The 5 Best Film-Based Video Games

Happy Friday The 13th everyone! Now like all of you I’ll be celebrating this most holy of days by killing horny teenagers near a lake somewhere (lake, puddle, it’s all the same). But other people celebrate it differently. Since the days of Jesus fighting a Pterodactyl in the Roman Colosseum, some people have watched some of the Friday The 13th films on this day. So it makes logical sense that I should take advantage, celebrate this by blogging about it. But I’ve never seen any of the films so instead I’m going to talk about video game adaptations of films, because there was once a video game adaptation of the film, and do I need another reason?

5. Goldeneye

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Let’s get the obvious one out of the way. This is the first game everybody talks about when they talk of truly great video games. There’s not a word missing there, that should be “video games based on films”, that’s how good this game is. At the time I’d never watched a James Bond film, and even now I’ve seen one I still think he’s a prick, he’s a sociopathic monster who probably has so many STD’s that he should pretty much change his name to Mydia, Chlamydia. But despite that, I still love this game. It has not aged well however, but that’s mainly because of the lot of the things we found innovative in the game are now standard. Before this game it was normal for weapons and ammo etc just to be laying around, this made ammo collecting logical: you could only pick up what had been dropped by people you killed. Yes, there were a few bits of ammo laying around, but your main source of it was the people you killed. Then there’s the multiplayer. There are two types of people who played video games in the 90’s. Those who spent hours shooting their friends in the head in multiplayer and obeying the “no oddjobs” rule, and liars! Dirty stinking liars!

4. Hitchhikers Guide To The Galaxy

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This game comes from a different time, whereas modern games help the player, sometimes with tutorials, sometimes with guidance during the game, and sometimes with just skipping parts of it if you find it too difficult. Gaming is now focused on enjoyment, making the player have fun (with a few notable exceptions). It wasn’t always the case, however. Some video games used to make you wonder what you had done to piss off the creators. The biggest genre for this were text adventure games. Games which by their nature were quite annoying: you could spend hours trying to talk to a character before you work out the exact phrasing needed (for example: “Talk to person” wouldn’t be accepted, but “converse with person” would). This game is fiendishly difficult, but also very funny. It will make you laugh, scream in anguish, and then hate yourself, a bit like having sex with a clown. I’m not exaggerating by the way, the game is available here if you don’t believe me.

3. Aladdin

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Oh, should have mentioned, I am not doing these in any particular order, otherwise there’s no way this would be higher than Goldeneye. But it is very very good. A 2D side scrolling platformer that stands out on a console which it seemed like almost every other game was a platform game. I don’t think people can appreciate how hard it must have been for a platform game to stand out in the early 90’s. You were competing against Mario and Sonic at their peaks. The Mario games had some of the best level design in video game history, easing you into an unforgiving game with innovative gameplay that filled you with wonder, whilst Sonic went “vroom” and moved quickly. So for a game to stand out it must be truly great, and this is. I would talk about why, but I already did it here so anything I’d say would just be repeating myself. So because anything I say would be repeating myself, and I don’t like repeating myself I won’t say anything more, because I don’t like repeating myself.

2. Scott Pilgrim Vs. The World

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Because rarely has a video game of a film been so faithful in tone to the film. Anybody who has played video game versions of films and television shows know that the games can play fast and loose with the themes of the film. For example: there’s a Doctor Who game where you play as the famous pacifist, and go around shooting and killing everyone. In Scarface, crime totally pays, and the Fight Club game has Fred Durst. This game doesn’t suffer from that. It’s a throwback game based on a film which loves 80’s video games. It’s not just the film it uses for inspiration, the graphic novel has a scene where two characters get beaten at the same time and an achievement pops up, if you recreate this in the game, the same achievement pops up. It’s little touches like that which are missing from a lot of games.

 

1. Alien Isolation.

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This game is terrifying, it makes the Alien scary again, which it should be. It should be a fearful beast, it shouldn’t be something you can handle with a few shots from a pistol. This game makes you fear it, and that’s wonderful. You know how highly regarded this game is? It put faith back into the franchise after Colonial Marines, a game so bad someone attempted to sue the makers, and won. Whereas that game had you running around shooting aliens by the hundreds (and just made them into another enemy), this game only has the one alien, and you can’t kill it, all you can do is hide and survive. This is the survival horror game the latest generation has been waiting for. I am in no way saying that the genre is not good anymore, just that it’s mainly indie developers doing it now, you don’t have many major releases anymore (I mean, P.T got cancelled for f*cks sake), most of the franchises people used to turn to for the genre have now changed into more action games, so it’s good to see a game where you’re completely helpless, a game where (contrary to video game logic) exploration and discovery will probably kill you.

