Motoi Okamoto: Welcome to the SILENT HILL Transmission where we share news and information on SILENT HILL. I’m the producer for the SILENT HILL series, Motoi Okamoto.

Chihiro Yoshizaki: Hello, I’m Chihiro Yoshizaki, and I’ll be presenting along with Mr. Okamoto. I’ve been both terrified by and completely hooked on SILENT HILL since its first iteration. As a fan myself, I’m really excited to dive into what this Transmission has in store. Are you ready, Mr. Okamoto?

Okamoto: Let’s do it.

Yoshizaki: What will we be covering on this Transmission?

Okamoto: Today, we’re going to be focusing on SILENT HILL f. Seeing as we announced the project all the way back in October 2022, we’ve been keeping our fans waiting for an awfully long time. But today, we’re finally able to provide some new information to everyone who’s been patiently waiting.

Yoshizaki: Right. Everyone was quite excited when the teaser trailer was released, so I’m sure they’ll be happy to receive some answers to the questions they’ve been holding on to all this time surrounding this mysterious title. We’re also wearing SILENT HILL f T-shirts, which I must say look really cool. I’ve also been meaning to ask, but where are we standing right now?

Okamoto: This is one of the in-game locations you’ll see in SlLENT HILL f. There’s so much I’d like to talk about, but first things first, I’d like to show everyone the trailer that we’ve prepared for today. Please take a look.

Yoshizaki: That trailer perfectly captured how SILENT HILL f inherits the series DNA, in being able to layer mystery with even deeper mysteries, and fear with even greater fears. The game will be available to add to your wishlist starting today. So don’t forget to check it out on your platform store of choice. Now, let’s keep going with a more detailed look into SILENT HILL f. And we’re starting off with what I’m sure you’ve all been most eager to find out about—the story.

Yoshizaki: I think I’m hooked on the story already. As a fan, I’m really looking forward to learning more. But before all of that, Mr. Okamoto, seeing as SILENT HILL f is the first game in the series to be set in Japan, and focuses heavily on Japanese themes, could you tell us a bit more about that, please?

Okamoto: The concept for this game is “Find the beauty in terror.” While SILENT HILL f retains the series’ core elements of psychological horror, we challenged ourselves by setting the game in Japan, and leaning into those themes. A noticeable feature of Japanese horror is the idea that terror can be found within beauty. When something becomes too immensely beautiful and perfect, it instead becomes deeply unsettling. And so, players will experience this world through the eyes of a young girl who is faced with a beautiful yet terrifying decision. We want them to experience how these contrasting elements co-exist.

Yoshizaki: It’s clear that you’ve put a lot of thought into capturing what makes Japanese horror so unique. So, what exactly does this beautiful yet terrifying decision entail?

Okamoto: That lies at the heart of this game, so we hope everyone can experience the intertwining of beauty and horror for themselves as they play.

Yoshizaki: Thank you. And with that, I’d like to welcome another guest to dive deeper into SILENT HILL f. Please welcome the scriptwriter for SILENT HILL f.

Ryukishi07: Thank you for having me.

Yoshizaki: It’s Ryukishi07! So, Mr. Okamoto, I’m sure many viewers out there will know Ryukishi07 for “Higurashi When They Cry” and other beloved works. But this is the first time he’s participated in a SILENT HILL project. Could you tell us how this collaboration came to be?

Okamoto: With SILENT HILL f being set in Japan, we needed a scriptwriter who really understood the essence of Japanese horror. And one of the best-known works of Japanese horror writing is “Higurashi When They Cry.” I know a lot of players at the time enjoyed discussing the mysteries of the events featured in the story. The same can be said for SILENT HILL, particularly SILENT HILL 2, where speculation and discussion has been an integral source of enjoyment for many players.

So, it’s only natural that we would ask Ryukishi07 to help us write a story full of scares and intrigue. Fortunately for us, Ryukishi07 is also a huge fan of the series. Players can look forward to being left with a plethora of questions after finishing their first playthrough of SILENT HILL f.

Yoshizaki: Thank you, Mr. Okamoto. So, we know now that you’re a fan of the series, and it seems as if you were the perfect fit to add your unique blend of fear and mystery to this game, but could you tell us how you felt when you received the offer from Mr. Okamoto?

Ryukishi07: Firstly, I was just in shock that I had been approached by the creators of SILENT HILL. My team kept telling me not to get too excited yet, that it could just be a small job and have nothing to do with the script. They said, “just wait and see what it’s about, first.” They didn’t want me to get my hopes up or anything. But it turned out they really did want me to write the script for them, and I was ecstatic. And then that excitement turned into anxiousness when I went to KONAMI.

