[Wii] Silent Hill: Shattered Memories

Porção artigo da Nintendo Power: (disponibilizado pelos próprios)

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Ena ena... que bela surpresa. Que grande atenção que lhe estão a dar.

Tirar fotos? Sillent Hill does what Dead Rising don't? :p
 
Tem muito bom aspecto sim senhora! :D

Qual é a data prevista já se sabe? Parece que já tem algum tempo de desenvolvimento!
Este e o Cursed Mountain vão ser umas belas experiências na Wii!
 
Tidbits:

- Dr. K will ask you to fill out personality profile
- Teresa’s used-clothing store and Clear Picture video store examples of locations
- Can open a door slightly and peer into room with flashlight
- Looks good visually on Wii
- Example of game’s puzzles: Bed of nearby truck has three cans, pick one up and shake it with the Wii remote - then can hear a rattling sound from controller speaker, turn can upside down and a key will fall
- Not Harry’s first visit to Silent Hill
- Harry seems to be suffering from amnesia
- Use cell phone static to find clues, details about the story/background of Silent Hill
- Sometimes might need to take a picture to find messages
- Examples of game changing: Things you hear, clothes that characters wear, locations that can be visited at a certain time
- Creatures are weak against heat - use flares to keep them at bay
- Can carry a flare until it burns out
- Releasing on Wii since it seemed ideal to shake up the idea of a horror game
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Imagens versão Wii:

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Preview IGN:

Silent Hill: Shattered Memories Eyes-on
We. Are. Sold. Climax demonstrates what Wii can do with a super-slick, moody take on Konami's classic franchise.

All sorts of thoughts are racing through my head as I sit in a demo room at Konami's Manhattan Beach, California office is mid-March while waiting for company representatives to boot up the Wii action-horror game Silent Hill: Shattered Memories. I think, this title came out of nowhere -- a real surprise. Does that mean I should be worried? And then, well, it is developed by Climax, the same studio which did Origins for PSP and more recently the good-looking Overlord: Dark Legend for Wii. These guys seem to know what they're doing and they have demonstrated a certain respect for Nintendo's console, something of a rarity for a third-party. Hopefully they don't eff this one up because if it's an on-rails shooter, I don't think I'm going to be able to fake enthusiasm. Forty-five minutes later, I'm calling my editor, Mark Bozon on my cell phone. "Man, you're going to hate me," I say. "I just saw what could be the most impressive third-party game on Wii." There's nothing better than being unexpectedly blown away.

Bear in mind, I spent about 15 minutes with the game and my experience was eyes-on, not hands-on. Still I've been doing this for long enough to spot a quality project when I see one and Shattered Memories has incredible written all over it. The specifics will follow, but here are the footnotes: absolutely outstanding technology, superbly implemented controls, extremely moody atmosphere and smart design. Rarely do I walk away from a demo without any negatives, but the only thing I could come up with as I relayed my experience to Bozon on the phone was so trivial that that it was barely worth mentioning.

You're going to read this a lot -- in previews, interviews, whatever -- but while Shattered Memories is based on the characters and events that powered the original game, it is not so much a remake as it is a re-imagining. You play as Harry Mason, crashed on the side of the road in the middle of a snowstorm. He wakes to find his daughter gone and proceeds to look for her throughout the eerie town of Silent Hill. If you played the PlayStation game, this probably all sounds familiar, but rest assured that the plot diverges quickly. Take, for example, the very presentation of this initial setup, which is already different.

The game opens on a psychiatrist's office. A man, presumably the physician, pours a glass of alcohol. It's snowing outside. As he sips, the phone rings. "A new patient is here -- they're here early," a voice says on the line. "That's fine. We can start now," replies the psychiatrist. Then, abruptly, the scene changes to Harry as he falls from his wrecked car to the snowy pavement below and loses his glasses.

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The flashlight looks pretty good in this screen. In motion, you'll be blown away.​

Back in the office. "I'm glad you came. Just turning up shows your commitment to the process," says the psychiatrist. "I've read your notes. The other therapist didn't work out for you. This will be different. No notes. No drugs. No theories. We go back from the start. Understand what happened."

