GamesSlitterheadFrom Snatcher to Silent Hill and Slitterhead – the collected works of Keiichiro ToyamaWhen you purchase through links on our site, we may earn an affiliate commission.Here’s how it works.
GamesSlitterheadFrom Snatcher to Silent Hill and Slitterhead – the collected works of Keiichiro ToyamaWhen you purchase through links on our site, we may earn an affiliate commission.Here’s how it works.
When you purchase through links on our site, we may earn an affiliate commission.Here’s how it works.
(Image credit: Bokeh Game Studio)
Born in 1970 in the city of Miyakonojo, in the southern part of Kyushu, Toyama grew up in the mountainous countryside – the sort of rambling, sparsely populated rural location to which he has been drawn repeatedly in his games. His parents owned a general store that sold everyday goods such as vegetables and rice – “nothing to do with art or technology”. So when he encountered his first arcade game at the age of six, it felt like a momentous occasion. “I felt astounded when I first saw these games,” he recalls. “I can’t quite put it into words, but it was incredibly impactful.”
As well as arcade games, Toyama grew up alongside another revolution: Hollywood-produced horror films. “I must admit I wasn’t particularly fond of them at first,” he says. But when Japanese studios began to adopt and reshape American horror to more local sensibilities, Toyama was drawn in. “Horror began to infuse both Japanese cinema and Japanese television. It introduced this fascination in the culture with ghosts and the unknown – stories about the remnants of people who once lived. So when I was a teenager, there was a constant stream of mysterious and supernatural content. Looking back, I suppose there’s a foundational connection there from my childhood, something that I was exposed to during that time.”
Snatcher
(Image credit: Konami)
Subscribe(Image credit: Future)This feature originally appeared in Edge magazine. For more in-depth interviews, reviews, features, and more delivered to your door or digital device,subscribe to Edge magazine.
Subscribe
(Image credit: Future)This feature originally appeared in Edge magazine. For more in-depth interviews, reviews, features, and more delivered to your door or digital device,subscribe to Edge magazine.
(Image credit: Future)
This feature originally appeared in Edge magazine. For more in-depth interviews, reviews, features, and more delivered to your door or digital device,subscribe to Edge magazine.
Platform: Mega CDYear: 1994
International Track & Field
(Image credit: Konami)
Platform: PS1Year: 1996
The video game industry was undergoing a significant shift as it transitioned from 16bit machines like the Mega Drive and Super Famicom to 32-bit platforms such as the PlayStation and Sega Saturn. Konami’s Tokyo team was redeployed to work on this new hardware, while the team in the Osaka-Kansai region continued their projects for the Nintendo 64. My initial project was related to American football, but this game got cancelled due to this shift in focus at the company.
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I was then presented with a list of game projects I was allowed to choose from. I noticed ‘Track & Field’ on the list. I didn’t think too carefully and assumed it must be a war-themed game, so when I found out it was actually an Olympic sports game I must admit I wasn’t too thrilled about my decision… It left me feeling dejected, which is not the ideal way to join a new project. In retrospect, though, I am pleased with that period of my working life. This was one of the first games where Konami decided to incorporate motion-capture data into the game. I take pride in having had the chance to work with and implement this data, and looking back at my career today, it proved to be a hugely valuable experience, despite my initial misgivings.
Silent Hill
(Image credit: Konami)
Platform: PS1Year: 1999
Forbidden Siren
(Image credit: Konami)
Platform: PS2Year: 2003
Eventually I joinedSony, which helped me rebuild my confidence as a creative person and a team leader. But when I first transitioned to Sony, there was a period where I wasn’t actively involved in game development. After I made the decision to become a director once again, it was a different company with new people, and the management structure was different. This made it easier to embark on the journey of creating a horror game at Sony. It was simpler to convince people and secure the necessary funds for production.
During my dark period, when I felt unable to make games, I still had ideas brewing. One of these ideas resulted in a new project: Siren. When asked if it was entirely different from my previous work, I confirmed that it had a different theme and a distinct identity. I enjoyed working on it, but the game didn’t perform well overseas at the time. This was partly due to Siren having many Japanese-oriented elements, and perhaps not being marketed as effectively abroad. However, it has since gained a cult following in Japan, and remains very popular to this day. So I certainly take pride in Siren and the impact it had.
Forbidden Siren 2
(Image credit: Konami)
Platform: PS2Year: 2006
With the sequel, we introduced the concept of changing perspective between different characters. It was an interesting design choice, and implementing it was a challenging process. While we’ve seen such shifts in perspective in films and books, of course, it wasn’t very common in games, and it took a lot of prototyping to get right. The initial concept involving changing the perspective seemed relatively straightforward because it’s essentially just switching cameras. However, when we tested this approach, we found it lacked the desired horror element, so we modified the concept.
