Launching September 24 on PlayStation 5, Silent Hill: Townfall marks the latest entry in the iconic psychological horror franchise. In this article, we bring you insights from Motoi Okamoto, producer for the Silent Hill series at Konami and Jon McKellan, writer and director at Scotland-based developer Screen Burn Interactive.
Could you share why you chose Screen Burn as the development team for this title?
Motoi Okamoto: We were introduced to Screen Burn by Annapurna Interactive, who co-published the title with us. Annapurna has an incredible track record of success with narrative and art-driven indie games, so we fully trusted their taste. I had personally played Screen Burn’s previous titles Stories Untold and Observation, and both were fantastic, so I felt confident leaving the project in their hands.
When asking Jon to handle the narrative, were there any specific requirements or guidelines regarding what makes a game “Silent Hill?”
Okamoto: While Konami does have an internal “bible” or storyline guidelines, I believe the most crucial part of the process is for the developers and writers themselves to analyze the Silent Hill series and build their own bible. Handing over a thick manual from our end wouldn’t necessarily resonate with a team. That’s why we ask every development team we collaborate with to go through that personal discovery process.
What were your thoughts on setting the game in Scotland?
Jon McKellan: Scotland is where we grew up; it’s the environment most familiar and natural for us to depict. To create a meticulous, persuasive setting, we felt it was essential to build a world we knew inside and out. That’s why we chose Scotland. On top of that, Scotland is naturally a very foggy region, making it a perfect fit for Silent Hill. There were times when we’d take photos outside and think, “We’re literally standing in Silent Hill right now…”
Okamoto: Silent Hill frequently collaborates with development studios worldwide. Through these partnerships, we can blend diverse regional cultures and perspectives to deliver fresh, innovative horror experiences.
This title marks the first full-length Silent Hill game to adopt a first-person perspective. While Silent Hill: The Short Message (released in 2024) also used first-person viewpoint, it was a smaller standalone experience. Despite being developed by different teams, did that title influence Silent Hill: Townfall?
Okamoto: Beyond having different developers, the production timelines were completely different, so there was no direct exchange of technical know-how. The fact that both Silent Hill: Townfall and Silent Hill: The Short Message ended up in first-person was purely coincidental.
McKellan: Since there was no overlap, our team at Screen Burn was able to play Silent Hill: The Short Message with a completely fresh perspective. For Silent Hill: Townfall, a first-person viewpoint was an indispensable foundation for integrating the mechanics around the CRTV device. Honestly, the CRTV couldn’t work from any other perspective. While the first-person view brings many changes compared to traditional titles in the series, we took great care to maintain that distinct, atmospheric Silent Hill feel and presentation.
What was the motivation behind evolving the series’ iconic radio into the CRTV?
McKellan: The concept of changing the radio to the CRTV was there from the very start of development. In the earliest stages, it was a standard radio, but we set a challenge for ourselves: how could we make the radio an active tool rather than a passive one? By turning it into a visual device where you can watch video signals in addition to hearing audio, the possibilities exploded—from how we handle narrative presentation to how it integrates into gameplay, like stealth. Plus, as you might be able to tell from Screen Burn’s past games, figuring out how to manipulate slightly outdated analog technology is right up our alley.
Are there scenes that simply couldn’t exist without the CRTV?
McKellan: So much of the presentation and gameplay was designed around the premise of the CRTV. Rather than asking “Which scenes couldn’t exist without it?”, we approached development by asking, “How can we best leverage this device to its fullest potential in every moment?”
Could you tell us more about your meticulous, almost obsessive, dedication to recreating retro gadgets and environments? How do you feel that enhances the Silent Hill experience?
McKellan: Older analog tech and gadgets mean a lot to us, and we have a real fondness for them. Nostalgic elements like these are things that not just us, but players everywhere have touched and experienced, evoking a sense of familiarity. We deliberately designed moments that play against those nostalgic feelings. In a modern context, analog technology feels a bit unstable, unreliable, or hard to trust completely. We wanted to create a situation where players have to rely on this device to survive, even while feeling uneasy about relying on it too much.
As for our environmental design, we take pride in saying it borders on obsession. Believing that a place actually exists is what makes players truly care about it, and making players care is the most important thing of all.
Red and black are used very prominently in this game. What was the intention behind this color palette?
McKellan: Part of it is simply that they are a striking pair of colors, but as you progress through the game, players will discover that these two colors hold a deeply symbolic and vital significance for our protagonist, Simon.
The creatures in Silent Hill: Townfall feel tougher than in previous entries. Is the game balanced to favor stealth over combat?
McKellan: We’ve provided players with multiple options to handle encounters. Rather than forcing a single playstyle, we want players to experiment and discover which approach feels most effective or suitable for each situation as they fight to survive.
How did you approach the concept of multiple endings?
McKellan: The endings in Silent Hill: Townfall aren’t determined by a simple binary choice at the end. Instead, the culmination of the player’s actions throughout their playthrough dictates which ending they reach. We designed this freedom so that the ending feels genuinely earned based on the player’s unique journey.
Okamoto: All three main endings can be reached right from your first playthrough, whereas the secret ending becomes accessible after clearing the game once. It follows a structure similar to the original Silent Hill and Silent Hill 2, meaning players won’t be forced to replay the game two or three times just to see all primary endings.
Could you share how PS5 features like haptic feedback and adaptive triggers enhance the game’s presentation?
McKellan: Through the DualSense wireless controller’s adaptive triggers, players won’t just feel the weight of firearms—haptics allow you to literally feel the footsteps of certain approaching creatures right in your hands. Motion control (gyro) also enables intuitive aiming. Early in development, I was actually a bit skeptical about how well motion controls would fit, but once we implemented them in-game, it felt so natural that I couldn’t go back to traditional controls.
Using motion controls, you can also manipulate the map as if holding it directly in your hands. Additionally, certain puzzles require you to physically tilt the CRTV—mimicking the everyday motion of holding up a phone to search for a signal, which is another fun way we’ve integrated the motion controls.
As a producer, how do you feel about the DualSense controller’s adaptive triggers and haptic feedback?
Okamoto: The Silent Hill series has historically been praised for its visuals and sound, but with the PS5, being able to bring the sense of touch into the horror experience feels like a massive step forward.
3D Audio is another crucial element for modern horror. How have you used sound design to heighten the terror in Silent Hill: Townfall?
McKellan: Because Silent Hill: Townfall is played in first-person, your visual field of view is naturally restricted, making audio far more important. We intentionally created situations in which players must rely heavily on subtle noises and audio cues to perceive threats lurking beyond what their eyes can see.
