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Changed line(s) 14 (click to see context) from:
** James always sees Silent Hill as being a waterlogged, collapsing mess, Angela sees it constantly on fire. It makes sense for a lot of reasons (James is "drowning" in guilt, Angela is "burning" with anger) but considering the more Freudian motifs at work in the story, it carries another meaning. James has the capacity to be a rapist, driven by sexual frustration (as evidenced by Pyramid Head's behavior), while Angela is a rape victim, driven by shame and anger. They're two sides of the same coin.
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** James always sees Silent Hill as being a waterlogged, collapsing mess, Angela sees it constantly on fire. fire, Eddie sees it as a freezer-temperature meat locker. It makes sense for a lot of reasons (James is "drowning" in guilt, Angela is "burning" with anger) anger, Eddie has become numbed and cold from bullying) but considering the more Freudian motifs at work in the story, it carries another meaning. James has the capacity to be a rapist, driven by sexual frustration (as evidenced by Pyramid Head's behavior), while and Angela is a rape victim, driven by shame and anger. They're two sides of James also has the same coin.capacity to rationalize away his killing of Mary as IDidWhatIHadTo and start cultivating a LackOfEmpathy or hiding the problem behind Maria.
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* When James first enters town and arrives at Sanders St. for the first time, across the street is a "Flower Shop". Near the end of the game, we overhear one of James' final conversations with Mary rejecting his gift of flowers which is presumably one of the most painful episodes in James' memories of Mary.
* One of the key landmarks is Neely's Bar which alludes to James turning to alcohol to cope with this depression. Notably, the bar is mostly empty and run down which leaves much to the viewer's imagination.
* One of the key landmarks is Neely's Bar which alludes to James turning to alcohol to cope with this depression. Notably, the bar is mostly empty and run down which leaves much to the viewer's imagination.
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** Pyramid Head is later introduced simply staring at James on the other side of prison bars. Given [[EnemyWithout what Pyramid Head is revealed to be later on]], this takes a symbolic continuation of the opening scene.
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Changed line(s) 38,39 (click to see context) from:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also say something[=:=] In the former, her response implies frustration and even disappointment at James' inability to let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.:
to:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" "In Water" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also say something[=:=] In the former, her response implies frustration and even disappointment at James' inability to let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.:
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Changed line(s) 38,39 (click to see context) from:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also say something. In the former, her response implies frustration and even disappointment at James' inability to let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
to:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also say something. something[=:=] In the former, her response implies frustration and even disappointment at James' inability to let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
YouAreBetterThanYouThinkYouAre.:
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Changed line(s) 38,39 (click to see context) from:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also say something[=:=] in the former, her response implies frustration and even disappointment at James' inability to let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
to:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also say something[=:=] in something. In the former, her response implies frustration and even disappointment at James' inability to let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
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Changed line(s) 38,39 (click to see context) from:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also say something: in the former, her response implies frustration and even disappointment at James' inability to let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
to:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also say something: something[=:=] in the former, her response implies frustration and even disappointment at James' inability to let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
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*** Also, at one point, Laura mentions a ''second'' letter from Mary, but can't find it when she searches her pockets for it. It's implied that this could well be the full letter that Mary (or Maria) gives James in the three non-secret endings. This letter specifically mentions Silent Hill, and that Mary was "waiting for you..." there, which Laura may well have taken literally, even with the rest of the letter there to provide context and make it clear to someone like James that she was speaking metaphorically.
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Changed line(s) 38,39 (click to see context) from:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He fully admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also says something: in the former, her response implies frustration and even disappointment at James' inability to let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
to:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He fully admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also says say something: in the former, her response implies frustration and even disappointment at James' inability to let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
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Changed line(s) 38,39 (click to see context) from:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He fully admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also says something: in the former, her response implies frustration and disappointment at his inability to completely let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
to:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He fully admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also says something: in the former, her response implies frustration and even disappointment at his James' inability to completely let go, while in the latter, her response is gentler and more forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
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Changed line(s) 38,39 (click to see context) from:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He fully admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also says something: in the former, her response implies frustration at his inability to let go, while in the latter, her response is gentler and more forgiving.
to:
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He fully admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also says something: in the former, her response implies frustration and disappointment at his inability to completely let go, while in the latter, her response is gentler and more forgiving.
forgiving, essentially telling him that YouAreBetterThanYouThinkYouAre.
