Silent Hill 2 (2024 remake)

Never played the original, but fantastic game.

Music, the David Lynch/Twin Peak feel, the music by Akira Yamaoka...     

Both the suspense/horror effects, as well as the story horror elements, were amazing.

 

Video Games (videogames)

 I've been playing so far

• Metal Gear Solid V - "The Phantom Pain"
• Horizon: Zero Dawn
• Death Stranding
• the Missing
• Red Dead Redemption 2
• The Witcher 3
• Portal & Portal 2
• Wreckfest
  
• Spec Ops: The Line
• Not For Broadcast
• Biohazard
• Cloudpunk
• Scanner
• Kentucky Route Zero
• Nier: Automata
• Little Nightmares III
• Observer: redux
• What Remains of Edith Finch
• Alan Wake
• Control (Ultimate Edition)
  
• 12 Minutes
• Dark Souls
• NieR Replicant ver.1.22474487139
• Ghost of Tsushima - amazing history and good gameplay
• the Last of Us - great story telling and music
• the Last of Us part 2 - still good, sometimes a bit less story wise, but the part where Joel gets killed, or Ellie's birthday flashback are amazing
• Metal Gear Solid 4 - Guns of the Patriot
• Vennineth 
• Hellblade: Senua's Sacrifice
• The Stanley Paradox
  
• Disco Inferno
• Deus Ex - Human Evolution (Director's Cut) 
• Deus Ex - Mankind Divided
  
• Elden Ring
• Blind Drive
• Getting Over It
• Late Shift
  
• Soma
• Remember Me
• Stray
• Call of Juarez: Gunslinger
• Echo
• Deathloop
• Aragami
• Celeste
• Norco
• A Plague Tale: Innocence
• A Plague Tale: Requiem
• Immortality
  
• Silicon Dreams
• God of War
  
• God of War: Ragnarok
• Horizon II - Forbidden West
• Dead Space (2023 remake)
  
• Volumes (?) - 3D sneak game
• started 5min of "Wild West" (?)
• Dredge
• Close to the Sun
• Sekiro: Shadows Die Twice
• White Shadows
• Vampire Survivor
• As Dusk Falls
• Firewatch -[way earlier,  had covid, before tLoU, close Kentucky Route Zero]
• Humanity - "lemmings game"
• Metal Hellsinger (hardly played, rhythm based metal music game)
• Armored Core IV - Fires of Rubicon
• Unpacking
• Somerville
• Life Is Strange 
• Beyond: Two Souls (disappointing narrative "scifi" game with Elliot Page)
• Trek To Yomi - beautiful samurai game in old 60's style movie style
  
• Tokyo:Ghostwire
• Bloodborne
• Where the Water Tastes like Wine 
• Baldur's Gate 3
• Lies of P
• Hi-Fi Rush
• The Talos Principle
• Returnal
• Dark Souls II - Son of the First Sin
• Themysia
• Pacific Drive
• Elden Ring - Shadow of the Erdtree DLC
• Nioh
• Dark Souls III
• 1000xResist
• Quantum Break
• Papers Please
• Mass Effect 1 (Legendary Edition)
• Mass Effect 2 (Legendary Edition)
• The Forbidden City
• Mass Effect 3 (Legendary Edition)
• Katana Zero
• Blue Prince (absolutely amazing)
• Clair Obscur 33
• Slay the princess (great)
• Arctic eggs (wonderfully weird, david lynchian)
• Black Myth: Wokong
• Shadow of the Colossus
• Silent Hill 2 (great horror) 
• Exit 8 (tricky escape from Tokyo's subway) 
• Silent Hill ƒ

Zack Vasquez for CrookedMarquee - "What Is It That Makes David Lynch Movies 'Lynchian'?"

https://crookedmarquee.com/what-is-it-that-makes-david-lynch-movies-lynchian/


When we think of the term "Lynchian," the agreed-upon definition is the one composed by David Foster Wallace in his famous essay "David Lynch Keeps His Head." Wallace's "Academic definition" of the eponym describes it as "a particular kind of irony where the very macabre and the very mundane combine in such a way as to reveal the former's perpetual containment within the latter."



