Apex Legends has a content drought problem. It remains one of the best battle royales and has dominated the scene thanks to its intense, fast-paced movement, impeccable gunplay, and unique Legend characters. But while it’s been four years since Apex surprise launched and quickly rose to success, it’s now beginning to look tired.
While Apex’s season launches are usually great, offering either new guns, Legends, or maps, the content between season launches is usually few and far between. There are some updates between seasons that come a month or two after launch – season 14 launched 9th August introducing new Legend Vantage – and the following update, the Beast of Prey Collection event, dropped two months later.
Collection events usually last about two weeks and offer up a few cosmetic items to buy and earn, often including an Heirloom – a legendary item that transforms your melee attack with a unique weapon tied to a specific Legend.
These Collection events also bring in limited time modes like Gun Run (basically Gun Game from Call of Duty) and Control (Domination), it’s not that much of a draw and the player base, myself included, is getting tired. We’ve had the same limited time events every year for too long now. The Winter Express train domination mode event has been the same for the last three years and, while it’s still a fun game mode, I want something new. The Halloween event is the same and even though timed events last two weeks, some players lose interest after a week, often even less.
The community has been desperate for a new permanent game mode, something like Control, which pits two teams of nine against each other. It’s appeared in previous timed events and is a welcome change from Battle Royale and Arenas.
Last week, Control returned as part of the Spellbound Collection event, which was great to see. However, the event update had so many issues. I ran into a ton of difficulties when I tried to load Apex, I was unable to get past the loading screen most times and when I eventually made it to the main menu, I’d get kicked out of the game due to a “fatal error” or Code Net.
Getting disconnected from matches has been a recurring problem especially after major Season updates when there are big game changes like new maps, guns, or Legends. I’ve stated before that I honestly would not mind Apex taking a day or two off to implement a big update to fix some of the underlying issues to the game, like what Fortnite does between seasons. But this is much harder to implement than just saying. However, players have also been asking for Apex to fix its server stability issues for a long time, especially since getting disconnected from ranked games often result in players getting a time-out penalty for “leaving” the game when they were just disconnected.
The community really just would love some open communication and updates about the situation, especially when these problems are just aggravated by the event or season updates that highlight new cosmetics and the same repeating limited time game modes.
Heads up, legends ? We just pushed a fix to resolve the connection issues players were seeing in the lobby. Thanks for sticking with us through this, and we hope you enjoy the Event!
I adore Apex. It’s my number one battle royale, and one I continually play. But I cannot ignore the issues Apex has, with its lack of content drops and poor communication from Respawn. A quick fix could be to open up custom private lobbies to everyone, which the Spellbound event did do. However, lobbies needed a full server of 30 people to launch. Any less and it doesn’t work.
Obviously game development is extremely complicated – there are lots of moving parts to consider, especially with a live service, and everything needs to be thoroughly tested before it’s launched to the public. But Apex devs have already said they look at data from current and limited time modes, as well as player behaviors, to provide updates to the game. If that’s the case, why are we still getting the same holiday events time and again, even though interest has dwindled? And bugs like server issues that prevent people from logging on are, frankly, unforgivable.
Epic took Fortnite offline for a few days to relaunch it on a new engine. It was a big move – it no doubt cost millions in lost revenue – but it ultimately meant the player experience was the best it could be when it came back online. Maybe it’s time for Respawn to do the same? The Apex community has been asking for major updates to the sound and server system for years, due to the audio bugs and server latency issues that have plagued it in the past, but right now things don’t seem to be getting any better.
The lack of updates has meant that a lot of players and content creators who used to play Apex have started to migrate to other games. According to SteamDB, Twitch viewers dropped heavily from November 21st’s peak at 285,383 to a steady decline to a low of 83,838 on December 19th. That’s a huge 70% drop. The player base also dropped 12% from 413k on Steam to 360k during this timeframe as well which was between content updates.
Major Apex streamers like LuluLuvely have switched over to playing other games like Overwatch 2. Ex-Apex Pro player Rocker, who played for one of the top North American Apex teams NRG, released a statement on Twitter on January 10th saying he was quitting not only competitive Apex, but also playing Apex in general.
