Motoi Okamoto, Silent Hill series producer (hereafter Okamoto): Following discussions between Konami US and Annapurna, we met the Annapurna team in LA, where they introduced us to No Code. Unlike Silent Hill f, this project wasn't an internal Konami initiative; it began with a pitch from No Code, delivered through Annapurna.

Jon McKellan, writer and director of Silent Hill: Townfall (hereafter Jon): When the opportunity to work on a Silent Hill project arrived, we halted everything else to focus entirely on it. We’ve been granted significant creative freedom and support from both Konami and Annapurna throughout this collaboration.

Okamoto: We respect the developer’s understanding of the Silent Hill essence. As long as the core of psychological horror remains intact, we don't feel the need to force rigid mandates upon them.

Jon: We established our direction through internal consensus and maintained a tight feedback loop with Konami and Annapurna to ensure we never drifted away from the Silent Hill identity.

Okamoto: While Konami provides guidelines, it is vital that each studio plays and dissects the classics to build their own framework. Our role isn't micro-management; we focus on ensuring the psychological horror narrative is effectively realised.

Okamoto: We decided early on that the reboot should focus on 'psychological horror narrative' rather than any specific 'location'. As long as this core pillar stands, we are happy to see the settings or gameplay systems evolve to keep players engaged.

Okamoto: While I cannot disclose the exact development timeline, work began before 2022. The CRTV device was not in the initial plan but was added as a fresh concept after No Code, Annapurna, and Konami reviewed the prototype.

Jon: Though time has passed, we continuously audited our original vision during development. By revisiting the milestones we submitted to Konami, we ensured the game stayed true to its intended identity.

Jon: It amplifies the claustrophobia of a cramped Scottish town. Furthermore, to immerse players by using the CRTV as a physical object right in front of the camera—rather than relying on UI elements or mini-maps—the first-person view was essential.

Jon: We wanted players to feel as if they were physically searching through someone’s home. By opening cupboards and handling objects, players glean the lives and stories of those who once lived there, making item retrieval more than just a mechanical task.

Jon: While many mechanics shifted with the perspective change, the core remains the themes. The atmosphere, tone, and specific sensibilities permeate every mechanic, allowing us to build something that feels entirely new yet distinctly Silent Hill.

Jon: The initial challenge was making the radio a more active tool. Introducing video elements opened doors for storytelling, hints, and stealth mechanics. It also draws on the retro-analogue aesthetic No Code explored in previous titles via VHS. Once we prototyped it, we knew it was the best way to convey the story.

Jon: We intentionally played with the classic trope of a man entering a town to find a woman, baiting player expectations with familiar Silent Hill vibes before twisting them into a completely new narrative journey.

Jon: It’s our studio’s DNA. We love taking nostalgic, familiar objects and turning them into instruments of dread. Analogue tech is inherently fragile and prone to failure; relying on old maps or CRT screens reminds the player that technology cannot save them, fostering a sense of isolation.

Jon: Because the developers are from Scotland. Our goal was to create a realistic, persuasive setting that players could connect with. Drawing from our own experiences in small Scottish towns allowed us to build the most honest and original world possible.

Jon: Scotland is practically already a Silent Hill setting, filled with mist and monsters. Locals often joke, 'We're living in Silent Hill' when the fog rolls in. The architecture looks cozy on a clear day, but once it gets damp and misty, it offers the perfect claustrophobic pressure for our game.

Jon: We’ve tucked away many subtle details. For instance, the need to use a top-up card to turn on the electricity in the early game is a real-life Scottish experience. We also paid attention to kitchen layouts, furniture, and wallpaper—the little things that locals will recognize instantly.

Jon: Every option is meaningful. Learning how enemies react is key. Stealth, melee, and ranged weapons all have their uses; it’s up to the player to experiment and master the best approach for each situation.

Jon: Because it’s a brilliant colour palette. Without spoiling anything, there is a deep connection between the colour red and how the otherworld is depicted. Every experience the protagonist, Simon, has is designed to make sense by the story's end.

Jon: Audio is 50% of the horror experience. Our audio team sampled ambient sounds from real local villages and even used coastal objects as percussion in the score. Monster sounds were also designed based on the specific narrative they represent.

Jon: We’ve included the hidden endings fans expect. The main ending depends on the player's actions as Simon. It’s not just a binary choice; it’s a culmination of the player's behaviour, ensuring the ending feels personal.

Okamoto: To add, the three main endings are reachable in a single playthrough depending on your style. The secret endings are unlocked in a second playthrough. Unlike Silent Hill f, you aren't forced to play through multiple times just to see the main conclusions.