The works of art that Silent Hill 2 pays homage to are innumerable, drawing from the full breadth of film, television, literature, music, and traditional mediums. But among the many sly references and obvious allusions, there are artists whose influences are so indelible that they’ve become a part of the game’s very DNA, influencing the atmosphere, locations, and grotesque creatures that populate its world.
《 寂静岭2》向电影，电视，文学，音乐和传统媒体的广泛传播致以无数的敬意。 但是，在众多狡猾的参考文献和明显的寓言中，有一些艺术家的影响力不可磨灭，以至于它们已成为游戏的DNA的一部分，影响着遍布其世界的气氛，位置和奇特的生物。
Francis Bacon
法式培根
CG and character artist Takayoshi Sato cites Francis Bacon’s body of work as one of the most profound influences on Silent Hill 2’s art direction, and it takes only a cursory glance at his paintings to see why. Created in part as a reaction to the unimaginable brutality and suffering of the Second World War, Bacon’s art is obsessively preoccupied with human grotesqueness. His figures are violently warped, blurred, and distorted, often appearing to be little more than lumps of flesh, often frozen in moments of clear terror or torment.
CG和角色艺术家佐藤隆义(Takayoshi Sato)引用了弗朗西斯·培根(Francis Bacon)的作品，这是对《 寂静岭2(Silent Hill 2)》艺术方向的最深远影响之一，只需要粗略地瞥一眼他的画作即可。 培根的创作部分是对第二次世界大战中不可思议的残酷和痛苦的一种React，它的艺术沉迷于人类的怪诞。 他的身材剧烈扭曲，模糊和变形，似乎只不过是肉块，常常在明显的恐怖或折磨中被冻结。
Bacon also commonly made use of lines and squares to establish perspective and demarcate space in his compositions, creating the impression of ghostly cages or prison bars, at once claustrophobic and voyeuristic, “shifting like the spaces within a bad dream.”¹ This visual motif appears throughout Silent Hill 2 as well, signifying both Mary’s confinement during the course of her terminal illness and the prison of guilt that James constructs for himself after killing her.
培根还通常使用线条和正方形来构图，并在作品中划定空间，给幽灵的笼子或监狱的酒吧留下幽灵恐怖和偷窥的印象，“像在一个噩梦中的空间一样移动。”¹这种视觉主题出现在寂静岭2 ( Silent Hill 2)中，既表示玛丽在绝症期间的禁闭，也表示詹姆斯杀死她后为自己建造的罪恶监狱。
Joel-Peter Witkin
乔尔·彼得·威特金
American photographer Joel-Peter Witkin draws from literature, mythology, and classical art to create complex and highly transgressive tableaux, often featuring social pariahs, medical oddities, and even human cadavers as central subjects. Religious imagery appears frequently in his work, placing the sacred and the profane side by side, and at their core his images seek to shock the viewer into challenging their preconceived notions of normalcy, decency, and physical beauty.
美国摄影师乔尔·彼得·威特金(Joel-Peter Witkin)从文学，神话和古典艺术中汲取灵感，创造出复杂而又具有高度侵略性的画面，通常以社会贱民，医疗怪人甚至人类尸体为中心。 宗教意象经常出现在他的作品中，将神圣与亵渎并列放置，而他的意象则以震撼人心的方式挑战观众对他们先入为主的常态，体面和身体美的观念的挑战。
Witkin’s photographs are immediately recognizable thanks to his unique darkroom process, which involves scratching, piercing, staining and tearing the negatives, drawing attention to the photograph as a physical object in its own right and lending them a damaged, antiquated appearance quite similar to the deliberate visual noise and grain filters applied to Silent Hill 2’s graphics. It is also worth noting that several of Witkin’s photographs served as direct inspirations for scenes from the 1990 film Jacob’s Ladder, another work of art with its fingerprints found throughout the Silent Hill series.
威特金(Witkin)的照片由于其独特的暗室处理Craft.io而立即可辨认，该过程涉及刮擦，刺穿，染色和撕裂底片，使照片本身成为物理对象，并给它们提供类似于故意设计的损坏，过时的外观应用于Silent Hill 2图形的视觉噪声和颗粒滤镜。 值得注意的是，威特金的几张照片直接启发了1990年电影《雅各布的阶梯》中的场景，这是另一部艺术作品，在整个《 寂静岭》系列中都有其指纹。
Hans Bellmer
汉斯·贝尔默
A German artist vocally opposed to the Nazi regime, Hans Bellmer fled to Paris in the late 1930s and was quickly embraced by artists of the French surrealism movement. Bellmer is most widely known for his disturbing “dolls,” constructed of plaster and papier mâché over wood-and-metal skeletons, which served as an immediately obvious inspiration for Silent Hill 2’s mannequins.