He wrote, “I’m done with apex. I’ve been lying to my self for awhile saying I want to grind and that I enjoy the game, but in reality I just cannot seem to enjoy it- let alone play the game for more than 2 hours at a time.”
I also took a break, though a shorter one, from Apex for a month to play Warzone, which was a nice vacation but for me, nothing comes close to Apex’s movement and gunplay. I love Apex and its core game, but the lack of updates will be its downfall unless it’s addressed, and fast.
Apex Season 16 is set to launch sometime in early February and since the holiday season is over we may get more updates to the game. I certainly hope so, because while I love the game and want to see it continue to succeed, if nothing changes I’ll have to shift my main FPS focus elsewhere.
The Lion’s Song devs Mi’pu’mi Games to be a turn-based tactical folktale, but cor, Howl sure does tick a heck of a lot of boxes for me. Due out later this year, you play a deaf hero in search of a cure to a sinister ‘howling plague’ that’s devastated the land around you and turned all its inhabitants into blood-thirsty beasts – and having played its first chapter last week, its combination of tight planning, grid-based shoving and limited ammo a la Into The Breach is very, very moreish indeed. Definitely one to watch for strategy game fans.
Warning: the below contains full spoilers for The Last of Us premiere, as well as the beginning of the video game.
In 2013, writer Neil Druckmann and developer Naughty Dog traumatized a generation of gamers with what could very well be the most devastating opening in video game history (until, that is, The Last of Us Part II came along). The Last of Us infamously opens with a gutpunch, having the player watch as a devastated Joel holds his dying daughter in his arms in the midst of a burgeoning zombie apocalypse. It’s one of the things that made The Last of Us the touchstone that it is, establishing an integral part of our protagonist’s motivations and setting the stage for one emotionally grueling game.
So how do you follow that up when adapting it to a television series? Apparently, you make it even more heartbreaking. Showrunners Druckmann and Craig Mazin could’ve just made a one-to-one adaptation of the game’s opening and it still would’ve been an effective introduction, but instead, they give us valuable time with Sarah (Nico Parker), while taking the opportunity to slowly build some chilling tension. The end result – Sarah dying in Joel’s (Pedro Pascal) arms – is the same, but the journey to get there is a key example of how adaptations can build upon their predecessors while staying loyal to them.
What Changed and What Stays the Same
The TV series doesn’t so much change the opening as much as it adds to it. In fact, it quite literally doubles the runtime of the intro; in the game, it takes about 15 minutes to get from pressing play to watching the opening title card, whereas the series lingers further, spending 34 minutes setting the environment before jumping forward 20 years. Of those 34 minutes, only about 10 are spent directly adapting scenes from the game – specifically, when Joel, Sarah, and Tommy (Gabriel Luna) are booking it out of town, and staying true to its source to the point of showing Joel electing to keep driving past a family begging for help.
So what pads out the other 24 minutes? Firstly, some context for the virus that the characters are about to face, with a talk show clip from 1968 that has doctors explaining the threat that a certain type of fungus could pose to the human race (interestingly enough, the game saved its snippets of panicked news reports for after the initial intro, placing them over the opening credits that follow the title card). This serves to, again, build a little tension before we essentially get a day in the life of Sarah.
The TV series doesn’t rush its way to her death. Instead, we spend precious time with her, seeing the world through her eyes just hours before it descends into chaos. We don’t start in the evening, but at breakfast, with her preparing eggs for Joel’s birthday. From there, we see her going through the day-to-day motions – attending school, heading into the city to get Joel’s watch fixed, reluctantly spending time with the neighbors, and watching in horror as the pandemic begins to unfold.
Why the Changes Matter
Given that Sarah is still killed in the premiere, these additions might just seem like indulgent ways to elongate the already hefty 86-minute episode. But it’s clear that Druckmann and Mazin (who co-wrote the episode together) have a more considered goal, one based on adding weight to Sarah’s eventual death. There’s humanity in the mundane, and watching her go about these seemingly unimportant actions quietly gives us insight into her as a character, making us more attached to her in the process.