This is not a cut-scene. You're able to look around in first-person view while he talks. The office and therapist come to life with realistic detail, the latter donning fluid animations. "Take a look at this short form," the therapist says and hands you a paper. This is where Shattered Dreams really separates itself from any Silent Hill game prior. Labeled Garner Sobel Personality Inventory Form, the paper contains a series of true or false statements that must be filled out via the Wii remote -- just point and click to check the boxes. Two examples: Having a drink helps me relax. I always listen to other people's feelings. The moment you make selections, the game begins your profile and it continues watching and evaluating you as you play.

"You've been unfaithful. Is that true?" he asks. You can answer simply by pointing at the screen and moving up and down or left and right with the Wii remote, in effect nodding yes or no.

The scene changes to the wreck again. "Cheryl! Cheryl! Sweetie?" Harry cries out, but there's no answer. He picks up a flashlight. There are snow particles swirling around in the background, which looks fantastic.

Armed with the flashlight, you take control and everything you do is being monitored, considered. Based on your actions, the game itself changes on the fly. The design of the world. The characters. How they treat you. Everything. When Harry inevitably walks into a deserted office setting and looks around, the game will be analyzing your decisions. If you immediately look for a map, it'll think you're practical. If you look at a girlie picture instead, not so much. Either way, these decisions will incite changes, possibly even some with consequences.

Here's an example. As Harry explores the town, he will soon see through the snow some kind of open establishment. Based on the choices he's made previously -- both in the profile and presumably along the way in his snowy travels -- something will have changed. In some cases, he'll see an open diner. In others, an open bar. As I watched, it was the latter. Harry walks inside, confused, and chats with a bartender.

"I knew this weather couldn't keep everybody away," she says. "Name your poison." He explains that he's there looking for his daughter, shows her a picture and she tells him where she could be hiding on such a snowy evening. "Oh, shit. I'd offer to call for help, but the phones are all out because of the storm," she adds. Harry, meanwhile, is clearly still out of it. He notices to his astonishment that his own ID indicates he lives in Silent Hill. "That accident of yours -- you take a knock to the head?" the bartender asks. A few minutes later, Harry finds himself trekking through the snow again. "Shit -- I should have known where I am," he says. "What the hell is wrong with me?" He decides to go back the way he came and looks to his cell phone for guidance.

As it turns it, that's a good choice because this iPhone-esque device -- an integral component of the game -- is your one-stop hub for all the information and tools you could possibly need. The minus button brings up the device. You can dial numbers, use a camera (whose viewer shows a slowed framerate a la iPhone) to take and store pictures, check text messages and voice mail, look through your phone book, and access game options and settings. In my demo, one of the Konami reps tried to dial 911. "911, what's your emergency?" a voice asks through your Wii remote. Harry responds on-screen. There's some kind of interference, though and the 911 operator cannot hear him. She keeps asking if anybody is there and then hangs up. It's a very effective means to maintain Silent Hill's trademark sense of isolation.

What's the point of taking pictures with your cell phone? Konami showed me. As Harry approaches a dilapidated children's playground, he notices that something is off about a swing-set's color -- that it looks a bit more static than the rest of the environment. He cues his phone, snaps and picture and sees his daughter in the photograph. That, in turn, triggers a voicemail to his cell. He brings it up and listens. "Daddy, I'm hurt," the message plays. Voicemail messages like these occur regularly and both help drive the storyline and offer players guidance. Later, when the town is transforming right before Harry's eyes into something much more nightmarish, his phone rings and his daughter screams, "You have to run, daddy. You can't fight them. Run!"

This is, of course, Silent Hill's transformation from lonely small town to nightmare world. In the original game, that alternate locale was hellish, bloody, rusty. Not so in the re-imagined Wii title. It's icy. And the world distorts dynamically right before your eyes. Even as Harry's daughter screams for him to flee, the buildings around him take on an icy glaze, distort, change shapes, pillars shoot upward from the ground and the scene darkens. Snow particles freeze in midair. A car alarm goes off in the distance. The entire display is breathtaking -- easily one of the most impressive presentational feats on Nintendo's console.

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Use Harry's iPhone-like cell to take pics, listen to voice messages, dial numbers, hear distortion and more.​

Harry runs toward a dark alleyway. He's looking around with the flashlight. There's a dumpster on one side. As he walks around, he hears more and more static through his cell phone, which is the game's audio cue that something important or horrific is probably very close by. Suddenly, directly opposite a sheet of ice, a skinny, deformed Silent Hill monster comes shambling forward and crashes into the frozen barrier, staring and shrieking at him. It then runs off, presumably to find another way toward him. The entire scene is definitely unnerving and atmospheric. This is the first glimpse of these gruesome foes in the game and it won't be long until it returns.

