Project Zero II: Crimson Butterfly

As sure as the survival horror genre is as much about ridiculously convoluted plots as it is about sequels, there arrives the inevitable follow-up to Project Zero. Tecmo’s photo shoot ‘em-up series proves an interesting horror curio purely for its camera-as-weapon concept. Though not innovative in its main idea – consider such gems as Pokemon Snap and Polaroid Pete for alternative focal point games – it succeeded in other areas, namely by layering an evocative atmosphere of horror far in excess of its actual dynamics.

It was clear that Project Zero drew its influence as much from the Resident Evils and Silent Hills of this world as it did from the popularity of Japanese horror films such as Ring and The Grudge. This is clearly evident both in location (the forlorn ancient Japanese houses possessed by malevolent, troubled spirits) and the pervasive creeping horror they provide (shrill laughter, faces at the door, that kind of thing). However, whereas Capcom and Konami preferred to trade in B-movie histrionics or unsettling abnormalities for kudos, Project Zero aims directly at the unnerving centre for a disturbing fog of unease that the former lack. It’s an element that seems to work best for contemporary mainstream Asian horror movies and it seems apt that, just like the first game, its sensibilities should dictate both the story and the direction of the cut scenes. Both serve in doing justice to the genre that the game desires to imitate.

Flash graphics

In technological terms the graphical nature and special effect trickery encountered have noticeably improved since the last version, giving this a more refined, more eerie presence than its progenitor. Unfortunately, what this malevolent atmosphere does for the haunted village that makes up the twin protagonist’s boundaries of exploration is to lay a veneer of fear over a game that fails to escape from the locked door/find key style of play that has plagued the genre since the start. The scare filled excitement of wailing ghosts shuffling, limbs asunder, towards you and the prolific cut scenes full of scratchy, grainy footage and shock jump cuts that make up the presentation cannot be effectively paralleled against the reading of copious notes and the searching of trunks that the actual gameplay brings. It all sadly leads to a disparity between play and actual content.

That said it’s not something we can lay purely at Tecmo’s door as their game satisfies in terms of the entertainment that people desire in this genre, despite some rather base puzzles. Even the twin you control and the various characters they meet don’t make an effort to spoil proceedings with ridiculous acting or motives. Perhaps it’s a gap that is only widely noticeable because Tecmo’s attempts to mimic the horrors of film have put paid to an enjoyably spooky atmosphere upon which to hang the malnourished skeleton of the game.

Say cheese

Much of the plot and puzzles in Project Zero II’s genre stable mates are obscured by a thick vein of shotguns and rifles. Project Zero II, as is obvious, returns with its spirit camera, plunging an invisible point ‘n’ click stake into the souls of approaching ghosts. Refinements have put paid to most of the minor niggles of the first game’s system and the camera feels more in your control than it did previously. However, the unwieldy nature of having to transfer to first person camera mode and stand there like a sitting duck still remains. The sequel has given more thought to the points system, though. Scores still differ depending on how close you risk the ghosts getting before you shoot but this time it’s now possible to string far better photo combos if you get your timing right and hold your ground. New camera upgrades add a certain something to the interest of building up a better weapon for more powerful ghosts, but however flashy your box brownie gets it is still the same combat system when all’s said and done.

Despite improvements, there’s still something frustrating in fiddling with the aim and zoom controls as ghosts bob and weave and disappear in front of you. While it does reward risk, the punishment of capture is a relatively lengthy removal of control as you’re given a good shaking and lose your health. Sure, you could say that this adds to the atmosphere of horror, the fear of getting caught, but truth be told the whole combat system seems removed from the rest of the game; a chore to get through in order to get back to the plot.

Over exposure

Still, it’s a relatively easy game to breeze through and the bonuses in its structure that come from photographing and documenting the various non-hostile ghosts that appear for a brief time throughout and the alternative endings and various other little items to be won, can’t be denied as a means for adding a little longevity. However, the opportunity to commit your time to going through a game with such a rigid, linear, plot-dependent structure more than twice to obtain a perfect record may seem appealing to only the hardened survival horror fan.

Project Zero II is a refinement to the original mainly in terms of its cinematic and plot and it’s easy to recommend it for these and for its middling concept value in a world of all too similar third person action games. Unfortunately, as for actual challenge or feeling of gaming accomplishment it doesn’t always succeed in making its mark and it falls all too readily into genre clichés that are already beginning to look stale. A finger across the lens really.