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SlothropX

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About SlothropX

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    Slime (+5)
  1. Well, I personally think that there's no reason to take a black and white view of things. James projects most of the stuff, but I think it is reasonable to say that Eddie, Angela, and (likely) Laura aren't projections. Maria is a projection, but one with a nasty streak when James decides he doesn't need her anymore. I don't know where you get "Maria pretending to be Mary" from all of that. In that ending, James has accepted Maria, and so she has no reason to have a fake-Mary attack him. Fair enough. The only trick with Maria is that she isn't formed from another person as Lisa was,
  2. Developers do lots of things. It can be difficult to differentiate between hidden truths and playful devs. I mean, the UFO or dog endings are ignored, when it comes to canonical SH2, because they're obviously just silly. A poster in SH3 with the name of a char in SH2, while cute, has a similar lack of significance, in my opinion. And remember, these games are developed by relatively large groups of people, so a little joke by an environmental texture artist doesn't necessarily mean that the game's director had deep implications in mind. If the poster had shown up in SH2, then I'd agree fu
  3. I think that the distinction between the two options is rather slim. If Maria is acting on her own, but is created with a specific set of memories and desires, then it really isn't much different from being a puppet. It seems like the only reason Maria demonstrates "free will" at all in BFAW is that James is still distant, and her greater reason for being hasn't been called into focus yet. Another concept is that the single bullet in the revolver is for James, and that only her meeting with Ernest causes Maria to toss aside her "fate" of seeking revenge for a crime she only has vague memori
  4. Well, to clarify, the other half of why Maria was born of James's wish was to punish him for his repressed crime. So, Maria isn't a form of punishment consciously sent down against James, but rather his masochistic picking at the scab of denial. While the Old Gods do slumber in Silent Hill, we have no indication that they spend a lot of attention passing judgment on the who-smothered-whom details of mortal life. Rather, by the nature of the place, people create and battle their own personal demons. A somewhat fine point, maybe, but it ruins the entire point of the series when people pers
  5. You guys are getting weirdly complex. Maria dies in front of James repeatedly because she is a projection of his memories of Mary. She starts off as a fantasy, embodying all of the good things about Mary, but James can't keep her from also embodying Mary's darkness (implied illness, death, and attempts to make him feel guilty for not caring enough about her). Mary didn't create Maria, and doesn't "use" her for anything. From the "Maria" ending: Pretty clearly blaming James for creating Maria. In all of the other endings, Maria tries to convince James to accept her as a replacement for
  6. One thing that I've wondered about a lot is why the Silent Hill games are so scary. People who would yawn through your average survival-horror zombiefest end up having a morbid fascination about Silent Hill. Not many people have the same obsession with Raccoon City, or whatever. I think it has to do with the fact that the games make a very apt point about the human condition. Everyone walks around in their own fog of anxieties and fears. People get so wrapped up in their own issues and misery that it sometimes seems hopeless for anyone to connect, much like the people in SH2 float in and
  7. Injury made us all cry. Meanie. I like everything about this, except the vocals can get buried by the piano at times. I'm using rather good headphones. Balance the two out a little and it would sound quite a bit better. Wonderful job.
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