For centuries, the horror genre has ensnared audiences across generations and genre lines: ballet, opera, literature, poetry, film, and, most recently, video games have all utilized the power of terror to shock, horrify, and, perhaps most disturbingly, attract. But what does fear sound like? This thesis will focus on that question as it explores both the twin worlds of Konami’s survival-horror title Silent Hill and the underwater-nightmare city of Rapture in 2KGames’ 2007 hit Bioshock. Offering a deeper understanding of the agency video game sound employs, this thesis will engage critical gender, race, and feminist theory, confront issues of social and cultural fears evoked through sound, and offer an in-depth analysis of each game’s soundscape in order to discuss the ways video game soundtracks can serve as vehicles for both signifying and unpacking complicated social and political topics that prevail in modern society.
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