Author: Game Infliction

Hi, my name is Erik Odeldahl and I’m the Creative Director at VR game developer & publisher Fast Travel Games. We have just revealed our next game to the world! It is a PS VR2 adventure RPG set in the rich story world of Vampire the Masquerade. In it, you play Justice, a vampire of clan Banu Haqim, who travels from New York to a dark and mysterious Venice, Italy to hunt down the perpetrator of their sire’s final death.

Be a stealthy vampire 

With Vampire the Masquerade: Justice, we set out to make a game that fully immerses you in the role of a stealthy vampire, taking advantage of all the strengths of the PS VR2. One thing that truly excites us about the PSVR2 is the adaptive triggers and the haptic abilities available in both the controllers and the headset itself. As a vampire, you have access to all kinds of tools that help you stay hidden from your enemies, or when necessary, surprise and dispose of them with lethal force. You get to sneak up on your victims to drink their blood, unleash powerful disciplines and tear them to pieces, or fade away into invisibility before their very eyes. You decide how to take on each scenario, and we make full use of the wide range of haptics to fully immerse you in the experience.

Become the apex predator

As a vampire, you do have superhuman strength and speed, but you are not safe from harm. The enemies you encounter will put up a great challenge for you, forcing you to take advantage of your powers. A combination of stealth and fast attacks will take you far, but you can also rely on your powers of persuasion as well. Sometimes in a dialog with an NPC, the threat of violence will unlock new paths for you.

A dark and mysterious Venice 

The Venice we’re inviting you to is not the city of love you see on postcards, but a dark, mysterious place where unseen things happen in the shadows, where plans are hatched and vast conspiracies are perpetrated among the undead. The last few years, there has been unrest among the Hecata, a vampire clan that has Venice as one of its bases of operation. Justice, played by you, is cast into a conflict between fierce vampires who fight for power … and their souls.

Regardless of your strategy, every step you take and undertaking you complete, will bring you closer to the center of the mystery, and allow you to grow in power to eventually become the most powerful vampire.

This title, like all of our games so far, focuses on delivering a strong narrative, but also rewards exploration and experimentation. Me and the team are looking forward to seeing you meet the characters of vampire Venice, and sneak along its dark streets. The game is built from the ground up with an original story and characters, and is a welcoming experience for those of you unfamiliar with Vampire the Masquerade and the World of Darkness, but we hope that we’ve created something special for those of you that have lived and breathed Vampire for a long time too!

We will share more as the game approaches release. 

When we first started with game creation at Frictional Games, we knew we wanted to make immersive horror experiences. We threw in everything we could think of: puzzles, physics, combat, creepy dream sequences – you name it. Those of you who played Penumbra: Overture will remember these elements well. Now, as we approach the launch of Amnesia: The Bunker – coming to PS4 on June 6 – we wanted to take a look back at how we’ve further refined our formula and approach to games.

The real breakthrough arrived with Amnesia: The Dark Descent. We started focusing on key aspects that led to a much more engaging experience. We cut away combat and all other aspects that didn’t directly fuel the horror experience. This led to players noticing more about their environment and becoming more deeply engaged. A simple sound effect, for instance, could trigger intense reactions, causing players to run and hide. Players become immersed with the happenings in a way we hadn’t seen before.

One of the only relatively safe places in Amnesia: The Bunker – the administration office. Check the map carefully, planning your next move is crucial to your survival.

This revelation showed us that we could use such techniques to propel the narrative in new ways. Few games at the time were doing this, and we felt we could still push the boundaries. This is how SOMA was born. We asked ourselves: Instead of scaring players, could you evoke similar immersion in more complex topics? In the case of SOMA it became: can you make them question the nature of consciousness? Five years of work later – turns out you could.

In Amnesia: The Bunker, the revolver is used to shoot off a padlock, showcasing how it can be used as more than just a weapon.

We then aimed to expand our studio into a two-project operation, splitting our team in two. One group worked on Amnesia: Rebirth, where we sought to intertwine gameplay and narrative more tightly, introducing mechanics (like simulating a belly rub) that carried significant story implications. We were proud of the result but felt we could have pushed further. A clear sign of this was that, once players knew the game, they would approach each section in a predictable manner. The gameplay simply wasn’t pushing far enough to truly empower the player.

The lighter. A very important item used to craft various tools, such as a torch that can be used to fend off rats.

With Rebirth launched, and our other project – let’s call it the Super Secret Project – still underway, Fredrik Olsson, who was the creative lead on Rebirth, proposed a simple idea: Why not have one monster, give the player a gun, and unleash them in an open world? This was a smaller, more focused project we could finish before the Super Secret Project. The Bunker was born.

This concept diverged significantly from our recent games, but if we trace back to our origins with Penumbra: Overture, it’s not that far off. In Overture, players tackled monsters in a freeform manner, using weapons, setting traps, and igniting canisters. The Bunker aims to do the same, but to take it up a notch.

Concept of the revolver, first usable firearm ever in a game by Frictional Games.

At a similar time when Bunker was conceived, it was becoming clear that the Super Secret project wasn’t heading in the right direction. Things felt too linear, not open-end enough. Inspired by The Bunker, we decided to steer our other project towards a more open-ended, gameplay-focused direction as well.

When you run out of options, using brute force to gain entry may be the only choice. Careful though, it makes a lot of noise and might attract unwanted attention.

As a narrative-focused company, we strive to create stories in which the player feels like an active participant – it’s a core part of our DNA. The common thread in all our games is the exploration of something (be it the nature of the mind or the experience of pregnancy) from an active, first-person perspective. The Bunker needed to uphold this ethos, despite the project’s limited time and resources. We went with a simpler, more straightforward narrative: “It’s WWI. You’re a soldier trapped in a bunker, and a deadly beast lurks in the shadows. Escape!” The entire game is dedicated to telling this story as effectively as possible. While not as complex as previous entries, it is still very much a story-driven experience.

This marks a new trajectory for us as a company. Or perhaps more accurately, it’s us revisiting an older path and exploring what we can do with it. Starting with Amnesia, we began stripping away gameplay elements to see how far we could push that approach. Now, we’re bringing systems, mechanics, and player agency to the forefront. We’re curious to see how far we can take this. The Bunker is an intriguing first step, being smaller in scope and aiming for a very specific experience.

Despite being small and specific doesn’t mean it was a breeze to create – quite the opposite. A host of interesting challenges arose during development. For instance, the open-ended nature of the game means that there are always multiple ways to get through doors. In our previous games, passing through a door would be carefully scripted with one, or occasionally two, specific solutions available. 

In The Bunker, we simply endow doors with certain properties, provide some tools, and then let the player figure it all out. In a game where we want to curate a certain holistic experience, this is quite tricky. There are certain high-level notes, and this must occur regardless of how the player chooses to play. Solutions include making these beats more system-based (e.g., changes in monster behavior) or setting up obstacles in such a way that there’s always a way to overcome them, no matter what resources the player has.

It will be fascinating to see how players approach the game. We’ve already learned numerous lessons that we’re incorporating into the next project, and even more insights will emerge as we release this game into the wild. We’re eager for you all to try out The Bunker, not just as a new entry but also as the first step in a fresh direction for us as a studio.