Okamoto: We could tell how much Ryukishi07 loved SILENT HILL, and knew we would be leaving it in the right hands with him.

Yoshizaki: I can imagine it was a daunting task to tackle a brand-new entry into the series, but what were some things that you were focused on as you created the story?

Ryukishi07: Well, I actually didn’t know it was going to be based in Japan right up until I went over to KONAMI for the first time. As per the title and tradition, I was expecting it to be set in the town of Silent Hill. But when we got to talking, I found out that they wanted it to be set in Japan. Up until then, I had thought that SILENT HILL was SILENT HILL because it was set in the titular town. Which led me to start pondering, what exactly is “SILENT HILL”? Of course, it is the name of a town, but more than that, what story is it trying to tell? In that first meeting, I spent a long, long time asking Mr. Okamoto all kinds of questions, trying to get at what makes SILENT HILL what it is.

Firstly, on the one hand, Silent Hill is a setting, one that has seen many memories, stories, and much pain. In other words, it’s a physical place, with a dark history. On the other hand, SILENT HILL is also about portraying characters’ struggles with the evil within themselves, sin, discontent, and conflict in a visually striking way. It’s a gateway into the psychological battles of the human mind. Of these two interpretations, if we consider the latter to be closer to the core of SILENT HILL, then we can see how this game is very much a SILENT HILL.

Yoshizaki: I can see that your passion for the series led you to ask all these questions, and have those discussions until you figured everything out.

Ryukishi07: Indeed.

Yoshizaki: Was there anything else you focused on?

Ryukishi07: Up until now, I have played every SILENT HILL game, and one thing I noticed is that many of the female characters are put through a great deal of suffering throughout their lives, which is why I thought if this game is going to have a female protagonist, then I want her to be able to make her own decisions for better or for worse amid her struggles. I don’t want her to just be pulled along by the story, but to find her own answers. That was the kind of protagonist, or at least, the kind of story that I wanted to create.

Yoshizaki: I feel like that, a series of choices that lead to an ultimatum, and then some hope for change, is very central to SILENT HILL. Thank you for sharing. I think it’s clear just how passionate you both are about this project.

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Yoshizaki: Okay, Mr. Okamoto, so we’ve moved to a new location again. It looks like we’re in a shrine of some kind. You can note the unmistakable torii gates and a solemn atmosphere in the air. It looks like this might be Japan in the past, when exactly is the game set?

Okamoto: SILENT HILL f is set in the 1960s in a rural town in Japan. We’ve made sure to portray the period as accurately as possible in both the story and set pieces.

Yoshizaki: So, it’s safe to say that this location and the others we saw in the trailer are almost like pictures of the past. How did you go about creating this world?

Okamoto: The game is set in a town called Ebisugaoka which is based on a real location: Kanayama, Gero, in the Gifu Prefecture. We went to Kanayama to take reference pictures and record sounds of day-to-day life there, which we then converted to fit our 1960s setting with the help of old reference materials.

Yoshizaki: That sounds incredibly thorough. Seeing them side by side, I can tell that Kanayama has been recreated in the game down to the last detail, but what was the deciding factor that made you choose Kanayama as the model for Ebisugaoka?

Okamoto: Ryukishi07 said that he wanted to set the story around Kanayama’s backstreets and alleys, and so that’s what we went with.

Yoshizaki: I see. So, it was a suggestion from Ryukishi07. Could you tell us why that area in particular?

Ryukishi07: I wanted to find a location that everyone involved could agree was the suitable place to tell this story. And just like how I chose Shirakawa-go for the setting of “Higurashi When They Cry,” it was the result of comparing a lot of different places. Then I headed out to Kanayama to see its labyrinthine alleyways for myself. It’s a really fascinating area. You can really feel how the structure of the houses and buildings have shifted in response to both its residents’ lifestyles as well as the passage of time. It makes for an extremely unique townscape. That is what fascinated me, and gave me a rush of inspiration. I chose it as the setting because you can really feel its history.

Yoshizaki: So, Kanayama served as the perfect place to ignite your creativity.

Ryukishi07: Exactly.

Yoshizaki: Thank you for sharing that. Next up, we’ll talk about the game’s concept art.

Yoshizaki: It’s a stunning visual, that captures the feeling of finding some delicacy, some beauty amongst this unsettling horror. The imagery of the rotting world, and a young girl with a steel pipe conveys the horror of SILENT HILL. Hinako, seen here, and the other characters, as well as the monsters, are designed by kera. And as it so happens, kera has left a message for us today.

Yoshizaki: That was a lovely message. What do you think when you look at kera’s art, Mr. Okamoto?