In the morning, we get to know her as a caretaker of sorts, making sure that her dad gets a birthday breakfast while also weaving in some charming banter between her, Joel, and Tommy. And in the game, while we may have seen her give the fixed watch to Joel, we didn’t see the thought that went into heading to the city to get it repaired. And when she’s hanging with the Adlers, she’s clearly not thrilled to be there, but she’s a devoted enough daughter that she heeds Joel’s request to do so without much of an argument.
There’s something powerful and, most importantly, humanizing about seeing what she’s doing,
In seeing all this, we get significant insight into her personality – something that the game didn’t take the time to do. Sure, we got to know game Sarah as funny while joking with Joel on the couch (the “Drugs. I sell hardcore drugs” quip survives in the show), and thoughtful in giving him the gift of the watch. But there’s something powerful and, most importantly, humanizing about seeing what she’s doing, rather than just knowing that it happened somewhere off-screen. It paints a picture of a more fleshed-out character who we can relate to and empathize with, making it even more heartbreaking when she’s inevitably offed. I won’t put Pedro Pascal’s performance up against game actor Troy Baker’s – both are absolutely gut-wrenching in Sarah’s death scene – but in the series, we’re not just crying over Joel losing his daughter; we’re crying over a character we got to know too.
On that note, it has the added benefit of making you think she’ll be the main character if you don’t know any better – and, given that HBO is marketing the series far beyond those who’ve played the game, there are going to be plenty of people who don’t know Sarah won’t live to see the end of the episode. It’s not quite “Ned Stark getting beheaded” levels of killing off your main character, but it’s certainly still a shock to unknowing audiences and gives them an idea of the stakes.
Sarah, too, is our anchor as the outbreak unfolds, and this is where I’d be remiss in not praising Nico Parker’s performance, as short-lived as it may be. As Sarah, she’s constantly relatable and charming, and the tear that escapes from her eye as she struggles to remain calm while Tommy and Joel rush them out of town is a brilliant little touch. Placing viewers in her shoes makes the tension more effective as well, with Parker showing real terror upon seeing the brutalized Adlers. And that shot of the elderly Adler, Connie, subtly showing symptoms in the background while Sarah reads a DVD box? Perfectly chilling.
What It Could Mean for the Series
As with any adaptation, one of the main questions facing HBO’s The Last of Us has been how much it will deviate from the source material. But that question perhaps hangs heavier over this adaptation than others, as The Last of Us’ story is one that could very easily be transferred to television without many tweaks and still be riveting. After all, there are morethan a few compilations on YouTube that tell a compelling story just by stringing together The Last of Us’ important cutscenes.
But the best adaptations aren’t just the ones that do the story justice, but that evolve it – ones that take advantage of the medium to fill in character and world-building gaps. And it also gives Druckmann, the writer behind all of this, the chance to improve upon his own work from a decade ago, an opportunity many writers would kill for. You can’t judge a TV adaptation on just its premiere – 34 minutes of that premiere, no less – but in reworking one of the most iconic scenes from his own game, Druckmann’s made it clear he won’t be resting on his storytelling laurels for this one.
It also means that fans who are still recovering from the devastation of the game (and, it has to be said, from the emotional wringer that was The Last of Us Part II) have a lot more heartbreak to endure. But hey, at least you won’t be getting tears on your controller this time, right?
has already committed to blocking Microsoft’s $69 billion Activision-Blizzard buyout, so now it’s the EU’s turn to kick up a fuss. The EU’s antitrust watchdog is nearing the end of a 90-day probe into whether Microsoft’s buyout violates antitrust laws, and they’re reportedly about to serve up a charge sheet that lays out all their beef. As with those of the FTC and other regulators, their objections are likely to centre on the likelihood of Microsoft saddling Call Of Duty with Xbox or Gamepass exclusivity.
In a time before Splatoon, de Blob was the big name in spreading colourful ink around town. Unlike Nintendo’s inky shooter, the series saw you take control of a colour-absorbing ball which would complete various challenges by spreading paint across a monochromatic landscape.
You might remember de Blob on the Wii, its sequel (de Blob 2) on the DS, or the two remastered editions on the Switch, but you won’t remember the original’s DS release — mainly because it never saw the light of day. At least, that was the case up until recently, when popular gaming YouTuber @RebelTaxi took to Twitter to share an early build of the game that they had been sent (thanks, My Nintendo News).
