The Evil Within 2 - title

Okay, I said I would give up on Shinji Mikami after the first Evil Within game, but here I am giving that IP a second chance. I had heard that the expansions for Evil Within were actually pretty good, and that they even made the base game better by filling in some of the narrative gaps. But I was so furious with the base game that I sure as hell was not going to shell out more money for DLCs. If they were that integral to the core game, then they should have been included with the core game. Now that my furor over the original has faded a bit, I was hearing that the sequel is also much better than the original game and leans more heavily in the horror camp than the action shooter camp. I was dismissive of the game's announcement, and I was skeptical of the claims that the sequel was actually good, so I picked up a [relatively] cheap used copy off eBay so that I could give it a chance over the Halloween week without necessarily giving any more money to Bethesda.

The Evil Within 2 - Kidman
I feel like I missed something...
Maybe I should've played the DLC?

Besides, Shinji Mikami isn't the director this time around. Instead the sequel is directed by John Johanas, who was the director of the [supposedly] good DLC expansion packs. The first game actually did have some good ideas and set pieces within, so maybe a different directorial approach could bring those ideas out to their full potential?

A more focused package

To Johanas' credit, the game, as a whole, definitely has a more "unified" presentation. The first game felt very scattershot with regard to how it wanted the player to play. It's early chapters (which were also the most enjoyable parts of the game) were focused mostly on stealth, with a few pursuit and escape moments thrown in. It was slow, somewhat atmospheric, and built incredible tension. But those mechanics were quickly dropped in favor of shooting gallery set pieces, constant scripted ambushes, set piece boss encounters, and frantic, funhouse-ish trap / puzzle rooms. The sequel, thankfully, is much more focused. I didn't feel like I was wasting my resources by putting points into Sebastian's stealth skills (a skill tree that was completely absent from the previous game), as you can actually continue to use them over the course of the entire game. Sure, there's still scripted ambushes and puzzle rooms, but the focus is much more firmly planted in sneaking around, exploring the environments, and generally avoiding detection.

Unfortunately, there's still a bit too much of a focus on frenzied action. It detracts significantly from any sort of horror or tension that the game might be trying to build up. The autosaves are fairly generous (even though there are also manual save points in each of the game's safe houses), so enemies come in hordes, hit very hard, and deaths are going to happen. Chapter 3 basically completely desensitized me to death and put me in the habit of just standing up and letting the monsters kill me if I ever screwed up the stealth.

The Evil Within 2 - learning curve
The early combat encounters are not gentle, as they put you up against hordes of enemies.

There's a greater focus on open-ended exploration this time around, and Chapter 3 is the first open map that the player is free to explore. There's basically two main paths through it: the hard one and the easy one. The easy path is basically a straight line due north from where you start, but the game throws some curveball objectives at you that basically encourage you to try the other paths that end up being much harder. You're told about weapon caches and NPCs that you're supposed to try to save. One such weapon is the crossbow, which is actually a pretty necessary tool (because, you know, every game has to have a crossbow). It's right off to the side of where you start, but picking it up can easily lead you down a much harder path to your actual mission objective...

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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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Silent Hills just won't seem to die. Shortly after the game was canceled by Konami, petitions started popping up demanding that it be re-instated. Then came the debacle of the Metal Gear Solid V release, which seemed blatantly incomplete and/or half-assed. Then Kojima officially left Konami, Guillermo del Toro tweeted that the cancelation of Silent Hills "breaks his greasy heart", and it all seemed done and buried.

Or was it?

Andrew House (Group CEO of Sony Interactive) announces a partnership with Hideo Kojima.

Within a week of the official announcement that Kojima had left Konami, he was reported to have already set up his own independent Kojima Productions studio, and that he had already partnered with Sony to develop an un-named PS4 exclusive. Geez, that was quick. Kojima has always had a good relationship with Sony. The Metal Gear Solid games were originally PlayStation exclusives, and were definite showcases for those Sony platforms. I mean, when you think of the original PlayStation, what are the first few games that come to mind? Probably Final Fantasy VII. Tomb Raider? Maybe Resident Evil? And definitely Metal Gear Solid. Even when Kojima was initially rumored to be leaving Konami, I had speculated that Sony might make a move to hire him. Contracting him to act as a second-party developer of exclusive content is just as good. I had also speculated at the time that there were three possibilities for Silent Hills to see the light of day:

  1. Konami could hire Kojima's independent studio to continue development of Silent Hills. This seemed unlikely considering the rocky conclusion to Kojima's employment.
  2. Kojima could buy the IP rights to Silent Hill (and maybe Metal Gear). This also seemed unlikely considering that both franchises are cash-cows for Konami.
  3. Lastly, there was the possibility that Kojima Productions could continue the development of what would have been Silent Hills, but without the "Silent Hill" title. Same game; different name.

The partnership with Sony opens up a fourth possibility: Sony could buy or lease the licensing rights to Silent Hill and then contract out development to Kojima Productions. This is the only way that the game could possibly see the light of day and still maintain the "Silent Hill" name. Konami has already expressed its disinterest in continued first-party console game development. It's just too expensive, and the company wants to focus more on its gambling business and mobile games. If Konami wants to continue to see revenue from those IPs, then they are stuck either making smaller in-house games (such as mobile games, pachinko machines, or browser-based games); or they would have to license out the IP to third-party developers. Sony certainly has the buying-power that Kojima, by himself, doesn't have, and could certainly afford to buy those rights, if they so desire.

