But after finishing the game and watching the other endings on YouTube, I found myself wishing Bloober would've tried doing this...
Alongside New Endings, what if they also made all of the major endings real-time playable to an extent?
The only criticism of doing this I can think of is 1) we'd miss out on certain fixed imagery, such as the letter floating in the water, for example, though this can still be cinematically included later or near the start in other ways, and 2) perhaps that instead of listening to Mary's words, players might find themselves screwing around and ruining the mood. Though I think that this can be alleviated by having James slow walk (similar to when walking through Rosewater Park with Maria) and locking any other interactivity, like only moving forward and a little from side to side, but not completely turning around, so the character only faces forward in a locked fixed OTS camera direction, maybe even pulled back a little to feel like a more cinematic tracking camera and less 'gamey'.
LEAVE ENDING -
Taking inspiration from a mod that makes Silent Hill a sunnier place:
https://www.youtube.com/watch?v=YmfxZAGo3dM
Essentially this, but dialed back a bit, and still with the presence of some fog:

It would've been nice if following the cutscene after talking to Mary, the player found themselves as James walking alongside Laura along the sunnier path through the woods as we hear Mary's words from the letter.
Some of the town might be possible, but I think it's best sticking to the woods.
Laura will always be running a little ahead of a little behind. In case the player stops, she'll hang around nearby looking at or playing with something.
Once Mary's reading ends, the player will have either reached the cemetery if they kept moving at a steady pace, or if they are still behind, the scene can simply jump cut to the cemetery scene and Laura and James leaving.
MARIA ENDING -
Similar to Leave, instead of Laura & James, it'd be Maria and James, and instead of being sunny it'd still be the same foggy world.
But with one major exception... we'd instead control and play as Maria, instead of James.
The scene would be start out with James finding Maria at Heaven's Night, and from there, to the player's surprise, we'd be in control Maria, and we'd just follow James as we walk through the same old foggy Silent Hill, but with no monsters, and also certain blocked roads will no longer be blocked for quicker route access back towards the overlook and James' parked car.
All along the way, James always walks ahead of Maria, so we are forced to catch up, and there is always some distance between them. Most of the route is silent with not much talking. The only time James speaks is if the player is lagging behind and so James calmly and a little coldly says, "Hurry up", or "let's go," or "you coming?" etc.
If the player is often taking too long or too far behind, James will stop and wait. Then when the player reaches closer enough to James, James will take Maria's hand, and then the game will play itself as Maria is dragged along, and this time we cannot take back control.
What this would ideally signify, is that Maria has now become someone/something that James completely controls.
As we near the top, we switch again to the same cutscene that plays out.
IN WATER ENDING -
James picks up Mary's body from the bed, and we cut to behind the door and control James carrying Mary's body down a long hallway, reminiscent of scenes from the original game's intro.

The camera would likewise be fixed, but much closer to James, much like the intro from above the waist and off to the side, so that we can only make out the silhouette of James carrying Mary, but from behind and with enough space to see where we are going. The camera may sway a little and there'd be a hazy quality to the lighting and environment.
We walk down the long long hallway as Mary's voiceover reads out her letter. As we reach the end of the Hallyway, the camera has slowly been moving closer and closer to James' head until we are essentially ahead of James and moving in first person view when we find ourselves before a door.
The door opens automatically... and we discover we are emerging out from inside the Brahms underpass and we're find ourselves back at the start staring directly at the overlook and James' car.
As we move closer to James' car, we discover that he is already sitting inside it and we see him from outside. As soon as this is noticeable to the player, we immediately jump cut to the same cutscene that plays at the end of the game. Except this time, as the letter reading has already taken place, only the letter is scene briefly from several angles floating in the water as we transition more quickly to the credits.
REBIRTH ENDING -
It is unclear to me whether the body James has is the form taken from the final boss, or whether he went back to the car to get Mary's body.
But nonetheless, after defeating the final boss, a cutscene on a foggy indistinct dock location shows James putting Mary's body in a boat and moving away from the shore.
We then find ourselves once again controlling James rowing the boat through the foggy lake.
The player is guided by reddish hues beneath the water that point the way towards the island.
As we row, James mutters new dialogue, random lines from the Crimson Ceremony and Lost Memories books.
As we near the island, the same regular cutscene takes over.
STILLNESS ENDING -
After defeating the boss, a new additional cutscene plays out where instead of having James shooting Maria one more time to end it, he hesitates.
Then suddenly the ground collapses from under them. James emerges from the rubble and after reexamining the body sees indeed that she is dead from the fall.
After the cutscene ends, we control a wounded and weeping James walking away from the scene. Everything is hazy, blurry and indistinct, we can hardly actually figure out a direction, but so long as the player keeps moving, the levels transition from one area to another and time doesn't seem to make sense. We go from darkened corridors, to outdoors somewhere along the shoreline where it is raining, to some parts of town and eventually the woods, all while it is raining.
To convey the idea of what things look like, imagine everything looking as though it is a drunken/drugged vision.



During this entire time James occasionally has new monologues where he keeps going over and over in his mind about what he could've done differently regarding his life with Mary.
Eventually we find ourselves back up at the overlook, and James' car is the only distinct thing we recognize. We stumble as James towards it, open the door and get in.
Cue the same cutscene that plays for this ending.
BLISS ENDING -
I thought the BLISS ENDING on it's own is good enough, brief as it was...
But... if I had to force the idea, once James turns on the TV and stares, we transition to the video-camera view of Mary in the room talking to James.
But we stop at the part after she mentions this place being sacred, and then we watch as she begins packing and telling James to help and stop recording, but James laughingly teases her by saying, "No."
At this point, the camera is akin to a first-person view and the player can actually move around as Mary keeps talking and packing, and even dragging James' suitcase to the door, as she carries her own and walks out. As we move towards the door, James's walk animation briefly has him pick up the suitcase and exit, closing the door behind him while still filming.
Similar to James and Maria walking together and having conversations through Rosewater, the town, the motel, Heaven's Night and the Hospital, we keep following behind Mary in first-person view recording with the camera through the hotel and the hotel grounds in the past during how it looked and felt during the better days of their honeymoon, and having short happier conversations between them. Mary even leaves the key at the reception before walking out.
Note: There is nobody around except them, but the area feels as if more people are around with other luggage, smoking cigarettes in ashtrays, and distant sounds of dishes being carried etc.
Mary wants to stare out at the lake one last time before they go, so after walking through the sunny garden whereupon reaching the lake, James puts the suitcase and camera down resting on one of the dock tables framing the two of them in it, and we have a cutscene with the two of them in it together staring out at the lake as the same similar scene of Mary asking James to promise her they'll come back there someday, but instead of in the bedroom, it's the dock.
Then trucking backwards away from them holding each other the camera switches off on it's own and we are backing away through the TV screen back into the empty hotel room.
JOKE ENDING -
As for the dog and UFO endings, how can one improve upon stupid perfection? I think they can just be left as is...