Doubts Everywhere

Oppressive.

This was the strongest feeling Zhang Yi—and all players—had while playing "Silent Hill."

It was not simply fear. Beyond the fear was an even greater sense of spiritual oppression.

If one had to say it, did "Silent Hill" actually have any designs that felt particularly terrifying?

In truth, it did not.

There were no monsters that suddenly appeared out of nowhere in the game, nor would players turn around or open a door only to find a ghostly face right in front of them.

Instead, there were distinctive figures. For example, when Pyramid Head first appeared, he did not immediately hunt down the player. The second encounter was merely a Cutscene, and even the later chase sequences never relied on sudden jump scares.

The lesser monsters in the game were the same.

"Silent Hill" relied more on the atmosphere of its settings to create a suffocating, despairing mood.

Such as the thick fog, the radio that warned players of approaching monsters, and the bizarre world that emerged after leaving the hospital room.

And after Maria was killed by Pyramid Head, James learned of a term called the Abyss through information he had gathered.

Here, players had to go to the Historical Society and leap into a black-hole-like pit again and again in search of a way out.

A pitch-black square opening, utterly dark and seemingly bottomless at a glance, yet players had to jump into it like performing a Leap of Faith in Assassin's Creed.

Many players had endured the town's fog, passed through the bizarre apartments, and chatted cheerfully with the nurse ladies, but this was where they truly gave up.

Because when jumping into the black holes, there was nothing but darkness from beginning to end. Other than the sound of wind rushing past during the fall,