汉斯·贝默(Hans Bellmer)是一位反对纳粹政权的德国艺术家，他于1930年代后期逃往巴黎，并很快受到法国超现实主义运动艺术家的拥护。 贝默(Bellmer)以其令人不安的“玩偶”而闻名，该玩偶由石膏和纸浆制成的木质和金属骨架制成，为Silent Hill 2的人体模型带来了显而易见的灵感。
His work was subversive and violently erotic, frequently blurring the lines between organic and mechanical forms. As art historian Hal Foster notes,
他的作品具有颠覆性和强烈的色情性，经常模糊有机形式和机械形式之间的界线。 正如艺术史学家Hal Foster所说，
In his sadistic scenes Bellmer leaves behind masochistic traces; in his erotic manipulation of the dolls he explores a sadistic impulse that is also self-destructive. In this way the dolls may go inside sadistic mastery to the point where the subject confronts its greatest fear: its own fragmentation and disintegration.²
贝默在他的悲剧场景中留下了受虐痕迹; 在对娃娃的色情操作中，他探索了一种虐待狂冲动，这种冲动也是自我毁灭的。 这样，玩偶可能会进入虐待狂的掌控之中，从而使主体面临最大的恐惧：自身的分裂与瓦解。²
David Lynch
戴维·林奇
Arguably no single artist has had a larger influence on the Silent Hill series than surrealist filmmaker, painter, and musician David Lynch. Beyond the surface-level narrative elements that Silent Hill 2 shares in common with films such as Blue Velvet and Lost Highway, Lynch’s body of work operates in the same metaphorical and aesthetic spaces, dealing in themes of isolation, marginalization, existential dread, and the rot that exists beneath the placid surface of small-town America.
可以说，没有一个艺术家对《寂静岭》的影响力超过超现实主义电影制片人，画家和音乐家大卫·林奇。 除了《 寂静岭2》与《 蓝色天鹅绒》和《 迷失的公路》等电影在表面层面的叙事元素外，林奇的作品在相同的隐喻和美学空间中运作，涉及孤立，边缘化，存在的恐惧和腐烂存在于美国小镇的平静表面之下。
A key element of Lynch’s work is his use of liminality, or the “between spaces” that serve as conduits between realities and selves. Doppelgangers, self-deceptive fantasies, and characters who become trapped in nightmarish mirrored lives all abound in Lynch’s films, and his art moves freely between the dreamlike and the hallucinatory. From the decaying industrial landscapes of Eraserhead and The Elephant Man to the sonic influences of Angelo Badalamenti’s Twin Peaks score and the droning sounds of Inland Empire, David Lynch’s outsized influence on the art direction of Silent Hill 2 is undeniable.
林奇作品的一个关键要素是他对刑法制的使用，或者说是“空间之间的空间”，它们充当了现实与自我之间的管道。 林奇的电影中充斥着Doppelgangers，自欺欺人的幻想以及陷入梦mar般的镜像生活中的角色，他的艺术在梦幻和幻觉之间自由移动。 从Eraserhead和The Elephant Man腐烂的工业景观到Angelo Badalamenti的Twin Peaks得分的声音影响以及内陆帝国的刺耳声音，David Lynch对Silent Hill 2的艺术方向的巨大影响是不可否认的。
[1] Charlie Fox, “Despite all my rage, / I’m still just a rat in a cage!” last modified June 25, 2019, https://www.tate.org.uk/tate-etc/issue-37-summer-2016/despite-all-my-rage-im-still-just-rat-cage
[1]查理·福克斯(Charlie Fox)：“尽管我很生气，但我还是关在笼子里的老鼠！” 最后修改时间为2019年6月25日， https://www.tate.org.uk/tate-etc/issue-37-summer-2016/despite-all-my-rage-im-still-just-rat-cage
[2] Hal Foster, “Violation and Veiling in Surrealist Photography: Woman as Fetish, as Shattered Object, as Phallus.” Surrealism: Desire Unbound, exhibition catalogue, Tate Modern, London (2001): 203–22
[2]哈尔·福斯特(Hal Foster)，“超现实主义摄影中的违规与面纱：女人是恋物癖，是破碎的物体，是阴茎。” 超现实主义：欲望无限 ，展览目录，泰特现代美术馆，伦敦(2001年)：203–22
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