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Changed line(s) 36 (click to see context) from:
-->'''James:''' No. That's not true... You also said that you didn't want to die. The truth is I hated you. I wanted you out of the way. I wanted my life back...
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-->'''James:''' No. That's not true... You also said that you didn't want to die. The truth is I hated you. I wanted you out of the way. I wanted my life back...\\
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Changed line(s) 28,29 (click to see context) from:
* The graffiti in the bar ('There was a HOLE' here but it's gone now') is actually a reference to James' sexual frustration. He was able to have sex with his wife, and then she got sick and couldn't or wouldn't have sex with him; there ''was'' a hole, now it's gone..
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* The graffiti in the bar ('There was a HOLE' here but it's gone now') is actually a reference to James' sexual frustration. He was able to have sex with his wife, and then she got sick and couldn't or wouldn't have sex with him; there ''was'' a hole, now it's gone..
gone...
* There is a very interesting subtle difference in James' final conversation with Mary in respectively the "In Water" and the "Leave" ending. The end of the conversations starts off the same:
-->'''Mary:''' I told you I wanted to die, James. I wanted the pain to end.\\
'''James:''' That's why I did it, honey. I just couldn't watch you suffer.
: But then the wording of the dialogue chances depending on the ending. In the "In Water" ending the conversation goes like this:
-->'''James:''' No, that's not the whole truth. You also said that you didn't want to die. The truth is... part of me hated you. For taking away my life...\\
'''Mary:''' You killed me and you're suffering for it. It's enough, James.
: But in the "Leave" ending, it goes like this:
-->'''James:''' No. That's not true... You also said that you didn't want to die. The truth is I hated you. I wanted you out of the way. I wanted my life back...
'''Mary:''' James... if that were true, then why do you look so sad?
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He fully admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also says something: in the former, her response implies frustration at his inability to let go, while in the latter, her response is gentler and more forgiving.
* There is a very interesting subtle difference in James' final conversation with Mary in respectively the "In Water" and the "Leave" ending. The end of the conversations starts off the same:
-->'''Mary:''' I told you I wanted to die, James. I wanted the pain to end.\\
'''James:''' That's why I did it, honey. I just couldn't watch you suffer.
: But then the wording of the dialogue chances depending on the ending. In the "In Water" ending the conversation goes like this:
-->'''James:''' No, that's not the whole truth. You also said that you didn't want to die. The truth is... part of me hated you. For taking away my life...\\
'''Mary:''' You killed me and you're suffering for it. It's enough, James.
: But in the "Leave" ending, it goes like this:
-->'''James:''' No. That's not true... You also said that you didn't want to die. The truth is I hated you. I wanted you out of the way. I wanted my life back...
'''Mary:''' James... if that were true, then why do you look so sad?
: The difference between the two is in how strongly James' expresses the more selfish part of his motive for killing Mary. In the "Leave" ending, James comes across as afraid to entirely commit to the idea, and slightly downplays his culpability ("not the whole truth", "part of me"), like he doesn't want to fully confront it. In the "Leave", however, James fully commits to acknowledging that he had a selfish motive. He fully admits that his actions were inexcusable, and he doesn't try to downplay or sugar-coat the anger and frustration he felt in the moment. It also casts a new light on why James in the "In Water" ending proceeds to commit suicide, while in the "Leave" ending he lives. In the former, he wasn't strong enough to fully confront his own worst sides, and as such he wasn't strong enough to let go of Mary either, choosing a last desperate attempt to reunite with her in death. In the later, he shows greater inner fortitude by choosing to confront his own darkest impulses head-on, and it is implied that this also what ends up giving him the emotional strength to let go of Mary and his guilt. Mary's responses also says something: in the former, her response implies frustration at his inability to let go, while in the latter, her response is gentler and more forgiving.
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Changed line(s) 36 (click to see context) from:
** This gets even worse if you consider "In Water" as canon. The novelization has her sitting at the edge of the lake and she could have been in full view of James driving his car into it. What type of thoughts would go into her head if she thinks that it's ''her'' fault that James killed himself?
to:
** This gets even worse if you consider "In Water" as canon. The novelization has her sitting at the edge of the lake and she could have been in full view of James driving his car into it. What type of thoughts would go into her head if she thinks that it's ''her'' fault that James killed himself?himself?
* More horror involving Laura but if she does get adopted by James, let's hope she doesn't learn how James had to kill Eddie or learn how Eddie was mentally troubled. Or better yet, does she ever realize that Eddie died?
