"Silent Hill, to me – it's not just about the fear and anxiety. There are many elements that the franchise has, that Silent Hill has," Yamaoka tells me through an interpreter. "It's our emotions when we see something beautiful, and we feel, 'Oh, wow. This is very beautiful.'" My favorite moment of Return to Silent Hill inspires this muscle-deep sensation of awe that Yamaoka is describing; while I'm introduced to another one of director Christophe Gans' pained abominations, the new Yamaoka song "Moth Mary" begins to play. A lot of Silent Hill f's town "did not exist initially," director says, but it had to "undoubtedly feel like a 'Ryukishi07 work'" Silent Hill f writer says he's "forever scared of" women, and that's why the game takes them seriously Silent Hill f knows you don't want to see "happily ever after," and its horrific portrayal of womanhood makes it my GOTY It interpolates music the composer wrote for Silent Hill 2 in 2001, the waterfall mist of tears that is "The Day of Night." "Moth Mary" grounds some of that other song's airiness with a marshmallow-soft piano melody and vocals that sound like a bittersweet farewell. It makes me want to both recoil from the Silent Hill monster on the screen and kiss my kitten on the head, tell him I love him. "That emotional reaction is very important in the world of Silent Hill, but it's not so much of a simple, one-directional emotion," Yamaoka observes. "Our emotion is much more complex. Sometimes we see something, and it has certain elements that make us feel fear, and we feel anxiety. "But within that experience, somehow, we're catching the beauty within." Experience Yamaoka's complicated music in many of the best Silent Hill games of all time, ranked. Bringing all the latest movie news, features, and reviews to your inbox