Even if you’ve never heard of the Fatal Frame series, you’ve more than likely seen screencaps of the games and its gothic aesthetics plastered all over Pinterest. After all, the games are known for their signature dark coquette/gothic fairy style and their all-female roster of protagonists, never seen without lacey blouses and dainty stockings to match. Fatal Frame was first introduced to horror audiences with its release in 2001, and its sequel, Crimson Butterfly, further shot the series into the horror game stratosphere with its haunting visuals and unique style of combat.

Crimson Butterfly follows twin sisters Mio and Mayu as they navigate Minakami Village (also known as Minakamimura), an abandoned village in the middle of a forest that’s swarming with vengeful spirits and ghosts trapped in melancholy. The girls, as they explore what remains of the village, realise that they are at the epicentre of a failed cult ritual that sought to please an unholy entity beneath the village. The player takes control of Mio, equipped only with a feeble flashlight and a paranormal device known as the Camera Obscura—a camera found within the dilapidated confines of Minakamimura that captures spirits of the ghosts that reside there.

These ghosts, known as Wraiths, have been revamped with a surplus on the terror scale. While other survival horror games let players equip themselves with firearms or completely hide from enemies, Crimson Butterflyforces players to directly stare into the eyes (or lack thereof) of their enemy as the only way to defeat them. Mio has a bar alongside her health bar known as willpower, which depletes if Mio is attacked, runs during combat or dodges. The game is at its peak when it wields its tension as a weapon. Opening doors, picking up items and opening drawers aren’t instant; Mio takes her time, carefully twisting knobs and picking up film rolls off the floor. It’s intentionally slow and a brilliant method of drawing suspense, as at random, you will be suddenly grabbed by a Wraith or have one lunge at you once a door is fully opened.

This remake takes clear inspiration from its survival horror contemporaries, such as Silent Hill and Resident Evil, modernising the gameplay formula by ditching the fixed camera angle system for a much more dynamic over-the-shoulder perspective. A new addition, that’s very much welcomed because of how endearing it is, is the hand-holding system. When Mio takes damage from Wraiths or loses an alarming chunk of her willpower, she can hold Mayu’s hand to regenerate both her health and willpower bars. It deepens the in-game connection between the twins, but it also makes combat much more forgiving, as some Wraiths deal massive amounts of damage.

Objectively, the combat has been the single most upgraded and improved system. The Camera Obscura has been expanded with a new upgrade tree that lets you capture Wraiths at quicker rates as well as having quicker reload rates, higher damage points dealt and longer ranges. Stealth shots are a new combat mechanic introduced, alongside the ability to crouch. 

The graphics are stunning. The art style has been completely remade from the ground up, resulting in a hauntingly gorgeous world with improved graphics and higher fidelity in character models, textures and animations. It’s so beautiful that it is almost to the detriment of the game’s horror. I found myself completely unfazed by multiple jump scares and sudden Wraith appearances because every single character and level has been so graphically enhanced that I’d pause and stare in awe instead.

However, behind a new coat of paint and a wonderfully ambitious redesign lies a slightly annoying experience. The User Interface design feels hard to control at first, as there are over a dozen tutorials and menu pop-ups due to the complex mechanics introduced in the combat. The game, for some reason, also begins with an unbearable film grain filter that makes it borderline impossible to see, and runs at a locked 30 frames per second, which keeps gameplay weighed down—especially when a lot of the combat is centred around well-timed dodges and frantically looking around to capture Wraiths on camera.

These factors, all combined, present a combat system that feels much more dynamic than the original ever was, but results in many frustrating combat encounters. Occasionally, I took damage or was on the brink of death solely because Mio would take forever to turn around. It’s punishing and frustrating, not in a way that feels justifiably earned.

In terms of its story, Crimson Butterfly offers an environment that is rich in high-definition graphical quality, but the stories they tell don’t leave much of a lasting impression. It makes for the perfect background noise as it sets a compelling atmosphere for level exploration, but beyond what it offers aesthetically, it doesn’t do much creatively with the typical occult tropes. Similarly, the improved puzzles don’t leave a strong impression. They sometimes feel like a slap to the face, as they are often way too easy, to the point where it feels like the game has no faith in the player. It’s monotonous and repetitive, similarly to its story that has also been outbalanced by the exciting thrill of the combat system instead.

In defence of this remake, it is a perfect launch point for any player looking to get into the Fatal Frame games or a solid survival horror adventure. The combat can be difficult to tap into, but it’s a worthwhile experience that surpasses most expectations, especially because it’s rare for bespoke games like Crimson Butterfly to be lovingly overhauled and greenlit.