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This Was a Weird Year for ‘Silent Hill’

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2015 was a mostly good year. It left us with some fun games to play and more to look forward to in 2016 and beyond. It knew exactly what we wanted — more zombie games — and that’s what it gave us. H1Z1 came first, followed by the Resident Evil remaster, Dying Light, the Zombie Army Trilogy and Resident Evil Revelations 2. By April, we were smitten.

And that’s when it made its move.

In the final week of April, news broke that Silent Hills might be cancelled. It seemed impossible. Why would Konami destroy the series’ final chance to be relevant again? Why would any company go against their best interests by throwing away a game that would’ve combined the talents of director Guillermo del Toro, Metal Gear creator Hideo Kojima, horror manga artist Junji Ito, and “The Walking Dead” star Norman Reedus.

It was a bewildering move that I’ve spent more than enough time complaining about. It sucks, but Silent Hills wasn’t the first horror game to get cancelled, and it certainly won’t be the last.

The point of no return came when Konami set fire to every single thing that had any relation to Hideo Kojima. All mentions of him suddenly vanished from the promotional materials for Metal Gear Solid V: The Phantom Pain, Kojima Productions was forcefully disbanded and P.T. was removed from the PlayStation store.

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Konami had become the sort of thing you might expect retching into a bush in the Alchemilla Hospital parking lot. Their position as a respected publisher of amazing franchises like Castlevania, Metal Gear and Silent Hill was ruined. They no longer cared about the community that had supported them for decades.

The reason for this spectacular implosion is, unfortunately, deeply lame. When Hideki Hayakawa took over as Konami’s new head honcho, the company announced a “corporate restructuring” so they could focus less on creating stunningly ambitious works of interactive art that go on to define entire console generations so they could churn out more mobile games.

This led to a “power struggle” between Hayakawa and Kojima, otherwise known as the guy who guides the development of all those stunningly ambitious works of interactive art that go on to define entire console generations.

Now, this series does still has a future — it just won’t be using the Silent Hill name.

What might’ve been lives on through the bits and pieces that were deemed salvageable by a growing number of talented indie developers that have since used them as the foundation for games like Allison Road, Layers of Fear and Visage.

Everyone had their own idea of what Silent Hills would’ve been like, and that was enough for some to invest a significant amount of time and money into realizing that potential, in part, for the nearly 200,000 fans who rallied together to petition for its return.

That petition didn’t give us exactly what we wanted, but it couldn’t have anyway. Konami can’t hear us anymore. They’re in Pachinko heaven now, oblivious to the fact that their fate is about to align with the beloved survival horror franchise they so unceremoniously ended.

We can only hope that Silent Hill will stay true to its genre and survive this horror. It’ll probably be some time before we hear from it again. Until that time, we can take some comfort in knowing that the admin who went bonkers for baby penises on the Silent Hill wiki a couple weeks ago has had his reign snipped by a popular vote.

It’s been a real roller coaster ride of a year, but it’s over now. The New Year is almost upon us. I know you’ve grown tired of this conversation, so if you’d like to sneak one final jab at Konami, this is your chance. Don’t hold back. They’ve done plenty to earn it.

With his studio restored and a partnership with Sony in his back pocket, Kojima has gotten back to work doing what he does best. It could be just about anything, and that’s exciting. So…

What would you like to see come next from the new Kojima Productions?

YTSUBHUB2015

Gamer, writer, terrible dancer, longtime toast enthusiast. Legend has it Adam was born with a controller in one hand and the Kraken's left eye in the other. Legends are often wrong.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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