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Video Game Retrospective: ‘Fatal Frame’ Series Still the Scariest

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Last year’s release of Resident Evil 7: Biohazard proved there’s still a lot of life left in popular horror video game franchises, given enough ingenuity and creativity. Its success leaves the door open for more series to follow suit, and one that I most hope follows Resident Evil’s footsteps is the often-overlooked Fatal Frame series. The first entry first dropped on the Playstation 2 in 2001 in native Japan before coming stateside in early 2002, and along with its immediate two sequels, it remains among the most terrifying survival horror video games ever.

Created by Makoto Shibata and Keisuke Kikichi with the intent of crafting the scariest game experience possible, the series spans 5 main entries, one of which never saw North American release. Admittedly, the concept behind the series, where the player is pitted against ghosts with only a camera as a weapon, didn’t seem as scary. Yet, the atmospheric Japanese setting, the unpredictable ghosts wrapped in haunting folklore, and the gameplay mechanics all combined into a chilling journey.

The creators utilized the setting to consistently keep players on edge; sometimes paranormal activity meant a ghostly battle was about to begin. Sometimes, it was simply employed for the sake of scares. That major unpredictability factor was used again and again on the player, as not even putting the game on pause for a period would give reprieve from scare tactics. It didn’t help that the narratives would consistently lean towards tragic, with often surprising twists and sometimes even incestuous leanings.


Fatal Frame

Set in 1986, the plot sees the protagonist controlling Miku Hinasaki, a young girl that arrives at the Himuro Mansion in search of her missing brother Mafuyu. Mafuyu disappeared while conducting a search of his tutor and his tutor’s assistants. The isolated mountainside mansion made for a creepy place for Miku to explore, armed with only a flashlight in the dark. Once the player discovers the only weapon, the Camera Obscura, the encounters with ghosts get unnerving.

The further Miku gets in her search, the more mysterious rope marks begin to appear on her skin. It’s the beginning of the complex occult and folklore narratives that became the series trademark. For Miku, the rope marks lead to uncovering the dark ritual gone wrong that began the curse; the mansion was a setting that held the portal to hell and a sacrifice of a shrine maiden kept evil at bay. When a sacrifice was derailed by love, evil was let loose.

Borrowing from franchises before it, namely Silent Hill and Resident Evil, Fatal Frame had multiple endings depending on the player’s gameplay. Nearly all of them were tinged with tragedy. The compelling mystery and the word of mouth reputation for frights meant a sequel would follow in 2003.


Fatal Frame II: Crimson Butterfly

The sequel proved to be the best game of the series. Because the first game terrified so many to the point where they were unable to finish, the developers worked hard at a much more engaging story that would encourage players to see it through despite a continued focus on scares. This time, the player played as protagonist Mio, who follows her twin sister deep into the woods only to find themselves trapped in a hidden village, doomed to repeat the fateful events that trapped them in time.

The scope of the story expanded beyond one building, however, large, meant a lot more corners of lurking terror waiting to be uncovered as the player frantically searches for Mayu, entranced by the crimson butterfly that lead them there. Like its predecessor, there’s a ritual involving maidens that went very wrong, also opening the hellish Abyss. This time, undoing the curse proves much darker. So, unless the player completes the game on Nightmare mode, in the Xbox version only, that means that there are no real happy endings here.

The emotional exploration of guilt and obligation, combined with some insanely creepy jump scares and unrelenting atmosphere makes Fatal Frame II: Crimson Butterfly remain a major contender for scariest game of all time.


Fatal Frame III: The Tormented

Released 2 years later, the third entry would connect the previous two storylines, set a couple of years after the events of the first game and only months after the second. The player would alternate between the protagonist of the first game, Miku, the uncle of twins Mio and Mayu, Kei, and as new character Rei, a young photographer mourning the loss of her fiancé due to a car accident. The player explores the quiet comfort of Rei’s home by day, but at night they navigate through Rei’s nightmares in the Manor of sleep, an eerie house not unlike the mansion of the first game.

Miku and Kei also are stuck in the Manor of Sleep, each character giving the player a different set of weaknesses and strengths to alternate between. In Miku’s case, her small stature meant she could explore small crevices and crawlspaces that the other characters could not. Kei has physical strength that allows him to move larger objects, but the downside is that his use of the camera is weak and is forced to hide from the ghosts. It’s a gameplay concept that requires much more cooperative forethought that makes up for the familiar scares and setting from the previous game.