A trailer for Konami's next Silent Hill game. Not exactly what fans were hoping for...
Hideo Kojima and Norman Reedus

However, Silent Hill fans probably shouldn't get their hopes up for a triumphant return of their tarnished, yet beloved, franchise. In the video announcing the partnership with Sony, Kojima says that he is "thrilled to embark on creating a new franchise with PlayStation". So this project does not appear to be Silent Hills. At least, not in title...

Kojima is rumored to be collaborating once again with Guillermo Del Toro, which opens up the possibility that the two are going to work on realizing the plans that they had for Silent Hills. During a keynote address at DICE, Kojima and Del Toro stated that they would like to continue to work together. Del Toro even went as far as saying that he would "do whatever the fuck Kojima asks him to". He even made an off-hand comment about famed Japanese horror illustrator Junji Ito. I don't know much bout Junji Ito, but his work is apparently a pretty big deal, and he's also been seen with Kojima. Kojima and Norman Reedus have even been seen together, and it's been rumored that Reedus will be working with Kojima again. All the pieces seem to be fitting into place...

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Silent Hill 4: the Room

While I was playing through recent horror titles like The Evil Within, I noticed some interesting similarities with Silent Hill 4 that started to give me a new appreciation for some of this game's stronger aspects. In addition, while doing research for my Silent Hill timeline, I had to go back and play through Silent Hill 4: the Room again. I had only played through the game twice before, so I had to replay it in order to figure out how the timeline would work out. And while I was playing the game, I figured that I might as well go ahead and review it. At the time, it seemed like a novel idea to do a retro review of a Silent Hill game that wasn't Silent Hill 2, but lately, I've been seeing a lot of retro-reviews of The Room popping up other places. I haven't done any retro reviews yet; probably the closest thing has been my review of Demon's Souls. But in light of how unsuccessful the later Silent Hill games have been, the unfortunate cancellation of Silent Hills, and the uncertain future of the franchise, it's a good time to go back to look at what worked and what didn't about the previous games, and explore the question of whether we even want the franchise to continue.

The Room has the reputation of being the "bad" black sheep of the original Silent Hill tetralogy. I always thought that this reputation was unfortunate, and that the game wasn't quite as bad as people made it seem. I actually liked it better than Silent Hill 3 up until I was able to track down a copy of the first game and play through it (at which point, Silent Hill 3 suddenly made a whole lot more sense). The release of future games by third party developers has only made The Room look better in retrospect.

An experimental formula

The game itself is a bit rough around the edges. It deviates significantly from the controls and mechanics established by the previous games in the franchise, and these changes are very hit-or-miss. This might be due, in part, to the possibility that The Room started out as an independent side project that was developed concurrently with Silent Hill 3, and that was eventually redesigned to work as a Silent Hill game in order to be more commercially viable. Whether or not that's true is still a hot issue of debate among the fanbase, but it's obvious to everybody that The Room plays a lot differently from previous titles.

Silent Hill 4: the Room - combat
Movement and combat controls are radically changed from previous games in the series.

The most immediately obvious deviation is in movement and camera controls. The semi-first-person "tank" controls have been completely abandoned in favor of direct directional inputs, and the camera is significantly more limited than it has been in previous games. You can't snap the camera behind the character by holding the "look" button as you could do in previous games. Almost all camera angles are pre-set angles, and the player can usually only toggle between two possible camera angles in any given area.

This results in some very clumsy navigation of the environment, and it's very easy for the character to get turned around when camera angles flip. Most of the time, a camera change will go without a hitch, but there are a few frames in the game that consistently result in erratic and unpredictable movement. It happens most often when a camera change occurs concurrently with a change in direction of the character (to navigate around a corner or an obstacle). If the player's timing for changing the character's movement direction is not perfectly-timed, then the character ends up turning around, which can result in getting stuck in a loop between the two camera angles. This is the very reason that I prefer the tank controls. They may be a bit cumbersome, but at least they're consistent and always relative to a single frame of reference (the character's position in the world), rather than to an unpredictable camera.

The second major change is to combat. The game was designed to have a greater emphasis on melee combat, complete with new target-locking controls, a variety of breakable melee weapons, very limited ammunition for guns, and an on-screen meter for charging power attacks. The new movement controls do make it a bit easier to maneuver around enemies (especially multiple enemies), but only if you're in an open space and the camera angle doesn't go all wonky on you. The mechanics are serviceable, and I don't think they're as bad as some critics insist.

The designers were probably trying to mimic
the horror trope of fumbling for keys.

Inventory management is where things really start to get bad. Henry isn't a walking closet like the previous games' protagonists, and he has only a limited number of inventory slots. This is probably partly the result of the inventory being accessed in real-time by the directional buttons (which also might have played a role in the changes to the movement control scheme being entirely based up on the analog stick), in a desire to create a sense of frantically searching your pockets for a weapon or item while under pressure. It also adds more relevance to the Room 302 hub (another dramatic departure from previous games) by forcing you to go back to restock on supplies or swap out puzzle items.

But it's hindered by a lot of little mistakes...

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A gamer's life...

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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