|“|| Looks like someone has... specific taste in entertainment...
The Doll is a monster that appears in Silent Hill: Downpour. It attacks by spawning Shadows, translucent silhouettes of the original monster that are capable of movement.
Dolls are nearly stationary monsters, often seen posing like department store mannequins. They are humanoid, resembling a slim woman with pale skin that has a plasticine sheen to it. Dolls are dressed provocatively in a short, dark dress with a bright red or pink bra underneath. Some are completely naked except for red liquid splashed across their bodies. They have platinum blonde or silver hair that is cut in a modern style. Some Dolls are missing most of their faces, with a large cavity suggesting that their nose, mouth, and jaw have been smashed off. Others have expressions indicative of sex toys, a fact pointed out by Murphy Pendleton when he finds a stationary Doll inside the Centennial Building. They seem to be made of plaster or ceramics, as they will crumble slightly when struck. However, once incapacitated, Dolls move more organically when struck on the ground. Murphy can also see them running very fluidly as they run well out of harm's reach.
The Shadows of the Doll are perfect silhouettes of the Doll itself, but they are nearly impossible to see. They move in a lunging fashion. Occasionally when illuminated they will be outlined faintly in white, but this may be a game mechanic to make them easier to battle. It can be noted that the Shadows are slightly easier to see when not looked at directly by the player. Dolls and their shadows also frequently let out soft, wheezing cackles and giggles.
Dolls can be rather manipulative, and may try to trick Murphy into coming closer by letting out loud, sobbing cries from a distance; however, once Murphy is close enough to be attacked, the Doll will laugh menacingly and spawn Shadows.
Dolls have a rather limited mobility, often remaining totally still, but the Shadows they spawn are fast, aggressive and nearly invisible. If Murphy has a forensic flashlight, he can use its UV beam to help locate Shadows. A standard flashlight beam won't produce the same effect, but it can help the player spot Shadows in particularly dark rooms.
Depending on the situation, Murphy may wish to attack a Doll directly. Attacking the Doll until she is incapacitated will cause any spawned Shadows to collapse and lie still. Alternatively, the player can focus entirely on the incoming Shadows by blocking a Shadow's strike, then countering with an attack. Each time the player defeats a Shadow, its Doll takes damage. If the player defeats the Doll then her Shadow simply vanishes.
Although rarely done, the Dolls are also able to teleport. This is best seen on the third floor of the Centennial Building, before entering the main lobby where there is a wheelchair stuck in the elevator. If Murphy goes through the remains of the wall into the other room, the Doll will have disappeared and will then appear in front of him.
A book of art found in the library, an area densely populated with Dolls, references negative space's ability to transform the inanimate (the Dolls) into the animate (their Shadows).
"Negative Space is an invaluable drawing technique that allows the brain to disconnect from the common shapes and patterns it's been trained to see, instead focusing on the space around a subject. By focusing on recreating this negative space, rather than the subject, the artist is able to create a much more accurate image. This phenomenon proves that the objects, people, and things we take for granted don't actually exist as we see them. In fact, they are merely shadows flickering through the empty canvas of the human subconscious."
Based on this information, the Dolls are most likely manifestations of Murphy's inability to cope with the loss of his son, Charlie Pendleton. The Shadows deceive Murphy by distracting him from the real threat, which is the Doll herself. In this case, the Doll's corporeal body represents Murphy's grief over the loss of his son, while the Shadows represent Murphy's vengeful impulses towards his son's killer, Patrick Napier. His longing for revenge distracts him from addressing his grief directly and ultimately letting go of his anger and guilt. Murphy believes that by killing Napier (the Shadow) he will find peace, but instead he remains plagued by feelings of grief and responsibility afterward by failing to look inside himself for forgiveness (the Doll).
As such, Napier only served as the animate, external proxy for Murphy's underlying problem, which was inanimate and internal the entire time. After Murphy realizes that planning to murder Napier made him just as much of a monster, he is able to forgive his son's killer and relinquish responsibility for his son's death, while at the same time accepting responsibility for the weight of his crimes. As a result of Murphy's new-found clarity, the "Doll" is destroyed and the monsters stop appearing altogether.
The physical appearance of the Doll adds another layer of symbolism drawing upon imagery of the victim of a psychopath. Her doll-like traits and non-distorted feminine features could imply that the killer treated his victims like dolls, placing an obsessive focus on beauty and sexuality. It could also be a representation of sexual repression during Murphy's time in prison.
- Killing or incapacitating 10 Dolls unlocks the Achievement/Trophy "Shadow Boxer".
- A painting of a Doll titled "Dangerous Beauty" appears in the Centennial Building.
- The Doll is voiced by Kateřina Koutná, as seen in the credits.
- The Doll was initially named the "Flirt" during the concept design phase of its creation.