This will be the last of my articles for my Survival Horror Series. This post is mostly just a mish mash of various design thoughts when it comes to survival horror design.

I am Tank

One of the hallmarks of the earlier survival horror games was the controls, often referred to as tank controls. Like a lot of elements from the earlier games, limitations in design or technology were turned into something that helped to add to the atmosphere of fear. Tank controls in early survival horror games meant the player had little to no control over the camera. Developers took advantage of this by having possible threats just outside the player’s field of vision. This created suspense and unease. The “bulky” control scheme also helped create a sense of panic in combat as the player tried to get their character to fight back.

The problem is that tank controls are outdated now. You can still find games here and there that use them but the limitations that necessitated the use of tank controls are no longer present. Some argue that we should keep tank controls in survival horror games but these days it creates more frustration than fear.

Really when it comes to the controls we should accept this is no longer a good way of creating tension. Players are used to what modern games have given them. Survival horror games are no less freighting just because they don’t have tank controls.

User Interface, Menus, and Inventory

I’m throwing these three together because they all link to each other in a way. These three elements can help or hinder the flow or immersion of gameplay.

Older survival horror games often had the player go into menus to access various items or information about the character they were playing. In a way this breaks immersion. The immersion could be broken even more if the player had the ability to bring up the various menus during tense moments or during combat.

Survival horror games have tried to move away from having the player rely on menus to access items, weapons, or character information. Character information is either displayed in a corner of the screen or is conveyed by changing how the player sees the game world, such as redness at the edge of the screen that intensifies as health drops lower. Weapons and items are now accessible by hot keys or quick menus.

For the most part these changes have improved the flow and immersion of survival horror games. As long as the hot key or quick menu set ups are not clunky or slow the change in design helps augment the flow within the game.

There are two competing philosophies when it comes to how inventory should be handled in survival horror games. On the one hand you have games like the first three Silent Hill games that pretty much give you unlimited inventory space and on the other you have the early Resident Evil games that limited what you could carry. Later Silent Hill games would try their hand at limited inventory systems. The idea behind limiting inventory is that it places pressure on the player to pick and choose what they really need. There is also the argument that limiting inventory is more realistic and that it can help immerse the player.

A well-executed limited inventory system can add to the immersion of the game. But designers should be very careful because a limited inventory system that isn’t well-executed can add more frustration than immersion. Designers need to try to not overload the player with too many items. Items should be rationed out to the player in way that makes them choose between just a few items. If the player is forced to choose between too many items then it becomes frustrating. One solution to this is to have a storage place where the player can store an unlimited amount of items but even here the setup has to be well-executed.

Combat and Weapons

The focus of survival horror games should not be combat. Combat can and should be present but it should be a less present element that augments the overall experience. Atmosphere, world building, characters, and narrative should be at the center of survival horror games.

One of the things I enjoyed about the early Silent Hill games is that combat was pretty easy, except for the tank controls. You didn’t fear a confrontation with most monsters because it was hard but because they were just so god damned messed up. Coupled with the nightmarish atmosphere the game didn’t need to make combat hard. It was there but didn’t take center stage. Most of us if confronted by such creatures would probably attempt to fight back, whether we were successful is another matter.

Later titles in both the Silent Hill and Resident Evil series made combat more central to the play of the game, moving these titles more into action horror territory than survival horror. Something is lost when combat takes central stage. As long as a combat system is well designed, which is arguable for the later Silent Hill and Resident Evil games, you don’t have to worry as much about story, character, or atmosphere. I love Gears of War but it’s not because of its story or characters, which tend to be a bit thin, but because the combat is really fun. One of the things that make survival horror a unique experience is its focus on stories, characters, and atmosphere to create a truly nightmarish game. If the focus of the game becomes combat then those elements are lost.

Along with keeping combat simple weapons should also be simple. The player shouldn’t have access to an arsenal to choose from. Most of the weapons should be everyday things and guns should be restricted to what you might find in an average home. Imagine running around Silent Hill with an M-16 or a rocket launcher, it just doesn’t create the same feeling.

Music/Audio/Voice Acting

I really don’t have a lot to say about music or audio. It is not really an area that I have really delved into. I will just say that the music and audio in survival horror games plays a central role in creating the nightmarish atmosphere the player enters into. The more unnatural something sounds the more unnerving it can be. There also moments when little to no audio can add to the tension of a particular moment.

Really bad voice acting can take a player right out of the moment. The voice acting in video games isn’t always the greatest and this isn’t something confined to survival horror. Voice acting for video games for hasn’t been taken seriously in the past but it is improving. If you’re looking for decent voice actors look for somebody who has experience in radio/audio plays or someone who has done voice acting for animation, puppets, or CGI creations. Make sure their voice acting is good enough for a video game set up. If you ever find yourself designing a survival horror game don’t let the audio, music, or voice acting fall to wayside.