 

So yeah, that’s it. Hope you enjoyed it, and Fuck You Konami

Why we love…The Lost Crown: a ghosthunting adventure.

Let’s talk about British Video games (and by that again I mean, I talk, you read). They are out there, I know that. Most famously we all know Rockstars’ British (though I shamefully didn’t know that till I saw The Gamechangers), but I’m not just talking about Brits making video games. I’m talking about Brits making video games set in England that actually feel English, and not just another culture’s idea of us they’ve seen on the telly.

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Lame name, but with a cover like that it doesn’t matter.

I’m sure there’s more out there than I know, but it’s a good segue into the topic of this week’s post. A continuation on our look at all things spooky, the British Horror-adventure game, The Lost Crown: A Ghost Hunting adventure. (Yes the names lame, but apt, so bear with me)

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Seriously, it takes a bit of time to get going, but it evolves into a deliciously messed up adventure.

Written and developed by Jonathan Boakes, who has developed a number of other British point-n-click games, like the very awesome Dark Fall Series. The third installment of which I almost reviewed for this spook fest, as it  is another of my favorite, and most underrated scary games.

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Lost Crown is set in The Fens of East England coast, and steeped in British folklore and legend. In classic story form, you play as amateur ghost hunter Nigel, sent to track down, what else, lost treasure. But the only way to find it is to solve the mystery of the strange town of Saxton.

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Now there is a lot wrong with this game, faults that would make most rightminded gamers run to the hills, faults I will get to. But I’ve already gone on record saying I’ll put up with the worst if the story grips me, and man oh fucking man, that’s where this game digs deep.
Solve the mystery, put some ghosts to rest, and find the treasure. It sounds simple enough, but with a backdrop filled with British history, and influenced by classic ghost stories like, M.R James A Warning to the Curious, Lost Crowns plot has the mentality of a Zelda fetch quest.

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It even a hefty amount of procedural work as you piece together all the mysteries, Zodiac style.

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To solve one mystery you have to solve one or two others, just to get the context to solve a bigger one that’s really just part of an even larger one. Every location you explore has a dark past to uncover, from the station, the forest, the caves, the church, and even the home you rent. The game truly captures a sense of history, by not just being a long story for you to stumble plot point to plot point, but by subtly laying a dozen stories set over centuries; all connected through your investigation. Stories ranging from pirates, to smugglers, to WW1 bombers, to religious cults, suicidal couples, and crazed kings.

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Like a store clerk who only speaks through a rag doll.

It’s this understanding of place, and depth of history that like fictional towns Silent Hill and Bright Falls before and after it makes Saxton feel real. Another part of that are the characters, beyond the prissy everyman you play as, the inhabitants of Saxton are an…eclectic bunch of people. To use the well warn example, it’s a bit Twin Peaksy in how normal yet off everyone feels, like they’re from another time. And there more than window dressing, as you actually get to know them pretty well; who they are and their pasts tend to tie in to at least one mystery and ghost around town.
So yeah the story’s tight. The ends a bit obtuse, but far from ruins it.

But on to the other stuff. The technical stuff.

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To get the positives out the way, the graphics are good, not great for 2008, but good. Done in stylish black and white with splashes of colour, it does its job and creates the perfect atmosphere for a ghost story, rendering the English countryside beautifully. I didn’t find it a very scary game, more just creepy; but it has its moments and excels at building unease with minimal action. Having a, hear don’t show approach, with subtly unnerving visuals. The direction is also topnotch, with the use of fixed camera positions to make some truly gothic and unnerving angles. So even when it doesn’t look good, it looks good.

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The gameplay is also your typical point n click fair; click the screen and the character will wonder over, biggest fault there is the speed Nigel moves at. Slow and steady doesn’t win shit.
The puzzles are mostly a lot of fun too, based around using actual ghost hunting gadgets, your EVP meters, night cams and whatnot, to unearth phantom clues. So any fans of Ghost Hunting shows will be at home here.

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But the rest of the production is… shaky….no, a better word is hilarious- unintentionally so. The dialogue works when it needs to but is largely stilted, especially when married to some bizarre voice acting. The supporting cast come across okay, but our hero Nigel is the odd mix of wooden yet over the top, which leads to plenty of unintentionally funny moments. You will never want to hear the phrase “Nothing ventured” again.