Except for Rei’s home. What begins as a reprieve from the nightmares slowly turns more and more unsettling. Quick glimpses of bare feet in the corner, a doll on a dresser that tilts her head, and various movement that make you realize that the Manor of Sleep is seeping over into Rei’s waking reality.

Of course, a dark ritual was revealed to be the source of the paranormal activity, and the multiple endings provide various alternate conclusions to Rei’s story of grief. Well received by critics, it marked the end of a major chapter for this series.


Fatal Frame: Mask of the Lunar Eclipse

Released only in Japan in 2008, this entry marked the transition from Playstation to Nintendo Wii. It was a transition that was reportedly hampered by clunky controls and bugs that affected the player’s game. The atmosphere, however, remained a high mark of the series, and the Camera Obscura, ritualistic terror, and scares returned once more.

Even though this game was exclusive to Japan, it became the best-selling entry in the series. No other publisher would publish it overseas, and thus it remains obscure save for a fan-translation of the game.


Fatal Frame: Maiden of Black Water

Finally, over a decade since the release of Fatal Frame II: Crimson Butterfly, would the U.S. finally see another in 2015. This time, the game would be released on Wii U and utilize the Wii U gamepad as the game’s Camera Obscura. This entry also marked the introduction of a wet meter; the damp environment affected the character positively or negatively in terms of paranormal activity. The wetter the area, the worse it got in terms of strong ghosts.

Maiden of Black Water followed three protagonists, one of which is the daughter to original heroine Miku. While this series is known for its emphasis on the depressing and tragic, it opts for downright shocking here- Miku’s daughter is eventually revealed to be fathered by Miku’s dead brother Mafuyu. Yeah. Miku apparently had ghost sex with her brother sometime during the events of Fatal Frame III: The Tormented, and Miu was born.

So, ghosts, rituals, scares, and oh yeah, incest. Of the main games in the series, this one was ranked the lowest with mixed reviews. Conversely, though, the series has sold more copies as it progressed and its reputation has grown.

Compared to the likes of Silent Hill or Resident Evil, the Fatal Frame series is more of a modest success. Its initial release coincided with the J-Horror craze in film, and made excellent use of its Japanese folklore and haunting aesthetic. Unlike the mutants, zombies, and creatures warded off with various weapons, this was a series based on vengeful, intangible ghosts that you couldn’t simply fight off. Even at its most stale it still managed to land its scares. While horror, and Japanese horror, have evolved, I would love to see new entries shake things up the way Resident Evil 7 did last year. As it is, Fatal Frame remains terrifying over a decade later.

Horror journalist, RT Top Critic, and Critics Choice Association member. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon, SeriesFest, and Popcorn Frights Film Fest.

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Editorials

‘Bloodlust: Subspecies III’ Remains One of Full Moon’s Greatest Achievements

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Bloodlust: Subspecies III

The problem with filming sequels back-to-back is that, unless you can afford expensive reshoots, there’s no easy way to adjust course in between movies if fans react badly to where the story is headed. That’s why it’s important to have a complete narrative thought out well in advance lest you accidentally kill a budding franchise.

However, this isn’t always the case. Every once in a while, it seems like the cinema gods smile upon certain chaotic productions and gift moviegoers with complete franchises that feel like more than the sum of their hastily produced parts. Ted Nicolaou’s Bloodlust: Subspecies III is precisely one of these miraculous pictures, with the raw talents of the artists involved (as well as the continued support from Romania) turning the feature into an effective conclusion for a series that kind of made things up as the filmmakers went along.

That’s why I’d like to invite my fellow readers to join me on this third part of our journey through the Subspecies franchise as we look into Bloodlust and talk about how it remains a surprisingly satisfying finale to the original trilogy.

A Trilogy Planned on the Fly

Released only a year after Bloodstone found plenty of success in rental stores and mail-in VHS catalogues worldwide, 1994’s Bloodlust was produced at the same time as its predecessor in (mostly) the same locations and with the same team. This means that the movie benefited from all the same upgrades as Bloodstone, with the crew now being more experienced with the ins and outs of surviving a low-budget Romanian production and the cast really settling into their characters.

