Fatal Frame 2/Project Zero 2: Crimson Butterfly (PlayStation 2, Xbox, Wii)
A common trend with sequels is to go the ‘bigger, better, more’ route. And while the ‘bigger’ and ‘more’ parts are easy enough to achieve, they don’t always equate to ‘better’. This, however, is not the case with Fatal Frame 2, or Project Zero 2, as European markets stubbornly persist in naming the series. While the game is bigger than its predecessor in every respect and offers a lot more content, I also find it distinctly better. In fact, I think it’s the best entry in the series. And if you thought the first game delivered in the chills-and-scares department, you won’t be disappointed here either. It’s not actually necessary to have played the first game to understand this one, as it is, in fact, a prequel, but if you have, then you may spot a couple of familiar names.
This time, you get two heroines for the price of one, as well as an entire village instead of just one haunted house. The story follows a pair of 15-year-old twins: Mio, the plucky one in the white skirt, whom you’ll control for most of the game, and Mayu, the shy, more spiritually-attuned one in the brown dress. Mayu had an accident as a child, which left her with a limp, and Mio is very protective of her. While out on a walk near the future site of a dam, Mayu spots a crimson butterfly and follows it through the forest. Mio chases her, only to find herself in an abandoned village. The sky has darkened, and the path back through the woods has mysteriously vanished. The sisters therefore have no choice but to figure out what’s wrong with the place. The problem is that Mayu’s spiritual sensitivity soon causes trouble.
The Fatal Frame series is nothing if not formulaic, and many things make a comeback from the first opus. You explore a haunted locale with a female character whose only weapon is a camera which has the ability to see and harm spirits: an effective combination which compounds a feeling of vulnerability with the necessity to get a good close look at ghosts. Most of the important protagonists are female, including the villains, of which the main one successfully combines creepiness and insanity. A gruesome, failed ritual is, again, at the source of the haunting, although this one has an added layer of psychological torture which ranks it a step above its peers. It’s also early enough in the series for suspension of disbelief to work: later games suffer from the fact that you start wondering just how many gruesome rituals there are in Japan. Once you finish the game, your playthrough is graded, and you can use the accumulated points from the pictures you’ve taken to purchase goodies for any subsequent playthroughs. These include camera upgrades and different costumes for the girls. The first playthrough also unlocks an additional difficulty, an additional ending and a mission mode in which Mio can battle various combinations of ghosts. Oh, and just like in the first opus, leaving the game paused for a while produces…interesting results *shudders*.
In terms of exploration and storyline progression, the tried-and-true spiel of solving puzzles, and finding notes and recordings applies. However, the puzzles are more diverse than in the first game, and, instead of an old cassette player, Mio finds a portable spirit stone radio. The idea is that some ghosts’ thoughts are trapped within gems that she’ll find lying around, which, when used with the radio, play these thoughts out like recordings. Well, whatever works.
As with the majority of action games where partners are involved, Mayu tends to be a hassle, and this is probably the most annoying aspect of the game. She’s a slow walker (or hobbler) and will complain if left too far behind. Hostile ghosts may also attack her during combat, and while this may provide Mio with a handy decoy to land a shot, Mayu’s not invincible, and if she dies, it’s Game Over. You can’t use items to heal her either, unlike Mio. Fortunately–or is it unfortunately?–this is a sporadic problem at best, because Mio spends most of the game chasing after Mayu, who quickly falls under the village’s spell and wanders off on her own; you control her for short bursts, but all she can do is walk towards a predetermined destination. On the other hand, when she does follow Mio around, Mayu is handy for pointing out important clues, as she will stop and stare at them.
Mayu-related annoyances aside, atmosphere is just as successful as in the previous game, if not more, because of the scope of the locale. The music–or rather, the background ambience–is still as unnerving, with its eerie chimes, distorted noises and furtive whispers. Random ghost encounters can occur anywhere, especially if Mio idles for too long, even in rooms containing save points (red lanterns which will turn off if a ghost is present). The decrepit village is shrouded in thick darkness, there’s an ominous-looking altar located right at the entrance, the largest house is situated beyond a bridge over a murky river, a path winds off into the forest towards a dilapidated shrine, and there is also a very gloomy cemetery, where ghosts enjoy popping up as soon as Mio raises her camera. There were four influential families in the village, and thus, there are four main houses to visit: Osaka, Kiryu, Tachibana and Kurosawa. I shall take this opportunity to warn you about the Kiryu house. The unsettling atmosphere is off the charts, and it contains two of the game’s scariest/most disturbing ghosts: the Kiryu twins, of “why did you kill?” fame, and Fallen Woman, who is simply painful to look at. Another highlight of the ghost cast worth mentioning is Woman in Box, who is a direct reference to Sadako, of Ring fame.
One aspect of the game which has received a substantial upgrade is combat. There are noticeably more ghosts, which often appear in groups and still come in the hidden, vanishing and hostile variety: hidden ones are only detectable when the camera’s capture circle turns blue in a specific spot, while the vanishing ones, as their name implies, will only appear for a short time, some being particularly difficult to snap. Some of these cannot be captured on your first playthrough, since they appear before Mio has the camera or require a camera function which only becomes available upon clearing the game. But since Mio will start each subsequent playthrough with the camera already in hand, this maximises replayability.
The camera itself has more diverse functionalities than in the first game. Each photo Mio takes will still grant points which can then be used to upgrade the camera’s basic functions, but it can also be further spruced up with attachments (including one which enables Mio to evade attacks) and extra lenses. These require both points and Spirit Orbs to upgrade, and serve to either cripple ghosts or deal more damage. The camera also has an infinite supply of the weakest available film, meaning that Mio will never be strapped for ‘ammo’. You still receive extra points for specific kinds of photos (close-up, well-framed, multiple ghosts), in particular the ‘fatal frame’ shot which gives the series its name. This can be taken at a moment when a ghost is particularly vulnerable (usually right before or right after an attack), but is only detectable via the aforementioned attachments. More importantly, if you hit a fatal frame, you can now combo it with a second fatal frame and possibly even a third one, if your timing is good and provided the ghost hasn’t been knocked too far back, thus racking up the damage and the points.
All in all, I find that this game improves on every aspect that made its predecessor successful, thus making it a big hit in my book. If you’re a fan of psychological horror, this is for you, and if there’s only one Fatal Frame game you must play, make sure it’s this one. As a heads-up, it has been recently re-released in Europe on the Wii, with updated graphics and an additional ending from the Xbox version, but also a two-player mode and some of the less successful gameplay aspects from Fatal Frame 4, which leaves me feeling ambivalent about it.