So concludes my Survival Horror Series. It was fun to think about the various design elements I wrote about. I hope these posts have been informative and have helped those who also like to think about the design aspects of video games, especially survival horror games.

Given survival horror’s slow burn nature a good story and other narrative elements can make or break the game. While action horror games can get away with simple narratives such as just trying to survive; the constant waves of enemies and combat systems are usually enough to keep the player hooked. Survival horror games require a narrative with a little more investment. Not only is the narrative itself important but also how it is told. Finally there are other narrative tid bits, such as notes or diaries that might not contribute directly to the story being told at the moment but enrich the overall narrative experience.

We’re All Stories

The player character should have some sort of personal connection in the events surrounding them. This personal connection allows the narrative to be about something more than just surviving; the character progresses through the narrative in order to understand or learn something new about him/herself or the world around him/her. This personal connection allows the narrative experience to be something more than running to point A to point B and still being alive. It becomes a journey of discovery in a way where the player is compelled to move forward not because of survival but to experience the story the game is trying to tell.

Silent Hill 4 is a prime example of a game where the player character has no personal connection to the events taking place and the game suffers for it. You feel nothing for the random guy who just happens to get caught up in Silent Hill’s bullshit. Henry Townshend gets involved simply because he chooses the wrong apartment to move into. Compared to previous Silent Hill titles none of the manifestations of Silent Hill have anything to do with Henry or his psyche. The only tenuous connection Henry has with the events taking place is his unlucky choosing of an apartment and his infatuation with one of Walter’s victim. The player has no investment in the character he/she is playing.

How We Tell Our Stories

If we step away from horror games for a moment we can take a look at competing philosophies on conveying stories to the player and how those choices affect immersion. We will look at two video game franchises and the different ways they approach telling their stories: Mass Effect and BioShock.

The Mass Effect games go for a very cinematic and epic experience. Because of this there are a lot of breaks from the actual game play for cut scenes. For any plot progression there is a cut scene. The makers of the Mass Effect wanted to tell an epic, personal, and engrossing story that the player felt they were a part of but at the same time they wanted the player to be immersed in that epic narrative. The developers presented the player with cinematic cut scenes to convey the epic nature of the narrative but to keep the player immersed the player got choose what their Shepard looked like. Everyone knows the feeling of seeing someone else’s Mass Effect play through and saying to themselves, “That’s not Shepard. My Shepard is Shepard.” In this way the developers could present an epic cinematic effect through cut scenes while minimizing immersion breaking.

In the first Bioshock game the developers wanted the game to be as immersive as possible. Their philosophy was that cut scenes broke this immersion. The only two cut scenes in the game are at the beginning and the end. The game is presented in first person. Throughout the game when narrative progressing scenes take place this perspective is never paused for a cut scene. The player is always in first person, able to move about as things are happening. This method helps keep the player immersed in the setting that is being presented to them.

Both ways discussed above are valid ways of telling a story. While Mass Effect found a way of maintaining immersion with its cut scenes this is not always the case, being pulled out of the flow of game play can break that immersion for some people. What is important to a good survival horror game is immersion and so it may seem that cut scenes may not be the way to go. While I consider Silent Hill 2 to be one of the greatest survival horror games I’ve ever played its cut scenes could be iffy. The cut scenes didn’t always maintain the atmosphere and dread that the in game play did, coupled with slow paced and somewhat monotone voice acting one could easily have their immersion broken with a cut scene. There is also the notorious voice acting of the early Resident Evil games which has you laughing more than feeling the fear you should be.

This doesn’t mean a survival horror game can’t be good and effective with cut scenes just be prepared that some of the immersion might be lost. At the moment most survival horror games use cut scenes but the use of cut scenes should be limited. The escape horror game Amnesia avoids cut scenes itself by letting the player to move around as they experience flash backs. The player isn’t removed from their first person experience instead the environment around them becomes distorted and the scenes are conveyed through audio only. Survival horror games could become truly frightening if they could move the narrative forward without using cut scenes, reducing the chances of breaking the immersion for the player.

Who has the Time to Write All this Shit?

I don’t want to say random tape recordings and notes scattered throughout survival horror games don’t have their place but often they get ridiculous, breaking the immersion because of how absurd they might be. But used effectively they can help enrich the narrative atmosphere. Notes or recordings of someone in their death throes will make me raise an eyebrow. But a diary where its entries become more surreal would be good way of showcasing someone’s descent into Lovecraftian madness thereby enriching the overall narrative atmosphere. They can also be used to enrich and inform the player of what is taking place in the moment. Fatal Frame 2 effectively uses notes and its version of tape recordings to help enrich the environment in which the game takes place.