Lost Ark got a bit too happy with its banhammer over the weekend, with lapsed players taking to the game’s Steam page to complain that they’d been banned for no reason other than inactivity. Players, or at least former players, of Lost Ark left more than 1300 negative reviews of the game on Saturday, and more than 1000 on Sunday. They claimed they’d received bans that appeared on their Steam profile without actually logging into the game recently.
Warning: contains full spoilers for episode 1 of HBO’s The Last of Us.
HBO’s The Last of Us is a mostly faithful adaptation of the hit PlayStation game. But just how close to its source material does it get? We’ve gathered images from the series premiere and put them next to stills from Naughty Dog’s masterpiece to see just how similar some of it is.
#screenshotsaturday tag. And every Monday, I bring you a selection of these snaps and clips. This week, my eye has been caught by a pleasing assortment of zippy and dramatic movements—hoverboards, airdashes, grappling hooks—but also some cute, weird, interesting, and uh I guess hypothetically erotic indies games. Come have a look!
After years of speculation, it was finally announced on October’s Silent Hill Transmission livestream that the Silent Hill series will get a multi-project reboot. While the showcase revealed several games and even a new movie, it began with the news that the first title in the return of the series would be a full remake of Silent Hill 2 by Bloober Team, the Polish studio known for games like Layers of Fear and The Medium.
IGN Japan had the opportunity to interview not only Silent Hill series producer Motoi Okamoto, but also Silent Hill 2 concept artist Masahiro Ito and composer Akira Yamaoka, both of whom have a deep involvement in the series. Not only did Ito and Yamaoka work on the original, they are involved in the remake as well.
You can watch part of the interview in video form, and read on for even more detail, as the developers discuss the future of the Silent Hill series, game remakes, working with Bloober Team, and memories from making the original Silent Hill 2.
Why start with a Silent Hill 2 remake?
IGN: How did you decide on the direction and concept of the Silent Hill series reboot? Why start with Silent Hill 2, rather than Silent Hill? We’d love to hear your reasoning.
Okamoto: “The Silent Hill series had been dormant for quite a while. Konami as a company wanted to bring it back, and lots of people working here wanted to make Silent Hill games. The only thing was that everyone had different ideas of what Silent Hill is and why they loved it, making it difficult to coalesce around a single direction.
“I joined Konami during this time and was asked if I could make something work. I agreed to bring everything together and took charge of the project, eventually getting everyone to go in the same direction.
“During that period of dormancy, though, lots of indie horror games had come out, some of which were influenced by Silent Hill. If we wanted to revive Silent Hill in that environment, we needed to firmly redefine its identity as a brand, sharpening it and differentiating it so that it stood out.
“When we thought about what Silent Hill’s identity is, we came to the conclusion that it’s the true psychological horror of the series. And when you ask people what true psychological horror is, just about everyone will tell you Silent Hill 2.
“We decided that if the brand’s identity is true psychological horror, we needed to start by remaking Silent Hill 2. There were of course some people inside the company who thought it would be better to start with 1, but I wanted to start this project with something that symbolizes this identity.”
IGN: You announced that you’ll be working with many different indie studios on multiple games, including Bloober Team, who will be working on the Silent Hill 2 remake. This collaboration with indies felt like a theme of the announcement broadcast.
Okamoto: “That’s correct. There’s only so much we can do ourselves, which means we need to work with lots of different indie creators if we want to make lots of different Silent Hills. That’s why we made moves to work together with people around the world who want to make Silent Hill games and approached Bloober Team, as well as Anapurna Interactive and No Code.
“Unfortunately, there are some projects that never actually got off the ground. Still, I think the number of projects we have will only continue to grow. The fact we were reviving Silent Hill was a secret until now, so we couldn’t exactly go out and yell, ‘Hey, everyone! Bring us your Silent Hill projects!’ We can do that now, so if creators from around the world who love Silent Hill bring us their pitches, I promise to look through every one of them. We’re all ears.”
IGN: What’s your impression of Bloober Team?
