Tom's Comments: Silent Hill has perhaps
the greatest opening of any game. Ever. It starts with the faint
crackle of a needle laid onto a phonograph. Then the gypsy trill
of a mandolin. Now a man is driving down a nighttime road with
his sleeping daughter in the car. There are flashes of other people.
A despondent man with a gun. A hysterical nurse. An eerie old
woman with cataract eyes. A policeman roars by on a motorcycle
and disappears into the darkness beyond his headlights. Who are
these people? What do they have to do with anything?
The music curls through something like the resonant
thrums of Angelo Badalamenti's Twin Peaks theme, with a vaguely
Sergio Leone Western riff. It climbs into a plaintive minor key.
Suddenly there's a little girl in the road. The man swerves to
avoid her and crashes. The noise settles and he lifts his head
from the wheel. Fog swirls around the car, which has come to rest
at the edge of a town called Silent Hill. His daughter is gone.
He runs into town, calling for her. He sees someone
-- his daughter? the little girl he almost hit? -- recede into
the fog. He chases her down an increasingly narrow alley littered
with broken, then bloodied medical equipment. The camera angles
skew and twist. The perspective closes in. Darkness and air raid
sirens well up around him. Then the nightmarish finale turns out
to be just a nightmare and it's not a finale at all, but only
the beginning.
This is Silent Hill. It never quite makes any sense,
but that's okay. Senselessness has its place in horror. Backstories
about secret government projects, zombie-making toxins, and biomechanical
research are a dime a dozen. But Silent Hill was something different.
It was bold, weird, and genuinely frightening.
And so far Silent Hill 2 has very little in common
with it. This sequel opens with a man studying himself in a dingy
bathroom mirror. That's it. Where's the music? Where's the opening
cinematic? More importantly, where's the motivation? Who is this
man? What is he doing? Is he here to take a leak? Is he picking
up boys? Is he the janitor? We just don't know. Imagine walking
into a public bathroom and there's some guy just standing there.
That's how Silent Hill 2 starts.
You'll figure out soon enough that the man in the
bathroom is you. You're controlling him. So what do you do? Search
the bathroom for secret doors. There are none. Great. Now what?
You'll finally figure out that you're supposed to do what any
normal person standing around in a bathroom would do: leave.
Now the backstory spills out in a clumsy voiceover
with a Yanni-esque piano tinkling in the background. This man's
wife has been dead three years, but he just got a letter from
her. She wants to meet in the town of Silent Hill. So here he
is parked outside town, having a look at himself in the rest stop
bathroom before taking a shortcut through the foggy woods. Three
hours later, our hero has wandered the streets, whacked some zombified
guys in straight jackets, and solved a few contrived puzzles.
He's met a bratty little girl, a fat guy who vomits into a toilet
and then gets pizza at the bowling alley, a hussy on the waterfront
who looks like his wife, and some guy with a mannequin fetish
wearing a bathtub on his head. It's more stilted than mysterious.
I'm getting that sinking feeling that perhaps the creators of
the first game were on sabbatical when this one was being made.
Either that or they had no idea what made their first game so
good.
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The graphics look nice enough, but they should look
better. Shenmue on the Dreamcast had better art and animation
than Silent Hill 2, which puts so much emphasis on volumetric
mist and lighting that it could have been subtitled 'Shadows and
Fog'. Aside from these gratuitous effects, I'd almost guess this
was a Playstation 1 graphics engine ported over to the PS2.
A more significant problem is the lack of motivation
in the game. The first game constantly reminded you that you were
looking for your daughter. We've all been children separated from
our parents: first day at school, getting lost at the mall, being
left with grandma for the weekend. And some of us have been parents
separated from our children, a far more terrifying prospect. This
gut-wrenching universality drove the first Silent Hill forward.
But Silent Hill 2 offers maudlin yearning for a dead spouse. It's
the stuff of soap operas and it lacks the sinister undertones
of a missing child. It also goes by the wayside early and often.
The first Silent Hill was also creepy for its shifting
realities, hidden agendas, and parallel dimensions. Was it a dream?
Did the people you meet know more than they let on? Was this a
school or some freakish asylum? So far, Silent Hill 2 has displayed
none of that uncertainty, although there is a hint that it might
lean that way eventually.
Perhaps worst of all, Silent Hill 2 is pulling punches.
Probably in light of recent reservations about violence in video
games, the developers have toned down the content. For instance,
in Silent Hill, some of the monsters were child-sized demon/ghost/ghouls
with butcher knives. The developers have said there would be none
of that in this sequel. It's still gross and moderately graphic.
It's still kind of weird. But so far, it's not much more disturbing
than a Resident Evil game.
When I received the game, the PR representative
from Konami included a thoughtful letter asking for opinions on
whether Silent Hill 2 was appropriate after the terrorist attacks
on September 11th. While these reservations are obviously well
intentioned, they're misplaced. Silent Hill 2 is a horror game.
It's fantasy. It's not real. It has no bearing on real events.
Unfortunately, the developers and publishers seem to be afraid
of their own game being scary. So far this sequel takes place
in a kinder and gentler Silent Hill, a Silent Hill missing the
visceral appeal it used to have, a Silent Hill that isn't creepy
or disturbing enough to mask the bad writing, a Silent Hill that
has some reservations about whether it should do certain things.
In short, a Silent Hill that just isn't Silent Hill.