I'm going to approach this review as a lifelong fan of Silent Hill 2, and as someone who is a purist and originalist. I'm assuming that those reading this review will be people who want to know how the remake holds up against the original, and I will assume that those people have already played the original. But if you haven't, or you don't want the remake to be spoiled, then consider yourself warned: this review will be very spoiler-heavy, and will become increasingly spoiler-y as it goes on! So be warned. If you sense that I'm starting to talk about something spoiler-y, then STOP READING!
I was a vocal critic of Bloober's ability to adequately adapt this game. I would have preferred to see a company like Frictional handle this (or Bluepoint, or The Chinese Room, or even FromSoft). I was especially critical of the trailer that showed the opening cutscene of the remake, which I thought had already spoiled the game.
In defense of myself, and everyone who was critical of the early trailers for this remake, Konami and Bloober did delay this game by a whole year, while Bloober apparently changed parts of the game based on feedback to those trailers. So it isn't necessarily the case that we were all wrong about Bloober and this remake, since our commentary and criticisms were apparently incorporated into the final release of the game. (Including tweaking the opening cutscene). In any case, Bloober did not completely fuck this up! This remake is competently put together, and is a fine game on its own right. It's also reasonably faithful to the original -- or at least, as reasonably faithful as I would expect for a modern remake.
Increased graphical fidelity allows more evidence of economic collapse and urban decay.
Unlike with other remakes or remasters (such as Dead Space or The Last of Us), Silent Hill 2 is old enough that it can benefit from an increase in graphical fidelity. One of my favorite changes in the new game is the increase in graffiti, litter, and other signs of urban decay. This gives the impression that Silent Hill is abandoned for perfectly normal [non-supernatural] economic reasons. Documents found within the game (some of which are even new in the remake), reinforce this. This is a small, tourist town that has a history of serial murders, mysterious deaths and disappearances, and weird occultism. That kind of stuff can really hurt the tourism trade, and send such a town spiraling into recession and abandonment.
I also really like some of the upgraded lighting and weather effects. The fog looks great, and there's even an intense wind storm that happens occasionally to try to pressure the player to find shelter in the next area that you're supposed to explore. This is the kind of stuff that I would put into a new Silent Hill game if I were in charge of designing a new game. I have some issues with Bloober's execution of this wind storm, but the idea is still good.
Bloober also makes good use of the Dual Sense controller. Radio sounds come from the controller's speaker. The lightbar along the touchpad changes color to serve as a health indicator. The impact of a melee strike can really be felt. And I even feel the gentle pitter patter of rain on the controller when exploring outside. I think there might also be directional rumbles to indicate when an enemy might be sneaking up on you from off-camera.
Technically speaking, the game looks great and mostly feels good to play. They do a mostly serviceable job, and I actually do like some of the new cutscenes, dialogue, and backstory that is presented. Visits to Rosewater Park and the Abstract Daddy boss fight stand out to me as highlights in this regard.
Bloober repeatedly toys with veteran players' expectations.
However, there are a number of fundamental design decisions that I strongly disagree with, as well as technical concessions which have dramatic effects on the atmosphere, tone, and lore of the game. Much of these weaknesses are things that critics (including myself) feared would be in the game.
The tighter camera angle removes the sense of detachment between the player and James, as well as the detachment from James and what is going on around him. Specifically, the camera (along with sound design) in the original game's forest hike into town elicited a paranoid feeling of being watched or stalked that instantly makes the player uncomfortable. That feeling is almost completely gone from the remake.
For the most part, Bloober's designs lack a lot of the subtlety and restraint of the original, and the increased focus on action and combat dissipates the atmosphere of dread that so thoroughly permeated the original. This could just be me being desensitized by over 20 years of playing and replaying the original Silent Hill 2, but I just didn't think Silent Hill 2 Remake was scary at all, and its harsher environmental design and more intense action meant I also didn't feel the sense of loneliness, isolation, or quiet, surreal introspection that the original did so well. This game is also full of bloat and excess, as if the developers were so excited that they were able to pull of several technical or mechanical feats, that they decided to copy-paste those mechanic everywhere! To the point that parts of this game start to get tedious. And that's basically been one of the core complaints with all of Bloober's games.
This game has a nasty case of "look what I can do!", and it drags out the game, and drags down the final product.
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Tags:Silent Hill, Silent Hill 2, remake, Konami, Bloober Team, nostalgia, time loop, horror, survival horror, psychological horror, James Sunderland, Pyramid Head, Maria, Eddie Dombrowski, Angela Orosco, Laura, Mary Shepherd-Sunderland, Otherworld, Scott Haining, Bluepoint
Video games are unique as an artistic medium. Not only do they allow the consumer to interact with a much wider possibility space than other mediums, but they also allow the consumer to directly influence the art itself. The stories, experiences, messages, and meaning that are conveyed are not only subject to the interpretation of the consumer, but they can be directly influenced or changed by the consumer. In some cases, a game can even prey upon the expectations of the player, or the player's desire to complete the game, in order to convey a particular message, or to make a statement about the player's actions.
