When looking at the lenses of remakes, remasters, re-imaginings, reboots, definitive editions, ports, and plenty by the library classifications. It is important to understand where and what kind of vision the original and new are undertaking. Are companies such as Bluepoint trying to faithfully rework a game 1:1 without specific egregious artistic or personal changes in the first's tone and music? Do the budget remakes of Front Mission create a definitive edition? Can both the initial version and separate remakes such as Resident Evil stand side by side with one another? These are difficult questions to ask and honestly, I've seen many arguments for, against and nuance takes in the middle. Depending on the experience of the individual and the context from which is given in claims. The evidence and therefore the response may vary. To this end, I would posit a question. What is Final Fantasy VII Remake(FFVIIR)? Sounds like a dumb question, albeit questioning sprouts and fans, the answer may surprise you. In my eyes, the question is only a part of the whole pie I've been struggling to eat since completing the 2nd installment of the 2024 title called Rebirth. And in pursuit of such answers, I decided to replay FFVII Remake once more. Marking this as my third finished playthrough. I will state beforehand I’m not skilled enough to determine a decisive reply. Rather I've submitted 7 mixed feelings along with 7 praises. To demonstrate why I’m struggling and dearly pray the information presented will help a soul in a similar position. Forgive me if I offend anyone who holds the title near and dear to their hearts. That is not my intent. My troublesome concerns in the following text are not meant to be scathing nor as a rant. And are simply my observations on what could be improved. Followed by what I believe the team does well. With no spoilers as much as possible. Failing that, if at any point I’ve resorted heavily negatively or failing the above. Then you have my express permission to summon a big meteor and channel your energy to land on me and thus yeet me into the lifestream.

First - Faithful to the original, yet evokes new material. Over simply designating it as a remake. The official name should've been called a re-imagining. From the playstation store the description states "... is a reimagining of the iconic original with unforgettable characters, a mind-blowing story, and epic battles." For those confused on the word 'reimagine,' the definition according to merriam webster says "to imagine again or anew, or recreate." A remake by definition is "make anew or in a different form. - Remade." To explain in simpler terms. I perceive the definition to be a higher quality recreating the foremost vision with higher fidelity and optimizing whatever is lacking to a certain extent. A reimagining of this caliber goes beyond the constraints the previous presented to offer something unique and old. Straightaway, please erase notions of 1:1 you will find semblances and fresh adjustments present everywhere. I admit I am poorly ignorant of what the definition in the landscape of video games entailed and expected a remake before a reimagining. A gentle reminder to keep your expectations in check. Funnily enough, If you had talked to my 2020 self he would've given you a frowning face with a "What you talkin bout fool!?" while explaining why this is faithful. Man. Believe me, it is another instance of me desiring to go back in time to slap my past self silly. Regardless, a vital question comes to mind for fresh souls and veterans. Do I need to know the pioneers or titles from the compilation? The short response is no. For unfamiliar dudes. Don't worry this isn't me trying to scare prospective souls for the 2020 JRPG. Context is important, and sure you can gain a great deal more from playing the premier and other connected mediums within the universe. However, leave that to the fans who want something different. As someone who isn't a fan of the earliest yet devoured everything in the compilation minus Dirge. I sound hypocritical. Although I hold the seventh entry in the series in my top ten for the franchise. Don't get me wrong, this isn't me being an arbiter of who and what you can play. Eventually, it is your decision to decide. I love to inform/educate others for those not in the know or out of the loop. The long retort is a 'yes' and 'maybe' for fans and those somewhat familiar with the FF7 universe. Why? Well in a 2020 VG247 interview with the producer Yoshinori Kitase(Who directed the initial version) stated "...all of the lore from the works created after the original, the Compilation of Final Fantasy 7, that's all very much in the base of the canon for the remake, and going forward it will be too." The response was due to a question on how significant the "compilation ideas," will be brought to the table. What does this mean for the modern FF7 project split three ways? Well. in my eyes. They're moving outside a 're-imagining'. delving into territories of the 'reboot' and 'sequel' combination. Smashing like playdoh three qualities to present exciting and bold overhauls with the aged guards in the developer team and fresh blood behind the 1997 release. And does it stick to the landing? Hmm, I don't think I can state it definitively did, but my 2020 aging self and multiple friends, peers, and others dearly enjoy the remake. In that sense, I must articulate that's perfectly valid. But 2024 me posits an uncomfortable realization upon replaying before arriving at my conclusion. And that is...

Second - The linear sections need to take a backseat. A conclusion I reached since I've taken the liberty of recording my whole replay. For transparency, this means I played on classic difficulty and solely focused on the main narrative. Excluding the side-content because I already completed them in 2020. Where I finished a hard mode replay upon polishing off normal mode. I found dissecting the gameplay bits. 10+ linear sections in eighteen total chapters. Meaning player agency to move in an environment usually in a guided manner. Not bad by either means, however, these segments offer a repetitive structure of mandatory fights with some leeway to run past. Instead of opting for a free-form combat encounter at your leisure at any time. A famous example is Chrono Trigger where you had a bunch of areas to opt out of required battles by fleeing and running around mobs. Here we don't get that unless we run a sufficient distance or until each enemies are wiped out. Thereby, stalling players and a focus on rinse-and-repeat combat engagements. To drive the claim deeper these sectors take up 'xx' minutes. Ranging in my experience 20-50 min. Varying depending on the length: short, medium, and long. Includes watching cutscenes interlaced as you progress further in a route. Not noticeable if you partake in the voluntary areas and stop to take a break. An un-fun endeavor in dealing with yet a familiar path to tread and battle. Cutscenes and voiced commentary can only do so much if I'm forced to brawl with mob #1 and mob #2. Taking out the surprise and inducing...