Okamoto: Along with Ryukishi07, I believe kera joining our team acted as a breath of fresh air. Kera came in with a different perspective from past SILENT HILL entries and created stupendous designs that embody the “Find the beauty in terror.” concept we have for the game.

Yoshizaki: It seems like Mr. Okamoto holds the art in high regards. What were your thoughts after seeing it, Ryukishi07?

Ryukishi07: It’s like Mr. Okamoto took the words out of my mouth. You know, I’m sure a lot of people can draw images that are simply grotesque, but with kera’s art, you can see a unique beauty that carries throughout the designs. I’m thankful we were able to find an artist with such a unique style and perspective.

Yoshizaki: One of the first things that comes to mind when you say SILENT HILL are the monsters. I can’t wait to see what other monsters kera has designed, and I wonder what they’ll reflect about the characters. I’m eager to hear more information.

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Yoshizaki: We’ve moved to yet another location. Can you feel the atmosphere here? Behind us rest these fox statues—quite magnificent, to say the least. There’s a strange tension hanging in the air. Now, we have another guest who will be joining us today. Let’s welcome the composer behind much of SILENT HILL’s music, Akira Yamaoka. Thank you for coming. Mr. Yamaoka, you have composed many tracks for the SILENT HILL series, including last year’s SILENT HILL 2 remake. What kind of role did you play in SILENT HILL f?

Akira Yamaoka: This time around, I was put in charge of music for the Fog World. In SILENT HILL games, there’s a Fog World and Otherworld, and I composed music for the former. I’ve been a part of SILENT HILL ever since the first game came out, about 25 years now, and I’m truly glad that I can take part in a brand-new work.

Yoshizaki: As someone who’s been involved in the series since the first game, what kind of mindset did you have when working the sound for SILENT HILL f?

Yamaoka: Well, SILENT HILL has never been set in Japan before now. While I did incorporate some Japanese aspects to the music, I also wanted SILENT HILL fans across the world to enjoy it all the same. So, I focused on designing it so that even people who are unfamiliar with Japanese culture would be able to understand—pure horror music, if that makes sense.

Yoshizaki: So, in order to ensure fans worldwide will enjoy it, you didn’t focus solely on the Japanese aspects.

Yamaoka: I do believe that it’s important to express the setting through the music. However, one look at the story and characters of SILENT HILL f, and you can already tell that it’s set in Japan. So, I took a different approach, and focused on the horror elements. So much rests on drawing out what the characters are feeling, so I think when the sound and their emotions overlap, you’ll really feel that SILENT HILL vibe.

Yoshizaki: Thank you. Mr. Okamoto, you said that there’s one more special guest you’d like to introduce while we’re on the topic of sound design, correct?

Okamoto: As stated earlier, Mr. Yamaoka composed the music for the Fog World. The music for the Otherworld, however, was composed by Kensuke Inage, who is a veteran when it comes to game music.

Yoshizaki: We have a message from Mr. Inage to share. I will read it now.

Yoshizaki: Mr. Okamoto, do you have any thoughts?

Okamoto: As one of the originators of the series, Mr. Yamaoka brings a very authentic SILENT HILL sound to the game. Meanwhile, Mr. Inage’s work has helped incorporate a variety of Japanese elements into the sound design. In addition, the composers dai and xaki from Ryukishi07’s other works are also involved.

Yoshizaki: Do you have anything to add, Ryukishi07?

Ryukishi07: Well, these two musicians have always helped elevate the quality of my work. For SILENT HILL f, I asked for their assistance on scenes that I really wanted to heighten.

Yoshizaki: Thank you for the explanation. I feel that by having various creators such as Ryukishi07 collaborating on this work, you all have struck a wonderful balance between maintaining the essence of SILENT HILL while also undertaking new challenges. As a big fan of SILENT HILL’s music, let me just say that I am both happy and reassured by your participation on this project, Mr. Yamaoka.

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Yoshizaki: It seems we’ve moved to yet another location. We’ve heard about how the Japanese setting enables the concept of “Find the beauty in terror.” through the story, visuals, and sound design. However, I’m sure that viewers still have more they want to learn about SILENT HILL f. Starting now, I’ll be representing the voices of all you SILENT HILL fans out there and ask these three here everything we want to know about SILENT HILL f. If I may begin. Well then, for starters… What made you decide to set the story in Japan? I’d like to hear your thoughts, Mr. Okamoto.

Okamoto: I believe the SILENT HILL series was born out of blending the essence of Japanese horror with the essence of western horror. However, as it was based in the West for the longest time, it felt like the Japanese influence was fading. And so, this made us think, “What if we go in the opposite direction and make it 100 percent Japanese horror?” And this game is the result.

