Column: The Aberrant Gamer - 'Sundering the Mind'
[The Aberrant Gamer is a weekly, somewhat NSFW column by Leigh Alexander, dedicated to the kinks and quirks we gamers tend to keep under our hats-- those predilections and peccadilloes less commonly discussed in conventional media. NOTE: This week's column analyzes a game's plot from beginning to end; be advised it contains spoilers for those who've never played it.]
Konami’s survival-horror bacchanal Silent Hill 2 relies on dynamics of aberrant psychology as its most pivotal element. All of the Silent Hill games do, to some extent—but entering the mind of a man in his own private Hell has never been so stark, so unsettling, or so delightful as it is with protagonist James Sunderland. We’re introduced to James in the opening, when he receives a letter from his deceased wife, Mary—supposedly dead of fatal illness three years prior, summoning him to the town of Silent Hill, where she’ll be waiting in their “special place”, a hotel room where they once vacationed together.
Of course, this is illogical. The town of Silent Hill, its crumbling borders preventing escape, its evolving scenery defying reason, plays the role of a biblical Limbo in these games; the protagonists are inserted into the disorienting nightmare to confront symbols of their inner darkness. Mary’s impossible invitation, then—via a letter whose writing grows fainter, fading as the story progresses—is more of an invitation from James’ subconscious to explore the events of his past. We know—though we hope against hope—that Mary just can’t really be waiting for us in Silent Hill.
But could James, who feels himself a grieving widower, truthfully be a mercy killer? Or is it something even worse?
This column has touched before on the ways that any conflict, any symbology, any thematic element in games (or anywhere else, for that matter), when broken down into its simplest parts, will in its reflection of human nature fall squarely into one of two camps. The fundamentals of existence; sex and death. And the most effective, engaging games tend to balance both elements handily. Blood-explosive slaughterhouse violence in games tends to feel hollow after a while, whereas games that are little more than interactive skin mags feel cheap. It takes the artful arrangement of both, supported by a plausible network of human psychology, to truly compel a player-- and the ways in which Silent Hill 2 accomplishes this balancing act is worthy of examination.
As obscured in layered drama (much of it open to interpretation) as the fictional town of Silent Hill is in white fog, James’ actual nature and motivations are highly open to interpretation. Analyzing the symbolism that appears with pitch-perfect thematic consistency throughout the entire game, however, the deliciously twisted realities, like the clamor of madness from every dark corner of the game’s world, are impossible to ignore. Examine the symbols, and the truth floats to the surface—and so, Silent Hill 2 might be one of those few well-woven game stories in which the worst ending is actually the most appropriate one.
The twisted symbolism of Silent Hill 2 tells the story’s true throughline more directly than its action. The game’s varnish of dread comes as much from the effective sexual symbols as it does from the meting out of death and the fear thereof. It’s the violence, of course, that’s overt in a survival-horror game, but the characterization of James is actually completed in these slightly more subtle elements.
Take, for example, the infamous Silent Hill nurses. These faceless, bloody-smocked and stilted white dolls appear in some form in every incarnation of Silent Hill-- which makes sense, considering that a hospital is significantly involved in each story. The nurses hold particular significance depending on the context—as avatars for Lisa Garland, drug-addled on White Claudia and nurse of the unfortunate Alessa, in Silent Hill 1, or holding similar significance for Silent Hill 3’s Heather-as-counterpart, fated to be impregnated with a god. The most compelling thing about the locations of Silent Hill is that, at the same time they resemble the dark fringes around a particular location, they are an accurate reflection of the hero’s most aberrant mind. For James, then, the medical staff might simply be reminders of his numb vigils at Mary’s fetid sickroom.