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And for some fucking dumb reason, this puzzle based game also features a very out of place rail shooter section, with some of the worst 2D ghosts you’ll ever see in a 3D game. It comes out of nowhere and is over just as quick, no other part of the game is like it. It’s the worst kind of bad, sudden and random.

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Then theres the FMVs, oh the FMVs. At certain points, mainly near the end, FMVs are used to show flashbacks, and they look terrible. This isn’t Ripper or Phantasmagoria level video either, it’s straight up film student looking, and again, out of nowhere and pretty pointless. Most of what they show, like a person being killed, could just be covered in dialogue or by investigating the crime scene…which you do.There was no need for a jarring psychic full-motion-video vision of their demise. It’s the only moment in the game that made me want to stop playing, and I would have if I wasn’t so invested in finding out what’s up with this town. Lucky theres only a handful in the whole game.

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Now I haven’t played it in a few years, so I’m sure there’s even more odd stuff I’m forgetting. But with all that said I still recommend this game highly. If you like a spooky ghost story, and defiantly if you have a taste for old style point n clicks.

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I need to play it again before I can name it one of my favorite games guilt free, but I’ve always had affection for ugly ducklings, for the odd and the strange. And a game that is simultaneously amazing in one aspect and so bad its funny in another is just my style.

Guest Review by Conor Amos: Silent Hill 2

For as long as I can remember, I have always been fascinated by horror and all its isolating and macabre brilliance. Slasher flicks and psychological thrillers from the `70s and `80s were the earliest iterations of horror that I was subjected to. From Stanley Kubrick’s disorientating and beautifully crafted The Shining to John Carpenter’s dark, suspenseful Halloween. 

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Along came the Playstation: a beast of a console that would quickly revolutionise 3D gaming as we knew it. My only gaming experiences up ‘till that point were playing Sonic the Hedgehog 2 on the Sega Mega Drive or Super Mario Bros. on the Nintendo Entertainment System.

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Suffice to say, I was used to playing video games that were fairly innocuous collect-’em-ups with bright colours and somewhat childish imagery (I still love those games, so don’t misconstrue what I say) and so when my older brother eventually bought Resident Evil about three years after it was released, I was naturally as aroused as an eight year-old can possibly be at the prospect of playing a horror game.

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I don’t need to say much about Resident Evil, since you’ve doubtless played it already or at least caught glimpses of the clunky, polygonal exercise in macabre from behind a tightly gripped pillow. However, I will say that it opened up a whole new world of gaming for me. Its gritty visuals, haunting soundtrack and claustrophobic locales and camera angles shook me up something fierce; giving me nightmares for weeks afterwards, yet a thirst for more.

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Now that I’ve given you a somewhat verbose and unnecessarily lengthy introduction to my love for horror, I’ll get to the meat of this piece:Silent Hill.

Silent Hill was released in 1999 by Konami; the same year I had first ever played Resident Evil and this was what is considered by many a momentous occasion for survival horror gaming in general. Although Resident Evil and its sequels were chilling in their own way, they also became more Westernised and formulaic as far as horror and storytelling is concerned. Silent Hill was an entirely different game and Team Silent had the ball in their court (for want of a less flimsy sport analogy).

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At first glance, it’s ostensibly a story about a guy looking for his lost daughter in a town inhabited by supernatural ghoulies looking to nibble on his testicles, but it is so much more beneath the surface. The town of Silent Hill is essentially a playground for a cavalcade of intense psychological distress and torture for its unfortunate visitors. The idea that the town itself is the protagonist’s and indeed, player’s worst enemy, gripped me instantly.

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Silent Hill’s story, upon further inspection seems to be more of a benchmark for Konami’s future investment in the series and is greatly dwarfed by its sequels. It features some interesting imagery, is absolutely terrifying and deals with some very adult themes, but falls flat in many areas – with the introduction of a Satanic cult and attempting to give some semblance of meaning to the town’s ambiguity. However, it did the job in suppressing my appetite for terror as a child and I hoped for more.

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Apparently she’s only 45….Silent Hill cult, not once.

Of course, there were more games, but I didn’t play Silent Hill 2 for many years after it came out. Regrettably, I must say, as it was the one game that changed my entire perspective on video games as a creative medium and their artistic merit within our culture. As a phenomenon perpetuated by a society obsessed with stimulation and expressing ideas, video games are the perfect medium for such, since they are interactive and invest the player’s time and emotions into the story, subtext and characters presented to us.