How a story is conveyed to someone is important in video games if you want that game to be immersive and grip the player with fear as most developers of survival horror games want to do. Looking at how to move the narrative forward, for immersion, cut scenes should be used sparingly. Along with that if one decides to convey narrative enrichment through things like notes and recordings don’t let it become absurd. Avoid things narrative devices/methods that could break the immersion for the player. The goal of immersion in survival horror games is to keep the player locked in a never ending sense of slow burning dread.

Fear relies on a sense of helplessness; a dread that you have little to no power to overcome the hellish obstacles in your way. In survival horror games this means most of the time the characters the player plays or encounters is the every man/every woman. Compared to action horror where the characters tend to have lots of combat experience in their past. Because survival horror tries to create an atmosphere of fear built upon subtle things that eat away at the players sanity, effective character design for both the player character and non-player characters is vital.

Who am I?

When playing a video game with narrative the player places themselves into a character much the same way an actor places themselves into a role that has been written. The more substance that has been given to the character the easier it is to immerse yourself into that character and what is happening to them. A poorly written or thin character can break the immersion and atmosphere of fear as the player is finding it to hard to fit into the character’s ill fitting skin.

One of the failings of Silent Hill 4 was the design of the player character Henry Townshend. He is presented as a quite and stoic loner with no real relationships. Throughout the game he is shown to be willing help those in the nightmarish events taking place, yet no personal motivation is ever conveyed. He also has no real emotional connections to anything taking place and really is just involved by complete accident. It is hard to experience fear through Henry because he doesn’t feel real enough to immerse yourself in. The game has to rely on other aspects to help create a dreadful atmosphere of fear.

Not only should a player character be fleshed out they should also be ordinary. It does no good in creating a sense of fear if you feel like your character can kick all the monsters’ asses. Action horror games like The Suffering, Doom 3, or the F.E.A.R series don’t create fear through their player characters which is why they often seem to be generic combat type characters.

The first three Silent Hill games all have ordinary and relatable characters. Harry is just trying to find his daughter. James is trying to figure out how he received a letter from his dead wife. While Heather is on a quest to avenge her father. The Fatal Frame games all have females as the main player characters. Fatal Frame 2 and 4 make their player characters younger adding to the atmosphere of fear; the young are even weaker than ordinary men and women . The Siren series and Eternal Darkness relies on a whole cast of ordinary characters. Rule of Rose and Haunting Ground, like Fatal Frame, use younger female player characters to try and create a sense of helplessness and fear.

Another important aspect for the player character is their emotional involvement in what’s happening in the narrative. It can be easier for a player to immerse themselves into a character if that character is connected to the events taking place. Except for Silent Hill 4 all the player characters throughout the series have deep emotional ties to the events taking place. The first two Fatal Frame games have the player character seeking out a lost sibling. The third installment drags the player character in emotionally by having her capture a picture of her dead fiance. And the fourth Fatal Frame the player characters are on a quest to recover lost memories.

We’re All Crazy Here

Non-player characters are just as important in creating an atmosphere of fear as the player characters. Non-player characters should ultimately be as weak as the player character. Even Maria who is a creation of Silent Hill is shown to be weak against it’s power. Over and over she dies as punishment towards James. As the town taunts Angela she is constantly seeking a way to die. Eddie eventually crumbles before the town’s treatment of him. Even though the cultists throughout the series believe themselves protected even they succumb to the town’s nightmarish powers.

Helplessness is essential to creating an atmosphere of fear. It does no good to have the player character seem weak against the nightmares if another character seems to cope just fine. Those characters that stand in the player character’s way have to fall before the resolution takes place or else a little hope might rise. If even the characters that were supposed to be working with the nightmares fall to it what hope do you have.

And just like the player character should have emotional investment in what is going on non-player characters should too. The cultists of the Silent Hill series are emotionally invested because they believe what they are doing, the suffering they are causing will bring their god into the world. In Silent Hill 4 Walter believes he will bring back his mom.

Any video game could be improved with better character design but for survival horror games it is essential. Survival horror games rely heavily on characters and narrative to help create an atmosphere of fear. The player characters have to be relatable and fleshed out enough for the player to immerse themselves in that character and experience the fear of the nightmare. If there is distance between the player and the character there is distance between the player and the fear. The same goes for non-player characters. What is to fear if you’re standing in a room of superheroes? Any character opposing the player character should be shown to be just as powerless. Only the nightmare and its monsters should be left standing when it’s over.

