Stranger Things season 2

The first season of Stranger Things was a mysterious and intriguing piece of television that successfully channeled an eclectic collection of 80's and 90's nostalgia (from E.T. to Stephen King to The X-Files to Dungeons and Dragons). Instead of being a cynical piece of derivative nostalgia bait (or an outright cash-in on established intellectual property), Stranger Things somehow felt wholly fresh and original.

Unfortunately, season 2 lacks a lot of that mystery and originality that made it's predecessor work so well. Season 2 just feels too familiar. We already know about the Upside Down, and the Demogorgon, and Eleven's psychic powers, and the secret government research lab conducting shady experiments. None of that can really carry the show anymore. But that's about all that season 2 has. There's nothing very new. There's no surprises.

The introduction of a new girl creates tension within the group.

Compounding this problem is that plot points and set pieces feel recycled from last season. Most are inverted in some way, as if they are Upside Down reflections of the previous season's events. But that isn't nearly as clever as the wordplay might make it sound. For example, there's a sub plot of tension among the boys because a new girl has entered their group. This time, it's Max instead of Eleven, and it's Mike who's unhappy with the new dynamic of the group instead of Dustin and Lucas. Midway through the season, there's a set piece in which Will draws a bunch of pictures and hangs them up all over the house. It feels like a repeat of Joyce hanging up the Christmas lights, except that it's Will trying to communicate with the Upside Down instead of Joyce trying to communicate with her son. And the group even takes in another stray and tries to hide it; except this time, it's a baby demogorgon instead of Eleven.

There's a sort-of new monster in the form of the "Shadow Monster" that haunts Will. This shadow monster, however, doesn't really do anything, and we're left with only the army of dog-like demogorgons. It takes an approach similar to James Cameron's Aliens , in that it multiplies the number of monsters, gives them a "nest", and adds some big "queen" that seems to be controlling everything. This comparison is driven home by the shadow monster's resemblance to a ghostly xenomorph, and the inclusion of a scene that was basically pulled straight from Aliens (right down to the beeping motion detectors). But unlike Aliens , I never felt threatened by the surplus of demogorgons, and the Upside Down never seemed as mysterious as the xenomorph hive or their horrifying queen.

The "Shadow Monster" is a threat that never really pays off -- at least not this season.

While the first season didn't revel in sudden character deaths for the sake of shock value like Game of Thrones , the sudden death of Barb midway through the season did manage to raise the stakes for everyone else. Season 2 has nothing like that. There's no sudden or unexpected deaths of any characters who aren't obviously disposable from the moment they arrive on scene. And even among the cannon fodder characters, the death count is still ridiculously low...

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Stranger Things

After P.T. took the PlayStation Network by storm two years ago (geez, has it already been that long?), I set up my Google news feed with a subcategory specifically for Silent Hill news. I wanted to keep up with the progress of the game, since it looked like the most promising project the series had seen in a decade. After the traumatic cancellation of Silent Hills, that news feed has been mostly populated with articles mourning the loss, or with conspiracy theories about the game's return. Lately, however, a new story has been repeatedly populating that news feed: reviews and interpretations of the Netflix original series "Stranger Things".

With the internet's insistence that Stranger Things is "the show that Silent Hill fans have been waiting for", and some recommendations from co-workers and friends, I decided to give Netflix's new horror thriller a chance. So while House of Cards and Daredevil still sit unwatched in my Netflix queue, my girlfriend and I powered through all eight episodes of Stranger Things within a week.

Stranger Things reminded me a lot less of Silent Hill, and a lot more of Twin Peaks and E.T., but I loved the series nonetheless. I found myself amazed by just how much the show looks and feels like something from the late eighties or early nineties, and by how well it manages to capture a sense of nostalgia for its sources of inspiration without having to license them outright. Hollywood could learn a thing or two from this show. The insistence on reviving franchises like Star Trek, Star Wars, Ghostbusters, Transformers, Ninja Turtles, Power Rangers, The X-Files, etc., is starting to wear very thin. At best, these films feel like high-budget fan fiction. At worst, they feel like cynical attempts to play off of nostalgia for a quick cash-grab. Very rarely do they feel like genuinely inspired works of creative art. This reliance on adaptation instead of inspiration has created a dearth of creativity that in many cases has tarnished once-venerable intellectual properties.

Stranger Things - the Upside Down
The internet claims that Stranger Things is "the Silent Hill show that fans have been waiting for".

Stranger Things doesn't stoop so low. It wears its influences proudly on its sleeves, but it also remains, thankfully, it's own entity. It never feels derivative; it never feels stale; and it never feels creatively bankrupt. It's not exactly original (as it blatantly incorporates elements of its inspirations into its plots and characters), but it also manages to occasionally surprise with its clever subversions of genre tropes. It never feels like the shallow fan service that I've gotten so used to seeing from Hollywood blockbusters, and (most importantly) I could enjoy it without the baggage of expectations from a recognized namesake.

Much of this is due to the characters and performances, all of which are great...

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In the comments of a recent post about Silent Hill 2's Otherworld, I had a discussion with a reader about the time period in which the Silent Hill games take place. This is actually an interesting and difficult topic, so I thought that I would dedicate a post specifically to it.

First and foremost, let's remind ourselves of when the games were released:

Game titleOriginal release
Silent Hill coverSilent HillJanuary 1999
Silent Hill 2 coverSilent Hill 2September 2001
Silent Hill 3 coverSilent Hill 3May 2003
Silent Hill 4 coverSilent Hill 4: the RoomSeptember 2004

Contemporary fiction

It is very important to note that no specific dates ever appear in any of the Silent Hill games that were developed by Konami's internal Team Silent studio. If dates are provided, they are either only the month and day (and not the year), or they are time periods relative to the events of the game (such as referring to the "events of 17 years ago" in Silent Hill 3), or it is just the year of an historical event in the past (such as the document about the sinking of the Little Baroness). Even documents that you would expect to have dates (such as newspapers, journals, diaries, patient reports, and police records) are intentionally left dateless (or at least ambiguous).

In Silent Hill 2, there is a point in which James finds newspapers scattered around a hallway. Upon examining the floor or walls, James comments that the newspapers have today's date. This would have been a perfect opportunity for the developers to provide a specific date for the game, if they wanted to. They could have had James read the date on the paper to the player, or the paper itself (with its date) could have been made clearly visible. The developers didn't do this; they left it completely ambiguous.

Silent Hill 2 - labyrinth newspapers
James notes that these newspapers have today's date, but doesn't tell us what the date is.

The developers went out of their way to not provide any specific dates for the games. Why would they do this? Typically, works of fiction that are not set in particular time period are written to be contemporary. Unless otherwise specified, most works of fiction should be assumed to take place now with respect to the consumption of the work by its audience, regardless of when "now" happens to be. if it's not contemporary to consumption, then it's usually contemporary to creation. This is usually pretty obvious if the work contains detailed descriptions of locations, technologies, and events that can be easily dated.

If we look at the original Silent Hill game in a vacuum, then the game provides no internal indication that it takes place at any specific time period. Players in 1999 probably had no reason to believe that the game took place in any year other than 1999. The same is true for Silent Hill 2, 3, and 4: if looked at in a vacuum, they can all be considered to take place in the same year that they were released. And if you didn't even know the year that the game was released, there's very little within the games to indicate that they take place at any time other than now.

However, this assumption falls apart because there is an absolute time difference of seventeen years between the events of the first game and the events of the third game, even though the difference in time between releases of the games was only four years. So we can't assume that each game takes place in the year of its release. At least one game has to be shifted on the timeline. So which game (or games) should be assumed to have taken place when?

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Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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