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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. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

Editorials

‘A Haunted House’ and the Death of the Horror Spoof Movie

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Due to a complex series of anthropological mishaps, the Wayans Brothers are a huge deal in Brazil. Around these parts, White Chicks is considered a national treasure by a lot of people, so it stands to reason that Brazilian audiences would continue to accompany the Wayans’ comedic output long after North America had stopped taking them seriously as comedic titans.

This is the only reason why I originally watched Michael Tiddes and Marlon Wayans’ 2013 horror spoof A Haunted House – appropriately known as “Paranormal Inactivity” in South America – despite having abandoned this kind of movie shortly after the excellent Scary Movie 3. However, to my complete and utter amazement, I found myself mostly enjoying this unhinged parody of Found Footage films almost as much as the iconic spoofs that spear-headed the genre during the 2000s. And with Paramount having recently announced a reboot of the Scary Movie franchise, I think this is the perfect time to revisit the divisive humor of A Haunted House and maybe figure out why this kind of film hasn’t been popular in a long time.

Before we had memes and internet personalities to make fun of movie tropes for free on the internet, parody movies had been entertaining audiences with meta-humor since the very dawn of cinema. And since the genre attracted large audiences without the need for a serious budget, it made sense for studios to encourage parodies of their own productions – which is precisely what happened with Miramax when they commissioned a parody of the Scream franchise, the original Scary Movie.

The unprecedented success of the spoof (especially overseas) led to a series of sequels, spin-offs and rip-offs that came along throughout the 2000s. While some of these were still quite funny (I have a soft spot for 2008’s Superhero Movie), they ended up flooding the market much like the Guitar Hero games that plagued video game stores during that same timeframe.

You could really confuse someone by editing this scene into Paranormal Activity.

Of course, that didn’t stop Tiddes and Marlon Wayans from wanting to make another spoof meant to lampoon a sub-genre that had been mostly overlooked by the Scary Movie series – namely the second wave of Found Footage films inspired by Paranormal Activity. Wayans actually had an easier time than usual funding the picture due to the project’s Found Footage presentation, with the format allowing for a lower budget without compromising box office appeal.

In the finished film, we’re presented with supposedly real footage recovered from the home of Malcom Johnson (Wayans). The recordings themselves depict a series of unexplainable events that begin to plague his home when Kisha Davis (Essence Atkins) decides to move in, with the couple slowly realizing that the difficulties of a shared life are no match for demonic shenanigans.

In practice, this means that viewers are subjected to a series of familiar scares subverted by wacky hijinks, with the flick featuring everything from a humorous recreation of the iconic fan-camera from Paranormal Activity 3 to bizarre dance numbers replacing Katy’s late-night trances from Oren Peli’s original movie.

Your enjoyment of these antics will obviously depend on how accepting you are of Wayans’ patented brand of crass comedy. From advanced potty humor to some exaggerated racial commentary – including a clever moment where Malcom actually attempts to move out of the titular haunted house because he’s not white enough to deal with the haunting – it’s not all that surprising that the flick wound up with a 10% rating on Rotten Tomatoes despite making a killing at the box office.

However, while this isn’t my preferred kind of humor, I think the inherent limitations of Found Footage ended up curtailing the usual excesses present in this kind of parody, with the filmmakers being forced to focus on character-based comedy and a smaller scale story. This is why I mostly appreciate the love-hate rapport between Kisha and Malcom even if it wouldn’t translate to a healthy relationship in real life.

Of course, the jokes themselves can also be pretty entertaining on their own, with cartoony gags like the ghost getting high with the protagonists (complete with smoke-filled invisible lungs) and a series of silly The Exorcist homages towards the end of the movie. The major issue here is that these legitimately funny and genre-specific jokes are often accompanied by repetitive attempts at low-brow humor that you could find in any other cheap comedy.

Not a good idea.

Not only are some of these painfully drawn out “jokes” incredibly unfunny, but they can also be remarkably offensive in some cases. There are some pretty insensitive allusions to sexual assault here, as well as a collection of secondary characters defined by negative racial stereotypes (even though I chuckled heartily when the Latina maid was revealed to have been faking her poor English the entire time).

Cinephiles often claim that increasingly sloppy writing led to audiences giving up on spoof movies, but the fact is that many of the more beloved examples of the genre contain some of the same issues as later films like A Haunted House – it’s just that we as an audience have (mostly) grown up and are now demanding more from our comedy. However, this isn’t the case everywhere, as – much like the Elves from Lord of the Rings – spoof movies never really died, they simply diminished.

A Haunted House made so much money that they immediately started working on a second one that released the following year (to even worse reviews), and the same team would later collaborate once again on yet another spoof, 50 Shades of Black. This kind of film clearly still exists and still makes a lot of money (especially here in Brazil), they just don’t have the same cultural impact that they used to in a pre-social-media-humor world.

At the end of the day, A Haunted House is no comedic masterpiece, failing to live up to the laugh-out-loud thrills of films like Scary Movie 3, but it’s also not the trainwreck that most critics made it out to be back in 2013. Comedy is extremely subjective, and while the raunchy humor behind this flick definitely isn’t for everyone, I still think that this satirical romp is mostly harmless fun that might entertain Found Footage fans that don’t take themselves too seriously.

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