Okamoto: “I get the sense that they take their work very seriously, and that they believe videogames to be art even more than we thought. Japanese people are so shy when it comes to declaring videogames as art, you know? But I feel like they truly believe that. That’s exactly why they treat Silent Hill’s artistic sound and visuals with so much respect.”
A modern game that respects the original
IGN: Judging by the trailer, the visual quality of the remake looks like it will be incredibly high. Do you get a feel for how Bloober Team works when it comes to that?
Okamoto: “To begin with, Bloober Team is amazingly talented at creating environments. You can really experience what James is feeling just by walking through the foggy town. I think they’re excellent at making backgrounds, environments and atmosphere. On top of that, they’re putting a lot of attention into combat in order to make the gameplay that much deeper. I see them as very hard workers who are full of love for Silent Hill.”
Ito: “Personally, I’m very satisfied with the quality of the town and the atmosphere of the Silent Hill 2 they’re making. I really get the feeling that they respect the original while still making sure to arrange things in their own way. In particular, we had strong demands about the motif of fog when first starting on this remake, and they were sure to depict it just as we wanted. I believe from the bottom of my heart that they’re making something incredible.”
Yamaoka: “I’ve played Bloober Team’s games myself, and as game developers we can tell just how much they love Silent Hill. It’s more than just love, too. I sense a strong respect for the title, and they exceed my expectations. I think that when it’s done, the game will be one made with real thought about how to bring it back in this day and age.”
IGN: There seemed to be Japanese voice acting in the Japanese trailer for this remake. What can you tell us about the Japanese and English voice options?
Okamoto: “While I don’t believe we’ve implemented Japanese voicing in Silent Hill until now, we’d like to do so for the first time here. Our hope is that doing so will make Japanese players feel an even stronger sense of familiarity with Silent Hill 2. English voicing will also be present, as it has always been. We’re working with actors and using performance capture.”
IGN: The protagonist, James, seems incredibly expressive in the trailer. I believe the original used motion capture, but not facial capture. So you’re using performance capture this time around?
Okamoto: “Yes. We’re using performance capture to record the actors’ bodies, facial expressions and voices all at the same time, incorporating their raw expressions and performances into the game. This has made possible a level of detailed emotional expression that wasn’t possible when making the original. Though the trailer does go out of its way to feature many bombastic scenes, the game as a whole is also full of moments with more subtle performances.”
IGN: James looked older to me in the trailer. Is that correct?
Okamoto: “After speaking with Mr. Ito, we decided to raise James’s age in the game a bit. This is in part because fans from 20 years ago are older now, and because the average age of people who play videogames has risen too. We want to depict a James who is more mature and has had to suffer through more in his life, and to do that we raised his age, though only by a bit. If he looks older to you, it’s not your imagination.”
Ito: “To add to what Mr. Okamoto just said, I personally feel like it’s also our way of emphasizing that this is a remake.”
Okamoto: “You couldn’t depict skin in a nuanced way during the PS2 era. Everyone ended up looking younger, or at least had smooth skin. Now that we’re in the age of the PS4 and PS5, we’re able to better show someone’s exact age, whether that’s someone elderly, someone middle-aged, someone in their thirties, and so on. That’s why we decided to go with a more convincing sense of age.”
A new kind of fear for the 4K generation
IGN: What kind of new elements have you added in the Silent Hill 2 remake? Is there anything aside from graphical changes you can tell us about?
Okamoto: “One thing that I can say is that unlike the original Silent Hill 2, the remake uses a more immersive camera. We really hope that players will get to experience its atmosphere, which will stir up lots of different emotions, as well as the game’s combat that’s even more fun than before.
IGN: How did you change your approach when it comes to monster AI and the variety of different enemies?
Ito: “First off, we’re improving the combat design, something that received a lot of feedback in the original. Doing so would be difficult without changing the way the monsters move and act, so we’ve tried to respect the original designs while adding combat that’s fun and new to the remake as we improve a number of enemies.”