The controls seem very fluid. Nunchuk's analog stick moves Harry responsively around the world. Hold Z and he'll run. C button will cue a quick 180-turn. The A button is for actions: accept phone calls, activate puzzles, etc. B-trigger, meanwhile, is used in conjunction with A to pick up items -- a pinching mechanic, if you will. D-Pad navigates the phone. D-Pad left cues a quick-select map, useful for finding spots throughout the snowy environment. Right executes a quick-select camera. And down triggers a behind-the-back view of the action so that Harry can actually look behind himself to see enemies chasing, as they often will. It's pretty frightening, to.

In fact, because Harry has no weapons at his disposal to speak of -- this is a choice designed to heighten the sense of defenselessness and amplify fear; I've seen some reader complaints about this decision, but I love it -- he'll have to be quick on his feet to outsmart the mutilated enemies who pursue him. They aren't exactly dumb, either. They will hunt the character relentlessly, following him through the world, smelling and tracking him, communicating with other enemies to find him, and more. They'll go through doors, too, and over fences. At one point in the demo, Harry attempted to hop over a fence -- a seeming canned animation -- but got pulled back off it in mid-climb by one of his grotesque chasers. Even if he had made the jump, the creature could still hop over it, too, and continue the chase. Oh, and that minor gripe I called trivial before -- it's just that during the demo, I saw Harry pulled off fences three or four times, which seemed repetitive.

Shattered Memories is undeniably a hardcore game overrun with storyline, but you won't find traditional text overlays and cues in the world. Harry talks to himself as he explores the world, offering some guidance, but mostly the town itself presents all the information you could need. Crisp textures nurture environments and objects that feature more than enough definition for examination purposes. Signs and papers can be read easily. Harry's cell phone does the rest. It's very seamless. And the seamlessness is continued via a streaming engine that renders load times one-hundred percent obsolete. Wherever Harry goes, inside or out, is just there.

Silent Hill's 3D engine is one of the best on Wii. You will, of course, see the return of filtered graphics, a stable of the franchise, but the character designs and animation, the make-up of the environments and the effects that bring everything together are all nothing short of amazing. The single most impressive thing about the game is the flashlight, which frankly kicks the one in Namco's action-RPG Fragile to the curb. It's perfectly mapped to the Wii remote so that Harry can quickly point and illuminate anything on-screen and it simply looks incredible. It casts shadows on just about everything -- even on snow flakes. And all the while, the framerate never hiccups.

Shattered Memories ships for Wii later this year. PS2 and PSP versions are also planned, although Wii is the lead platform. After only 15 minutes with an unplayable demo, the title has shot up to the top of my must-have list -- and once you see this sucker in motion, you're going to know why. Be sure to check out my detailed interview with Climax about the game right here. And then head over to our media section to look over some exclusive screenshots.
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Fonte: http://wii.ign.com/articles/971/971316p2.html


Entrevista:

Silent Hill: Shattered Memories Interview
Developer Climax answers 25 of our questions about its gorgeous Wii-exclusive scare-fest in this enlightening interview.

How big is the team working on Silent Hill: Shattered Dreams and how long has the game been in development?

Mark Simmons: The development team has 55+ key team members working at Climax Solent studio, the majority of which created 'Silent Hill Origins.' This team is supported by an extended network of 90+ artists helping to produce the vast amount of character, environment, and story content for this game. The introduction of a game mechanic where the game changes constantly based on the users personality profile has brought on some significant content challenges which explains the necessity for the relatively large numbers of people for a Wii game. Akira's also a key part of the team as well and we're working closely with him on the development of the atmosphere and music for this game.

Why did you want to bring Silent Hill to Wii?

Tomm Hulett: In moving to Wii, we had a chance to revitalize Silent Hill as a series, and do new things that weren't possible before, both for the series and the genre. This move made sense for two reasons. The first, well it's a no brainer if you look at the Wii remote. The flashlight and the radio static -- two trademark features of the series -- are right there on the controller. It's too perfect.