Third - A rampant formulaic structure in abundance on the far side of the spectacle and splendor of the dystopian cyberpunk metropolis of Midgar. The place where the bulk takes place. Before I slash on ahead I must enunciate you control a character initially. Cloud Strife. Mercenary & EX-Soldier. Armed with a hulking greatsword busting from his back, he embarks on a dangerous job with eco-terrorists to stop a megacorporation from harnessing the planet's precious finite resource mako. An eyebrow-raising premise and I'll detail more later. Continuing from my claim earlier. The former is true. And though I'm no expert designer I don't like predictable sequences. The first offered short linear zones capable of completing in achingly fewer occasions than what my results found. Sharing authentic surprises making full use of the shift into 3D. By contrast, I found the measure of guided linear padding districts a chore than a fun participation. To be fair this is looking through the eyes of a replayer, yet for those newcomers this is probably fine. Although coming from Rebirth, I found the developers didn't learn their lesson and continued the practice to disastrous effects. Sure there are moments interspersed where we deal with minor obstacles in the way: switches, pulleys, levers, buttons, time limits and split parties, stealth, and walking passages. Creating opportunities to diversify the run then face another foe formula. Realistic to the point of unnecessary for the sake of immersiveness. Doesn’t make sense to hold a button to stress the act of pushing stuff such as hard levers. Hence, still not sufficient to make me jump in joy saying "GUYS THIS IS AWESOME!" Reality isn't the same as the expectations as I failed earlier above in my 1st point. Cut these chunks 50% to 100% in my opinion. Don't delay my gratification further to catch the next plot scene. Apply enjoyable no obstacles in overcoming or keep them extremely short. And to be frank we do distinguish semblances of these later on: trains, grappling hooks, and controlling big o'l arms, but their exposure is still too long for my tastes. Even slicing extended verticality would've helped in the level designs, slapping a sidequest abruptly can provide benefits.

Fourth - Thus padding becomes a constant companion of mine. From the FFVII Remake Ultimania book. An interview revealed "...in the original game, it takes about 7 hours to go through the Midgar section. In the Remake, the map would need to be in 3D, so there would be much more information to account for as well as minutes pass. To go from one point to another, and all that adds up. Since we knew that we would have to add scenarios to the story too, I knew that the overall gameplay of the Remake would be well enough to cover a whole game." - Tetsuya Nomura(co-director) said. Expanding the JRPG from 7 hours into a AAA term is unprecedented. Can you imagine if Legend of Zelda: Ocarina of Time was cut 1/3 and the 1/3 was blown into a full $70 price tag? The number of resources, man-hours, and sheer effort along with the Square Enix budget + marketing. Of one of the most recognized JRPG brands on Earth and selling millions to this day, with medals of commercial and critical success in the tail-end of 1997 is double eye-brow raising past my hairline. My times in 2020 were 76 hours to 100%, 45hr on a first playthrough plus completing the entire sidequests and 19 for my replay. Close to the submitted averages from How long to beat data. Therefore it is inconceivable for me to imagine entirely the work involved has non-existent padding. The opposite is true adding filler during unnecessary sections. Not bringing out various spoilers, but I dissected the chapters, discovering multiple instances of stretching the seven hours. I've already talked above about the linear pieces, but certain cutscenes need not be extended. I don't want to watch a mysterious guy with cat-like eyes gradually gazing at me, walking slowly and spontaneously whispering in my ear. Appearing as a ghost when you least expect it and serving as a major means to tease the audience. Extra examples inside. Such as a roach add forced skirmishes with a guy who isn't really a friend, but hold up maybe he is because we escaped? But the dude has no depth whatsoever beyond flamboyant actions and liberally using the word 'nakama' as if it's going out of style. Villain points of view in a corporate office were also forced, displayed no nuance, and hit the predictability counter. A single egregious instance is a bald disgusting filthy excuse of a being hungering for the female body was equally disturbing and felt excruciatingly too lengthy. I wanted to gag and run out of the room looking at the poor excuse of a 'man,' constantly as the camera shifted to him.

Fifth - Modifications aren't always better in the plot. Again no spoilers, but I can count on one hand some important moments I feel shouldn't have been revised. The absence of blood, replaced with a [redacted] trail takes out the fear and horror replaced with a sense of befuddlement. And this confusion is greatly enhanced immediately upon our [censored] shifts from their initial personality into apathy. Followed by a sense of bewilderment as continued plotbeats hammer our vision punching a sort of psychosis-like of what is real and unreal into our eyeballs. Lingering repeatedly as the camera oh so slowly focuses on them repeatedly. As a consequence, a major character's presence is overhauled due to the additional scenes pandering to their figure instead of using imagination, stories told by word of mouth to take hold of our party. I understand why these adjustments were made, and it is not horrible to the extent I'm moaning so loudly. Merely closing my eyelids and hmming while simultaneously imagining what is going on in the writer's head. Kazushige Nojima and Motomu Toriyama specifically. Because actively adding and revising these elements felt weaker. Teasing and baiting without explaining concretely. A more isn't always a better case.