Yoshizaki: So basically, Mr. Yamaoka, you all saw the loss of SILENT HILL’s Japanese essence as an opportunity, and that led to setting this game in Japan?

Yamaoka: That’s right, isn’t it, Mr. Okamoto?

Okamoto: I’d say so.

Yamaoka: Mr. Okamoto talked about “essence,” and he’s spot on. Actually, that is what the heart of SILENT HILL is—or should I say, a component of it. Even though it was set in the US, it still had that Japanese essence, which made it unique. This time, the game is leaning completely into its Japanese identity. While that is different from the SILENT HILL games we’ve seen before, it also makes it something fresh.

Yoshizaki: Mr. Okamoto, as SILENT HILL is a series with a such a long history was there ever a moment that you felt that its essence changed in part because of its relationship with its players?

Okamoto: It’s true that SILENT HILL has had quite a few entries in the series. And as more came out, the Japanese soul that it used to have became more and more faint over the years. We felt like it was starting to feel too westernized, so we thought, what if we went all out and made a game 100 percent Japanese? That became the inspiration, or really, the driving factor behind this game.

Yoshizaki: So, you saw this trend with the existing games, and wanted to try something completely different, and that’s how you arrived at SILENT HILL f? So, in that case, where do you see SILENT HILL f fitting in?

Okamoto: SILENT HILL f is a completely independent story, so those who haven’t played the other games in the series can enjoy it. Likewise, longtime fans will also find little easter eggs along the way. So, there’s really something for everyone. And, the story is penned by Ryukishi07, so there will be plenty of mysteries to think about. Fans of “Higurashi When They Cry” are sure to enjoy it—and SILENT HILL fans too, of course.

Yoshizaki: I know that Ryukishi07 has put a lot of energy in to maintaining the essence of SILENT HILL. I wouldn’t be surprised if you wrote scenes that even scared yourself. But as part of that, to depict a SILENT HILL set in 1960s Japan like SILENT HILL f is, did you have to keep anything else in mind?

Ryukishi07: One aspect we considered, or rather, an overarching aspect we focused on is what Mr. Okamoto has already mentioned: This game was both a return to SILENT HILL’s origins as well as a series of new challenges. An easy example of a challenge we faced is whether we can still make SILENT HILL work while departing from the titular town. Naturally, from a creator’s standpoint, I feel I can confidently say that what we’ve made is a SILENT HILL game. However, we’re interested in seeing how long-time fans of the series feel after playing, and if they agree. All that to say, it was a challenge of conscientiously recreating the core SILENT HILL experience while also incorporating new elements that haven’t really been seen in the series before, like how the game is set in Japan. It’s a little bit of an adventure, for us and for players.

To put it more concisely, we didn’t make it under the guise of promising players certain experiences just because it’s a SILENT HILL game, and then just moving it to Japan. While there are aspects worth preserving, certainly… You can’t forget to try new things. Exactly. That is a balance we were extremely conscious of while making the game.

Yoshizaki: What about you, Mr. Okamoto? Do you have confidence that these changes will feel impactful to fans?

Okamoto: I feel that this is a work we can put out into the world with great confidence. I hope everyone looks forward to it. We’ll have plenty more news to share in the future, so please be sure to keep your ears open for more.

Yoshizaki: Thank you for all the exciting information. Now, I’d like to ask a little more about the work that went into the game. Mr. Yamaoka, I’m sure that in conveying the themes of beauty and horror, there are many moments that will give us fans goosebumps thanks to the music. I’d like to hear about what you paid particular attention to during development.

Yamaoka: When it comes to music in games, when you have beautiful or terrifying moments, if you simply create beautiful music or terrifying music, it’s not all that effective. At least, that’s what I think. As a piece of music, it may be fine, but in video games, there’s also a visual component. Players will be gripping a controller when they hear it. It’s a matter of how people will feel when all those factors come together.

For instance, there might be times when you play beautiful music over a terrifying moment, or terrifying music over a beautiful moment. Because games are interactive, you have to think about what you want to express and when. That’s what we focused on. This is something I always pay close attention to when working on game music and sound design. It’s not about making simply “good” music, or “beautiful” music, or “scary” music. You have to think about what effect it will have, where the sound will play and how it will be used. We put a lot of consideration into that in SILENT HILL f as well.

Yoshizaki: You have worked on numerous SILENT HILL titles, Mr. Yamaoka. Is there anything you focused on in particular to set SILENT HILL f apart from previous titles?