They might—if not for the particular variations Silent Hill 2 takes on their appearance. In cap and apron, stockings, and an impractical mini-dress, they’re more like fetishistic symbols than memories of real nurses. As shambling, moaning aggressors, they’re representative of the deeply repressed sexual frustration experienced by a man losing his young wife, and his objectification of women in general—a theme supported by the appearance of Maria, a scantily-clad, self-centered and manipulative identical doppelgänger of Mary. In every purr, in every unsubtle flirtation, every flick-roll of her hips, she reminds James that she’s everything Mary never was.
Silent Hill 2’s supporting characters perhaps offer much clearer thematic support for James’ madness, Examined individually, they could be seen each to represent some specific facet of James’ conflicting emotions. We meet fat Eddie Dombrowski, who kills to empower himself, when he’s vomiting his self-disgust in an apartment bathroom. Angela Orosco, who seems psychologically arrested in childhood, presents the face of a woman damaged by her father’s sexual appetites—and wants to kill herself, torn by guilt and rage. The scene in which James must rescue Angela from the monster that terrifies her is ripe with rather graphic symbolism—the player battles a hulking shape that resembles a man bent over a small bed, while surreal-looking sphincters open and close on the wall all around them. Only the child Laura, who, as confounding as she is, is an innocent—seems to come from outside of James, acting as a guide of sorts in the fog-shrouded purgatory.
And she hates him.
Some of the first enemies James confronts resemble piecemeal jointed mannequins, naked, shiny and flesh-toned, jerking as they move. But while they may be composed of human parts, they’re not even complete mannequins—instead, they appear to be two hips fastened end-to-end, thighs splayed. In one of Silent Hill’s apartments, your light might fall on a dark corner where a whole, faceless mannequin stands, wearing Mary’s clothes.
The mannequins appear fairly early in the game, and the immediate onslaught of these telltale monsters is like a sudden break with reality—and for James, one could theorize that might be exactly what’s happening, thrusting him into a white-edged limbo state deep inside the self, wherein he has the opportunity to confront the truth about himself and his deeds.
Perhaps it’s not a matter of choice; perhaps it’s simply that the truth won’t be denied any longer and breaks free, howling angrily into the rift in his psyche.
The most infamous of all Silent Hill 2’s creatures is the blood-colored Pyramid Head, face obscured by a massive three-sided helmet. On first meeting him, we see the behemoth commit what appears to be the act of rape on one of the hip-and-thigh dolls as it kicks and squirms. Neither of the objects being shown are human, nor is it viscerally graphic, but it’s one of the most disturbing scenes in video game history, ensconcing the blade-dragging, faceless monster as a fan favorite among all game villains. It should be noted that Pyramid Head rarely confronts James—in one chilling moment, he stands on the other side of a metal fence, just watching. Waiting, like a judge.
But he kills Maria, James’ fictitious illusion of his wife —ruthlessly and repeatedly, allowing James to viscerally re-experience (perhaps, masochistically) his torment and guilt.
Pyramid Head is completely invulnerable to James’ attacks until he recognizes his weakness—and kills Maria himself, one more time. She’s lying, necrotic and immobile on her back, and calling James’ name softly, with that familiar voice. The story’s been well engineered to make Maria repellent to the player by this point—she’s a ghost, a hallucination of madness, a manipulative woman, a tease, or a monster herself. We’re glad to kill her.
Which is exactly how James must have felt when he smothered Mary with a pillow.
It’s revealed that Mary’s last days were spent being self-centered and difficult, even abusive towards James, and that her illness had become repulsive. But it’s never indicated either way whether James’ swift retribution was an act of mercy for a woman who was no longer herself, or the cold strike of resentment, frustration, disgust, unsatisfied sexual appetite. It’s here we find that Mary’s original letter of invitation—to meet her in a hotel room, no less—was nothing more than a blank paper, something James imagined all along.
Interestingly, Silent Hill 2’s climactic confrontation is against two Pyramid Heads, making a triad of creatures whose nature as victim or aggressor isn’t clear. Eventually, the two Pyramid Heads self-impale, destroying themselves, and leaving behind one egg each that can be used to unlock the door to the final area. Both red eggs are identical, but bearing synonymous names—“rust-colored” and “blood-colored”, and the fact that it doesn’t matter which you take suggests that victim or murderer, James’ fate is the same.