* More horror involving Laura but if she does get adopted by James, let's hope she doesn't learn how James had to kill Eddie or learn how Eddie was mentally troubled. Or better yet, does she ever realize that Eddie died?
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Changed line(s) 35 (click to see context) from:
* Laura may have entered with no sins or guilt at the beginning, but after she learns about Mary's fate, her heart would be filled with grief, anger and denial...which would perk Silent Hill to, perhaps, make a construct of Mary and trap her in the town forever...
to:
* Laura may have entered with no sins or guilt at the beginning, but after she learns about Mary's fate, her heart would be filled with grief, anger and denial...which would perk Silent Hill to, perhaps, make a construct of Mary and trap her in the town forever...forever...
** This gets even worse if you consider "In Water" as canon. The novelization has her sitting at the edge of the lake and she could have been in full view of James driving his car into it. What type of thoughts would go into her head if she thinks that it's ''her'' fault that James killed himself?
** This gets even worse if you consider "In Water" as canon. The novelization has her sitting at the edge of the lake and she could have been in full view of James driving his car into it. What type of thoughts would go into her head if she thinks that it's ''her'' fault that James killed himself?
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Changed line(s) 34 (click to see context) from:
* Speaking of Laura's apparent exemption from the horrors plaguing Silent Hill: yes, she doesn't seem to be aware of the monsters or endangered by its hazards, and even ''Eddie's'' way-too-fragile ego doesn't seem to get riled by the teasing of a little girl. However, the ''Born From A Wish'' prequel scenario does indicate that a very real danger to the child '''did''' lie directly in Laura's path, that only sheer luck seems to have protected her from: the still-loaded ''revolver'' that Maria tosses over the graffiti-covered wall, in the [=DLC=]'s closing scene. We know Laura is curious and likes messing with items she chances upon in Silent Hill's hidden crannies, so even if she never encountered anything supernatural herself, the girl could potentially have shot herself accidentally, and fatally, if she'd picked it up after hopping off that very same wall, following her conversation with James.
to:
* Speaking of Laura's apparent exemption from the horrors plaguing Silent Hill: yes, she doesn't seem to be aware of the monsters or endangered by its hazards, and even ''Eddie's'' way-too-fragile ego doesn't seem to get riled by the teasing of a little girl. However, the ''Born From A Wish'' prequel scenario does indicate that a very real danger to the child '''did''' lie directly in Laura's path, that only sheer luck seems to have protected her from: the still-loaded ''revolver'' that Maria tosses over the graffiti-covered wall, in the [=DLC=]'s closing scene. We know Laura is curious and likes messing with items she chances upon in Silent Hill's hidden crannies, so even if she never encountered anything supernatural herself, the girl could potentially have shot herself accidentally, and fatally, if she'd picked it up after hopping off that very same wall, following her conversation with James.James.
* Laura may have entered with no sins or guilt at the beginning, but after she learns about Mary's fate, her heart would be filled with grief, anger and denial...which would perk Silent Hill to, perhaps, make a construct of Mary and trap her in the town forever...
* Laura may have entered with no sins or guilt at the beginning, but after she learns about Mary's fate, her heart would be filled with grief, anger and denial...which would perk Silent Hill to, perhaps, make a construct of Mary and trap her in the town forever...
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Changed line(s) 34 (click to see context) from:
* Speaking of Laura's apparent exemption from the horrors plaguing Silent Hill: yes, she doesn't seem to be aware of the monsters or endangered by its hazards, and even ''Eddie's'' way-too-fragile ego doesn't seem to get riled by the teasing of a little girl. However, the ''Born From A Wish'' prequel scenario does indicate that a very real danger to the child '''did''' lie directly in Laura's path, that only sheer luck seems to have protected her from: the still-loaded ''revolver'' that Maria tosses over the graffiti-covered wall. We know Laura is curious and likes messing with items she chances upon in Silent Hill's hidden nooks and crannies, so even if she never encountered anything supernatural herself, the girl could potentially have shot herself accidentally, and fatally, if she'd picked it up after hopping off that very same wall, following her conversation with James.
to:
* Speaking of Laura's apparent exemption from the horrors plaguing Silent Hill: yes, she doesn't seem to be aware of the monsters or endangered by its hazards, and even ''Eddie's'' way-too-fragile ego doesn't seem to get riled by the teasing of a little girl. However, the ''Born From A Wish'' prequel scenario does indicate that a very real danger to the child '''did''' lie directly in Laura's path, that only sheer luck seems to have protected her from: the still-loaded ''revolver'' that Maria tosses over the graffiti-covered wall. wall, in the [=DLC=]'s closing scene. We know Laura is curious and likes messing with items she chances upon in Silent Hill's hidden nooks and crannies, so even if she never encountered anything supernatural herself, the girl could potentially have shot herself accidentally, and fatally, if she'd picked it up after hopping off that very same wall, following her conversation with James.