Sixth - Extends to the unfamiliar content. Namely Whispers. No softly saying words to my ears kind. Rather, mysterious entities will show up occasionally. Not a spoiler because these are shown in the official trailer. Without stating too much, the entities follow an old, repetitive pattern. I'm sure you heard it already, but it is a formulaic response once again to obstruct our party. Why? points gently at the wide and above points I've said so far. In essence, these felt needless, fueling countless theory-crafting and driving discussions. Which by itself isn't bad. I love a good talk with possible outcomes and what-ifs. But after finishing Rebirth and replaying, I still cannot find solid reasons for their existence to entice freshbloods into a JRPG. I've come to note their existence as a red-stop light. Stopping my vehicle motion until a certain amount of minutes have passed before I can move forward. Their intervention in most aspects worsens instead of alluring the audience. Removing their presence entirely and organically adding an easier, less complicated-to-understand presence would've been a better solution in my honest opinion. The closest example I could consider is the film Arrival(2016). Again no major beats will be spoiled from the film. But within the cast is introduced to [blank]. We, both the cast and audience try to understand what this [blank] is. By the credits rolling, I came out with a pensive, but nodding my head action. As vaguely as I can put it. I understood the whole picture. Whispers don't give you the tools to understand. Merely dangling a carrot atop your head while you flop around illustrating a starving bunny failing to reach the juicy treat. And as someone who loves lore and connects it to the plot. The single aspect infuriated me and shot my suspension into a black hole.

Seventh - The sidequests offer little to decent value. Ultimately granting a reprieve in the narrative. Looking back on my notes I wondered why I didn't utter exceptional stuff on the optional matter. After reviewing the list and rewards from a guide I realized why. Serving as a means to take a break. And offer chore missions to perform. From my findings, plus five fetch objectives, 10+ extermination assignments, several minigames, missable missions if you fail to carry out preceding jobs beforehand, and requirements. For instance, completing a couple of them in full unlock a party member cutscene with our protagonist. Playing devil's advocate, these operations do serve a purpose. Helping the people in Midgar, specifically the individuals in the slums who are in dire need of their tasks. Not a bad thing. However, the design implementation of fetching materials, and items, and finding stuff becomes boring. fighting unique variants of creatures fought in the plot and never-seen monsters is a nice touch, but consummate rewards can be lacking. They consist of items and equipment of above-average quality with several weapons exclusively gained. To be fair, not all quests suck. I'd bark a handful off the top of my head is notable in the sense of me giving a single thumbs up. Wish they resonated far higher with deep lore connections and barely superficial relationships. Extending to the NPCs you meet as well. Remove missable errands, interject our party members asking Cloud for help, abrupt errands popping up, surprising injecting urgency, followed by relief. Simple tasks removing debris or gently carrying an injured person while slowly commentating juicy gossip would've elevated the non-essential areas into a must-play. Now I'm shaking my head, grimacing to speak anything nice.

Bonus for the Intermission DLC - I'll be blunt I don't enjoy the intermission Yuffie episode. Offered with a pricetag to consumers following the launch months down the line. The cost I paid was $20. I didn't feel it was worth to play. For those not in the know. Here's a description of what it entails in the store page.. "Play as Yuffie after she arrives in Midgar. There, she and another Wutaian operative are to rendezvous with Avalanche HQ, infiltrate the Shinra Building, and steal the conglomerate's most powerful materia. This DLC unfolds over two chapters that are separate from the main narrative, and also adds a combat simulator fight against Weiss to the PlayStation®5 version." I like Yuffie, she offers a naive optimistic view marred by her grudge in a harsh world ruled by a megacorporation. Has clear goals and her infectious go-to attitude hardly fails to bring a grin on my face. However, playing as her I realized the pitfalls specifically the linearity added nothing satisfying. Launching my big ninja shuriken to hit objects in the environment and climbing and overcoming obstacles from battling leaves me a bitter taste I find in wasabi. Outside of a handful of cutscenes with her Wutaian operative who is handsome and cool. Conveying the strange if not interesting dynamic the duo share. And that was easily the strongest aspect displayed along with a lesser extent a tower defense minigame called Fort Condor. What grinds my gears paying $20 is how little the main plot moves. Two plus chapters and a combat simulator I have no interest in. The former is heavily lacking despite trying to intersperse the duo's movements while the main story progresses back in the base FF7 crew. As a consequence, very little I enjoyed besides learning background about her once her mission finishes. A modicum of context for her soon-to-be joining with the main cast in Rebirth. And why she's acting in a certain manner. A lack of meaningful content I paid a substantial amount leaves me full of regret. I wish I had the foresight to travel in time and watch a Let's Play instead. There goes my five hours never returning. For those who adore the fullest extent granted I salute you.

Phew. With utterly nasty stuff out of the way. I can now focus on the best parts. And it's funny, I started my replay in search for validation of my troubled thoughts and came out picking spare facets I revel in.