I’ve said before survival horror games are like slow burning candles. The world of the game slowly creeps into your mind, instilling a sense of dread, something more than an adrenaline rush, something that shakes your very core with fear. One of the ways survival horror games achieve this is by presenting the player with a world that is more than darkened hallways, flickering lights, ominous sounds, or spectral figures. The world in which the player walks and the enemies he/she faces are imbued with meaning, they represent something, and as the player thinks more about what they represent the more it helps to eat away at the sanity of the player.

Not Just any Old Haunted House

One of the most recognizable locations for anyone who has dabbled in survival horror games is the ghostly town of Silent Hill. But the town is so much more than a truckload of fog and creepy sounds. The town constructs itself based on the sins and fears of the unfortunate souls who become trapped within.

The area on which Silent Hill was built is filled with its own rich history that is colorfully strung throughout the series. The land was a holy site to Native Americans known as “The Place of Silenced Spirits.” After forcing the indigenous people off the land, the first colony was abandoned after a epidemic killed most of the colonists. When colonists returned to the land it would be used first as a penal colony and then as a POW camp during the Civil War. By the time we get to the first game the town has been transformed into a resort town. But existing alongside the beautiful scenery is the nightmarish shadow that the players find themselves in.

While the history goes a long way to explain the nature of Silent Hill it doesn’t always explain the town the player interacts with. The town likes to take a peek inside its victim’s minds to create a more frightening experience.

In Silent Hill 2 it is hinted the town one sees is crafted from one’s own mind. While most of the locations James visits seem like just twisted versions of the real world Silent Hill the hotel he visits at the end has special meaning because it’s where he and Marry stayed. Angela implies that the Silent Hill she sees is one that is always on fire while Laura seems impervious to the town’s effects.

The world that the player experiences in Silent Hill 4 The Room is a reflection of the mind of Walter Sullivan. As the player progresses through the game the player learns more about Walter’s past, learning about his suffering at the hands of the Silent Hill cult.

While I don’t consider The Suffering survival horror it does share a lot of the design philosophies that make for a good survival horror game. The game takes place on a prison island filled with a bloody history that has infected the very land with an evil presence. The island has the power to corrupt and influence those that inhabit its land. As the player runs around the island they are not just running around a creepy environment but an environment that itself is pulsating with evil.

Zombies Are Overrated

Just as the environment the player finds him/herself in can be imbued with meaning the monsters the player faces can be something more than grotesque monstrosities. It’s one thing to face mutated monsters but it’s another thing to face something crafted from the personal demons of an individual or the depravity of human nature.

In the Silent Hill games the monsters the player faces come from within the minds of those caught up in the town’s influence. The creatures the player faces in the first game are manifested from Cheryl/Alessa’s mind. Except for the abstract daddies, which represent the abuse Angela suffered from her dad and brother, the monsters in Silent Hill 2 represent parts of James. Pyramid Head represents his desire to be punished while Maria is idealized representation of Mary. And again in Silent Hill 3 the monsters represent the mental scars of Heather/Alessa caused by her history with the Order. While the monsters faced in Silent Hill 4 are representative of the madness bred in Walter by the Order.

The design for the creatures faced in The Suffering didn’t come from the scarred minds of the individuals that found themselves on the island but simply drew upon the depravity of human nature. Each of the creatures represents a form of execution or specific deaths on the island. The slayers and marksmen represent beheading and firing squads while monsters like the noosemen represent COs who were lynched as revenge for letting inmates die in a collapsed mine.

In the Fatal Frame series the ghosts faced aren’t representations of a character’s mind or human depravity but they do represent something else that can frighten the player: death. The form in which the ghosts are presented is how they died. If a woman died of a broken neck that is how she is presented to the player. You are not only facing something might that might be seen to represent death but something that represents all the ways death can take you.

Bringing it all together what does this mean for designing a truly frightening survival horror game? It means that you should consider imbuing the creatures and environment you present the player with twisted meanings. Not all survival horror games implement what I have talked about here, or implement such design decisions to varying degrees. In the early Resident Evil games the monsters and environment don’t carry any metaphorical meaning but through other methods creates tension and fear in the player. The Silent Hill games tend to place more focus on the symbolism of the monsters while the environments of the Fatal Frame games tend to not mean much, instead opting for a more traditional Gothic feel. Choosing to add meaning to the environment and monsters adds something more than the flickering light in the hall or the strange sounds in the forest. A deep sense of fear and disgust comes from not just realizing that you have to survive the onslaught of a deformed creature but realizing that creature is formed from the dirt and grime of reality. That its shape comes from the depravity and terror humans inflict on each other. That the ground you walk wasn’t made evil from the beginning but because of the blood that was spilled upon it. These things eat away at a person even if they survive the nightmare because the things that gave form to those nightmares are still out there walking the streets.