Okamoto: “We’re remaking enemy AI from the ground up to be designed in a way that will allow players to enjoy the combat. Bloober Team’s love for the original is strong, so they’re not going to simply add new enemies. They are looking at fine details that can help make combat fun, though, which means changing AI or small design elements. It might look the same, but it’s different when you look closely. They really did a good job all throughout the game.”
Ito: “I think that the remake has ended up as a more interesting experience than the original.”
IGN: Some fans are worried that the visuals will have advanced too much and look so pretty that the game will be less scary. What are you doing to faithfully recreate the original’s unique atmosphere?
Okamoto: “I think that in the original, there were places where players used their imagination to compensate for the graphical limitations at the time. I hope they take a close look at all of the remake’s completed visuals, though. Bloober Team is excellent at recreating the atmosphere of the original, so I think you’ll be able to feel its horror even more than the original once you walk through the game with a controller in your hands. Thanks to the latest technology and Bloober Team’s efforts, we’ve embodied the atmosphere of details that players used to have to imagine, and I think that should be clear once you start walking around the game’s spaces.”
Ito: “There is the issue of everything being a step brighter spoiling the fear of darkness, an issue that’s come up often not just for this remake but since the time of the PS4 in general.
“I don’t know at this point how fans will ultimately react when it comes to this issue once the remake is finished and released. If fans play it and get to enjoy the game experience in ways completely different from the original, though, I think that’s a positive outcome too. Part of me would like players to wait for the remake’s release and not worry too much about it.”
Okamoto: “The fear players projected onto the dark screens of the original using their imagination have been replaced with fears they can actually walk through and experience on a large 4K screen. I hope they’ll play the game themselves and see that there’s a kind of fear you can only experience in such a detailed world. That’s what the 4K graphics and PS5 are there for. We really want you to enjoy the 4K streets of Silent Hill 2.”
Looking back on the original Silent Hill 2
IGN: I’d like to hear from Mr. Ito and Mr. Yamaoka about what it was like while making the original Silent Hill 2. What was the starting point for the original? For example, could you share any stories about why wasn’t it connected to 1, or why it became what you could call a literary title?
Ito: “While I can’t speak for the entire team at the time, I personally wouldn’t be able to say that I set out to make Silent Hill 2 something you could call a ‘literary’ title. As far as how the game came about, though, the main production team responsible for making the first Silent Hill had been taken off of development for 2.
“We found ourselves asking if the team that remained could make an authentic sequel to 1 without the members who depicted the core images of its world. After a lot of brainstorming about the idea of making 2 a spinoff but still a sequel, we ended up with the game it became.
“One story from when we were brainstorming and it felt like the game could go in any number of directions involves the film Lost Highway by director David Lynch. It’s a classic example of a film that’s difficult to understand with just one viewing, and a key part of its story is the way the protagonist changes partway through. There was a period when we were strongly influenced by that to have a twist where the protagonist suddenly switches mid-game.
“Ultimately, we decided to just focus the story on the character of James, as players may have had a difficult time understanding the game if we had gone with that idea. Also, not only were there very few members left on the team at that point, there were also issues of budget and development time. We were slow to start researching the PS2 development kit as well, which meant we couldn’t establish a testing period we could use to improve the game’s combat design. There were times when we barely had any effective methods at our disposal, but we decided to focus on story after a lot of thought, which is why the game turned out the way it did.
“We thought that if we were going to focus on story, we needed to do something that would stand out a little, which is why we made the decision for the protagonist to… well, it’s not the official ending, but we showed him committing suicide, something rarely seen in videogames at the time.”
IGN: Mr. Yamaoka, when you looked back on making the original during Silent Hill Transmission, you mentioned hearing that the game was influenced by Dostoyevsky’s Crime and Punishment and wondering what you were going to be making. Going back through old interviews, there are mentions of being influenced by Kunio Yanagita’s Tono Monogatari and Stanislaw Lem’s Solaris. I mean this in a positive way, but it’s almost like you were making a video game not meant to be pure entertainment.
Yamaoka: “There was a feeling among the development team that we were going to challenge ourselves to make something never before seen in videogames. The team happened to contain a lot of members who approached things in ways you wouldn’t expect from game developers, including the kind of movies and novels they’d experienced, Crime and Punishment included. We all loved works that you could consider literary, as you put it, or minor. When all of that energy was added and multiplied together, though, it turned into something major, resulting in the work it became.”