I - Body gestures, facial expressions, and voice acting beautifully translate the 1997 3D era into the modern enriching our beloved party. The 2020 title wonderfully demonstrates this. The guy with a machine gun arm(Voiced by John Eric Bentley) is easily my favorite dude. Charismatic, body of action, gung-ho yet deep within his tough, gruff exterior lies a loving family dude. His speeches and comradery brighten my days whenever he's on screen. A female martial artist/bartender(Voiced by Britt Baron) is soft-spoken but belays a deep love for her friends. Giving a helping hand to whoever her companions are. Yet her eyeballs and facial expressions along with a fraction of timidness tell a deeper story. She doesn't display her emotions a lot, from her face, but generally her body motions. Baron's voice lends a hidden quality I found myself talking internally "Oh these cheeky buggers." That's the max I'll pass to stop myself from blurting a cool detail. Perhaps the most striking and given the maximum enhanced flair is the flower girl(played by Briana White) our merc meets later on. Wearing fully her emotions on her sleeve, she charges ahead, setting the stage yet doesn't outshine her fellow members. Trying different things and is unafraid to speak her mind with gestures and emoting so gracefully but not to the extent of over-dramatic illustrating Nicholas Cageness as some haters love to slap on him. She exudes a gentle, caring personality in contrast to the people you witness. Endearingly loveable. Complementing their physical presence is a flirty, but kind female, a not-Rambo-like dude, except very friendly and thinks with backups. An affectionate and true-to-heart guy who loves a tasty meal. And last but not least the guy with a huge buster sword on his back who I'll continue to give the benefit of the doubt behind his no-nonsense values but continues to help his comrades for a solid price. The villains to keep things short. I hate them substantially. Good job fellas.

II - Worldbuilding is satisfying to learn. The key to a decent to quality worldbuilding in my opinion is if the player connects to the lore, the relationships individuals have with NPCs, antagonists, and surrounding rules, laws, religion, beliefs, and values, presented in an effective way grabbing hold the audience, never breaking apart, fastening a desire to learn further. Here I had a deeper love for the universe entailed. Misinformation and propaganda became easily digestible and prevalent sifting through what is true and false information. I love the added depth in the NPCs. We behold how they act, their gripes given freely, their daily lives in the slums, what assistance they need, and who is perpetrating the evils nearby causing a disturbance. Adjusting their dialogue as the world moves forward. The cause and effect our colleagues undergo as beats pass. Witnessing the consequences of our actions. Enriching my proficiency. I grasped fear at the sheer scale of devastation. Helpless in my struggle to conjure meaningful methods of assistance. Warmly embraced the power of friendship. Lending a hand to those in need while meeting an angel. And helped a poor guy who seemed to have enough bad luck etched onto his soul.

III - Guided experience of linearity. Didn't mind the linearity at every opportunity. I mentioned before the linear sections needed to take a backseat and it's true. However, I appreciate the decent length and restraint of levels to hold being a maze-esque or overstaying their welcome. Grateful, exploration isn't filled to the brim with useless collectibles, an excess of loot, and a tedious length. Feels just right to be led to my next storybeat without a major hang-up stalling me. Consequently guiding me into a satisfactory mood. The commentary members' sprouts occasionally aid in removing the dullness permeating. Reminds me of FFXIII. This comes as no surprise since the director Motomu Toriyama resides with the FF7 crew. For what it's worth, it is an improvement from the hallway nature prior. Though to be frank I didn't mind them considering it was my official gateway into the franchise heh.

IV - Supplementary characterization made me smile a lot. I remember key specifics from FF7 and to behold my beloved characters now provides increased background, insight into their interpersonal relationships and human characteristics in expanded detail is one of the strongest I adore. Every person receives a modest to larger-than-life expansion for the better I reckon. A flirty armor girl surprised me. In her hidden motivations concerning family and her previous background. A splinter cell obtained considerable screentime that I previously forgot. Wedge endeared me for his loveable nature extending beyond his friends namely cats and tasty meals. Biggs worries a lot and is unable to stop overthinking things. Yet has a heart of gold. I can go on, but I believe the interesting conversations spoken out of fights and during walks heighten the sense of camaraderie and friendship blooming. Heartwarming to witness first impressions mellow out, distrust and suspicions thawing in the face of a common enemy. Giving out a helping hand, handshakes, high-fives with a motion to stand by fellow companions instead of walking away is a powerful show, don't tell. Precious bonds are forging and solidifying and it is awesome viewing these interactions.

V - The cinematography is breathtaking. I vividly remember iconic moments in the past. Thus perceiving them recreated in magnificent care is a sight to behold. Fluid animations, on-the-spot lip-sync, no out-of-character or sharp cuts. Action sequences offer an intense rush following combat during an encounter or moving along the plot. The camera is the star and I am on the edge of my seat looking forward to the next cutscene coming alive. I adore catching my beloved group shine. Panning the screen exhibits landscape shots to breathe in both the sheer beauty of the world and horror. Equally represented. I am thankful the camera doesn't move too fatal parading useless shots. I figure 90%+ of the whole work done by the cinematics is rendering shock and awe. From the biggest to smallest moments. I cannot for the life of me complain about the artistic vision. Pleased to note everything from monsters to humans, made with painstaking clarity and life. Conversations between allies are not too long or too short. Employing no waste. Made me appreciate discussions and commentary in and outside of battles. Body gestures, facial expressions, and voice acting coalesce achieving realism. Gluing on hidden peculiarities I may have missed. Antagonists also share a respectable amount of screen focus. Feeling far in tune with a darker nature behind fake placid expressions. Honestly, I'm clenching my teeth a bit whenever their presence is displayed. Seriously wish I could sockem into pancakes if I had One-Punch-Man's power. Ughhh.