Sam Barlow: The second reason, the Wii as a platform gives developers the leeway to think outside the box and to be creative -- we can take risks that we couldn't on the more traditional platforms. That's due to the costs of HD console development and also the mindset of the user base. Some people on Wii have never played a horror game -- so they don't know what to expect, they don't know to expect the tired genre *****. Some people on Wii are lapsed gamers, returning to the medium -- so they want something fresh, they want to see things moved on. And then there's the gamers (still the majority of Wii owners) -- they know that the Wii has the ability to shake up established genres and franchises in the same way that the DS has done, so they're excited to try new things on Wii.

Mark Simmons: With 'Origins' we aimed to bring an experience to a handheld that people weren't getting with other titles. We dared people to play Origins on their own in a graveyard. We aimed to create a classic Silent Hill game with all the bells and whistles but on a handheld. With that game I feel we earned our wings. Now, we're pushing the series where it has never gone before. Our aim is to bring back the true psychological survival horror experience, but in a way that resonates with the modern audience. To the fans I say as a truly dedicated Silent Hill developer, and as loyal fans ourselves, "we care." We want more than anything to put SH back on the map as the only game that delivers the kind of story-telling that a Silent Hill game can. We want to show to a new audience who knows of Silent Hill but has never felt 'that SH2 feeling' how much a computer game can mess with your mind.

Some people will call the game a remake of the first. Is that accurate? Tell us why not.

Tomm Hulett: It's definitely not a remake.

Sam Barlow: A remake would mean literally re-crafting the same content, the same gameplay, with some tweaks. That isn't this game. This shares the same starting point as SH1, but then uses it as a springboard to go to new interesting places. It's a bit like how Zelda titles start from the same premise--hero finds sword, saves world--but always reinvent themselves. Well, maybe it's more extreme than Zelda.

Tomm Hulett: We keep beating this example to death, but it's like Battlestar Galactica, the movie vs. the series. They start with the same premise, but none of the details are sacred, and you don't know where things are going to go because it really is a brand new story. If you want a different example, look at Nolan's Dark Knight and Burton's Batman. Both feature the caped crusader we all know fighting his greatest nemesis, the Joker. Both have a love interest. Both have Harvey Dent and Commissioner Gordon. But how similar are the two movies?

Sam Barlow: My personal examples are Cronenberg's The Fly or Schrader's Cat People. Those horror movies took source material that worked already but created bold new movies that are their own entities. No one would reject Cronenberg's The Fly as just a "remake." We take the idea and reinvent it, come at it from an entirely new angle. If this was a Wiimake, we wouldn't be as excited by it.

Sounds fair. So who do you play as and how do you start the game?

Sam Barlow: You play as Harry Mason. The game starts with a therapy session and a car crash.

Mark Simmons: That's pretty much it for the start. It wouldn't be right to give anything else away would it?

In one scene, Harry seems confused when he goes into a bar and notices that his ID says he's from the town. Thats definitely different from the original game. What's that about?

Sam Barlow: Well, he's just had a car crash -- maybe he's a little confused?

Mark Simmons: Ditto.

Uh-huh. Shattered Memories features a unique character profiling mechanic. How does this start and how does it affect the game as you play?

Tomm Hulett: We're not ready to show the man behind the curtain on this feature just yet. For now, suffice to say that Silent Hill is watching you.

Sam Barlow: The cool thing about this mechanic is that it's behind the player's back, so to speak, it's looking over their shoulder and it's working under the radar. Big things change, small things change. A lot of things change!

Mark Simmons: The ultimate aim is to create the perfect game experience. A game that tunes itself at every turn to your own personality. Imagine a film that has a personal director sitting behind you with an in depth knowledge of you as a person and a huge control panel to change everything in the film - the lighting, the sets, the characters clothes, their performances, the camera angles, even their personalities - to create the exact experience he wanted you to receive. Our aim is to do that in this game.

Sounds great. Does profiling continue throughout the game? What happens if you make a bunch of mean-spirited decisions?

Tomm Hulett: Again, without going into too much detail -- this is not like the "good path" vs "bad path" games that you've played for a couple years now. There are not "morality tracks" that you fall into as you play. You're inside Silent Hill, and the town is inside your mind. Things might get a little strange.

Tell us about the 3D engine you've created for Wii. It's really impressive.

Mark Simmons: One key new feature we've added is the streaming world. Our Silent Hill is now one large joined up town. There's no loading screens or long fades to black screens while the disc is accessed anymore. The creatures in the nightmares can now follow you across the entire location, the doors are no longer barriers for them. Our snow is amazing. Every snow flake is illuminated by the flashlight and casts a shadow onto the environment. It feels amazing just to point your flashlight into the sky and watch the snow falling down through the flashlights' beam. Our dynamic ice effects are amazing too, we can freeze up an entire street with lamp posts twisting over, park benches buckling in two, and whole buildings getting encased in amazing refractive glacial ice forms.

