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Exclusive: Forbidden Siren Interview Feature
Derek dela Fuente
22/01/2004
We get the lowdown on this spine-chilling survival/horror title from SCEi...
Coming from a new team, SCEJ (Sony in Japan), we spoke to the director, Keiichiro Toyama, who gave a very personalised view of Forbidden Siren that could redefine the survival horror genre.
Forbidden Siren is inspired by the gothic novels of HP Lovecraft and also pays subtle homage to the dynamism of '80s horror films. Brace yourself for a claustrophobic experience in a world of tension and despair where those with patience, intelligence and nerves of steel will survive.
It has many interesting in games features, not least the fact there are 78 episodes in total, but these are not played through in chronological order - a scenario link navigator in the form of a timetable helps the player understand how each episode falls into place. The lack of order adds to the suspense and twisting nature of the plot - ghosts literally come back to haunt as characters may reencounter humans or monsters that they know from a previous episode are soon to perish.
Forbidden Siren takes place over a three-day period, with control switching at key points between the ten survivors. Each character, from the inquisitive high school student Kyoya to the murderous old hunter Akira, is in the village for different reasons and by understanding their past and their reactions to the evil that continues to spread around them, the mystery begins to unravel.
The village finds itself awash with evil and encircled by a sea of blood. There was no warning, no explanation; in the blink of an eye the village became a gruesome hell on earth and almost all of its inhabitants met with a fate that is surely worse than death...
There are few survivors, each now embroiled in their own personal fight for survival. Immersed in a world of fear, mystery and suspense, these survivors begin a desperate search for a way out and only through their eyes, as they evade the vile creatures that yesterday were their friends and neighbours, will we begin to understand the macabre recent events.
Adding to the imaginative feel of Forbidden Siren is the characters' ability to 'sight-jack' or steal the viewpoints of other characters and enemies in their immediate surroundings. This extraordinary observational power can be both a curse and a blessing as it enables character's to predict an enemy's movements and actions, but renders the user momentarily immobile and defenseless.
TVG: Keiichiro please can you tell us a little bit more about the background story to the game and what has inspired the team, as well as a love for H.P Lovecraft, to create this haunting survival horror game?
Since the worldwide hit of âBio Hazardâ, horror adventure has been established as one genre but I felt the same kind (same pattern) of games has been made and the style itself has started to become old. Then I thoughtâ¦Iâd like to make something totally new full of new rules, systems and story. While I was searching for a new theme and planning this game, horror novels based on survival were popular in Japan. When I was looking at the fan-site, I found a timetable where someone put together the characters' actions. Then I thought it would be exciting to take those actions into the game. As for the sight jacking, I got the idea from the SONAR sound of the submarine. I thought if the sound could be replaced by a visual, it might be interesting. I actually experienced a âSight Conversion Systemâ which is something created by a contemporary artist by combining a camera and monitor.
TVG: Basically, what are the prime and sub objectives of the game?
Itâs about the characters struggle for survival as a human being in the village which has turned into an alien world and to find their way to escape from there. Also, to solve the number of mysteries as to why the village has turned into an 'alien worldâ in the first place!
TVG: You mentioned at the start that you could tune in and see the world through other eyes â“ including the enemy. Firstly what are the parameters to do this, how many âin gameâ enemy characters can this be done with and it is important to pick the right ones at the appropriate time in the game?
Sight-jacking is originally a means of communication for the Shibitos. In other words, humans who are gradually changing into Shibito with the effect of the alien world will be able to use this power. All players can sight-jack. Some of the Shibito will sight-jack the player to confirm the playerâs location in the game and then if the player goes near, they will run away, but basically this system is used by the humans (player) in the game!
TVG: Please explain some of the reasons for wanting to see through the eyes of the enemy, what kind of dangers you will be able to foresee and are there any negative aspects of doing this?