VI - Combat runs optimally whereas before they staggered and walked tall. As Michael Higham first coined the term. Transforming two plus decades of the Active Time Battle(ATB) system for the 2020s is no small task. Has to be engaging, and tactical, delving into simple to complex maneuvers. FFVIIR succeeds in this aspect allowing gateways and fans a fresh, but familiar way to eliminate foes. FFXIII stagger mechanic is used, intensifying deadly blows on bosses by increasing their percentage. Spells, items, and abilities fluidly intersect. Defending, attacking, and retreating are viable options. Likewise activating a limit break. Ultimate moves by our members display a spectacle flourish as a coup de grace. A battle system worth revisiting and as someone who didn't tire of it on my 3rd run that says a lot on sheer robustness. Hard mode concentrates the finer aspects of fine-tuning equipment, materia(ability/passive modifiers during the flow of skirmishes), and proper item usage to etch a challenging win past a hard-fought match. Forming not an insurmountable cliff to climb. But a gradual incline passes the conventional rinse and repeat tactics of normal mode. Additionally, VR battles and completing optional objectives serve as a nice segway to learning the tricks of the trade. Granting a deeper fulfillment for those hungry for extended bloodthirsty encounters.

VII - New is cool and I don't care about the ancient material. And even if I did care, there is adequate 'new' content giving me a boatload of incentives to look forward to in the future. Hmph! I was imagining for a lengthy period of a scenario where I didn't play the compilation entries, or original and watched the extended media. Concluding, enough enjoyable parts to satisfy anyone(to varying degrees). In spite of my 7 mixed feelings affecting my overall experience. Yes, it is a remake, yes it is a re-imagining but it doesn't discount my mixed feelings and enjoyment. Instead, it brings perspective, reflection, and a culmination of everything I sought and gained in 2020. Everyone who loves it or almost the entire pie, is in for a tasty treat. My past self most certainly would agree. But my 2024 self I'm moving onwards over my honeymoon phase to realize the cracks forming. On the far side of splendor lies a troubled heart. I find myself beset with multiple questions on what constitutes a viable reimagining/remake/reboot. I'll probably ruminate for years to come constantly re-evaluating the ever-eluding dilemma. For now to answer what I said previously what is Final Fantasy VII Remake? It is a serviceable that could be improved remake striving to uphold, surpass, and capture new and youthful veterans. Regardless of reception, they move to the beat of their drum. Varying in results, what matters is what you think of the title. Feelings strong or minor are fair and valid. And it is as the 2015 E3 trailer prophesies.

"...there are now beginnings of a stir. The reunion at hand may bring joy; it may bring fear. But let us embrace whatever it brings..."

7/10


References and Additional Material:
DF’s 2020 Unpublished review + spoiler thoughts
2020 VG247 interview
2020 FFVII Remake Ultimania book. An interview
FF7R List and Rewards from a Guide
Original title by Michael Higham
FF7 Remake Official trailer
2015 Final Fantasy E3 trailer

In a 1999 developer interview. Keiichiro Toyama says “What is it that sets Silent Hill apart from other games? If I had to answer that question in a nutshell, it would be the atmosphere, which I suppose is vague and ambiguous. However, if you play the game, I think you will understand. Silent Hill is an orthodox game with no outlandish or innovative gameplay mechanics, but it is suffused with a unique atmosphere and mood, not only in its appearance but also in the story and sound.” - Director of Silent Hill 1(SH1).

I couldn’t help but come to the same conclusion as Toyama’s answer of ‘atmosphere’ as the final credits rolled in my blind playthrough of Silent Hill 1. The atmosphere permeates throughout my time running through the titular town full of dense fog. As I controlled the main character. Harry Mason. An everyman who has no special titles, or special powers, is neither rich nor an individual who has super connections of note. He is simply a regular dad desperately searching every house and street for any clue, to recover his missing daughter Cheryl after a car crash gone wrong. And so begins our journey, as he battles/evades otherworldly creatures all while unknowingly trying to survive in this horror-filled place.

Storywise, I found his journey to be a cross between safe storytelling mixed with a jigsaw puzzle. Looking back I can construct how the narrative is achieved by effectively omitting key details. By the time I had all the pieces, I could complete the ‘puzzle’ so to speak. In doing so I was treated to a relatively safe journey in regards to not throwing my suspension of disbelief into smithereens while spreading the plot breadcrumbs interesting enough to lure me further into the mystery. In spite of the slow threads in the beginning. Be that as it may, once I hit my stride in schools and hospitals my will to continue deepened further. Enabling me to question everything and everyone within the bounds of not delving too outside the box to conjure. The regular who, what, where, when, why whodunit. Kept my brain tingling for morsels of information to seek the answer to my relentless inquiries. And thankfully the ending I received satisfied me to a measure I cannot help but applaud for. Well at least for receiving the ‘G+’ ending. And while there are other endings I’ve seen on YouTube. The overarching narrative felt uncommonly used amongst the other horror games I've played thus far. I wish I could give more concrete examples, but that would inadvertently lose the magic and surprise.