Sam Barlow: It's a great engine. It's been worked up in house and has a lot of great render features thanks to James Sharman, one of our elite programming brains. We have a ton of effects which I haven't seen elsewhere, or done quite as well. The lighting is an obvious hook -- full shadowing off everything, self shadowing on characters. Even the snowflakes cast shadows. Then there's the suite of ice shaders that are better than anything else I've seen on Wii. This should look like a HD game running in SD. That's the idea.

We were blown away by what we saw. The main character holds a flashlight and the lighting is amazing. Tell us what you're doing to achieve this look.

Sam Barlow: The flashlight is amazing for two reasons. One, the tech is very clever. Two, the controls -- having the Wiimote become your flashlight -- just push it to the fore. You can play a HD game with cool lighting, but that lighting is mapped to static lights in the world or to a strafing character. You ever noticed how HD console games often go out of their way to show you how good their lighting is? The classic example is a light behind a wall fan, that kind of thing. We don't have to do that because the light is in your hand. It's awesome.

Mark Simmons: The flashlight is the Wiimote in your hand and it's also where you're looking at within the game world, because of this you get an amazing one-to-one feeling with the game. It's very immersing. It's also extremely accessible. The camera, characters facing, and where he's looking are all driven off of where the torch is pointing, which is driven simply by where you point your Wiimote. It's amazingly simple, but amazingly effective.

In one sequence, the world literally transforms before your eyes. What's happening here and how is this different from the original Silent Hill?

Sam Barlow: It is what it is. Play the game to understand it fully! It's different from SH1 because it's real-time and it happens in more dynamic situations -- the level structure isn't so rigid, you're not going to know when this is going to happen like you often did in the original.

Tomm Hulett: The transition is more chilling than ever before.

Mark Simmons: As a player you are always on edge. In this game you never know when the whole world is going to completely transform, it's a lot less predictable than in previous titles, and when it does happen it's normally a sign that you're in deep trouble. The world always transforms around you and whilst you still have control off the character and the flashlight.

The game takes place in third-person. Is there a first-person view? Why or why not?

Sam Barlow: You can "zoom" your view, kind of like Iron Sights in an FPS. Harry is still just in frame. You get a similar view when you pull your phone out. There's no true first person though. Reasons for that are: one, we want to keep that connection to the character Harry Mason, he's a character not a camera operator, two, flashlight effects don't look as cool when you're staring down the flashlight beam -- the third person offset ensures you really nice shadows and the flashlight arm has a level of disconnect with the camera -- so it's smooth to control.

Mark Simmons: A key innovation in the core game mechanics of Silent Hill in this game is the detail within the environment. We've done away with the strange written notes you found everywhere in the world and replaced them with an amazing new level of detail within the environment. This is where the zoom look comes in. There is a ton of interesting content everywhere you look in the game, from the text on the posters on the wall, the phone numbers on the billboards in the street, the strange writing on the floor, or the hidden clues to a puzzle within the room you're in. It's a natural extension of the one-to-one Wiimote flashlight controls.

Tomm Hulett: That said, there are some sequences -- like Dr. K's therapy sessions -- which will take place in first person, so the player can move around "his head" to examine the environment like he's really sitting on a therapist's couch. You even get to "nod" with the remote.

Harry can interact with environments, pick locks, etc. This is done using the Wii remote. Are you using Wii MotionPlus for this?

Sam Barlow: No MotionPlus. All our interactions are driven with the cursor on screen, so we have no need -- we're just as accurate. The game has tons of grabbing, pulling, pushing, rotating, prodding and other stuff. Some of these are physics driven, some animation driven. It's important to give the player plenty of opportunities to 'touch' the world, to keep that connection.

Tomm Hulett: Traditionally you play games holding a controller which is strapped (literally or figuratively) to a console, which is cabled to a television monitor. Pretty detached from the horror. With Silent Hill, we want the player to know they are reaching directly into this world; they are moving about in Silent Hill itself.