ARTAlso, I wasn’t intellectually mature enough to understand what the whole thing was about. What the symbolism truly represented and how the choices made by the developers were unanimously integral to creating a world and a story so tragic, so frightening and so human that even the most jaded of pricks would be moved by it.
The enemies in Silent Hill 2 were created with a thematic purpose; an underlying motive behind their behaviours and superficial characteristics. As humans, we fear greatly what is alien to us. Inadvertently: what is considered alien to us, in fact reflects our subconscious in subtle ways. Disfigurements and warped, exaggerated human forms are what Silent Hill 2’s creatures essentially are. They encapsulate an intrinsically human blend of the tangible and intangible, with microscopic attention to detail in its cerebral imagery.

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The creatures are psychological representations of protagonist James’ subconscious. From the faceless nurses with their tumescent breasts and exaggerated curvy forms that represent James’ sexual repression and how he would have viewed the nurses during his wife’s hospitalisation, to the well-known Pyramid Head creature that slightly resembles an executioner and how he sexually tortures other monsters when he’s not toying with James.

Despite the horrific nature of the town’s ‘inhabitants’, it is ultimately the town itself that feels like the real enemy. There is an overwhelming sense of isolation throughout and each disorienting locale feels like a cleverly-designed maze built by Silent Hill to tap into James’ repressed, damning psyche.

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James encounters four equally important characters on his journey. There’s Angela: an ostensibly young, socially awkward girl who always looks uncomfortable around James; Eddie: an overweight twenty-something with a lazy eye and repugnant characteristics (the first time you see him, he is vomiting violently into a toilet and rambling about how he shot a dog); Laura: a temperamental, bratty child that has no qualms about vilifying James and his actions, and finally: Maria.

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Maria is quite possibly the most important character in the game and certainly the most ambiguous. She resembles James’ late wife Mary, who has been dead for three years. He received a letter from Mary claiming that she’s waiting for him in their ‘special place’ in Silent Hill. His grief is what brings him to Silent Hill, despite the idea of receiving a letter from a dead person being totally preposterous (it’s crazy what love can do). Maria is the exact polygonal structure of Mary and is played by the same voice and motion-capture actress. She’s more sexually alluring and is often quite condescending to James, but can sometimes be sweet and in those moments resembles Mary even more. Her presence is the driving force of the plot and she practically strips James down to his core; revealing his idiosyncrasies, his motivations and the conflicting emotions that plague his mind (so elegantly portrayed by the game’s horrific imagery and symbolism).

No game is without a polished sound design and Silent Hill 2 is an example of perfection (no hyperbole here). Akira Yamaoka (the series’ ex-composer) understood the importance of melody, nuance and indeed, silence when painting a picture of horror. His blend of industrial percussion and reverb-drenched blues guitar is ingenious and evocative. From nothing but the echoes of footfall down a dark, narrow corridor in the apartments, to the swing drums and twangy guitar melody in the bowling alley – it all creates a feeling of disconnection between the reality of the town and what James is actually going through.

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The environments and the music evoke a sense of time and place: namely nineteen fifties America soaked in horrific dissonance antithetical to that supposed utopia. It was presumably a tranquil and beautiful town decades earlier and we get to taste that in the soundtrack and the simplistic, modest architecture that the town is rife with.

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Unfortunately, the series’ popularity unceremoniously dissolved with the split of Team Silent and given Konami’s bullshit business practices of late, the future looks grim for Silent Hill. However, Silent Hill 2 will go down in history as one of the greatest examples of horror storytelling in video games and entertainment in general. It is and always will be my go-to game for intense psychological terror and an immensely tragic love story.

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This is only scratching the surface of what Silent Hill 2 really means to people: it has a huge cult following and the fans can talk about the game for hours on end; weaving a web of archives and discussion forums that keep this ship afloat.

It’s an obsession, and one I can definitely identify with.

Written by Conor Amos
Pictures by Mark Tonkin

Why we love…Silent Hill: Shattered Memories

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Lets talk about Silent Hill (and by that I mean I talk, you read).
Not about Konami and their fucknutarry. But about the games we do have, the good and the bad.

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BURN KONAMI BURN!

