforico-simbolici dal monitum sinistro, la cui interpretazione diviene parte integrante dell’esperienza di gioco.
Seppur le sue strade siano limitate da baratri aperti sul vuoto, impalcature e vicoli morti, nello spazio esterno della Silent Hill le traiettorie paiono moltiplicarsi, le possibilità di fuga aumentare e l’ansia dietro il raggiungimento di una meta rosso-cerchiata sulla mappa accresce il senso d’un funzionante, salvifico scopo: quello di regalare, come nessun'altra esperienza videoludica ha mai fatto, il senso di una cosi fluida transizione/passaggio fra spazi ambientali dalle nature cosi diverse.
and that is why Silent Hill split the concept of space as explorable area is equivalent to consider what has never been: a simple survival horror game whose focus is the fight and flight.
Silent Hill is a medium suited for interactive video-gamer-sensitivity search for live audio-visual environment influences, dynamic and active role in human introspective speculation playful interpretation of the text. Since
given a specific virtual environment, was also a closed city and highly planned as Dumbledore's Hill, where there is movement there is no thought, as the trajectories generated spaces.
And the possibilities of space are only possibilities of the mind.