Yamaoka: In previous SILENT HILL games, although it was set in the West, it was made by Japanese people. So, there is a certain Japanese essence to the games—something that non-Japanese people can’t replicate. As Japanese creators, there are certain creative choices and expressions that come more naturally to us. For people outside Japan, this adds a sense of freshness and innovation to the games. That’s one part I felt was key to maintaining SILENT HILL’s heart. Since this game is set in Japan, I wanted to prioritize this aspect from past SILENT HILL games and incorporate that Japanese essence and identity into the work. That was what I prioritized above all else. And it wasn’t just, you know, minor touches. It was a lot—

Yoshizaki: You really went all out, then?

Yamaoka: That’s right. I really challenged myself to express my Japanese identity as much as possible, in my own way. I think that was the number one factor for me in designing the sound for SILENT HILL f.

Yoshizaki: Thank you for your answer. As a final topic, I’d like to bring up classic elements that we as fans feel are at the heart of the SILENT HILL series. Mr. Okamoto, could you share one thing that carries on a tradition of SILENT HILL?

Okamoto: One aspect in particular is, without a doubt, the monster design. In that respect, we put a lot of effort into combining Ryukishi07’s vision with kera’s art, which allowed us to create monsters that really infiltrate players’ psyches.

Yoshizaki: That’ll give people a lot to dive into and discuss, I imagine! Thank you for explaining. Ryukishi07, were there any traditional elements or aspects where you just felt, “If we don’t include this, it won’t feel like a SILENT HILL game”?

Ryukishi07: To be honest, it’s a little hard to answer because I’m a scriptwriter and I might spoil something. One of the appealing aspects of SILENT HILL is that the player, or protagonist, is dropped into a situation they don’t fully comprehend. Other characters keep them confused with cryptic dialogue, and you won’t realize what they meant until much later on. That moment of understanding is a core component of SILENT HILL and one of its most enjoyable parts. I did my best to incorporate that into the game, so I hope players will take a mental note of moments where they didn’t understand something but suspect deeper meaning lies underneath.

Yoshizaki: Now, Mr. Yamaoka, I’d like to ask you to share one point you drew on tradition for in terms of the game’s sound.

Yamaoka: I’ve been working on the SILENT HILL franchise for more than 25 years now. At this point, the music becomes SILENT HILL-like without any strong conscious decisions. I don’t really need to think about it; I can create it in my neutral state, you know?

Yoshizaki: That’s because you yourself are a part of SILENT HILL. So, just sitting with yourself is something you’ve made a tradition of.

Yamaoka: Yes. I feel like not thinking is part of the process.

Yoshizaki: Well, everyone, I want to thank you all for your valuable insights. I believe this is where we’ll end things here today.

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Yoshizaki: We’ve brought you all a lot of new information, but it’s time for us to wrap up this SILENT HILL Transmission. I’d like to provide a recap of everything we covered today. A brand-new trailer for the game is now available to watch, and starting today, you can add the game to your wishlist.

Yoshizaki: To close us out, I’d like to ask for any final words you all have for fans who are watching. If you would, Ryukishi07.

Ryukishi07: This was a game we really challenged ourselves with, in many ways. I’m certain there will be a wide variety of opinions about how SILENT HILL-like the game is. But I believe it will be a meaningful entry in the SILENT HILL series, and I hope fans will play the game for themselves and let us know their thoughts.

Yoshizaki: Thank you very much, Ryukishi07. Mr. Yamaoka, if you could share your message.

Yamaoka: SILENT HILL f is filled with a lot of firsts—its Japanese setting, its gameplay, and the world it brings you are all new. And still, it preserves the essence of what a SILENT HILL game is. I hope existing fans of the series will enjoy playing it, and to anyone out there who’s curious about what SILENT HILL or SILENT HILL f is, or if you’re just a fan of horror games, then I believe you will enjoy everything it has to offer. Please look forward to its release.

Yoshizaki: Thank you, Mr. Yamaoka. Do you mind giving us a final word, Mr. Okamoto?

Okamoto: Regardless of its new setting in Japan, this is without a doubt a SILENT HILL game. SILENT HILL f’s mixture of beautiful and terrifying visuals gives new life to SILENT HILL as a Japanese-style horror game. Please stay tuned as we bring you more news in the future.

It’s a story about experiencing the cruelties of life through the eyes of a young woman named Hinako. It was our pleasure to share these updates about the game with everyone watching. There is much, much more that we weren’t able to cover today, so be on the lookout for future updates. We will be sharing more information about the SILENT HILL series in future SILENT HILL Transmissions. Please be sure to check in for the latest news.

Yoshizaki: There’s even more to be excited about, so stay tuned!

All: Thank you all for joining us today.

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