After watching and responding to Max Derrat's video about Silent Hill's timeline not making sense, I went back and watched one of Max's older videos, and I have some more I want to say. Don't worry, this time, I'm actually agreeing with Max, and want to add my 2 cents to what he has to say about the topic of the upcoming remake of Silent Hill 1. In Max's video, titled "Let's Talk About Silent Hill 1 Remake...", he mentions that he thinks Harry's character needs to be more fleshed out and developed for a modern re-telling, so that he doesn't come off as stale and robotic as he does in the original game.

I personally don't think that expanding the character is strictly necessary. I think more emotive character models and vocal delivery would go a long way by itself, without having to necessarily change anything about Harry's character or backstory. But even though I don't think it's strictly necessary to expand Harry's character, I do still think it has the potential to be a great idea, if Bloober does it well and stays true to Harry's original character. And if you already watched my first critique on the Return To Silent Hill movie, then you know how I feel about Harry, and specifically about his role as a heroic single father figure.

I do not think that Bloober will make the same mistake the Christophe Gans made, and recast Harry as a mother in order to conform to outdated gender stereotypes. Bloober sure as hell better maintain Harry as that heroic and somewhat idealized single father that he is in the original game -- a single father who unconditionally loves his adopted daughter, and will go through literal Hell and back to protect her. Part of what made me love the first Silent Hill game was that I loved Harry as a character. I saw him as an aspirational figure -- the kind of father that I would like to be if I ever had children, or if I ever decided to adopt a child. I absolutely want that to be preserved in any remake or adaptation of the first Silent Hill.

Max Derrat is one of my favorite YouTube content creators. He specializes in talking about occult and psychological (Jungian or Freudian) themes in videos games, with a special emphasis on Silent Hill, Metal Gear Solid, and FromSoftware. He recently posted a video titled "The Silent Hill Timeline Makes No Sense", in which he attempts to place the original 4 Silent Hill games on a timeline, in response to the trailer for Silent Hill: Townfall stating that game takes place in 1996.

Well, Max, I (and others) have tried this exercise in the past. I specifically wrote a lengthy blog about a decade ago in which I tried to create a timeline for Silent Hill. It was a bit of a cluster fuck then, and it's still a cluster fuck now, as Max found out. The problem gets even worse when you try to account for the games that have released since Silent Hill 4.

Max largely comes to similar conclusions as I did, with Silent Hill and Silent Hill 3 being shifted by a few years. But we did have one major point of disagreement, which is the placement of Silent Hill 4 on the timeline. Since Max is directly addressing an issue I attempted to solve a decade ago, I thought I would make my own response video to express both my agreement with the majority of Max's research and conclusions, but also my [respectful] disagreement with his placement of Silent Hill 4. So I spent the last week or so writing and editing a video response to Max, which you can watch below.

I'm not going to rewrite that entire video's script here, especially since most of what I discuss is based directly on my original blog from a decade ago. So I recommend you read that blog for all my detailed arguments, evidence, and reasoning. I will however, take a moment to summarize some of the key points of my response for my faithful readers.

I was going through the comments on my posts a while back, and I came across a doozy of a comment by user Maiden T. I'm not going to replicate the entire post here, but you can review the comment at the link provided. In summary, the commenter asserts that Silent Hill, as a series, was never about occultism, and that all the games were "repressed-memory morality tales". The first Silent Hill and "to an extent the third one" are the exceptions (according to Maiden T).

Totally unrelated image of a demon god...

My mind just about exploded when I read this comment, and I started typing up a response, only to realize that I had written a whole blog's worth of counter argument. So, I decided to just turn it into a new blog. I'll continue my series of analysis and interpretation articles about Silent Hill with a write-up about how the series is most definitely about occultism.

What is Silent Hill about?

I've already tackled two topics that I consider to be common myths about Silent Hill. The first was about the over-sexualization of Pyramid Head, and the second was about the realness of the Otherworld. Now I'll address one of the most fundamental misunderstandings about the series: what is it about?

The repressed-inner-demon myth

Probably the most core and fundamental myth about the Silent Hill series is the continued propagation of the idea that the series (as a whole) is about characters dealing with repressed inner demons - typically a repressed memory of guilt over a perceived sin which they have committed. This idea is rooted in the popularity of Silent Hill 2. It is so pervasive, that the designers and producers of newer installments of the series embrace it, while dismissing the other critical elements of the other games' stories:

"[My favorite SH game is] Silent Hill 2. I didn’t really care for all the heavy occult based storyline in SH1 and 3. I felt SH2 had the best stand alone storyline, and provided the best atmosphere of all the SH games by far.
[...]
I find all the in’s and out’s of ‘The Order’ to be overly intricate and rather uninteresting, but that’s just my opinion."
   - Devin Shatsky (producer, Shattered Memories, Downpour), in an interview with Hell's Descent (Nov 5, 2010).

The reason that Silent Hill 2's design was so successful (and unique within the series) is because SH2's excellent atmosphere was based around feelings of melancholy and depression rather than fear and threat. Exploring a character's personal guilt and depression works great when the entire game is designed around that central, unifying theme! It doesn't work quite so well when ...