The atmosphere toes the line between the unknown and frightening to an absurd, but realistic degree. As I traveled deeper into the mist surrounding the locations of Silent Hill. Taking inspiration from Stephen King's The Mist among other influences. And to its credit, the close draw distance to maximize fog nearly in our faces works cleverly to hide the technical limitations of the PS1 era. The missing inhabitants while replicating a small town out in the country oozes with mystery in a sort of “Will there be something?” is teased mercilessly. I enjoyed exploring to my delight and wasn’t scared too much despite the oppressive silence and lack of inhabitants. Instead, I found otherworldly creatures prowling the dead of the day. Hairless malformed dogs prowling the streets, as winged creatures fly indiscriminately above Mason’s head to claw at him. To the nurses and doctors who are out of their freaking mind looking like a zombie at times. I admit to being scared and simply ran away from these ghastly enemies. The dense fog adds to the intrigue with incessant questions in the back of my mind. “What's happening? Where is Cheryl? What should I do? Why is this happening? How can I survive? Am I dreaming? Is this real?” These questions and more will inevitably pop up as you stumble & struggle.

The struggle is real. As I cautiously checked for enemies in rotten corridors, clean hallways, and entering empty rooms splitting the real and unreal. Confusing me, yet a handy map can be found nearby upon entering a new location. Making backtracking painless. Allowing me to easily strengthen my will, admire the presentation and reference what I had already been to. The map updates as you explore making it a vital tool to utilize. Reinforced by how simple the mechanics are. Mason can run, walk, use guns, and melee weapons, and interact with objects in the environment. The radio too helps as a sort of sound radar for nearby enemies. Helping us to prepare for what's to come. As a result, no gimmicks or very innovative systems at work as Toyama stated above. Focusing on other elements brings the core strengths to the front and center for players to devour. Grayish mist compliments well with the dead air of the soundtrack while feeding breadcrumbs to the player early on to piece and make their deductions. It is fascinating if not slightly stressful since I am playing a survival horror game. Yet I wasn’t all too bothered by the gameplay formula.

Puzzles felt adequate without being too complex. The simple systems lend themselves again and again. Becoming cyclical as you progress further in new buildings without feeling like a drag. Encounter a mysterious item? Maybe we can use this later to open a door or slot into a mechanism to open a path. Hmm, bottle? Must be some liquid I need. Keys? Oh, a locked door I couldn’t enter before surely will this time. Every puzzle I found difficult had a nearby solution to help players give off clues to solve their current dilemma. And usually, they may connect to another component, solving a dilemma could be a key to finally removing an obstacle. Out of all the puzzles I encountered. Only one of them is incredibly difficult. This was the only time I felt compelled to check a walkthrough and once I found the solution I couldn’t help but smack myself silly. So here’s a helpful tip. Check your surroundings to make sure of any missing pieces, having a separate monitor or paper on hand to visualize text hints can offer a different point of view. There are puzzles here without a hint so visuals and any patterns as delicately as I can vaguely say will prove invaluable to the naked eye. Don’t overthink, sometimes the easiest and most gut feeling may prove to be the right one.

Combat I wasn't fighting every step of the way like tank controls. Instead I embraced the simple fighting system and abused them to my advantage. Harry can equip one weapon at a time. Utilizes a multitude of melee and ranged weaponry. From pipes to knives to a pistol, shotguns, etc. The armaments helped tremendously like a hammer and the shooting mechanics aren’t all too complicated due to the absence of a reticle. As long as you focus in the direction of the enemy. You can shoot them with extreme prejudice. And man does it feel good to lay them out on the floor and kick em when they're down. Go close to an enemy? Eat a full round from my shotgun. Enemy closing in? NOPE. Time to run in a zigzag and not look back. Dying in about one blow? Excuse me while I chug a kit and some bottles without a required animation to take effect. See several mobs? Yeah forget that, Ima run past them. Pick your battles, don’t fight everything, to conserve ammo.

Felt the resource collection and using my stockpile satisfactory. Supplies are spread throughout the town so you’ll have to do some exploring off the beaten path to see any health kits or bottles to replenish your vitality. I had a surplus of bullets and avoided combat where I could to save ammo. Didn’t need to heal every time, only when I needed to. I wasn’t hindered by any inventory limit, nor was there any sort of stamina meter. He does have a health meter once you enter the menu with a press of the button. Making the lack of any real user interface where you would traditionally see one noticeable, albeit not necessary to see. I didn’t find any major issues with finding resources.

I’ll talk more about this later, but for now, I'll praise the tank controls. The mechanic where you move the player is similar to the process of how a tank moves. And this is a process you’ll need to contend with throughout the entirety of a playthrough. Nevertheless, as I became more familiar with tank life(This was my first time experiencing the phenomenon.) I found it weirdly satisfying to look at the element from a different angle. The controls accentuate certain camera angles to invoke a sense of anxiety and unease. The combat adds to this which I didn’t mind at all considering the game doesn’t shout to the high heavens to play for the fighting module. This in turn creates anticipation and tension adding to the already unsettling atmosphere. So I like it. For adding depth to the combat and fleeing.

Honestly, this emphasizes cutscenes when they play by displaying different camera angles while the dialogue occurs. And boy do I have some good news. I’m surprised by how little text there is in the conversations. Thereby not slobbering players with text logs or lore logs. Though as a lore nut, I firmly believe as long as you have enough relative lore in hand it could prove beneficial. But that is neither here nor there. Words and phrases are used sparingly as if to uphold a sacred tenet that fewer words equals good. SH1 for example follows this rule to a T. I did not see any wasted text. Puzzles and hints are included. It's like a subtly minimalist Chekhov's gun here. And oddly enough I am praising the usage of short conversations between Harry and whoever is speaking to him to excellent effect. Why? This adds mystery and intrigue to the central locations while increasing tension, fear, etc. Reinforcing the enigmatic atmosphere Toyama envisions. Seriously this is great stuff preserving minimal, but essential text to have players piece their own conclusions. Showing us, but not telling us.