The “bad” ending, called “In Water,” is stunningly easy to come by, provoked almost by the natural course of playing the story—for example, examining certain objects, like Angela’s knife or a murderer’s diary, or attempting to conserve healing supplies. After reading Mary’s farewell letter, James ends up in his car at the bottom of a lake, consumed by madness and ready to “be together” with Mary again. The fact that a player will achieve this ending simply for exploring the world and its objects thoroughly-- as any good gamer is wont to do-- is very telling.
There's no real happy ending to this story, but even a good ending wouldn’t be appropriate. While it is possible, to some degree, to play through the game in a way that allows James to come to terms with what he’s done, it feels much more wholly a story to let James run a more fatal course—and this is due entirely to the environmental symbolism, the pervasive suggestions of James’ inner perversion, torment, shame, and grief, drawing the image of a man who perhaps was once a loving husband, but who’s since spiraled into madness. The true genius of Silent Hill 2 is that it often feels, just for a while, like it’s taking us with him.
Comments
I think this is one of your best columns. Really really good read. Fascinating.
Although, I guess I must be one of the few people who has never played Silent Hill 2, and means to. I probably should have expected spoilers. Even when I could see them coming I kept reading. Which is a testament to your column.
I'm certain it won't have the same mysterious impact now though. The most terrifying thing playing games like this the first time is the feeling that I'm doing it alone.
As bad as some people thought Silent Hill the room was, for me (having not played the quality of the others) it felt like it existed in it's own context with me alone, away from other gamers. It terrified me. The feeling of stepping into the unknown and not wanting to. It took me a long time to resign myself to stepping through the hole in the wall, I kept hoping I didn't have to.
Will knowing the truth about James take the feeling of stepping into the unknown away from me?
Either way. Excellent article Leigh. Thanks.
Posted by: nectarine | July 19, 2007 8:57 AM
Hey, Nectarine-- can't say I didn't warn ya! Nonetheless, knowing the truth absolutely doesn't ruin that feeling. The best thing about the game is that prescient sense of a dark truth pressing in on you-- and that's present whether you know the truth or not. Play it!
Posted by: Leigh | July 19, 2007 9:15 AM
I know I know, I could see them coming a mile a way. But why'd you have to write so well?! :)
Posted by: nectarine | July 19, 2007 9:28 AM
Interesting stuff - I'm a big fan of the SH series, though I never was able to finish SH4. There's something eternally fascinating about how it 'enforces' the way the player is supposed to feel.. if you're not absorbed in the plot to some extent, the lost feeling will undoubtedly be created by the endless maze of broken doors, hidden and erratic enemies, and the fog. SH2's usage of pyramid head took this a few steps further than SH1 did, particularly when you acquire PH's giant sword (which you can then only drag along the floor, same as PH did.)
SH2: Restless dreams adds a side plot with Maria that is before the main events in SH2; she's in an apartment building having a conversation and performing tasks with a man she never actually sees, and only has contact with from behind a door. She's asked to do a few things, one of which being get him a vial of 'white liquid' (SH1 reference, I'm sure), and once the tasks are completed finally enters the room to find there's no one in there, ultimately indicative of Maria herself.
Great writeup!
Posted by: Adam | July 19, 2007 12:08 PM
Absolutely excellent article about Silent Hill 2. Of all the survival horror games I've played it has definitely been the one that has impressed me the most, and largely because of how well the themes in the game interact. Please keep writing excellent, though-provoking articles about video games. The world needs more of them..!