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* Speaking of Laura's apparent exemption from the horrors plaguing Silent Hill: yes, she doesn't seem to be aware of the monsters or endangered by its hazards, and even ''Eddie's'' way-too-fragile ego doesn't seem to get riled by the teasing of a little girl. However, the ''Born From A Wish'' prequel scenario does indicate that 'very real danger to the child '''did''' lie in Laura's path, that only sheer luck seems to have protected her from: the still-loaded ''revolver'' that Maria tosses over the graffiti-covered wall. We know Laura is curious and likes messing with items she chances upon in Silent Hill's hidden nooks and crannies, so even if she never encountered anything supernatural herself, the girl could potentially have shot herself accidentally, and fatally, if she'd picked it up after hopping off that very same wall, following her conversation with James.
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* Speaking of Laura's apparent exemption from the horrors plaguing Silent Hill: yes, she doesn't seem to be aware of the monsters or endangered by its hazards, and even ''Eddie's'' way-too-fragile ego doesn't seem to get riled by the teasing of a little girl. However, the ''Born From A Wish'' prequel scenario does indicate that 'very a very real danger to the child '''did''' lie directly in Laura's path, that only sheer luck seems to have protected her from: the still-loaded ''revolver'' that Maria tosses over the graffiti-covered wall. We know Laura is curious and likes messing with items she chances upon in Silent Hill's hidden nooks and crannies, so even if she never encountered anything supernatural herself, the girl could potentially have shot herself accidentally, and fatally, if she'd picked it up after hopping off that very same wall, following her conversation with James.
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* Laura was somehow ''dragged to Silent Hill'' even though she literally has not committed any crimes or punishments presumably through the same means that James had with the letter. She had no way to go there except hitchiking with Eddie (which, thankfully, he was ''sane'' at the time...) and there's also the fact that she has no parents on her or any relatives to care for her. We don't know what happens to her in any of the other endings (and Leave makes it ambiguous as to whether or not James actually adopts her). The fact that Silent Hill can lure an innocent child into this mess makes you wonder how big of a pull it has.
** To mitigate this somewhat, she doesn't perceive any of the horrors in the game and seems to not even be aware of the monsters so she might be free to leave at any point (she did get pulled in with Eddie after all). Alternatively, the town may have pulled her in as part of Jame's trials in the town or even as a chance of salvation for all three of the trapped people.
** Could be misremembering here, but wasn't that letter given to Laura while Mary was still alive? If that's the case, then the town probably didn't do anything to summon her; she went to Silent Hill because Mary spoke fondly of the place while they were at the hospital together, so Laura figured she might be able to find her there.
** To mitigate this somewhat, she doesn't perceive any of the horrors in the game and seems to not even be aware of the monsters so she might be free to leave at any point (she did get pulled in with Eddie after all). Alternatively, the town may have pulled her in as part of Jame's trials in the town or even as a chance of salvation for all three of the trapped people.
** Could be misremembering here, but wasn't that letter given to Laura while Mary was still alive? If that's the case, then the town probably didn't do anything to summon her; she went to Silent Hill because Mary spoke fondly of the place while they were at the hospital together, so Laura figured she might be able to find her there.
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* Laura was somehow ''dragged to Silent Hill'' even though she literally has not committed any crimes or punishments presumably through the same means that James had with the letter. She had no way to go there except hitchiking hitchhiking with Eddie (which, thankfully, he was ''sane'' at the time...) and there's also the fact that she has no parents on her or any relatives to care for her. We don't know what happens to her in any of the other endings (and Leave makes it ambiguous as to whether or not James actually adopts her). The fact that Silent Hill can lure an innocent child into this mess makes you wonder how big of a pull it has.