As I mentioned in my Session 9 post, Silent Hill is deeply rooted in my childhood (okay teenhood), since I got the second game for Christmas when I was 13, then spend the rest of that day and days after playing it. I mean what else could get you out of the Christmas spirit better.

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But Silent Hill is special to a lot of people going back much further than me. At a time where horror games were more intone with creature features, or just puzzles with jump scares, your Resident Evils and Alone in the Darks- not to faults those series as they did they own part in progressing the genre, but Silent Hill came in with something more mature. Less violence, but more atmosphere and story building, where you don’t play as a gun toting bad ass, but as a normal guy.

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There were no end of the world conspiracy plots- well 1&3 kinda do- but were character driven and about real day to day fears that could actually happen, e.g. losing a loved one, marriages breaking up, guilt over the bad things you’ve done, ect. (Again I reference back to my Session 9 post). They became an alternative to people who didn’t want to kill the things that scare them, but think about why they do.

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Now despite the series to this date having eight full installments, it’s as far back as 3 that people say the series lost it and has been in a never ending downward spiral it has yet to- and Konami has made sure it won’t- recover from. But I disagree.
My favorite Silent Hill games remain, Silent Hill 2 (which really doesn’t need any more talking about), Silent Hill: Shattered Memories (the subject of this post), and Silent Hill 4 (the cult one). But these choices come from a gamer that cares much more for story than gameplay. I’ll put up with the worst fucking mechanics if the story grips me.

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And that brings me to, Silent Hill: Shattered Memories; an odd duck in the series. A reimaging of the classic first game, that shockingly is actually a fucking reimagining and not just a remake for the money- like 90% of all horror movie remakes. It takes the classic story of Harry Mason searching for his daughter in the spooky town, blends it up and turns it into a snow cone; Shattered Memories: Silent Hill 1 on ice. Removing the silly occult plot but keeping the father daughter drama, it embraces the pure psychological stuff- a great move in my opinion. I don’t hate the occult laden stories of Silent Hill, but I’ve always found they make better back-stories for the town, than when they take centre stage.

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Beyond its well done recrafting of the story (which I won’t spoil) the game’s other best feature is its great use of the psychology, not always subtle, but great. This takes the form of Dr Kaufmann, here your passive aggressive psychiatrist. The story of SM is framed round a FPV of you answering questions with your therapist. An idea a lot of people will recognise from this year’s Until Dawn, but is far better executed and worked into the plot than there (though it does lack the awesome Peter Stormare chewing scenery by the fistful).

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I don’t think he was given any direction. He just kinda went with it.

As instead of just picking and choosing between stock fears that will inevitably show up, it actually does try to psychologically analyse you. Staying away from most yes or no, A or B questions , it gives you a lot of variety to personalise; like colour this family picture, who looks dead or sleeping, match the couples, ect. Now a lot of it is blatant; you talk about sex, the monsters and other characters are erotic. You like to drink, you end up in bars instead of diners (I know I’m using that as an example of blatancy, but I still find that so cool).

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There’s at least three versions of every major character. And even up to nine of Harry.

But for all the point A to point B outcomes, there are just as many subtle touches to affect how it plays. If you colour in the family quick and slapdash, then Harry is impatient and rude in the next scene, but if you take your time to be neat, then he’s calmer and nice. Or if you are honest about how much you drink, then what would be soda cans littered around, are beer cans. Small but affective.

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And from the writer who would go onto create Her Story, its no surprise such effort would go into such small details. It is those little touches, used to dive deeper into the characters and story, that has made SM such a lasting game for me, and anyone who has taken the time to play it (though really it’s like a 5 hour game if you don’t rush).

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It’s scary the first few times, suspenseful the next few, then just tedious the rest. But it’s more than worth it to uncover the story.

Now a common complaint of SM is that it just isn’t very scary and for a horror game that’s a big fault. And I won’t disagree, beyond some jump-scares and damn creepy moments and locations; it’s more oppressive than scary. But was it ever really trying to be? I mean there are definite moments of horror and suspense, mainly the very frustrating otherworld chase sequences, but as I said; Silent Hill deals with relatable fears, and SM does this more than any.

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I feel this poster really captures the true heart and feel of the game.

Not dealing with murder or child abuse, but with simple divorce. Love ripped apart and the effect it has on all involved, from parents to child. Silent Hill: Shattered Memories is a horror by default, but drama by choice. And in a time where Gone Home, Life is Strange, and every Telltale game is so beloved, what’s wrong with that.