Wallace does get closer to an accurate appraisal of the Lynchian aesthetic in that same section of the essay, when he breaks down the comparison between Lynch and Tarantino further: "Quentin Tarantino is interested in watching someone's ear getting cut off; David Lynch is interested in the ear."
While this statement once more misses the mark in regards to Tarantino (go look again at that scene in Reservoir Dogs: we don't actually watch the ear getting cut off, and the mise-en-scène makes it clear that Tarantino is interested in everything but the physical violence), he is on to something in regards to Lynch's obsession with tactile objects.



This blue-collar aesthetic is the true central aspect to the Lynch brand of strangeness, one that is present in all but one of his films. It's there in the urban blight of Eraserhead and The Elephant Man; in the white picket fences, suburban front lawns, lumber yards, and roadside diners of Blue Velvet and Twin Peaks; in the long, open roads of Wild at Heart and The Straight Story and Lost Highway; and in the crumbling facade of old-school Hollywood glitz and glamour in Mulhulland Drive and Inland Empire. It is there in the anachronistic way his characters style themselves (Brandoesque leather jackets, lumberjack flannel, hair slicked back with goops of pomade for the men; tight wool sweaters, slinky film-noir nightgowns, platinum blonde dye jobs for the women), and in the seedy alleyways, lonesome desert motels, banal apartment complexes, and run down trailer parks where they wander.



The blue-collar surrealism that Lynch deals in extends beyond his country of origin. It is just as at home in the Victorian London of The Elephant Man, or in the Polish sections that are strewn throughout Inland Empire. David Lynch the man (or character, depending on how much credence you give to his public persona) may be as American as the apple pie his characters scarf down, but as an artist he comes from a long line of European surrealists. What separates him, however, from an early surrealist director like Buñuel, or the New Wave auteurs like Godard and Resnais that bridged the period between them, is that Lynch's films are not interested in the politics of class. That may seem contradictory to the notion of "blue-collar surrealism," but it all comes back to those tactile objects. It is in them that Lynch discovers the uncanny, not in the semiotics of class divisions that those other filmmakers use their fractured narratives to satirize and condemn. (Which is not to say that Lynch takes his working-class heroes for granted, it's just that he doesn't present their struggles as reating purely to their station. When representatives of a ruling power structure do make their presence known, as do the Castigliani brothers in Mulholland Drive or the residents of the Black Lodge in Twin Peaks, their origins and motivations seem to be otherworldly.)

Twin Peaks: the Return

Crazy so far. But I still enjoy it. Even the really slow sequences. Great music!

• Au Revoir Simone - "Lark" (the Bird of Music (Bonus Track))
  typical David Lynch music, electronic, softly sung
• Trouble - "Snake Eyes" (Snake Eyes)
  Great southern rock with saxophone!! must look into this.
• Cigarettes After Sex - "Nothing's Gonna Hurt You Baby" (I.)
  again, very David Lynch-y
• Johnny Jewel - "Windswept" (Windswept)
  Saxophone, instrumental, nice, look into?

David Lynch music

the slow-dancing-soft-girl songs

Beach House - "Wishes" (though skimming the other songs on this album, not that amazing)

Lay Low - "I Forget It's There" (Farewell Good Night's Sleep)
Haven't heard anything else of her / them. Good.

Emily Haines - "Doctor Blind" (Knives Don't Have Your Back)
Same here, hints of "Huit Femmes", haven't heard the rest.

David Lynch - "The Big Dream"

Same half-step dub'd clown-singing.

Seems they used exactly the same tones for the voice melody.

It's all very much of the same. It doesn't have the weirdness of "Crazy Clown Time" and it's simply not very interesting.

Twin Peaks

I've been slow watching this show for more than a year now. Last night I realized that the reason this works so well for me (David Lynch' work in general, and others like him) is because when every day logic is stripped away, everything - including people, places, objects - becomes laden with emotion and relative meaning. It exposes a rawness of what we feel, want and fear by removing the thick layer of 'normality'.

The reason why so many Lynch wannabe's fail is exactly because they don't realize that. They just muck around with the storyline, create weird situations, crazy characters and illogical or impossible plots and think they did the same. But you need to have an idea of what you expose if you want to do it right. Otherwise the abyss is just a plain black square and nobody will care.

David Lynch - "Crazy Clown Time"

Disturbing songs. Lots of vocoders, but they add to the eerie mood.

Crazy lyrics.

This man is a genius, even if you don't like his stuff