** To mitigate this somewhat, she doesn't perceive any of the horrors in the game and seems to not even be aware of the monsters so she might be free to leave at any point (she did get pulled in with Eddie after all). Alternatively, the town may have pulled her in as part ofJame's James's trials in the town or even as a chance of salvation for all three of the trapped people.
** Could be misremembering here, but wasn't that letter given to Laura while Mary was still alive? If that's the case, then the town probably didn't do anything to summon her; she went to Silent Hill because Mary spoke fondly of the place while they were at the hospital together, so Laura figured she might be able to find herthere.there.
* Speaking of Laura's apparent exemption from the horrors plaguing Silent Hill: yes, she doesn't seem to be aware of the monsters or endangered by its hazards, and even ''Eddie's'' way-too-fragile ego doesn't seem to get riled by the teasing of a little girl. However, the ''Born From A Wish'' prequel scenario does indicate that 'very real danger to the child '''did''' lie in Laura's path, that only sheer luck seems to have protected her from: the still-loaded ''revolver'' that Maria tosses over the graffiti-covered wall. We know Laura is curious and likes messing with items she chances upon in Silent Hill's hidden nooks and crannies, so even if she never encountered anything supernatural herself, the girl could potentially have shot herself accidentally, and fatally, if she'd picked it up after hopping off that very same wall, following her conversation with James.
** To mitigate this somewhat, she doesn't perceive any of the horrors in the game and seems to not even be aware of the monsters so she might be free to leave at any point (she did get pulled in with Eddie after all). Alternatively, the town may have pulled her in as part of
** Could be misremembering here, but wasn't that letter given to Laura while Mary was still alive? If that's the case, then the town probably didn't do anything to summon her; she went to Silent Hill because Mary spoke fondly of the place while they were at the hospital together, so Laura figured she might be able to find her
* Speaking of Laura's apparent exemption from the horrors plaguing Silent Hill: yes, she doesn't seem to be aware of the monsters or endangered by its hazards, and even ''Eddie's'' way-too-fragile ego doesn't seem to get riled by the teasing of a little girl. However, the ''Born From A Wish'' prequel scenario does indicate that 'very real danger to the child '''did''' lie in Laura's path, that only sheer luck seems to have protected her from: the still-loaded ''revolver'' that Maria tosses over the graffiti-covered wall. We know Laura is curious and likes messing with items she chances upon in Silent Hill's hidden nooks and crannies, so even if she never encountered anything supernatural herself, the girl could potentially have shot herself accidentally, and fatally, if she'd picked it up after hopping off that very same wall, following her conversation with James.
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** Leave: Despite his inner monologue showing his true thoughts on whatever matter is at hand, James is almost always discussing Mary and hoping someone has seen her when he encounters them. To get this ending, you have to role-play him as if that was completely and honestly true -- examine Mary's photograph and letter often, listen to the monologue within the Otherworld hotel's long hallway to hear her last words, and avoid acting like Maria is a replacement.
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** Could be misremembering here, but wasn't that letter given to Laura while Mary was still alive? If that's the case, then the town ''didn't'' do anything to summon her; she went to Silent Hill because Mary talked about the place a lot while they were at the hospital together, so Laura figured she might find her there.
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** Could be misremembering here, but wasn't that letter given to Laura while Mary was still alive? If that's the case, then the town ''didn't'' probably didn't do anything to summon her; she went to Silent Hill because Mary talked about spoke fondly of the place a lot while they were at the hospital together, so Laura figured she might be able to find her there.
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** To mitigate this somewhat, she doesn't perceive any of the horrors in the game and seems to not even be aware of the monsters so she might be free to leave at any point (she did get pulled in with Eddie after all). Alternatively, the town may have pulled her in as part of Jame's trials in the town or even as a chance of salvation for all three of the trapped people.
to:
** To mitigate this somewhat, she doesn't perceive any of the horrors in the game and seems to not even be aware of the monsters so she might be free to leave at any point (she did get pulled in with Eddie after all). Alternatively, the town may have pulled her in as part of Jame's trials in the town or even as a chance of salvation for all three of the trapped people.people.
** Could be misremembering here, but wasn't that letter given to Laura while Mary was still alive? If that's the case, then the town ''didn't'' do anything to summon her; she went to Silent Hill because Mary talked about the place a lot while they were at the hospital together, so Laura figured she might find her there.
** Could be misremembering here, but wasn't that letter given to Laura while Mary was still alive? If that's the case, then the town ''didn't'' do anything to summon her; she went to Silent Hill because Mary talked about the place a lot while they were at the hospital together, so Laura figured she might find her there.