We wanted to create a situation where something threatening or dangerous was approaching the player, but the player couldn’t yet see it. Just switching cameras wouldn’t suffice to make it truly terrifying. To achieve the desired effect, we had to simplify the movements of the characters when changing perspectives, regardless of the distance between them. This involved seemingly mundane actions like opening doors and closing them. Surprisingly, this turned out to be one of the most challenging aspects of the project. However, it created a unique feeling that was not prevalent in other videogames at the time, which ultimately contributed to its success, despite the difficulties we faced.
Gravity Rush
(Image credit: Sony)
Platform: PSVitaYear: 2012
When it comes to the world-building and visual aspects of the Gravity Rush series, I drew inspiration from various sources. I’ve had a fondness for French comics, also known as ‘bandes dessinées’, since I was a child, and I had always aspired to create something connected to that visual style. Fortunately, Sony wasn’t micromanaging my creative direction or dictating what kind of game I should make. Following my success with the Siren series, I had the freedom to work on whatever I wanted, to a degree.
The decision to switch to PS Vita wasn’t mine; it came from upper management and decision-makers. They believed that the game would be better suited to this powerful handheld platform. At first, I was concerned about the challenges of adapting a 3D action game to a portable device. It seemed like a challenging task. However, it turned out surprisingly well. The transition from the PS3 to the Vita took quite some time, but we used this time effectively to refine the worldbuilding and the visual aspects of the game, and it ultimately turned out to be a success.
Slitterhead
(Image credit: Bokeh Game Studio)
Platform: TBAYear: TBA
As I moved into my 40s, and the later stages of my career, I noticed a significant shift happening in the industry. Many of my former colleagues and friends, who had been part of larger companies, were leaving to establish their own studios. This wasn’t entirely new – but when you reach your late 40s, you face critical decisions. It’s often a choice between climbing the corporate ladder within a company or going solo. Seeing friends venture into the indie scene, I felt that it was a more appealing option for me because, ultimately, I wanted to create games. Furthermore, Sony was in the process of restructuring, especially within Japan Studio where I was based.
In larger companies, you often sense the winds of change blowing, and it seemed like a suitable time to explore new opportunities. I thought I might end up working on my own or collaborating with other companies, as I didn’t envision establishing a studio. However, as the pieces fell into place and people started to move in different directions, I spoke with some colleagues and producers at Sony and we realised that we could create something together. It was unexpected but it turned out to be a great opportunity, and I’m thankful for it. As we are reaching the final stages of development for Slitterhead, I feel that it’s an appropriate time to share more details about the project [and the decision to] go back to my roots in horror.
I’m fully aware that developing a survival horror game in today’s market is challenging, given the abundance of horror games available. However, I’ve been striving to create something that sets itself apart from the traditional survival horror experience. It’s taking a shape that’s different from my previous work, incorporating elements and themes that are genuinely horrifying. While I cannot predict how players will perceive it, I believe we are crafting something unique, far from generic, and imbued with a new and distinct feel.
This feature first appeared inEdge Magazine, whichyou can pick up right now here.
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GAME REVIEWSMOVIE REVIEWSTV REVIEWS1Nemesis review: “A magical sense of tension"2Arcs review: “A whole lot of game in a small package"3Path of Exile 2 review: “A stellar start to a thrilling and brutal dark adventure"4Indiana Jones and the Great Circle review: “The best adventure Indy has embarked on in over 30 years"5Marvel Rivals review: “So preoccupied with trying to be like Overwatch that it forgets to play to its own strengths"1Sonic the Hedgehog 3 review: “Keanu Reeves as Shadow is wasted whilst Jim Carrey steals the show"2Mufasa: The Lion King review – “It’s no Hakuna Matata but this Disney origin story is a class above the 2019 movie"3Kraven the Hunter review: “The insistence on an R-rating helps save this, with a decent helping of bloodthirsty action"4The Lord of the Rings: The War of the Rohirrim review – “An uninspired expansion of the most iconic screen take on Tolkien"5Nightbitch review: “Amy Adams’ disappointing dark comedy is all bark and no bite"1Doctor Who 2024 Christmas special review: “Ncuti Gatwa is as magnetic as ever in this delightful festive treat"2Secret Level review: “An uneven experience with serious highlights that ultimately make up for the misses"3Skeleton Crew review: “Perfectly captures the vibes of classic Star Wars with a swashbuckling twist"4Creature Commandos review: “James Gunn’s heartwarming, R-rated tale about super-monsters proves that the DCU is in good hands"5Cobra Kai season 6, part 2 review: “Returns to the sort of hard-hitting form that made it such a fan favorite in the first place”