In a 2015 interview from Factmag Akira Yamaoka(composer of a majority of the Silent Hill series) talks about the franchise's soundtracks and why it continues to be as influential as ever. “One of the greatest ways that Yamaoka enhanced Silent Hill’s fear building is by using music and effects in ways that run against what you’re expecting. “I wanted it to be unpredictable: maybe during a big scare I cut everything out, and maybe if nothing was happening at all there would be a lot of sound.” You have an empty hallway? Layer a few sirens and mix it in the red. You have an establishing moment with a villain or environment? Use only the sound of a sharpening knife.”

This unpredictability by Yamaoka works to an impressive degree throughout the entire soundscape. Where I felt the absence of regular conventional instruments in favor of creepy silence, air vibrations, the beating of unconventional items like banging of doors, the scrapping of blades, and the heart-pumping scratches and fluctuating radio frequencies awakens dread. Some examples I’ll pull from the OST have silence integrated well such as: ‘Downtime, never end, never end, never end, alive, nothing else, justice for you, heaven give me say, far.’ These tracks accompany many of the gameplay segments and cutscenes in a congenial manner yet interlaced wonderfully facilitating differences from the usual effects we often hear. Creating an unsettling tone to repeat for days on end as you boot up the game. Not to the point of over-use since a lot of tracks differ in tempo, rhythm, and how untraditional sound works. Seriously listen to any of those tracks and see how it differs from classical instruments. The names of these tracks also share similar connotations. Giving off a break if you will. Or time of rest. By comparison, there is another layer. And that is the panic tracks. Imagine low drums combined with a background of haunting wails or cries of ghastly echoes.

While the foreground is immersed with a layer of banging utensils harshly being hit on steel walls in a pattern that evokes slow encroaching terror. Yeah, terrifying isn’t it? Try listening to these tracks: Die, ain't gonna rain, half day, dead end, ill kill you, bitter season, don’t cry, for all, devil’s lyric, over, until death. I had to stomach through the OST again and it is incredible if not spooky. Yet thankfully enough here’s a secret to lessen the tension and anxiety. Lower the volume, no shame in doing so. I admit to doing so! The naming sense also is interesting to note again, with most of the tracks I chose from a small sample conveying notions of death, threats, and bittersweetness. I could’ve added more, but you can see the rest here and suit the tracks in other patterns. Regardless, I want to focus on a pattern. The silence tracks and panic tracks from the ones I listed earlier follow a theme, eh? The former inhabits an eerie vibe throughout yet doesn’t go to the steep lengths of making the player run to the hills. In my ears, I felt they were used to excellent effect, conveying a tingle of mystery as I ran to new rooms and buildings. By comparison. The latter displays the rush, the unbearing suspense mixed with a persistent rhythm forming an incessant need to get out. Run faster and get the hell out of traps and dead-ends. As a result, the panic tracks I think work in its favor and complement the silence to a proportion, I find myself fascinated by the two accompanying themes.

However, a third and smaller portion of tracks not of the two kinds emerges. And this brings to the forefront the classical tracks to a shotgun-filled bar full of emotions and relief. These tracks finally make use of classical instruments like the guitar strings. For example in the track ‘She’ I felt they provide a profound degree of closure. Some may see this as an abrupt slap of whiplash, on the other hand, I found it comforting. In the near silence and panic-filled corridors of ambiance. I found at the end of my main character’s journey and to my great satisfaction a longing feeling of contentment and tranquility. It is apt and so powerful to hear classical instruments shine so bloody hard. I am amazed how different Yamaoka's style conveys so uniquely and so beautifully to listen to. Granted, the effects on the unused may be perceived as annoying to hear repetitive noise effects. Although, I think it works to its benefit. Complementing the game to magically transport the player into the Yamaoka’s soundscape. Like a puppet master controlling how we feel. Just wow. Very different from other Japanese composers I'm familiar with listening such as Nobou Uematsu, Keiichi Okabe, Yasunori Mitsuda, Yoko Shimomura, Hitoshi Sakimoto, Masashi Hamauzu, Masayoshi Soken, Keiki Kobayashi, Kota Hoshino, Falcom Sound Team jdk, and Xenoblade composers. The OST manages to ride the fine line of not being either bombastic or slamming us with gentility. Filling the player with enough suspense to not overflow in sheer terror while giving enough intrigue to the limit of genuine courage. It is as Yamaoka talks about earlier. Unpredictable in building fear.

As much as I could continue praising and analyzing every morsel. I must talk about my mixed feelings. These are neither positive nor negative, but simply some things that gave me pause, could be better and perhaps a hot take down below.

First tank controls for the unused can make it difficult to achieve the right balance in the beginning. When Harry moves in a single direction, turning becomes difficult. So you’ll have to swerve to the right or left before coming around. Takes some getting used to. I was never familiar with these types of old movements and considering it was my first foray into it. My first 15 minutes were clashing onto walls. I understand it's a product of its time. And while some may say it adds tension and anxiety, which I agree to a certain extent. More often than not I crashed into walls and wished it controlled better. Could be a dealbreaker for some. I’ve heard the newest entries after the first have better controls. Though for a first entry, it's not something I'll judge too harshly. Once an hour passed by I became used to them. To help, quick-turn using L1+R1. Helped immensely for my playthrough and thankfully the game’s runtime isn’t too long or medium to deal with. HLTB estimates put this at a short length.

