Fatal frame 3 how many hours

Creating this game, the movements of the ghosts and its atmosphere were based on those experiences. For example, the ghosts' effects. The way in which the effect where they sway from side to side was made based on my parameters.

Then, I also heard special sounds when I saw ghosts. Those sounds were also recreated. We recorded me mimicking them Shibata: When we were building the setting for Shisei no Koe, I wanted to model it on a certain abandoned house in my neighbourhood when I was young. Even in the afternoon it was really dark in there, and felt like something was in there My friends and I would play a game where we would take turns going in and taking something.

Torn-off memos, magazines, dolls and things like that were in there. This originated with me imagining what could be in this house. Then, one day, I saw an old lady pushing a pram, and then I wanted to put her in a game Shibata: She did laughs. But, now that I think about it, why she was there is a mystery. She was just suddenly standing there Shibata: We wanted to have them gather information in fragments from different perspectives.

We wanted the game to be set up so that the bits of information gathered while crossing between dreams and reality make the player think, "So this is what happened. Letters arriving, asking Miku to research things, hearing ghosts' voices. It's all summarised in Rei's notebook. Then, the three were each given a unique action. They were designed to increase playability. Kikuchi: The first game had a fear that appeals to the power of imagination. The second game's fear came from the power of its story and its detailed setting.

It wasn't simply scary, but also included sorrow in the fantastical and story elements. In Shisei no Koe, we wanted it to have a game system that would follow the good parts of the past games while actively creating fear. But of course, we had to elevate the scariness. This was tricky, and trying to increase the fear in comparison to past games was impossible. We would've had to gradually increase the grotesque, physiologically disgusting things.

We didn't want to do that. So we analysed scariness, and had variations on the fear, and combined everything into one big design we favoured.

Shibata: For the first game, I packed in everything I thought was really scary. With Akai Chou, we made something that, while scary, was something you would want to play until the end.

With Shisei no Koe, we wanted to expand the gameplay, and immerse the player in terms of the game system and story. Shibata: I already had an image of Rei in my head. As well as wanting to make the protagonist mature, it would be better in terms of suiting the visuals of the "tattoo" keyword. Kikuchi: A beautiful but mature woman. We wanted the protagonist to be a woman who is strong enough to face her destiny, and endure the pain of her lover's death.

Shibata: Initially I thought about making her around 26 years old, but since that's a bit austere for a game's protagonist she was set as being Kikuchi: We wanted pain to be the theme. Initially we started with the protagonist losing her lover. We wanted the pain to be visual, and convey fear. Shibata: That's the goal the protagonist is being called by. It refers to the calling. The voice of Reika, burdened with her sorrowful fate. She keeps seeing the image of her lover's death, indicated by her voice saying "I don't want to see any more" and "Please, close my eyes".

Kikuchi: At first, Mio was the third protagonist. But their story from Akai Chou was mostly complete, the story too strong. That's when their uncle, Kei, became a protagonist. Shibata: With regards to Akai Chou, it's all been said already. We would've had to have to have put all of those elements in there. And if we had, the scenario would've bloated to more than double the size and be consumed by Akai Chou. To that extent, since that story was so powerful, we had Mio appear in a manner than wouldn't conflict with the story of Akai Chou.

Kikuchi: Shibata established the concepts, and I looked over the designs we came up with and amended them. We redid Kei over and over. Shibata: There really were lots of alterations made to Kei.

Since he's a man, we didn't have to think too deeply about the finer details. Even though we looked at Rei and Miku from all angles laughs. Kikuchi: At first, Rei's outfit was a skirt, but the female staff in charge of clothing design suggested that "pants are cool".

In comparison, pants were overwhelmingly superior. Since Miku's is quite symmetrical, I think there's a balance. Rei's bedtime outfit also suits her nicely. Kikuchi: None whatsoever laughs. At first, Shibata sent me an email saying "How about this? I replied, " I'm begging you, change that to a skirt. Naturally, it was turned down laughs. Shibata: I went crazy laughs. We gradually thinned them out.