GAME REVIEWSMOVIE REVIEWSTV REVIEWS
1Nemesis review: “A magical sense of tension”
1Nemesis review: “A magical sense of tension”
1
Nemesis review: “A magical sense of tension”
2Arcs review: “A whole lot of game in a small package”
2Arcs review: “A whole lot of game in a small package”
2
Arcs review: “A whole lot of game in a small package”
3Path of Exile 2 review: “A stellar start to a thrilling and brutal dark adventure”
3Path of Exile 2 review: “A stellar start to a thrilling and brutal dark adventure”
3
Path of Exile 2 review: “A stellar start to a thrilling and brutal dark adventure”
4Indiana Jones and the Great Circle review: “The best adventure Indy has embarked on in over 30 years”
4Indiana Jones and the Great Circle review: “The best adventure Indy has embarked on in over 30 years”
4
Indiana Jones and the Great Circle review: “The best adventure Indy has embarked on in over 30 years”
5Marvel Rivals review: “So preoccupied with trying to be like Overwatch that it forgets to play to its own strengths”
5Marvel Rivals review: “So preoccupied with trying to be like Overwatch that it forgets to play to its own strengths”
5
Marvel Rivals review: “So preoccupied with trying to be like Overwatch that it forgets to play to its own strengths”
1Sonic the Hedgehog 3 review: “Keanu Reeves as Shadow is wasted whilst Jim Carrey steals the show”
1Sonic the Hedgehog 3 review: “Keanu Reeves as Shadow is wasted whilst Jim Carrey steals the show”
1
Sonic the Hedgehog 3 review: “Keanu Reeves as Shadow is wasted whilst Jim Carrey steals the show”
2Mufasa: The Lion King review – “It’s no Hakuna Matata but this Disney origin story is a class above the 2019 movie”
2Mufasa: The Lion King review – “It’s no Hakuna Matata but this Disney origin story is a class above the 2019 movie”
2
Mufasa: The Lion King review – “It’s no Hakuna Matata but this Disney origin story is a class above the 2019 movie”
3Kraven the Hunter review: “The insistence on an R-rating helps save this, with a decent helping of bloodthirsty action”
3Kraven the Hunter review: “The insistence on an R-rating helps save this, with a decent helping of bloodthirsty action”
3
Kraven the Hunter review: “The insistence on an R-rating helps save this, with a decent helping of bloodthirsty action”
4The Lord of the Rings: The War of the Rohirrim review – “An uninspired expansion of the most iconic screen take on Tolkien”
4The Lord of the Rings: The War of the Rohirrim review – “An uninspired expansion of the most iconic screen take on Tolkien”
4
The Lord of the Rings: The War of the Rohirrim review – “An uninspired expansion of the most iconic screen take on Tolkien”
5Nightbitch review: “Amy Adams’ disappointing dark comedy is all bark and no bite”
5Nightbitch review: “Amy Adams’ disappointing dark comedy is all bark and no bite”
5
Nightbitch review: “Amy Adams' disappointing dark comedy is all bark and no bite”
1Doctor Who 2024 Christmas special review: “Ncuti Gatwa is as magnetic as ever in this delightful festive treat”
1Doctor Who 2024 Christmas special review: “Ncuti Gatwa is as magnetic as ever in this delightful festive treat”
1
Doctor Who 2024 Christmas special review: “Ncuti Gatwa is as magnetic as ever in this delightful festive treat”
2Secret Level review: “An uneven experience with serious highlights that ultimately make up for the misses”
2Secret Level review: “An uneven experience with serious highlights that ultimately make up for the misses”
2
Secret Level review: “An uneven experience with serious highlights that ultimately make up for the misses”
3Skeleton Crew review: “Perfectly captures the vibes of classic Star Wars with a swashbuckling twist”
3Skeleton Crew review: “Perfectly captures the vibes of classic Star Wars with a swashbuckling twist”
3
Skeleton Crew review: “Perfectly captures the vibes of classic Star Wars with a swashbuckling twist”
4Creature Commandos review: “James Gunn’s heartwarming, R-rated tale about super-monsters proves that the DCU is in good hands”
4Creature Commandos review: “James Gunn’s heartwarming, R-rated tale about super-monsters proves that the DCU is in good hands”
4
Creature Commandos review: “James Gunn’s heartwarming, R-rated tale about super-monsters proves that the DCU is in good hands”
5Cobra Kai season 6, part 2 review: “Returns to the sort of hard-hitting form that made it such a fan favorite in the first place”
5Cobra Kai season 6, part 2 review: “Returns to the sort of hard-hitting form that made it such a fan favorite in the first place”
5
Cobra Kai season 6, part 2 review: “Returns to the sort of hard-hitting form that made it such a fan favorite in the first place”