One classic example of a game that plays the player as much as the player plays it is Silent Hill 2. That game's endings, and the triggers for each ending, have always been one of my favorite design aspects of that game. Silent Hill 2 takes advantage of the player's preconceived notions about how a horror game should be played, and it uses your play to pivot James' resolution (and his very character) in one of several directions.
Watch a video version of this blog post on YouTube!
I'm going to be talking about Silent Hill 2's endings. It should go without saying that this post will include major spoilers for Silent Hill 2. I'll also be comparing Silent Hill 2 to other games such as Mass Effect, Fallout, The Witcher III, The Last of Us, and What Remains of Edith Finch. As well as the post-Team Silent games: Silent Hill: Homecoming, Silent Hill: Shattered Memories, and Silent Hill: Downpour. So there will also be varying degrees of spoilers for those other games as well.
Spoilers incoming for the above games. Consider yourself warned! [More]
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 title | Original release |
| Silent Hill | January 1999 |
| Silent Hill 2 | September 2001 |
| Silent Hill 3 | May 2003 |
| Silent Hill 4: the Room | September 2004 |
UPDATE 1 January 2020:
A recent tweet from Masahiro Ito claimed that Silent Hill 2 was set in the "late 70's or early 80's", which would make my estimates about 10 later than Masahiro Ito understood the setting to be. If we take evidence in the first Silent Hill game at face value, this would mean that Silent Hill 2 would have to take place prior to the events of Silent Hill, since Silent Hill can take place no earlier than 1987.
It is also possible that Ito's comment is referring to the aesthetics of the game (in keeping with many of the game's film and literary influences), and not necessarily to its actual timeline. It isn't that I don't trust Ito's memory or his authority, but Team Silent went to great pains to conceal the exact date of the games (as we'll discuss in the following post), so it seems that they wanted the years in which the games take place to be ambiguous to the players -- which kind of makes this entire exercise moot.
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.
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? [More]
0ad2a2d3-abbc-4fd7-b255-126a5de4f3ba|9|4.8
Tags:Silent Hill, Silent Hill 2, Silent Hill 3, Silent Hill 4: the Room, history, Harry Mason, Heather Mason, James Sunderland, Maria, Henry Townshend, 1980s, 1990s, 2000s, 1986, 1987, 1994, 1999, 2003, 2008, 2016, Jeep Wrangler, telephone, cell phone, smart phone, rotary phone, computer, television, technology, anachronism, timeline, Konami, Team Silent, The Silence of the Lambs, Mary Shepherd-Sunderland
Konami recently released a preview of the new voice work for the upcoming Silent Hill HD Collection. Due to legal issues with at least one of the original game's voice actors (specifically, Konami refuses to pay James Sunderland voice actor Guy Cihi royalties for their re-releases of the game on other platforms), Konami had to find new people to perform the voice work for the games. So now they've got two sets of people that they will need to play royalties to, and in the meantime, us fans get this:
Nerd Rage Time! [More]
c5ccd911-a8fa-4954-a01b-5cd6b7226f5c|3|5.0
Tags:Silent Hill, Silent Hill 2, Silent Hill 3, Konami, Silent Hill HD Collection, James Sunderland, Eddie Dombrowski, Maria, Tomm Hulett, voice acting, Mary Shepherd-Sunderland
My cosplay for 2010-2011
Silent Hill is sadly one of the most misunderstood game franchises in existence. Part of this is due to the fragmentary and disjointed way in which the original games tell their stories. The designers of the first three games didn't just tell the player what the game's story is. There is no “Bond villian wrap-up” at the end. The designers respected the intelligence of the player, gave us clues piece by piece over the course of each game, and relied on us to put it all together in the end.
But too many fans rely on information that has been circulated by many third-party documents, including some “official” strategy guides and plot analysis that contain possibly inaccurate information that ignores information specifically provided within the game. And when Team Silent disbanded after Silent Hill 4, this erroneous information became the basis for the plots of the future games (and the movie), further tainting people's ideas of the original plots.
As such, this is going to be the first in a series of analysis and interpretation articles that I will be posting on this blog in anticipation of the upcoming Silent Hill Downpour.
Of course, any discussion of Pyramid Head is going to include PLOT SPOILERS for the game. If you haven't played the game yet, read ahead at your own risk. Also, this post contains images and video that may not be safe for work!
The “Rape Time” myth
One example of an unfortunate misunderstanding with the franchise is that Silent Hill fans have latched onto this idea that Red Pyramid Thing (a.k.a. “Pyramid Head”) is a raving serial mannequin-rapist. I believe that label is unjustified.
The idea that Red Pyramid Thing is a mannequin rapist comes almost exclusively from this first major encounter with the creature in the apartment buildings.
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