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20 Years Of Nightmares: The Legacy of ‘Silent Hill’

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Early horror video games are full of cheesy experiences, embracing the gore and violent elements found in slasher flicks. In their camp appeal, these earlier games lacked the depth to convey a sense of fright or emotion. While many may look to Resident Evil as a big jump in horror gaming, the genre would forever be changed by Silent Hill.

It was 20 years ago back in 1999 that Silent Hill made its debut on the PlayStation, introducing gamers to a whole new level of horror.

The action-survival title changed the industry in its emphasis on storytelling, weaving in puzzle solving and more dramatic elements to differentiate itself from other games. Given the game’s approach to atmosphere and narrative, along with the innovative use of mechanics, many of today’s popular horror titles owe thanks to the groundwork laid down by Silent Hill.

Today we look back on a horror classic; we will tread through the ashes, wandering along the streets of the nightmarish Silent Hill.

A Story of Ghosts and Fear

The team behind Silent Hill, Team Silent, wanted to step away from the B-horror movie elements found in previous games. Taking on a more “Hollywood” approach, the team found inspiration in UFOs, the occult, and David Lynch films. Focusing on the “fear of the unknown,” it was decided that Silent Hill would take on a psychological horror approach.

As the player, you control Harry Mason, who arrives at the titular town searching for his young daughter Cheryl. As he wanders he comes into contact with a variety of characters; from police officer Cybil Bennet to the fortune telling cultist Dahlia Gillespie, the cast of Silent Hill all contribute to its brilliant atmosphere and grim story. Harry eventually discovers the underlying occult plan at work, attempting to save his daughter’s life from eternal suffering.

Compared to other popular video game protagonists, Harry stands out like a sore thumb; rather than be some solider, Harry is just a regular guy. Playing as someone with no combat training brings an extra sense of tension to the gameplay; unlike some powered up being, Harry can’t take a lot of damage; he also can’t handle heavy weaponry. Due to this, players have to be careful where they go, conserving gun ammo and running away from enemies when possible.

Even after 20 years the dialogue and cinematic cutscenes still have an eerie chill. Who can forget about nurse Lisa and the sequence where blood is pouring down her face? Against the shadowy background of the scene, she stumbles towards you, calling out for help. That moment still brings out the goosebumps on my arms.

The horror of Silent Hill is one of feeling; even though there are monsters and physical violence, the game goes into the psychological and spiritual to keep players in a state of unknown. With little context to help guide you from objective to objective, the game leaves the player alone to solve each puzzle that comes their way. This gameplay makes for a more intimate experience of isolation, for the characters you come across bring little comfort in such a hopeless place. Together, the story and mechanics make Silent Hill a work of art that breathes dread, uncertainty, and madness.

The Horror of Design

The world of Silent Hill is depressing; beyond the human characters you’ll come into contact with from time to time, the town is a lonely hell hole. From bland streets to decrepit buildings and thick fog, Silent Hill does a tremendous job making you feel alone. The grotesque, disfigured creatures only add to this misery. Silent Hill‘s monsters are that of pure nightmares. From horrific creatures that look like demon children to giant insects and bat-like creatures, the game’s collection of monsters is as upsetting to look at as they are interesting.

One of the more fascinating elements while playing Silent Hill is that of the fog; for in the fog’s immensity, it represents two essential factors of the game. In one regard, the fog helps to establish the emotional tone of Silent Hill. The bland blobs of gray exude dread, cloaking the abandoned buildings and streets. Then there’s the technical purpose behind the fog, specifically how the developers implemented it to maintain a consistent framerate while playing. The player is only able to see so far beyond the fog, having to move forward to see what lies past it. This fog allowed the developers to have the game run smoothly on the PlayStation, utilizing all its graphical power. On an interesting note, the limitations of the PlayStation would end up aiding Silent Hill’s visual presentation; due to pushing the game’s look, Silent Hill has a lot of grainy textures. These textures actually made the look of the game and its surroundings more unsettling to look at, adding to the psychological discomfort. The graphical power is what would also allow for the more personal, fully flesh out cutscenes (further pushing the medium of video game storytelling).

Going back to the emotional factors of the game, Silent Hill is one of the predecessors of cinematic gaming. Along with its visual design is that of its score and sound design; your footsteps echo off the pavement as you run up and down streets, the cries of monsters in the distance. The score is mesmerizing in its hauntingly somber appeal. Beautiful guitar chords bring out melancholy vibes, with dissonant drones layering on a tense thickness.

Considering all of this, along with the game’s story, Silent Hill is one of the first significant examples of how games can work as slow-burn emotional experiences. Like an atmospheric film or record, Silent Hill’s journey also allows room for introspection; players can both enjoy playing the game for the narrative it offers, all while finding something deeper to absorb. With the game embodying such elements as loneliness, isolation, and exuding depressive tones, the player can take on a mindful experience of playing something that can connect on a human level.

A World of Nightmares Come To Life

Silent Hill is one of the most important video games in history (for both the horror genre and game industry as a whole). While the series would go on to have its ups and downs, the first installment initiated a new direction for gaming; this path would open the minds of developers all around the world, unlocking the potential for new and innovative ways of telling stories.

It also goes to say that Silent Hill was one of the first genuinely emotional horror experiences; forgoing the campy traits previous horror games had before its release, Silent Hill is a work of art that has more too express than scares. Its story is one that crawls under the skin and slowly digs inward, creating a pocket of dread and coldness. Silent Hill was and is an elevating experience for video games, proving how the medium can present rich stories.

In all of Silent Hill’s achievements, one of its greatest qualities is how its experience can linger on a player long after finishing. The haunting music nestles within one’s eardrums; the shadows tucked into the corners of their mind, sprawled and breathing unease. As one closes their eyes going to sleep, it’s the darkness of Silent Hill that weighs on them, beckoning back to tread the ghostly town.

Michael Pementel is a pop culture critic at Bloody Disgusting, primarily covering video games and anime. He writes about music for other publications, and is the creator of Bloody Disgusting's "Anime Horrors" column.

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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