There is value in taking this direction into consideration, but it doesn’t produce a conclusion.
You can say that if you change the point of view, it is good to have death be something that is meaningful to the game itself or the story.
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If one play-through is very short, as can be the case in indie titles or free games, this would be sufficient as a basis for the game, but this is not suitable for a game with a larger story. However, that can make the horror elements in the game feel very oppressive. Potentially the most frightening game design would be that you die if you are found by the enemy.
This is most likely a point that all horror game designers put a lot of effort into. The hardest thing that comes up when designing a horror game is determining how the player will fight the enemies. In this game, I think it’s entertaining for the player to have to view frightening things through the camera and attempt to have the ghosts come as close to them as possible as they are faced with the scary dilemma of needing to take pictures of them. I feel that in other horror films and games, when something frightening is seen, the protagonist has to run away, or they have to defeat them from afar in order to protect themselves. KK: The main feature would have to be the Camera Obscura.
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As each entry in the series has a different approach to fear, each player will have their own favorite title or their own opinion on which is the most frightening.īD: What do you think Fatal Frame can offer modern audiences that other prominent horror game series lack? For example, in the first title, the main concepts are “condensing the Japanese sense of fear” and “fear that defies your imagination,” for the second title it was “horror from legends,” and for the third title it was “going between reality and dreams, and mechanisms in reality that causes fear to spread.” In this entry in the series, our main theme is “experiencing fear through a location that condenses Japan’s “haunted places.” We have made it so that you can experience different kinds of fear through each title. For every title, we decide on the concept first and then focus on bringing horror contents to players that revolve around that concept. KK: For us, as we make new entries in the series we are not trying to keep escalating the shocking aspects of the horror elements. Was it hard to innovate whilst trying to stick to the traditional scares fans loved? As this year is the 20th anniversary of the FATAL FRAME series, I want to give series fans and horror aficionados something from our team during this important point in the series’ history.īD: A lot of games have been influenced by Fatal Frame ’s approach to horror over the years, which dilutes its impact somewhat. However, I feel there are very few horror titles like the FATAL FRAME series that features Japanese horror that have a very gradual sense of encroaching fear. Keisuke Kikuchi: I think there are periods where horror becomes more popular, and lately it seems like that is the case once again. The game’s producer Keisuke Kikuchi was gracious enough to answer a few of our questions on Maiden of Black Water’s second chance, and on the appeal of Fatal Frame‘s unique brand of horror.īloody Disgusting: Horror gaming has undergone a bit of a rebirth in the seven years since Maiden of Black Water came out, did you feel this was the ideal time to bring the game back to a wider audience? It remains the last game in one of horror gaming’s most famous franchises, but with the resurgence of horror games and a wider audience able to experience the game, there’s a glimmer of hope for the series’ future once more. We’re creeping towards the release of Fatal Frame: Maiden of Black Wateron modern consoles, having previously only been available on the now-defunct Wii U seven years ago.
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