RE2 director wants a ‘non-horror mode’ as Capcom is numb
For some players, the visceral thrill of horror is a lost art. Despite diving into some of the most acclaimed titles in the genre, a strange detachment seems to have set in, leaving a lingering question: are we simply desensitized, or has the landscape of terror fundamentally changed?
This internal struggle is echoed by industry veterans, who argue that the current state of horror video games might be suffering from a critical disconnect. The shift in the experience of terror, coupled with increased graphical fidelity, has led some creators to feel that the true horror of their creations is being overlooked.
Consider the evolution of the Resident Evil franchise. While titles like Resident Evil Requiem offer intense survival scares, for some audiences, the experience doesn’t quite deliver the familiar jolt of dread. Even games designed to provoke genuine fear, such as Amnesia: The Bunker, don’t always achieve the same impact.
This feeling of disconnect is not unique to the player base. Game directors often express a concern that the cinematic and psychological depth they aim for is being overshadowed by technical advancements. Hideki Kamiya, director of Resident Evil 2, points out a noticeable trend among the developers at Capcom.
Kamiya admitted that he himself has never been a fan of horror, noting that he struggled with scary movies even in his youth. He suggests that as games have become more photorealistic and high-fidelity, the sheer amount of terrifying content developers are creating might lead to a form of numbness.
“I don’t like horror, and I don’t like scary things,” Kamiya stated. He believes that with the evolution of video game technology, the level of intensity and horrifying imagery possible is “absolutely insane,” leading to a potential blindness among those responsible for crafting these experiences.
This leads to a pointed call for a change in design philosophy. Kamiya has previously pitched an alternative direction for the franchise—a more relaxed experience, complete with elements like Leon Kennedy fishing and foraging for vegetables. He even suggested implementing a “not scary mode” where the blood splatters become cherry blossom petals and the music turns upbeat and feel-good.
The core sentiment remains: these fantastic narratives and characters feel locked behind an unnecessary barrier of perceived fear. The debate now centers on whether developers should pull back to create more accessible experiences, or push further into suffocatingly terrifying realms, seeking to re-establish the boundary between entertainment and genuine dread.
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