Smashing Silent Hill’s music to pieces
IGN: It seems as though you were greatly influenced by themes and concepts alien to video games at the time, including their sound design and music.
Yamaoka: “Yes, absolutely. There’s a phrase I love, ‘Don’t do something like your life depends on it; do it like you’re trying to kill it.’ You’ll just get tired out if you do something like your life depends on it. I’ve loved videogames even before the first Silent Hill, but I hated the way that music and sound in videogames was so single-sided, or by the book. I always wanted to find an opportunity to smash game music to pieces, or to ‘kill it,’ and I feel like I worked on the first Silent Hill as though I was trying to kill videogame music. Looking back, though, there were times when I really did smash it to pieces a little too much.
“Thanks to the reset that was the first Silent Hill, I was able to come to a personal interpretation of what music is in videogames by the time I started working on 2, and could approach it with a calmer state of mind. When I look back and consider what sound design is in videogames as a whole, as well as when I think about the unique music and sound design you can only hear in Silent Hill, I think that Silent Hill 2 plays a major part in that.
“Mr. Okamoto mentioned ‘true psychological horror’ earlier… I see that as a kind of originality, not just horror that’s satisfied with scaring people. I was able to get a bird’s-eye view of what resonates and hits home with lots of people, and learned that you need more than just individuality. That’s become foundational to the work I’ve made until now and who I am as a creator. It’s why I continue to feel like Silent Hill 2 made me who I am.”
IGN: I’d like to ask about the music piece Theme of Laura. It’s become a standout work even among your many famous pieces, but why Laura, and not James or Mary?
Yamaoka: (Laughs) “The reason for that is because the first cutscene to be finished back then was Laura’s. To be honest, it got that title because Laura was the first character I saw, not so much because I set out to write a theme song for her.
“Theme of Laura is actually based on Japanese folk songs and old children’s songs. I wanted people around the world to appreciate it, and so I started thinking about what I could do that people outside of Japan could not. I ended up concluding that I needed to incorporate a Japanese kind of originality and mentality, as well as the kind of native environment in which Japanese people are raised.
“Of course, presenting people outside of Japan with something like that as-is would be like suddenly placing an unfamiliar food like natto (fermented soybeans) in front of them. Calling it rock-style would undersell it, but that’s why it sounds the way it does. Add a little bit of ketchup or Worcestershire sauce and people might enjoy it. Even people who don’t know anything about Japanese culture or folk songs could eat it and think, ‘What is this? It’s tasty,’ or ‘I’ve never had anything that tastes like this before’. I think that’s the essence of Laura’s theme, and I think people say it’s so memorable because it has a sensibility foreign to non-Japanese people in places. That piece got assigned to the character of Laura, and that’s how it became Theme of Laura.”
Unlikely yet timeless creature design
IGN: Mr. Ito, were you strongly influenced by the concept of the game too? For example, you didn’t use standard creature designs with features like horns and antennae. Could you tell us about your aesthetic that presents beauty even within the disgusting and grotesque?
Ito: “My aesthetic…? Well, I didn’t really go into the game trying to kill it.”
Yamaoka laughs.
Ito: “My understanding of Silent Hill 2’s story is that it’s about James, a man with trauma, going on a psychological journey through its town. James himself is the reason why he’s traveling through it and why he feels his life is in danger after encountering Pyramid Head and other monsters along the way.
“When I thought about James, I didn’t see him as a character who could possibly be well-versed in what monsters look like, given the trajectory of his life. He just didn’t seem like someone who loved creatures with antennae and horns. In that case, the monsters would have to take the form of what he’d seen and heard until the present moment. That’s why I felt it wouldn’t really be right to use stereotypical creature designs when depicting the person James is.
“There were a few other reasons I designed Pyramid Head to look that way, though. At the time, the primary source of information about videogames was magazines. When I thought about the kind of game Silent Hill 2 would be, I did feel concerned that it may be hard to get the attention of magazine readers through screenshots. So if I’m being honest, that’s one of the reasons I designed a creature with such a bizarre yet simply shaped head and a human silhouette.”