Posted by: yokaze | July 20, 2007 7:19 AM
I have to be one of the few people who never really fell for Silent Hill 2's charms. I mean, it's a very good game with many memorable moments, but the whole story, apart from its basic premise, struck me as a bit cheap, obvious and full of cliched characters (or, as you say, facets of James' conflicting emotions) - maybe not for a video game, but I don't see why we should settle for something just because it's "good enough for a video game".
There's another game with a somewhat similar premise that I perhaps enjoyed even more, and that's Sanitarium. It's just as bizarre and just as unsettling (at times), but connecting all the dots is much harder, resulting in more surprising and ultimately more rewarding revelations (frankly, I'm not even sure I've gotten all of it right). Unfortunately, I found the plot resolution rather disappointing, but apart from that it's another interesting journey through one man's subconsciousness.
Posted by: insane_cobra | July 20, 2007 7:48 AM
The first time I played through SH2, I took everythnig very literally and ended up being very confused by some of the game's plot points. Once I gained a more analytical mind, my second playthrough was much more enjoyable. I'd be very interested in seeing your take on SH3 and SH4, to compare some of my theories on the existence of Pyramid Head, versus that of Valtiel and Walter Sullivan. Thanks for a great read!
Posted by: Ed | July 20, 2007 11:09 AM
This was a great read; it's rare to see Silent Hill 2 spoken of in terms of what actually makes it a great and lasting work of entertainment.
A few nitpicks though, from someone who's obsessively played the game many, many times:
-Angela's real trauma is that she murdered her father after years of abuse. This is only subtly hinted at but the nail in the coffin (so to speak) is her dad's gravestone in the cemetery area in the labyrinth. So the abuse is present, but like everyone else, she's there because of guilt over murder.
-I'm kind of surprised you didn't mention Pyramid Head's somewhat obvious phallic figure. I mean, it's not enough that he basically look like a giant penis, but he also drags that enormous sword around... and of course, it makes perfect sense given his role as sexual aggressor/tormentor.
-I would actually argue that the most satisfying ending is the "Maria" ending, in which James decides that Maria is a suitable replacement for Mary, and leaves with her. Just as they get into his car to leave the town, though, Maria coughs that tell-tale cough, and James sinisterly suggests that she "ought to do something about it." On that note, Silent Hill 2 is not, by any stretch of the imagination, the only game where the "bad" ending is the most dramatically satisfying -- you need look no further than any Silent Hill game aside from 3, or the original Myst... that's just off the top of my head. I've noticed this to be a symptom of any game with excellent storytelling.
There are a few other subtle touches about the game that I love, as well. The way James is arbitrarily forced to work through locations which happen to have significance to his past in searching for wife -- the way his obstructions are generally things which a motivated person could directly surmount instead of finding a circuitous, highly questionable way around. And most of all the suggestion that the layout of these obstructions is different for each person there, as evidenced by eddie somehow finding his way to the prison before james, despite not having a key, and angela somehow showing up in the apartments despite there only being one route there from where you first meet her, or the way laura seems to show up most everywhere. After awhile you really start to feel like you're wandering around James' subconscious instead of a literal representation of the town.
Posted by: Andrew Toups | July 20, 2007 11:29 AM
Some great points, Andrew, particularly on Angela-- however, I felt that it was maybe a bit obvious to phallicize (look at me, I'm inventing verbs) PH. He's such a popular character, many people have "gone there" with him already. I wanted to avoid the typical Freudian stuff this time around.
Posted by: Leigh | July 20, 2007 12:08 PM
This was a very interesting tell all read. I was given sudden chills when reading about killing Maria, because when playing the game for the first time, thats what I wanted to do. She seemed like a bad person, a tease. I never connected the idea of killing Maria as killing Mary a second time, but now reading this it almost seems obvious. I guess if, at the time I was playing, I had a more critical mind, I would've seen past the gore and horror and connected with the sheer darkness that shrouds James.
Amazing write up.