Why we love Session 9 (and why you should see it)

Well as my colleague continues to beat on with his more relatable posts about films and TV shows normal people actually watch. I’ll cover our indie quota (aka I might have a pretentious taste in movies) and talk about the, should be better known stuff.

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Now with that said, welcome to our belated horror special, to celebrate this month of horror we call October. On today’s menu the 2001 psychological horror, Session 9, and why I love it, and you should see it. I didn’t really need to repeat that, as the title already says it.

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They look pretty guilt ridden. This wasn’t just a pointless image to pad out he words….promise…

Like with mysteries, I’ve always had a fascination with psychological horror. Starting from when I was a young teenager and got into the Silent Hill games (listen out for the coming static), and it mutated from there. But really, psychological is my favorite brand of horror, topping everything from the creature feature to slasher flicks. As I believe the scariest things always come from ourselves, and that’s what the genre reflects. Because what really keeps you up at night? The thoughts of a zombie munching its way through your abdomen, or the guilt over the bad things you’ve done?

Sequence 02To put it in movies, Session 9 is The Shining with a dash of Repulsion, but not as visually out there as either. Set over a week (and yes it even has the obligatory names of the week title cards) it follows a group of five asbestos removers as they work at a condemned Insane Asylum. Which is filmed at the real condemned Danvers State Asylum, where the majority of the film takes place. The work is hard, the personalities clash, and the weight of the place is suffocating. As in a much slower burn (yet much shorter film) than The Shining, our characters begin to crack and question what they’re doing there.

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Danvers State Asylum, classic.

Though still fairly obscure, what’s helped build Session 9’s cult film status (a status any fucking film can lay claim to now a days), is it retrospectively has a great cast. Helmed by Brad Anderson, who would go onto direct The Machinist (aka, HOLY SHIT Christian Bale is an insane method actor). And led by a pre-cheesy one liner spewing, shade darning David Caruso of CSI: Miami fame (or infamy depending on who you ask….infamy definitely infamy), and the genuinely amazing and underrated Peter Mullan.
They and their lesser known co-stars do a perfect job filling out their somewhat stock characters into a likeable bunch. From Mullan and Caruso’s hard-boiled boss and cool right hand dynamic, to the annoying young one, the fun sleazy one, and the smart one whose a bit too obsessed with the Asylum. No one you haven’t seen before, but no one you will forget.

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How is there no cast photo! This was the closest I could get. And it’s still missing the sleazy one!

The reason Session 9 wasn’t a hit is a simple one. It just doesn’t have much mass appeal (or at the time, even much niche appeal). It lacks the bloodiness for gore hounds, or the jump-a-minute scares for tweens. It even lacks the out-there bizarreness of other psycho -horrors like Jacob’s ladder, or the prestige of budding atmospheric driven horrors like The Others (released the same year). But what it lacks in prestige it makes up for in fledgling filmic style. The camera is always moving, and moving with a purpose, to show and to tell, and the editing is the same, carefully cutting with meaning to foreshadow the coming tragedy.

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Okay, it does have it’s speckles of bizarreness.

Walking the line between true film and a bit home movie-ey, it creates a vividly oppressive atmosphere, without losing its sense of realism. You can feel the dust in the air, the sprinkles of asbestos  , the crackle of old tape recordings, and the cold dark as it lurks round every corner. Though never hide-behind-your-hands scary, it’s a creepy film that rots in your stomach and leaves you infected. Even as the plot gets more ambiguous and the characters get crazier, it never loses the feeling of being just five guys doing this shitty job, just to scrape by and gets some cash. Unlike a lot of modern horror films, it never lacks or loses its human centre (cough cough Until Dawn, cough cough, I know it’s a game).

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Even if it wasn’t seen by many people, it has left a long and well warn impression on those who did. Going on to inspire imagery in Silent Hill 3, specifically the hospital level, and though far from a ‘classic’ is now a well-regarded for its atmosphere, story, and themes amongst horror aficionados. And is a personal favorite of mine in the horror genre, if I hadn’t mentioned. It also features one of my most beloved ending lines in cinema, quoted in the picture below, but without the context of the film holds little weight. So SEE IT, if you want to know what it means, and afflict this haunting picture onto yourself.

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It also left us with this; either a funny but completely out of place bit of over the top hilarity, or Brad Anderson can join the ranks of other great directors, like Tommy Wiseau, of unintentionally being funny when trying too hard. But I think it’s probably the former.

If you like Session 9, I also recommend.

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