Nostalgia can be comforting, but it is also anaesthetising; live in the past, and you never have to confront the future. James Sunderland returns to the resort town of Silent Hill, a ‘special place’ for him and his late wife Mary, after an impossible letter promises that she’s waiting there for him.
That was the premise of Silent Hill 2, Konami’s 2001 survival horror classic on PS2, and now Bloober Team’s ground-up remake only on PS5. Silent Hill 2 has always been a story about longing to return to a time and place that no longer exists. Understandably, news of a remake was met with scepticism, to say nothing of Bloober’s own dubious track record of crafting horror that handles sensitive subject matter tactfully (2021’s The Medium was a miserable experience).
So imagine my surprise when, although it’s a remake content to play the hits, it turns out Bloober’s cover version is genuinely additive.
The Otherworld is core to the series, but it’s easy to forget this warped reflection wasn’t fully realised until Silent Hill 3. Bloober has taken cues from the later series entry for its rusted-over realm, which sets our skin crawling in only the best way. Radio static pours out of your DualSense, combining with the efforts of returning composer Akira Yamaoka to make familiar frights fresh again.
With the uneasy company of Yamaoka’s more industrial tracks, I find myself inching forward in fear of what lingers in the dark. Coupled with brand-new traversal options for you and the enemies (even that red pyramid thing can open doors now), tweaks to enemy behaviour ramp up the tension.
Fan-favourite Pyramid Head returns. (Image credit: Konami)
All the freaky faces you remember are here too, though the Mannequins have had the most frightening makeover. Rather than straightforwardly flailing at you, they now skitter to a hiding spot when you enter a room, or creep along the walls, lying in wait.
Original interpolations also revitalise classic tracks – a flute melody during James’ opening monologue sticks in my mind, evoking wistful, even hopeful, feelings and making the scene all the more gutting for it. All-new performances will claw at your heart too; as James actor Luke Roberts turns in a restrained performance that allows his scene partners to shine, while detailed facial animation makes the most of everything Roberts very loudly isn’t saying.
Ultimately, this is a loving retelling that modernises a 23-year-old game – which we’d argue is still itself worth playing, though Bloober now offers a much smoother introduction. And if you’re curious, I got the Maria ending on our first go around. It’s fitting – I never could leave this town behind.