Mark Simmons: We want everyone who has a Wii to be able to enjoy this game to the full, which is why we chose not to support the MotionPlus. Our key aim is to make sure every interaction with the world feels perfect with the out-of-the-box Wii console. Imagine Warioware interactions but in the context of a creepy Silent Hill world. Quite often its not how you are interacting with it, but what you are interacting with that's really creepy.

You guys love the iPhone. Admit it! The main character more or less carries one around. What purpose does the phone serve? Please define all the actions possible with it and how this ties into gameplay. Also, can he whip out his phone at any time?

Sam Barlow: Some team members have iPhones. I don't -- but am willing to be gifted one, if Apple are impressed by our integration of such a device into the game.

The phone does everything that is done out-of-game in other horror games. You make calls, receive calls, get texts, voicemails, use sat-nav, annotate your sat-nav, take photos, receive photos, save your game. It also does things that real world phones don't do -- it acts as a motion detector/metal detector hybrid for spookier stuff. We never want you to see a user interface screen in this game, never want to pull you out of the game, so this is all in real time, all in game.

You can pull your phone out in 99% of the game, but you're not always guaranteed a signal -- Harry's going some places where good coverage isn't always guaranteed!

Mark Simmons: The sat-nav map can be drawn on using the wiimote cursor as a stylus. Unlike in previous titles where the map filled in itself, in this game the player can make their own notes on the sat-nav. The player can call any phone number they find in the world and the main characters within the story as they meet them.

Tomm Hulett: For our less cultured friends, "sat-nav" is the fancy British way of saying "GPS", and it's every bit as accurate (save for a Google Street View of Silent Hill, which would be nifty). I want to emphasize that this is not a fancy menu, where the game pauses while you tap through your options. Just because Harry pulls out the phone doesn't mean that creature stops barreling down on top of him.

Distortion is a big part of the game. Are you using the Wii remote speaker for this? How's it work?

Mark Simmons: The radio static that warned you when enemies are near now comes through the speaker of your phone, i.e. the wiimote speaker, and has a sense of direction to so you can use the phone to warn you when there's something bad behind the door you're about to go through and use it to run the other way. A little like the motion detector that appeared in the film Aliens.

Sam Barlow: Yes. I guess it works as you'd expect, but we do a bunch of different things with this gameplay across the game -- it's not just for detecting enemies.

What does photographing ghosts do for you?

Sam Barlow: You don't photograph ghosts --- that's Fatal Frame! You can however take photos of anything in the world that interests you. And there are some spots that are marked by strong emotions or events. Taking photos of these places might reveal what those emotions or events were.

Tomm Hulett: Like Mark said earlier, we've removed the random notes scattered about every other survival horror game in existence. Photographs are just one way that we've replaced them to tell little mini-stories in the environments Harry travels through.

Mark Simmons: Some things in the world are only revealed in the photographs you take of them. Not everything in the world is as it appears when viewed through the viewfinder of the camera.

Tell us about the enemies in the game.

Sam Barlow: They're relentless, intelligent creatures that outnumber Harry. Like everything in the game, this enemy is part of the dynamic psychology content.

Mark Simmons: They are very intelligent and extremely dynamic. They will hunt you down, co-ordinate with each other, flank you, cut you off, herd you, and stop you. You're in a nightmare and all you can do is hope to escape. As you can climb over walls, fences, through windows, up ladders, jump gaps, up stairs, through doors, so can they. They can go everywhere you can go and more. The enemy will evolve as the game goes on into your perfect nightmare creature based on your psychological profile.

Harry doesn't have any offensive weapons. He has to run. Why's that?

Sam Barlow: Because if he doesn't he's toast. You're alone in a nightmare, there are several freaky creatures coming for you -- what would you do? Hitchcock said that all horror goes back to childhood, that's why it's a universal thing -- it's a fundamental. How many children wake up screaming because they had a dream where they beat up a zombie with a baseball bat? You wake up screaming because you ran and you got caught. So don't get caught -- run.

Mark Simmons: This is a totally new nightmare experience. It's tense, quite often very fast paced, and always crap your pants scary. We didn't want to follow the same route that other horror games have pushed in and improve combat by making the player character adept with guns and melee weapons. We wanted this game to feel like a real horror movie. Where the antagonist is powerful and the protagonist just a normal guy like you or me. He's in a horrifying situation and he is desperate to get out of it.