IGN: I understand that you supervised the cutscene where Pyramid Head appears in the original. Was this something you wanted to place a particular focus on, in part to present the character’s design?
Ito: “I think the original Silent Hill 2 was first shown to the media at Tokyo Game Show, and we really didn’t want to lead old fans who still had the world of the first game in mind in a strange direction when they saw the trailer for 2. We were trying to tell them that 2 is completely different from 1, and so we intentionally put in those scenes of Pyramid Head torturing a creature with legs on both ends of its body.”
The future of the Silent Hill series
IGN: Finally, what does the future hold for the Silent Hill series? What kind of vision do you have for it?
Ito: “I hope it will be something diverse, the way it was when going from the first Silent Hill to the second. I think it’ll become something that players aren’t even able to imagine, and I strongly hope for that to be the case.”
Yamaoka: “Bloober Team, developers in Poland, are remaking this game that was first created with uniquely Japanese sensibilities. They love Silent Hill, a Japanese horror title, and deeply understand it. When they bring it back, I think that it’ll have a slightly different taste by their hands while strongly retaining the sensibilities of the original game. Though society and our living environment and situations have changed since we first picked up a controller 20 years ago, I think they’re going to make a Silent Hill 2 that matches our present day perfectly.
“I’m a fan of Silent Hill myself, and I want the series to keep on going. So while I’m someone who first started making Silent Hill 20 years ago, I’ve also been a fan ever since those days. I want this title to continue on for the next 30, 40, 50 or even 100 years. Not to mention that I also personally collect the figures of characters that Mr. Ito creates (laughs).”
Ito laughs.
Okamoto: “We’ve announced a number of new titles in addition to this remake. I knew from the start of the project that just a single remake would not be enough for players to consider it a series revival. There were unfortunately some projects that never got started, but we’ve been talking with many creators and are still having lots of discussions about what to do going forward.
“I’m happy to see players reacting to Silent Hill f, which is a Japanese-style horror game, with even stronger interested than I’d expected. The future of Silent Hill will only continue. I think what’s important about the series is that it’s unique, highly artistic and original, and I’d like to continue focusing on that.”
Koji Fukuyama is a freelance writer for IGN Japan. This article was translated by Ko Ransom.
Twitter after the event concluded, and thanked all the runners and those who’d donated.
A number of speedruns throughout the week-long event smashed world records for their respective games and categories too, including PC runs of Teenage Mutant Ninja Turtles: Shredder’s Revenge and my own personal GOTY from 2022, PowerWash Simulator. You can watch the AGDQ 2023’s record-setting No Soap PowerWash Simulator run below, and weep into your coffee at the sheer cleaning ability on display.
The Lion’s Song devs Mi’pu’mi Games to be a turn-based tactical folktale, but cor, 
has already committed to blocking Microsoft’s $69 billion Activision-Blizzard buyout, so now it’s the EU’s turn to kick up a fuss. The EU’s antitrust watchdog is nearing the end of a 90-day probe into whether Microsoft’s buyout violates antitrust laws, and they’re reportedly about to serve up a charge sheet that lays out all their beef. As with those of the FTC and other regulators, their objections are likely to centre on the likelihood of Microsoft saddling Call Of Duty with Xbox or Gamepass exclusivity.
Lost Ark got a bit too happy with its banhammer over the weekend, with lapsed players taking to the game’s Steam page to complain that they’d been banned for no reason other than inactivity. Players, or at least former players, of Lost Ark left more than 1300 negative reviews of the game on Saturday, and more than 1000 on Sunday. They claimed they’d received bans that appeared on their Steam profile without actually logging into the game recently.
#screenshotsaturday tag. And every Monday, I bring you a selection of these snaps and clips. This week, my eye has been caught by a pleasing assortment of zippy and dramatic movements—hoverboards, airdashes, grappling hooks—but also some cute, weird, interesting, and uh I guess hypothetically erotic indies games. Come have a look!
 of donations in aid of Prevent Cancer. GDQ announced the $2.6 million figure on <a href=)
Twitter after the event concluded, and thanked all the runners and those who’d donated.