Interview with Moto Okamoto and Jon McKellan at Gamescom 2026 (Famitsu)

Date published: 2026.09.13
Source: Famitsu
Note: Machine translation

Since the series began, we’ve been treated to titles with distinct personalities, such as the SILENT HILL 2 remake and SILENT HILL f.

And now, SILENT HILL: Townfall. Its release on September 24, 2026, is finally approaching.

At gamescom 2026, held in Cologne, Germany, from August 26 to August 30, we interviewed Motoki Okamoto, the series producer, and Jon McKellan, the director and scenario writer. They spoke with us about everything from the design of the protagonist, Simon, to the possibility of a first-person perspective, and the game’s place within the series.

The Impact of Screenburn

I get the impression that Screenburn is a studio that excels at narrative construction. How has that strength been utilized in this game?

Okamoto: Screenburn has produced masterpieces like Stories Untold and Observation, right? The way they tie puzzles to the narrative, how they structure the story, and that sense of leaving ambiguity in the story—I think they’re a studio that excels in those areas.

After all, with the Silent Hill story, the truth lies within the ambiguity—it’s crucial not to spell everything out and to leave room for interpretation. They possess that sensibility at a very high level.

Jon, when writing the script, what approach did you take to portray the protagonist Simon’s psychology and inner world?

Jon: In the Silent Hill series, we’ve always used a style of expression where the inner world of the protagonist and other characters is projected onto the outside world. In this title as well, we’ve designed it so that what Simon is grappling with internally manifests in the world around him.

Of course, this is expressed through cutscenes and visual direction, but a major element unique to this title is the portable pocket TV, the “CRTV.”

Does the CRTV also play a role in depicting Simon’s inner world?

Jon: The audio and video received by the CRTV contain messages that seem to be directed specifically at Simon. I think this is the most distinctive form of expression in this game.

Are there aspects of this style of storytelling that could only have been realized because it’s the Silent Hill series?

Jon: If I had to pinpoint one thing, I’d say the series itself provided the foundation for this kind of storytelling.

In this game, we’ve made it so the line between reality and fiction isn’t clearly defined. We’re careful not to reveal too much about what actually happened—neither in dialogue nor through visuals. We’re very conscious of that.

So even after finishing the game, I think players will still be left wondering, “In the end, how much of this actually happened?” Rather than revealing everything, we want to leave room for players to draw their own conclusions.

Introverted Personality, A Journey into the Inner World

To start over, what kind of person is Simon? Could you also tell us how you intended to portray him as a character compared to the protagonists from previous games?

Jon: I think Simon is exactly the kind of character you’d expect from a Silent Hill protagonist.

First of all, he’s been told to “come back” to this town. While he certainly has a connection to the town, he himself has no memory of ever having been there. That’s where the mystery that forms the premise of the story lies.

Even though he’s told to “come back,” he has no idea why.

Jon: It’s not that he’s forgotten due to amnesia. From his perspective, he truly has never been here before. So, what kind of connection does he have with this town…? The story begins with his attempt to find that out.

He has a very quiet, reserved, and introspective personality. He’s trying to uncover the truth about himself, the mysteries surrounding this town, and what’s actually happening right now. However, deep down, he’s also afraid of what might happen once he learns that truth.

Regarding the first-person perspective, which is a defining feature of this work, were there any particular storytelling techniques you employed?

Jon: Of course, the approach is different from a third-person perspective. However, rather than facing challenges or problems, I feel more strongly that adopting this perspective opened up new possibilities.

For example, instead of having Simon speak his thoughts aloud, we chose to display them as text on the screen.

Since we can’t see his face or facial expressions, you’re conveying Simon’s inner thoughts through the words he’s thinking, right?

Jon: In a first-person perspective, we can’t see the character’s own facial expressions or movements, but in exchange, we can express his thoughts in other ways. That’s where we found new possibilities.

I also believe that CRTV, which I mentioned earlier, is a system that can only be fully utilized because of the first-person perspective. Rather than the differences from a third-person perspective leading to difficulties, I think they served as a catalyst for exploring new forms of expression.

“It might be a masterpiece.” A “socially conscious” Silent Hill

Let’s turn back to Mr. Okamoto. How do you view the reception for Silent Hill 2 and Silent Hill f following the series’ relaunch, as well as for this latest title, Silent Hill: Townfall?

Okamoto: I believe both Silent Hill 2 and f received very high praise. Their Metascores were excellent, and I’m confident that this latest title, Townfall, will earn similarly high praise.

Perhaps some people might find it a bit understated at this point. However, when I hear the feedback from those who’ve actually played the demo, I feel that this will be a Silent Hill title that’s highly regarded.

It feels promising enough that I’m thinking, “This might just be a masterpiece,” so I have very high expectations.

Oh, that’s encouraging. It feels like the three titles released since the series reboot were each created with distinct concepts. What role do you expect Silent Hill: Townfall to play within the series?

Okamoto: I think this title is a very “socially conscious” Silent Hill. The term “socially conscious” is easy to understand in Japanese, but the scenario is framed around the relationship between the individual and corporations, or the individual and society.

It’s very unique to bring that perspective into Silent Hill, isn’t it? I feel it has added depth to the story and expanded the range of narratives we can explore.

So it’s a story with a different angle than both 2 and f, isn’t it?

Okamoto: 2 took a traditional approach: “creating the most ‘Silent Hill’-like game adapted for the modern era.” f took a different direction, featuring a female protagonist and set in Showa-era Japan.

And in this title, we’ve added a new axis: “first-person perspective and a societal perspective.” I believe this approach further broadens the scope of the series.

I’m looking forward to seeing how this title paints a new “vision of Silent Hill.” Thank you very much!

Mr. Okamoto expresses confidence in Silent Hill: Townfall, saying, “It might become our masterpiece.” How will unique systems—such as the first-person perspective and the “Silent Hill CRTV”—connect to Simon’s inner world and the mysteries surrounding this town? I’m looking forward to the joy of unraveling the story and pondering its depths.