At this point, everything from location scouting to the makeup process had been streamlined, with Wayne Toth and Norman Cabrera, the main duo behind special effects, even switching out time-consuming prosthetics for latex gloves in order to speed up Anders Hove’s monstrous transformation. The titular “subspecies” demons were also once again relegated to a mere cameo appearance due to the laborious puppetry required to bring them to life.

The only real hiccup came from the fact that actress Denice Duff had replaced the first film’s Michelle (Laura Mae Tate) and was immediately expected to portray the character as both an innocent victim in part II and as a secondary villain in part III. According to behind-the-scenes interviews, the hectic production schedule that blended two different movies meant that Duff would often find herself having to alternate between two incredibly different versions of Michelle during the same shooting day – though it’s obvious that she’s having more fun with Bloodlust’s more traditionally vampiric version of her character.

In the finished film, we pick things up immediately where the previous entry left off as Rebecca (Melanie Shatner) is forced to leave her vampire sister Michelle (Duff) behind in the dungeons of Castle Vladislav due to the rising sun. This allows Mummy (Pamela Gordon) to use Michelle’s blood to revive the vicious Radu (Hove) so that he may continue his quest for the coveted Bloodstone – a magical artifact that perpetually drips the Blood of Saints.

Meanwhile, the dreamy US embassy agent Mel (Kevin Blair) agrees to help Rebecca plan a rescue mission, though they’re unaware that Radu has become infatuated with Michelle during his attempts to guide her growing bloodlust. This all culminates in a climactic confrontation meant to tie up all of the series’ loose ends in one of Full Moon Pictures’ most ambitious productions.

The Evolution of Radu

Like its predecessor, Bloodlust: Subspecies III was also warmly received by fans who argued that the series was an even bigger success than Full Moon’s other major horror franchise, Puppet Master. This praise wasn’t unanimous, however, as 1994 had seen the rise of a more modern breed of sexy vampire popularized by Anne Rice, with old-school Nosferatu like Radu being viewed as obsolete when compared to the likes of Lestat and Gary Oldman’s take on Dracula.

In a way, one might argue that Nicolaou’s film is something of a swan song for the classic vampire story, as Bloodlust combines all of the traditional elements we tend to associate with these tales into a single tragic yarn that ties a neat little bow on Radu’s story as well as the old-fashioned monster movies that he represents. The finale remains shocking despite the fact that this is the third time we see Radu get brutally killed onscreen, with the brief tease that he may one day return feeling more like a nod towards the nature of evil rather than sequel bait.

The film dabbles a bit in gothic romance and even explores the inherent power fantasy behind transforming into an immortal creature of the night, but the filmmakers never lose sight of Radu as a demonic force even when he’s willing to betray his beloved Mummy for Michelle’s sake. In fact, his twisted “love” for his fledgling makes him even creepier as we get the feeling that his passion comes from a dark and disturbing place.

Anders Hove is at his absolute best in this film, with the effects department boosting his moments of what the younger generation would call “aura farming” whenever Radu emerges from shadows like a 90s version of Count Orlok. There are even a couple of surprisingly effective jump-scares here, which is why I’d argue that Bloodlust cements Radu as one of the most memorable cinematic vampires of all time despite his humble origins.

Subspecies Saves Its Best For Last

Nicolaou and Vlad Panescu also saved the best for “last” (more on that in a bit) regarding the film’s visuals, with the cinematography and overall atmosphere of Bloodlust absolutely surpassing what we saw in the previous films. Everything feels appropriately climactic this time around (including the wonderful soundtrack that was co-composed alongside an authentic Romanian orchestra), and I appreciate how this is the fastest-paced entry in the trilogy since the film doesn’t need to waste time setting anything up.

Bloodlust still suffers from some of the same low-budget blemishes as its predecessors, but there’s so much creative passion here that no amount of wonky effects work or stilted dialogue can get in the way of appreciating the flick’s gothic grandeur. That’s why it’s not surprising that the movie’s definitive(-ish) ending would later be retconned as fans begged for more Radu.

Of course, the next entry in this series would be a different kind of vampiric endeavor altogether, with the filmmakers attempting to engage with the same trends that ultimately killed Radu and his antiquated kin. That, however, is a story for another time. For now, I’ll merely insist that Bloodlust: Subspecies III remains a highlight of Full Moon’s expansive catalogue and is definitely worth seeking out today.

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