Tomm Hulett: This is an exciting feature of our game that has a lot of people interesting – and a lot of people concerned. Worry not. We did not create a cookie cutter survival horror game and then tear combat out of it for kicks. The horror experience in Silent Hill is built from the ground up around the concept of escaping – running for your life. It's about the chase. It's about outthinking the monsters with split-second decisions. It's about surviving.

Will he ever gain any weapons to use against enemies?

Tomm Hulett: Harry's only weapons are his cellphone and his wits. With these, he can detect and attempt to outsmart the creatures as they chase after him, flank him, and try to outsmart him (by which I mean you). In a pinch, Harry can nab flares which will be a temporary delay on the inevitable. Beyond that, you'll have to wait to hear more details later.

The world is big and detailed. Any load times?

Sam Barlow: No. The entire game streams off disc. Open a door and the world is behind it. Open another, keep going. We really, really don't want to knock players out of the experience here.

One thing we didn't see in our demo was a lot of blood. Does the game become violent?

Sam Barlow: It's freaky and it's terrifying. But no real gore to speak of. Was Dead Rising scary? Gory, yes, but scary, no. We're trying to upset people, to give them a psychological scare -- so gore is not necessary. There is lots of violence, emotional, psychological and physical. But it's the kind of violence that is more upsetting that seeing a polygon zombie's head explode.

Mark Simmons: It's a psychological horror. It will mess with your mind in many ways. You will be scared, you will be freaked out, and you will feel very disturbed at times by what you see. There is some blood in the game, but it's for realism, and not used as a cheap way of grossing the player out.

What rating are you aiming for with the title? Will there be profanity, sexual content, violence?

Tomm Hulett: It's a Silent Hill title, so it will be rated Mature. This is not a watered-down version of the series.

Sam Barlow: As for your examples, all of the above. The psychological basis of the title means we can't avoid these things, in fact they're kind of the point to some situations.

Mark Simmons: We're not in any way holding back on this game. It's not going to be suitable for children who own Wii's at all. We're pulling out all the stops to make this a proper mature game for the Wii platform. As disturbing as any Silent Hill game before it.

Are there progressive scan and 16:9 widescreen modes?

Mark Simmons: Of course, we will be supporting both progressive mode and widescreen.

Tell us about the audio side of Shattered Dreams. Who's composing the music? There seems to be a lot of voice work, too.

Tomm Hulett: It's a Silent Hill title -- so of course Akira Yamaoka will be returning, and providing an all-new score.

Mark Simmons: We're doing new things in the music department for this game too. Akira's still composing for us, but this time the music is totally dynamic. As you play instruments are introduced or taken away dynamically based on your gradual progression of suddenly as things change. Each major area has a new dynamic piece that ebbs and flows as you play and based on what you do in the game. There is a broad range of pieces in development across the whole range of Akira's style. From his melancholy undertones to his kick ass rock stuff.

Sam Barlow: We're just wrapping up the final motion capture and cut-scene sessions in L.A. and we're continuing to jet back and forth to record the huge amounts of audio work for the rest of the game. As you can imagine, if everything can change, there's a lot of ground to cover! We've got several movies worth of story content and enough audio for a whole season of radio plays.

One thing we noticed is that you aren't offering any on-screen text for players. Everything comes by way of audio cues or simply through the game world itself. What prompted this design choice?

Sam Barlow: There's no need. The old games had to subtitle because the camera meant you couldn't see what was in front of your character's face. With the Wii controls and camera you can. We don't need to tell you what to think, we show you. You want to read a poster -- just walk up to it. You want to know what to think of the random crap on a shop shelf, just look at it, react to it -- it's up close and detailed.

As far as the old text story stuff goes... Well, the genre staple of diary pages left lying around makes no sense in the modern world. How do people communicate in the modern world? Their cell phones. They leave voicemails. They send texts. They forward photos to friends, etc. Does the mad guy leave his diary on a desk? No, he scrawls all over the walls of his local mall. We want this world to come off as authentic, not as a Lovecraftian template forced onto the modern world. A lot of the story elements are about a kind of voyeurism, about vicariously looking on the emotional detritus and struggles of people in the world -- we literally let you "listen in" on their lives, not read about them in text. You're in the world, walking around, staring at the world and hearing people in it. It's an contiguous, seamless experience, it's not like someone has dumped a chopped up short story into your videogame.

Mark Simmons: There is a subtitle option that you can switch on. Cut-scenes, phone calls, voicemails, and anything Harry says is subtitled when this option is active. Its off by default though.