Posted by: Tim Lyons | July 20, 2007 12:12 PM
Leigh,
Yeah, it is really obvious and I suppose you could argue that it goes without saying. Still... it's pretty important to his role in the game, and his role in the game is pretty central to tying all the other themes together. I dunno, I think it bears mention, if only parenthetically. I do agree that his phallicity (how's that for a neologism) isn't the most interesting part of this character design (and I honestly didn't even notice it on my first playthrough), and there are other things more worth analyzing, but you can't really get around the fact that he looks like a huge walking dong.
Other fun things about the monster designs: the straightjacket monsters, in addition to being rife with signifiers of illness, are also female in body shape. It's also kind of brilliant that one sub boss is basically a walking door frame with some pulsating, human shaped fleshpods, given the role doors play both in theme and exploration in the game. You can't help but wonder what monster Angela was seeing you kill.
Posted by: Andrew Toups | July 20, 2007 1:48 PM
Excellent analysis. I didnt realize just how many specific things could be interpreted as metaphors. The nurses appearance for instance, i'd never even considered. And to be honest, i wouldnt be suprised if many of these perceived metaphors were not intentional on the part of the creators, but they are looking like absolute geniuses anyway. One important thing I thought was worth mention was his named James Sunderland, which could broken down and interpreted as either James is "underland" or he's dead or some such interpretation OR it could be james is sundered from land.. meaning he is seperated or disconected from the real world. Perhaps thats a metaphor as well. In any case, great job, and you should definitely do an analysis of another game in this great franchises.
Posted by: born2kill | July 20, 2007 9:58 PM
1 other thing i recall too was the part where james walks into one the apartments and sees a figure, obscured somewhat by darkness, that appeared to have committed suicide, and that the figure may be representing james himself
Posted by: born2kill | July 20, 2007 10:31 PM
I think that this article was very good, but as if most psycholoical symbols they can have multiple reasons from the more gory to the almost mundain.
even freud said "sometimes a rake is just a rake"
but I did find your views on the psycholoical aspect of the game highly interesting & a good read, well done
Posted by: chocolateburgers | July 20, 2007 11:50 PM
Silent Hill 2 has always struck me as one of those games where the creators figured out what will probably be the central dynamic of the "video games as art" thing, even though the game itself is kind of ridiculous, story-wise - the conflict between the set narrative and the way the player interacts with the game (which is especially interesting in Silent Hill 2, as anyone who played the first game knows there will be multiple endings and thinks they may be able to change the outcome of some important events).
I will say that it's a particularly involving story in its own right as far as games go, and probably the Silent Hill where the influence of Jacob's Ladder is felt the most.
There are some other aspects of the story you missed (like the significance of when Maria is murdered for the first time) but overall this is a pretty good overview of the game. I've actually had some difficulty getting anything but the "good" ending, which has always struck me as just as appropriate as any of the other ones.
It's interesting from a design perspective that the game seems to have been designed around the story, instead of the other way around, as usually seems to happen.
Posted by: Stiv | July 21, 2007 10:42 AM
This was a fantastic read for any Silent Hill fan. There actually were a few interpretations you mentioned that I had not taken note of before.
I never knew why Angela called the bed monster her father. Now I know -- it is disturbingly subtle.
Posted by: TurtlePirate | July 21, 2007 11:04 AM
Excellent column I must say. I only have one question though. What was the meaning behind Laura? She seemed to know everything about Mary, but nothing about James. From what I can tell she kind of acts like James' conscience, hating him when he hates himself and pestering him when he can't figure things out.
Posted by: Michael Swain | July 21, 2007 9:49 PM
If one compares all the Silent Hills, two is by far the least gory. And yet, it has the most story and symbolism of the series. This article definitely supports that.
A favorite section of mine is when you go to the historical society toward the end of the game and do section after section of interconnected floors. There is no logic to it, going down several levels through basements and prisons and elevators and you wind up in an outside graveyard -- and then you go down further. I love that, the repetition of climbing down and down and down, deeper into James subconscious.
