As a movie-goer and a writer, I find it to be a rarity for a video game to really hit the same level of philosophical and metaphorical detail that is found in other media. Like all rules, however, there are exceptions; the two most notable would be the Metal Gear Solid series and, naturally, Silent Hill.
Of all the games in the series, Silent Hill 2 is probably my favourite. It proved me wrong by showing itself to be a more than capable successor to the awe-inspiring SH1, and its story was something to behold. Rather than fall into the basic trap of games that value action over story, Silent Hill 2 revolves around character development. As you progress through the horrors off the town, your connection with the main character (James Sunderland) grows. A masterstroke is achieved by making you doubt his past; as we learn, his wife didn't die 3 years ago, she was smothered to death by James (whether it was an act of euthanasia to end her terminal illness or an act of selfishness is determined by which ending you achieve).
But SH2's real claim to fame is the level of symbolism it achieves, something very few games can be accused of. For instance, the scantily-clad nurses and the hulking "Pyramid Head" all represent James' objectification of women and repressed sexual desires for his wife. This is especially interesting considering it's label as a "survival horror" (what level of symbolism is there in Resident Evil, for example?).
In short, SH2 is a masterwork of suspense and storytelling that should never be cast aside as a mere "videogame". To say so is to do injustice to one of the most intelligent productions in recent times.
Of all the games in the series, Silent Hill 2 is probably my favourite. It proved me wrong by showing itself to be a more than capable successor to the awe-inspiring SH1, and its story was something to behold. Rather than fall into the basic trap of games that value action over story, Silent Hill 2 revolves around character development. As you progress through the horrors off the town, your connection with the main character (James Sunderland) grows. A masterstroke is achieved by making you doubt his past; as we learn, his wife didn't die 3 years ago, she was smothered to death by James (whether it was an act of euthanasia to end her terminal illness or an act of selfishness is determined by which ending you achieve).
But SH2's real claim to fame is the level of symbolism it achieves, something very few games can be accused of. For instance, the scantily-clad nurses and the hulking "Pyramid Head" all represent James' objectification of women and repressed sexual desires for his wife. This is especially interesting considering it's label as a "survival horror" (what level of symbolism is there in Resident Evil, for example?).
In short, SH2 is a masterwork of suspense and storytelling that should never be cast aside as a mere "videogame". To say so is to do injustice to one of the most intelligent productions in recent times.