Wii fans have been burned before. Why should they be excited about this new Silent Hill?

Tomm Hulett: When the Wii was announced, we all heard about the great new things it could do for the core gamer. We were told it wouldn't be all music sims and exercise tutorials -- there were real games on the way too. It took a few years, but Silent Hill is here. This is the game you've been waiting years for. It's mature, it's tense, and it has everything you're looking for in a "real" survival horror game, because it is one. Oh, and it's not a rail shooter.

Sam Barlow: Come on -- everyone has imagined this game. Maybe not the particulars, but all Wii fans have wanted this game -- the flashlight horror game -- since they first got their console. This is the flashlight you've dreamed about. And then there's the story and the psychological stuff. This is amazing stuff and its right here on Wii. This is not breaking on HD consoles and then being down-ported with waggle. This game was conceived as a Wii title. We're making this game because we want to play it, because we want to do things with story, with atmosphere that we can only do with this game. This one will be interesting, it will have the best flashlight ever seen and there are aspects of this game that will blow your mind.
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Fonte: http://wii.ign.com/articles/971/971319p1.html

WOW, lead platform, looks good e parece uma mistura de Silent Hill com Fatal Frame IV (fotos) e Eternal Darkness (as alterações "psicológicas) considerem um jogo vendido para a mesa do canto. E a Entrevista e Preview são longas, mas valem bem a leitura, mostram bem o entusiasmo e esforço d equipa bem como a recepção e features que estão a implementar... é sem duvida um titulo muito ambicioso em vez de "um titulo outsourced" está a fazer muitas coisas novas para o Silent Hill e para os jogos de terror em geral e... Admite com fulgor que quer meter Silent Hill de novo no mapa, o que só por si é assumir um problema e querer resolvê-lo... E parece-me que estão encaminhados.
 
Parece que o come tudo e o atum General tiveram a mesma ideia as mesmas horas hehe.

Adorei o preview e a entrevista, o hype aumentou de pouco para muito. Agora é preciso cumprir as espectativas e ainda não me sinto confortavel em haver uma versão PS2/PSP a mistura.
 
CoolMaster disse:
ainda não me sinto confortavel em haver uma versão PS2/PSP a mistura.
Clicar para expandir...
Cheira-me que nem está em desenvolvimento em simultaneo e que vão fazer port down para os outros à posteriori.

Se duvidas tinha dos assets... tirei-as, os character models parecem-me bem acima das potencialidades PSP, as texturas estão muito acima das limitações do standard PS2 (e por arrasto PSP) que não só tem RAM limitada para algo tão detalhado como tem uma predilecção por texturas de 4 e 8 bits sem compressão de texturas (o que quer dizer que cabe menos detalhe... duplamente)... e as sombras dinamicas... parecem-me muitos furos acima das do Silent Hill origins na PSP (que já as tinha, limitadas a alguns objectos e inimigos mas nada desta ordem, que se aplica a toda a geometria e com diferentes intensidades e com blur nas edges (no origins eram a preto sem transparencias/graus de intensidade e sem desvanecimento nas edges e em vez disso jaggies), a luz neste é mesmo um foco de luz ao invés de um lens glare (que é o que o origins tinha) e claro a interacção entre materiais como a neve, seriam impensáveis.

Mais... a PS2 é péssima para fazer streaming (não é cpu independent e tem bastante hit a fazê-lo, sem contar que a drive tem apenas 2x) pelo que acredito que seja bem esquartejado, quer graficamente se o quiserem meter a correr on-spec sem loadings ou... ter loadings severos acrescidos de um decréscimo de qualidade/geometria (e uma versão em tudo similar à da PSP).

Pelas imagens temos aqui um jogo Wii com todo o direito e que não está a fazer concessões para as outras... As outras é que as vão ter de fazer.
 
I_Eat_All disse:
Cheira-me que nem está em desenvolvimento em simultaneo e que vão fazer port down para os outros à posteriori.

(...)

Pelas imagens temos aqui um jogo Wii com todo o direito e que não está a fazer concessões para as outras... As outras é que as vão ter de fazer.
Clicar para expandir...

Espero bem que assim seja. Tinha muitas esperanças para este jogo, mas mal ouvi falar em versão PS2 senti um arrepio na espinha. Por uma vez que a versão PS2 seja um port da versão Wii, e não o contrário...
 
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