Kei in a black bondage outfit, Rei as a sexy casino dealer, things like that laughs. Kikuchi: I wanted to put a black cat in the game. A black cat in a Japanese ghost story! I had lots of. Shibata: We originally thought about having ghosts that only the cat could see, places you could photograph only by following the cat's eyes.

Then later, having a Ruri-model Camera Obscura. It would be held dangling in your arms, and when you looked through it it had a night-vision scope. We didn't actually do it, though. Kikuchi: Shibata was really persistently concentrating on that. Even though we didn't put it in laughs. Shibata: Generally speaking, the house in this game is completely ruled by ghosts, so we wanted to make it feel like it was dangerous to be in. The number of polygons was increased, and each ghost is represented more vividly, making them all feel somewhat like bosses.

Because of this, all of the ghosts were created with a good backbone, which you'll gradually start to see. Shibata: That's right. Things like the tattoo appearing during a shutter chance moment.

When you're looking through the viewfinder, they'll make a scary face with superb timing. Kikuchi: Also, we had the concept of the fear that perhaps arises through confronting things you don't understand.

During the game, there are lots of documents, but there are also incorrect documents. The books were written with mistakes. They were put in on purpose. They were written based on historical facts, but misinterpreted, and then left behind. They were an element added with the intention of causing confusion. Shibata: We gave ourselves the task of making it confusing, thinking it would immerse the player even deeper into the world.

While playing, you reason out various things, which I think is interesting. That concept was also put into the layout of the house. Kikuchi: The unnatural layout of the house and things like that. Like the way the rooms are connected; we were aiming to make people think, "Ah, so these areas are connected".

But for some reason, I'm gradually starting to understand this kind of house Shibata: We should have made more of a fake layout, but making fake things is surprisingly hard laughs. Kikuchi: In that sense, it's not like games these days. It doesn't show you things in great detail. Of course, though it would be nice if it was simple, I also wanted there to be things left over that you wouldn't understand just by thinking about them yourself.

Shibata: But I think that's how horror is. Amongst the three protagonists, you don't know which is the true one. So you push on with Kei's mistaken interpretation. Shibata: That's what we were aiming for. Not which interpretation is correct, but finding the scattered bits of information about the house and picking up all of the fragments. It was constructed in a premeditated way to make it so that it could expand without things coming to a resolution.

Community Hub. The game is set on sacred Mt. Hikami, a site of many mysterious and terrifying incidents. All Reviews:. Popular user-defined tags for this product:. Is this game relevant to you? Sign In or Open in Steam. Languages :. English and 5 more.

View Steam Achievements Includes 39 Steam Achievements. Share Embed. Add to Cart. Add all DLC to Cart. View Community Hub. Hikami was once revered as a spiritual place. It housed a unique religion based on beliefs and customs of worshipping water as a deity and is said to have been a site of many gruesome incidents and mysterious phenomena.

This mysterious and intertwined story follows three protagonists—Yuri Kozukata, Miu Hinasaki, and Ren Hojo—as each of them explores the ominous Mt. Hikami, a place where many came to die, and the secrets it hides.

Hikami and the numerous incidents that took place there in the past. The story is divided into separate missions, and each mission is led by a new protagonist.

The protagonists have a power called Shadow Reading, which allows them to sense the remnants of memories of people who have disappeared on the mountain.

These memories lead the players deeper on secret mountain paths, but what awaits there are malicious spirits that want you to join them in the world of the dead. The only way to fight the spirits off is to capture them with the Camera Obscura. This walkthrough is designed to help you get through the main game of Fatal Frame III and will point out all the photographable ghosts to help complete your ghost list.

Every word that is capitalized in the walkthrough represents either a key item, normal item, ghost, or file. Version 1. A ghost must be hit at the moment it is about to attack in order to initiate these special abilities.

A Shutter Chance will interrupt and slightly stun the ghost stopping its attack. As of , the series consists of five mainline video games, not counting remakes, re-releases and spin-offs. The only main Fatal Frame title yet to be released in the west is the fourth entry…. Main series.