The basic usage of sight-jacking is to find out in advance the Shibitoâs location and their current status. For example, sight-jack the Shibito who is re-loading the bullets to defeat them in battle. Sight-jacking this kind of very minute actions will lead you to conquer the game. There are many points where you must use the sight-jack system such as peeping at the security code of the number lock when the Shibito is opening it. You may also find an item during sight-jacking the Shibito. There is also an additional function where the Shibito who is about to attack you may stay still for a bit after being released from sight-jack. The negative aspect would be that during sight-jacking, you wouldnât be able to feel the Shibito approaching you.
TVG: A number of âcriticsâ have expressed their views that this game is very overthetop. Has the game in any way been toned down from the Japanese version and is the shock value part of what makes this game so appealing?
In Japan, it is true that some said the level and the fear expression was overthetop. However, it is not toned down in any way from the Japanese version. The only difference is the language localisation. I feel that it wasnât only the fear part that appealed to so many users, but the challenge in the innovative game system and the storyline was what gave a fresh surprise.
TVG: What kind of actions, even strategies, is undertaken by the player and the enemy and what weapons will be on offer to use?
The player is no soldier. They are very weak, so it is important to hide and escape by blending in with the dark by turning the flashlight off, or to move by crouching. Shibito will get information through their eyes and ears so turning the light on, screaming, and attracting them with emergency alarms or warning flares will be possible. Especially during the scenario where the player does not have any weapons, these actions will be very important. Main weapons will be knives, hammers, other tools available in an agricultural community, objects from the war, guns that policemen possess, and hunting rifles.
TVG: What kind of interaction is on offer, is there a linear method to the game and how, if at all, is the story to the game driven?
The gameplay is linear due to the complexity of the storyline and how the story is told through ten characters. In terms of interaction, there will be tasks which will rely on you guiding other characters to safety and as there are many enemies who work together to find you, it means you have to be a little more discreet in your interaction and means of communication.
TVG: Please briefly describe one of you favourite or harrowing events within the game that you feel sums up the ethos of the game?
My favourite scenario would be the one where a certain character will spend their everyday life as a family member of the Shibito. As a whole, it is very sad and scary to see a certain character who you have special feelings for turn into a Shibito.
TVG: How important are technology innovations/ advancements to this game and what visual aspects are you most pleased with?
In the game as a whole, the sight-jack system expands the versatile system, which was something I struggled the most. The unique characters were captured from real-life actors by collecting data of the texture sampling. This enabled us to express realistic characters in the game. Especially the expressions, it is not simply geometry morphing. We had the characters actually act and took those expressions by alpha blending which lead to the realistic expressions in the game. This is something we can be proud of mentioning.
TVG: What kind of techniques have you used to create the haunting feel to the game? Is it about what you may NOT see as opposed to what you do see and does sound play a big part in the essence of the experience?
Weâre very pleased with the atmosphere of the game and how this is composed through different factors. As mentioned before, the photo-realism of the characters makes it very real and genuine, placing you straight into the gameplay as though you were there. The sight-jacking technique doesnât show you everything and may be a little cryptic when approaching new environments, so itâs important for the player to understand what they are seeing to complete each mission. The strength of the storyline is also very important in mystifying the player and there are a lot of layers to unravel that will surprise and haunt fans, I think.
TVG: Can you tell us a little about how the inter-linking story works and elaborate on the ten different characters that the player can be?
The many scenarios in the game do not necessarily progress in chronological order. Therefore, it is possible to sort them out using the link-navigation system. Also, if you play a certain amount, you will be able to use the scenario select function. And this function will be done in link-navigation. There may be some scenarios where another event must be cleared in a different scenario in order to clear that certain scenario. This system is useful to confirm the relationship between the characters.
TVG: You expressed you believed that the survival/horror genre has become stale in recent months focussing on clichéd puzzles and stilted control systems; so what do you think will push the genre forwards?
As for the basic game system, I felt they were conservative and there was a similarity to them all. In this game, I started from the point where I alter the orthodox rules. Puzzles that have nothing to do with the story, simple events, collection events, battles, bullets which will be left over in the end, recovering itemsâ¦Fear is something created when it is face to face with the unknown! So if it is possible to add more fresh surprises, this genre will become more and more popular.
TVG would like to thank Keiichiro Toyama for taking the time to answer our questions; weâll have a closer look at âForbidden Sirenâ soon.