I can't wait to see what they cook up for Silent Hill 5.
Posted by: Kevin Ohannessian | July 21, 2007 10:21 PM
An interesting read indeed. Silent Hill 2 was truly an impressive gaming experience for me. I was also fortunate to get the special 2 Disc edition which contains the "making of" DVD with interviews with the game developers.
Posted by: Rahul Chand | July 22, 2007 3:03 AM
Interesting.
The problem is, SH2 does not explain why everything supernatural is happening. SH1 was an entirely self contained universe - Alessa was possessed by a powerful demon, suppressed by drugs, and her bad dreams became the awful reality. She died at the end of the game, and the 'crazy town' ended.
So why is the town crazy for James? He has nothing to do with Samael. There is no hint of an explanation as to why anything supernatural happens. Sure, it's all nice symbolism for his guilt, but no reason is given as to why it has been personified.
James is not a demon, he cannot bend reality with his mind like Alessa could. Is SH2 supposed to be set during SH1 and James just got caught up in it? As far as I can tell, the writers have just gone for some sort of lazy 'the town is crazy' line, which just doesn't cut it. There was nothing in particular about the town in SH1 that was supposed to be 'crazy' - indeed, it's supposed to be as regular a resort town as possible, and it was just the characters and events that twisted it. Giving the town itself some sort of 'power' is a cop out, and misses the point of what made the setting unsettling in SH1 - that is, it could be anywhere.
For me, this giant hole makes all the good points of the game's plot moot. And Silent Hill 1 remains the best game script in histroy by a wide margin.
Posted by: David | July 25, 2007 7:21 AM
Can someone please send Ebert this article, coupled with a swift kick in the ass?
Posted by: Niero | July 26, 2007 11:46 AM
great article. very cool theories.
@David. In my opinion the town is crazy for james because there is no town. for James the town represents the tortures of his guilt and manipulates itself through his subconcious to hurt him.
I prefer the Psycological themes to the blatent witchcraft and magic aspect of the first game. i think this is the best game of the searies by far.
James is not a deamon but neither is anyone else. as said to Heather "monsters, is that what you see?" James's silent hill is so personal it is entirely internal. the same goes for Angela always seeing fire. when characters meet (eccept Maria) it is like their subconciouses brushing off each other thats why James sees Angela's fire and Eddies green fog. it is a view from the others perspective.
SH2 is entirly seperat from SH1. i see it as the tortured mind of someone who played SH as a kid and dragged up the memory to form nightmares based around a forgotten comuter game which captures his guilt and agony
For James there is no Silent Hill.
Posted by: Rorkimaru | August 10, 2007 7:18 AM
Congratulations. It's a beautiful article. I'm stucked writing a horror film and this got me again in the mood to keep writing. thanks.
Posted by: Andres borghi | August 16, 2007 10:13 AM
Great article. I agree with you about "in water" being the most fitting ending. I'm kind of an advocate for it being appreciated. The irony of that ending hits you so hard, it cuts into you like a knife.
It also seems to go hand in hand with all the water symbolism throughout the game:
The lake, jumping down a well, water dripping in apartment hallways, water damage everywhere in rooms, water completely submerging areas (like the stairway in the Pyramid Head boss fight, as well as the basement level of the Hotel) the water in the Labyrinth... Toluca Lake itself... etc. etc.
Anyway, SH2 is definitely my favorite game of the series... And I'm glad to see an article written about it that seems to really appreciate all the symbolic and metaphorical content that Konami submerges you into when you explore James' personal Hell. Great job.
Posted by: a stray child | September 6, 2007 12:10 AM
Good article. I thought it was somewhat repetitious, going the same place multiple times (you were trying to point out something, and you stretched it out further than a couple paragraphs), but you got what you were trying to say across.
Also, I thought that the language was somewhat grandiose, but who the hell writes literary about video games? It's what the industry needs anyway; not to be considered art, but to be considered as a real form of story telling.
