The two Silent Hill films (2006, 2012) were constructed directly around the existing soundtracks of the source video games. Exploring the adaptation of the Konami ‘survival horror’ video game series (199) illustrates the similarities and differences between the two audiovisual forms. Although adopting some cinematic conventions, the films duplicate the game soundtracks and reverse some film norms, most clearly in having sound effects with an emotional cast and music that is unemotional and mechanical, like an inanimate object. Some sound effects function more as emotion and psychology than representation, in other words not communication so much as pure aesthetics. These are characteristics not only of the unified soundtrack but also of all sounds being organized in something closer to a musical manner.