Second, this might be a hot take. But I think going into the game blind completely would be a mistake. I tried playing blind for 95% of my experience and while I did have a good time, once I removed some tips to know beforehand along with some of my friend's advice I would’ve unknowingly struggled. Please check out some tips. I'll put some links further below to help newcomers. Therefore to prevent further suffering. Not required, but it doesn’t hurt to know ya know? For example, Running away from enemy mobs in the streets to conserve ammo. Quickturn if you hit a dead-end and I abused the hell out of that to counter the rough tank controls. Furthermore, going blind may inadvertently cause players more trouble when trying to achieve certain endings. They can be strict. Without going into concrete details of spoiler territory. To get the G+ ending, players need to somehow pick up a liquid in a hospital and use it in a boss fight. Not the last one. There’s a bit more, but I'll let Before I play handle that. Highly recommend referencing that in hand while you play. I hope that’s vague enough to say. I am not advocating for everyone to achieve that outcome, rather I think it would help in the long run when thinking about the game as a whole. It is simply a suggestion.

Third, boss fights I think could’ve been improved a little more to induce more puzzley in design without reverting into too gimmicky territory. As vaguely as I can say. I usually evaded their attacks, then shot bullets during appropriate moments. I’m torn on this point since I think this ties into the combat not being a true highlight to look forward to. I didn’t come to SH1 to be amazed by fighting. Yet unironically Toyama in another interview back in 1999 echoes similar sentiments by saying how “The action part of the game is really just something to create the horror.” A medium to enhance the horror if you will. Although, I still can’t help but add my suggestions on how this could be remedied to make boss fights more horrory. Off the top of my head: More on escaping, instead of traditional fights. Destroying objects in surrounding environments then switching to a different weapon like melee. Surprise me with dialogue maybe and if I answer wrong, game over. Taunt me while chasing me. I wouldn’t say they're bad by any means. The first, second to last boss and final boss do a decent job.

Fourth, I wish there was more interaction in the environment instead of literal observations anyone can make. When exploring anything of relative interest in his surroundings. Harry will make a direct, blunt phrase. “No useful books.” “Nothing unusual.” “Drugs? Better leave it.” “Just a wall.” Granted, there are plenty of notes, diaries, letters, and documents to give some relevant lore or plot hooks so it’s not all bad. Feels weird though. Why not have him say different lines like “Cheryl would’ve loved this book.” or “Ah I remember this drug from long ago my wife used to use.” See how those suggestions would’ve changed some of the stale observations? Makes me wonder if the other installments made some changes to his inspection.

Ultimately I found Silent Hill 1 to be largely a leap of faith as one Ubisoft franchise likes to say. While it does have some dated mechanics like the tank controls which may vary from person to person. And the story may not resonate with everyone. Along with my other mixed feelings. In the end, hidden beneath these varying qualities I found the everyman plot to be equally as satisfying as my time in Signalis. I can only leave pretty positive after my ten hour playthrough. And oddly enough, I regret not playing this title back then in my childhood. Never played any other entries in the series either. And yet for a PSX title released in 1999, I am pretty impressed how much it holds up. Stands tall amongst the other horror games I played. Sure the title doesn’t boast the Lovecraftian edge Bloodborne grasps. The excellent pacing of The Last of Us. Great lessons from Omori or hitting the fine balance of horror and action in the Evil Within series and Metro 2033. Nor does it provide richly diverse cast to the gills like Shadow Heart and Koudelka.

Rather, Harry Mason’s troubled venture to recover his daughter is a powerful incentive to keep in mind. And the feelings of “annoyance, anger and incredible kind of powerlessness” evoked by the protaganists voice actor Michael Guinn moved me enough to see what happens in the end. Strong to witness amongst the clever backtracking, colliding with interesting and well-thought-out puzzles. Constant showing, not telling, and remarkable use of minimal dialogue I found in contrast to Parasite Eve. Demonstrating how much this little gem can achieve in a concise manner without padding. I wasn’t bombarded by useless cutscenes or tearing my suspension of disbelief a new one. Beyond the palpable unique atmosphere, intriguing everyman story and excellent sound design lies something special to anyone who has never played Silent Hill 1. I’d even go as far as to say the game has made me appreciate horror much more than I thought.

8.5/10

References & Additional Material:
1st interview - Shmuplations translated the 1999 interview with Toyama and others
Wiki links - Everyman - Inspirational works of Silent Hill - Tank Controls - Chekhov’s Gun - SH1 OST - Soundscape
2nd interview - Akira Yamaoka interview
3rd interview - Another interview with Toyama back in 1999. Different from 1st.
4th interview - a 2018 interview with none other than the original Silent Hill voice actor for Harry Mason. Michael Guinn. Fair warning does contain spoilers for SH1 & SH3. I only read the SH1 portions.
Silent Hill 1 Before I Play Tips
Silent Hill 1 manual
A short history article on the origin of Tank Controls - Cool TIL tidbits.
My spoiler thoughts on Silent Hill 1 - Heavy spoilers from beginning to end of the game