When driving through the quiet vacation town of Silent Hill, Harry Mason crashes his car(this takes the idea of doing so and its potential consequences and runs with it), and awakens to find his daughter, Cheryl, missing. He goes looking for her, and instantly discovers... that the similarities pretty well end there. This references the original(with locations and events), but "nothing is quite right", making you question how this relates to it(alternate dimension, sequel, coincidence
?), and we get to feel less and less like we know who our protagonist is
his characterization(appearance and behaviour), by the way, along with every other person in this, can be altered by the brilliant and unique psychological profiling feature. You are asked yes or no questions and go through tests, a great addition to replayability(since you can now(for the first time in this series) get more than different endings, it affects scenes throughout it(not how they end up, but how they get there... read on)), and if you are honest, it will find things that will upset you, and use them against you, things will go the way you fear they will(while I can only speak for myself, it utterly nailed me). It is a short experience(and you may just want to rent it if you aren't intending to see all the different versions), taking me only 5 and a half hours - and now that I know where to go and what to do, it probably wouldn't even be that. Since everyone has a cell-phone today, and it can do quite a bit, this puts one in your hand, as well... literally; the Wii-Mote doubles as it(with the D-pad navigating the menus), as well as the now regular type flashlight(it's no longer in your chestpocket), which you can point anywhere you want to(and it'll adjust your view, and thus what direction you're headed in). It can engage and receive calls(any number you find in this, you can call, though it doesn't particularly change things), and you'll get text messages and voicemails... the latter two not only from those you've met in this, but also ones giving a few details on tragic stories(like the ones where you'd get a block of text(from a book, a newspaper article, etc.) that you'd have to stop right there and read, in the others... that wasn't bad in those, still, it's nice to do something else), it's where you save progress(it may go to the nearest checkpoint; you won't have to redo much), you can take photos(of anything, really... what it's meant for is the area-trapped ghosts, which make up essentially all the supernatural aspects of this... this is psychological thriller, not psychological horror with fantasy in it), and the map(that no longer automatically draws out the spots where you can't pass... you can do so, yourself, putting decisions back into our hands(again, the other way wasn't bad)). The puzzles are almost all focused on utilizing the motion controls(they're on the level of Homecoming, if that, immensely easy), you "pull open" a closet, etc. When solving them, you zoom in by using B, then grab something with A, and you can now interact with what you grabbed(which is highlighted so you can find it). A key to a door is in the same room as you need it(there is no inventory). In fact, other than aforementioned, you can only pick up "mementos", things that means something to someone, somewhere. This is rather immersive, if it isn't as effective at that as the Penumbra Collection, maybe because here you can't do things that you'd expect to be able to. Unlike in those, when facing enemies, this doesn't allow you to distract(by way of throwing something to make a noise), fend them off at a slight range, blocking their path can only happen in very specific spots and hiding from them doesn't seem to do any good. The two types of monsters(both pale, skinny humanoids, one of them looking like a doll with extremely thin(or nonexistent?) joints) try to grab you(if one or more of them are successful, you can shake the joysticks to throw them off(and remember, there's no health pickups)) and chase you(running as fast as you...!), making you think of the Dahaka, the guardian of the timeline, in Prince of Persia: Warrior Within - except here, you don't know where you're going, several paths lead back to where you started or into a dead end, and bringing up the map(or putting it away afterwards) both take far longer than they should(why can't you bring it up and lower your arm within a second or two, like you could in real life?). Walking quietly and without a lightsource makes them a little slower to find you, and if you find a flare(there's at most one per sequence), activating it holds them off(until it runs out), only you then can't check where you're going(without dropping it to the ground, and you can't grab it afterwards). And yes, all of this with the foes is only true of the Nightmares, the altered Otherworld(outside of them, there are no attacks), that are now brief, intense bits(though as I described before, they get increasingly frustrating) where you have to get from point A to B as quickly as possible. And in place of fog, rusty metal grates and grotesque imagery, this has everything ice over, looking very unwelcome and isolated. It is hard to recognize where you are because of the visibility and the bluish tint. The story is the focus as usual(and as it should be), and it really draws you in. Because of the length, it also moves ahead at a fast pace. Voice acting is great, with our lead providing the occasional exception to prove that rule. There is disturbing content, and a little moderate to strong swearing, blood and violence in this. I recommend this to any fan of the series(provided they can keep an open mind about the changes) and of this sort of thing in general. 9/10