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* Laura was somehow ''dragged to Silent Hill'' even though she literally has not committed any crimes or punishments presumably through the same means that James had with the letter. She had no way to go there except hitchiking with Eddie (which, thankfully, he was ''sane'' at the time...) and there's also the fact that she has no parents on her or any relatives to care for her. We don't know what happens to her in any of the other endings (and Leave makes it ambiguous as to whether or not James actually adopts her). The fact that Silent Hill can lure an innocent child into this mess makes you wonder how big of a pull it has.
to:
* Laura was somehow ''dragged to Silent Hill'' even though she literally has not committed any crimes or punishments presumably through the same means that James had with the letter. She had no way to go there except hitchiking with Eddie (which, thankfully, he was ''sane'' at the time...) and there's also the fact that she has no parents on her or any relatives to care for her. We don't know what happens to her in any of the other endings (and Leave makes it ambiguous as to whether or not James actually adopts her). The fact that Silent Hill can lure an innocent child into this mess makes you wonder how big of a pull it has.has.
**To mitigate this somewhat, she doesn't perceive any of the horrors in the game and seems to not even be aware of the monsters so she might be free to leave at any point (she did get pulled in with Eddie after all). Alternatively, the town may have pulled her in as part of Jame's trials in the town or even as a chance of salvation for all three of the trapped people.
**To mitigate this somewhat, she doesn't perceive any of the horrors in the game and seems to not even be aware of the monsters so she might be free to leave at any point (she did get pulled in with Eddie after all). Alternatively, the town may have pulled her in as part of Jame's trials in the town or even as a chance of salvation for all three of the trapped people.
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* Laura was somehow ''dragged to Silent Hill'' even though she literally has not committed any crimes or punishments. There's also the fact that she has no parents on her or any relatives to care for her. We don't know what happens to her in any of the other endings (and Leave makes it ambiguous as to whether or not James actually adopts her). So that makes you wonder how big of a pull the place has if a ''child'' can enter it.
to:
* Laura was somehow ''dragged to Silent Hill'' even though she literally has not committed any crimes or punishments. There's punishments presumably through the same means that James had with the letter. She had no way to go there except hitchiking with Eddie (which, thankfully, he was ''sane'' at the time...) and there's also the fact that she has no parents on her or any relatives to care for her. We don't know what happens to her in any of the other endings (and Leave makes it ambiguous as to whether or not James actually adopts her). So The fact that Silent Hill can lure an innocent child into this mess makes you wonder how big of a pull the place has if a ''child'' can enter it.it has.
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* The graffiti in the bar ('There was a HOLE' here but it's gone now') is actually a reference to James' sexual frustration. He was able to have sex with his wife, and then she got sick and couldn't or wouldn't have sex with him; there ''was'' a hole, now it's gone..
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* The graffiti in the bar ('There was a HOLE' here but it's gone now') is actually a reference to James' sexual frustration. He was able to have sex with his wife, and then she got sick and couldn't or wouldn't have sex with him; there ''was'' a hole, now it's gone..gone..
!! Fridge Horror
* Laura was somehow ''dragged to Silent Hill'' even though she literally has not committed any crimes or punishments. There's also the fact that she has no parents on her or any relatives to care for her. We don't know what happens to her in any of the other endings (and Leave makes it ambiguous as to whether or not James actually adopts her). So that makes you wonder how big of a pull the place has if a ''child'' can enter it.
!! Fridge Horror
* Laura was somehow ''dragged to Silent Hill'' even though she literally has not committed any crimes or punishments. There's also the fact that she has no parents on her or any relatives to care for her. We don't know what happens to her in any of the other endings (and Leave makes it ambiguous as to whether or not James actually adopts her). So that makes you wonder how big of a pull the place has if a ''child'' can enter it.
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* In the room where you rescue Angela from the Abstract Daddy, the walls have this weird kind of decoration up near the ceiling. There are these holes up there, and they have some kind of peg-like mechanism going in and out of them. After you defeat the Abstract Daddy, Angela reveals to James that her father raped her. It took me more than one playthrough to realize what the things at the top of the ceiling reminded me of....
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* In the room where you rescue Angela from the Abstract Daddy, the walls have this weird kind of decoration up near the ceiling. There are these holes up there, and they have some kind of peg-like mechanism going in and out of them. After you defeat the Abstract Daddy, Angela reveals to James that her father raped her. It took me more than one playthrough to realize what the things at the top of the ceiling reminded me of.... .
