The Hills Are Alive (Silent Hill: Origins (PS2))

Member Name: tom1clare

Product:	Silent Hill: Origins (PS2)
Date:	24/06/08 (118 review reads)
Rating:

Advantages: Excellent music, atmospheric, superior PSP port, lots of extras

Disadvantages: Short, slight control issues, linear

Silent Hill: 0rigins (SH0) received a rather low-key build up by the series normal standards when it was released for the PS2 in May 2008, the minimal fanfare a result of it being a port of the PSP version. Being the Silent Hill-loving masochist that I am though, this news (and the mixed reception it received from the press) did little to curb the near-ridiculous levels of excitement I experienced at the prospect of getting my teeth into more survival-horror action from Konami.

It is a prequel set before the 1999 PSOne original and features a truck-driver named Travis, who, much like the SH1's protagonist Harry Mason, comes to a halt in Silent Hill when he narrowly avoids hitting a child who materialised in the fog. As Travis gets dragged into the town by forces beyond his control, we learn a bit more about his clouded past as well as devil-child Alessa and her mother Dahlia, and also a welcome (if somewhat unnecessary) return of nurse Lisa Garland. The story makes for passable filler, but the game is more notable for other reasons - it is the first instalment of the series to be developed outside of Japan; indeed, the crew behind 0rigins are the UK-based Climax. Fans chief concerns were based on whether or not a westernised developer would be able to capture the uniquely unnerving atmosphere the series is renowned for, and whether or not SH0 could stand alone as a solid PS2 title in its own right. Fortunately, it's relatively successful in both respects.

There's certainly nothing fans will cry "sacrilege!" over, that's for sure. In fact, its gameplay is strikingly reminiscent of the second and third games, and closer to the series roots after the good though not-very-Silent Hill-like forth game. Climax has done away with the awkward limited-space, real-time inventory system, though does retain and build on the close-quarter combat side of things.

The array of weaponry is bewildering, mainly as Travis can now use ordinary appliances to ward off foes. Among other things, he can use screwdrivers, batons and razors as melee weapons, though they damage and break even faster than in SH4: The Room and most are only good for engaging two or three enemies each. The ability to throw objects such as toasters, lamps and crates is a good new feature as good timing offers a satisfying thump and good damage upon impact - though as they can only be used once, you may find rather a lot being piled up in your inventory by the end. Firearms can still be acquired but are less prominent than in the earlier games. Interestingly, there are no difficulty settings this time around as instead the game seemingly adapts to how well you are doing, punishing the player for a good performance by offering less weapons and lower-grade health items - though this seems frustrating at first, it actually works quite well in the long run. With enemies that are more damaging than in the past and a noticeably shorter supply of health kits, the tension is cranked up a notch, and it is often wise to run from confrontation.

The set camera angles are as calculated to unnerve as ever, though the abandonment of the 'tank' style controls made popular in Resident Evil (where you essentially rotate your character and get them to walk by pressing 'up') leads to some problems; SH0 uses GTA-style '2D' controls that see the character simply run in the direction you press - the problem in a three dimensional environment being that if the camera swaps perspectives, you suddenly start running the wrong way. In many instances, a tap of L1 gets the camera back to an over-the-shoulder viewpoint but you're never sure whether, upon entering a room/corridor, the camera will be in front of or behind Travis, occasionally leading to some unfair combat damage.

When enemies approach the screen develops a rather cool warping effect, whilst switching off your flashlight is a more viable option than before as not only does it make you a harder target for monsters, but Travis won't claim that it's "too dark to see" items or the map. Silent Hill's most defining moments always come in the form of its 'Other World' sections - hellish and bloody versions of areas already visited that are characterised by panic-inducing music, shocking environment design and a greater numbers of enemies. In 0rigins, you can jump between the standard and 'Other World' environments via mirrors; certain puzzles and areas can only be cracked after gaining items and clues from both worlds, and though the sheer volume of locked/jammed doors can make things confusing when you jump back and forth, it remains at atmospheric as ever.

The fan-service Climax have provided is impressive; the first area Travis visits is Alchemilia Hospital, an area last seen in the original game, and one of the high-points in the series. Though its appearance in 0rigins isn't anywhere near as long or as nerve-shredding as in the PSOne classic, seeing it recreated with PS2 graphics is a real treat. Aside from this, there are numerous (though more minor) nods to the earlier games; perhaps the clearest being the meat-cleaver wielding Butcher boss, who bares more than a passing resemblance to SH2's legendarily scarily Pyramid Head.

As a PSP port, it's among the best so far. Granted, some of the puzzles are a touch simplistic and the game as a whole feels undeniably pint-sized next to its predecessors (I completed it first time through in around eight hours), but there are definitely areas where it performs better on the big-screen. Graphically, it is only slightly inferior to SH3 - the characters are perhaps a touch less detailed in their facial expressions but the monsters are no less creepy and the environments look superb, especially with the trademark graining effect. It also avoids the jagged edges and plain textures that dogged the upscaled version of Grand Theft Auto: Liberty City Stories, so visually it's a lot better than it has been given credit for.

Every aspect of the games audio is stunning. Music has always been a strong point in the franchise but Akira Yamaoka has really outdone himself with a truly brilliant soundtrack. Whether it's the hauntingly memorable opening song; the hair-raising, abrasive spikes of the 'Other World' themes that somehow never fail to cause discomfort in the player; or the mournful, emotionally powerful guitar sections, his work seems to get the absolute maximum out of all scenarios. The depth of the sound effects is also remarkable; there is a great deal of (often incidental) background ambience that will spook the player as you aren't always be able to see the source of it, and in many ways it's as effective at toying with the player as the musical score.

The game may be over fairly quickly but there are three endings to acquire, including the now-customary comedic UFO finale. The new 'Accolades' feature is a welcome addition that sees you rewarded for such things as exploring as much as possible, collecting lots of items, finishing the game quickly and using your flashlight as little as possible. For each accolade you acquire, you get a new outfit for Travis (there are a whopping fourteen in all) and in some cases a new weapon or piece of equipment (nightvision goggles are especially nifty). To get all of them, you'll realistically have to complete the game at least four times, so there's plenty of scope for replay value should you seek it.

Ultimately, it's fans that will have the most to gain from 0rigins. It doesn't reinvent the wheel but as a PSP port, the graphics hold up well and the music has far greater resonance on television speakers. It isn't as good as SH2, but there are enough scares along the way to satisfy anyone after a decent slice of survival-horror gaming.

Summary: Short-lived but atmospheric fifth outing for Silent Hill