Posted by: Kenske | September 26, 2007 2:09 PM
As for why there are two Pyramid Heads near the game's climax: I thought they symbolized Judgment, or murder. There is only one Pyramid Head until the last half of the game, when James kills Eddie Dombrowski. Then there's two Pyramid Heads. They represent James' guilt for the murder of two "real" people (Mary and Eddie) possibly?
Posted by: Stephen Mathis | October 16, 2007 11:35 AM
I can honestly say that this is the best in depth analysis I have ever seen of Silent Hill 2. I have been a hardcore fan of the series since 99 and I think Leigh hits the nail right on the head. Matter of fact, I think I'm going to play SH2 now! Haha!
Posted by: Sam | January 3, 2008 9:47 AM
Great write up. I have read up a lot on this game and it always keeps me interested. I think that is the true testament to this games greatness.
Anyway I just wanted to add something that creeped me out every time ive played this game and wondered if it had the same effect on anyone else. Do you guys remember when you enter, i believe its the night club (excuse me if im wrong its been a while but im pretty sure) and on the wall written in red (prob blood) is "there was a hole here... and now its gone" I was just like wow someone else has gone through this madness. If you remember at the end of the game, James starts to just jump into holes, and they make no sense, and seem to take him deeper and deeper. The whole fact that there "used to be a whole there" always was creepy... and especially later in the game when a message is written directly to James on the wall... i forget the exact message but it was along the lines of just die james.
If anyone is hardcore about this game, and really wants to get into things, let me recommend a FAQ on gamefaq website. Read the plot guide by Presidentevil. IT IS LONG, but amazing. It is quite possibly one of the greatest things about this game that ive ever read. And i hate to do this on this website, but i didnt write that guide, nor do i want to take away what was written here. I just want everyone to be able to expand what they know about this game.
Posted by: Pat | February 6, 2008 12:09 AM
Very interesting stuff here.
There's a lot of ways you can see Pyramid head. Apart from being a judge like mentioned I think he stands for james' past james is running from.
You cant kill it (them) and always run from it untill James knows what happened and decides not to "run" but to fight and confront his "demons" from the past.
Anyway, it's just another way of seeing it :) it's not very well written but I hope it was clear enough.
Posted by: Ivan | June 4, 2008 3:34 PM
Nice theorie there Sam, I like to think that the "there was a hole there" stands for James' blocked out memory.
Posted by: Ivan | June 4, 2008 3:38 PM
In response to what David has said, Silent Hill, the town, is like a big psycho-sponge, that absorbs the psyhce of the ppl, and it manifests our fears, our guilts, our dreams, and this is the true scary part of the town. In SH1, Alessa had suffered, and this had a purpose, but her suffering brought changes to the town, as she was a powerful psychic, and was called a witch 4 this. James had already visited Silent Hill, and this happened, I believe, b4 all the Alessa stuff ever changes SH, so he was called there, as was Angela, and Eddie, b/c the main theme in SH2 is the manifestation of guilt. Then we see character evolution, as James comes to terms over Mary's death, Angela continues to grieve, but feels hopeless, and Eddie is murdered by James. One thing, the eggs that the Pyramid Heads give you signify old blood and new blood, one for Mary, and another for Eddie. It of course ties off with the fact that PH was James' punisher, killing Maria several times as a reminder, as previously stated. This is a very well done game, seldom seen anywhere. I'd like to play more like this.
Posted by: Angel | October 16, 2008 11:55 PM
It's worth nothing that Sunderland, the physical town in Tyne & Wear, England, is believed to be the basis for Lewis Caroll's Alice in Wonderland and Through the Looking Glass. Which also explains why there is such a focus on doorways and holes in the game (aside from the sexual factor and the hermetic idea of Death (a symbol of death/rebirth and transformation.)
Posted by: Christian Otholm | October 19, 2008 2:46 PM