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* Dog ending. Lighthearted as it may seem , it also makes it absolutely clear that the town is under Mira (the dog)'s control, everyone inside included. No one is free anymore.
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* Dog ending. Lighthearted as it may seem , it also makes it absolutely clear that the town is under Mira (the dog)'s control, everyone inside included. No one is free anymore.anymore.
* The graffiti in the bar ('There was a HOLE' here but it's gone now') is actually a reference to James' sexual frustration. He was able to have sex with his wife, and then she got sick and couldn't or wouldn't have sex with him; there ''was'' a hole, now it's gone..
* The graffiti in the bar ('There was a HOLE' here but it's gone now') is actually a reference to James' sexual frustration. He was able to have sex with his wife, and then she got sick and couldn't or wouldn't have sex with him; there ''was'' a hole, now it's gone..
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Added the example regarding James's line after Brookhaven, as well as examples regarding the endings
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* Noted on the Nightmare Fuel page, but when James leaves Brookhaven after Maria's brutal death, he starts thinking of Mary and begins to wonder: "Are you...really waiting somewhere for me? Or is this your way of taking...?" It's implied here that James thinks that everything he's going through in Silent Hill is Mary's vengeance against him. But then that begs the question of why Mary would be pissed off enough at James, who up to this point has seemed to be little more than a fairly awkward and a little rough but reasonably gentle guy, that she'd want to cause him hell. That's because this small, seemingly throw-away line is the player's first clue [[spoiler: that James murdered Mary and is desiring punishment]].
* The Endings. To a first-time player, it may be a little confusing how to get them. However, though difficult to decipher, several of them are actually hinted at in game:
** Maria: After the Abstract Daddy boss battle, Angela asks James if Mary had died, but immediately calls him a liar and accuses him of replacing her with someone else. Sticking by Maria and essentially transferring his "love" onto her by protecting her from all harm and listening to her directions allows you to get this ending.
** In-Water: During James's last encounter with Angela, she demands he give her back her kitchen knife. When he refuses, she somewhat sarcastically asks him if he's saving it for himself. Repeatedly examining the knife and acting overly suicidal by remaining in low health triggers the In-Water ending where James commits suicide.
* The Endings. To a first-time player, it may be a little confusing how to get them. However, though difficult to decipher, several of them are actually hinted at in game:
** Maria: After the Abstract Daddy boss battle, Angela asks James if Mary had died, but immediately calls him a liar and accuses him of replacing her with someone else. Sticking by Maria and essentially transferring his "love" onto her by protecting her from all harm and listening to her directions allows you to get this ending.
** In-Water: During James's last encounter with Angela, she demands he give her back her kitchen knife. When he refuses, she somewhat sarcastically asks him if he's saving it for himself. Repeatedly examining the knife and acting overly suicidal by remaining in low health triggers the In-Water ending where James commits suicide.
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Added an additional point to James's behavior examples as well as a new point regarding the representation of the characters to James
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** The game itself seems to be constantly teasing this notion. Many bodies laying around are dressed unnervingly like James himself. As mentioned above, flooding and water damage in buildings seem to be a poignant part of James's Otherworld. The other people James encounters seem to have a similar disregard for life in general, between Angela's desire to die and Eddie's lashing out due to hating how his life is being tormented by others. And later on, there's the descent into the open grave that is actually James's in the prison. Silent Hill is evidently aware of James's desire to die, and appears to be constantly teasing him with it, regardless of what he says to anyone else.
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* The other characters James meets all seem representative of a particular aspect of James himself. Angela is consumed with self-hatred while Eddie is lashing out at abuse from others. James, depending on your interpretation of him, lashed out at Mary from her abuse to get his life back and serves as one of his reasons for killing her, yet the action has left him with intense self-loathing and a feeling of deserving the punishment and hell he's going through. That only leaves Laura. Laura however is unable to perceive the monsters and thus the horror of the town, and therefore could represent ignorance. For about 85% of the game, James seems to be ignorant of the true cause of Mary's demise and thus doesn't understand the horror of what is happening, possibly out of shock.
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** [[https://www.inverse.com/article/22511-silent-hill-2-voice-acting-defense This article]] focuses on this, also pointing out that it fits the surreal. dream-like nature of the game, similar to David Lynch.
