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Psychological Horror · Survival Horror · Horror · First-Person · Violent
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Review
The series' first fully first-person entry, moving Silent Hill to a fogbound Scottish island where a stranger's half-remembered guilt reshapes the town around him. Is it your kind of game?
Game Avant verdict
A genuinely unsettling return to analog horror, held back by repetitive stealth stretches and rough technical performance on both platforms at launch.
By GameAvant · Published Sep 26, 2026 · Updated Oct 9, 2026 · 14 min read
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IGDB
85%
2 ratings
Steam:
65%
1,462 reviews
Fits you if
you want a slow-burn, story-first horror game about guilt rather than jump scares, you enjoy piecing a mystery together from a claustrophobic first-person view, and you can tolerate some stutter for the sake of atmosphere.
Skip it if
you need reliably smooth frame pacing, you get fatigued by long stealth sequences with limited combat options, or you are waiting for a definitive, patched version before diving in.
Availability
Steam
$49.99
Silent Hill: Townfall is the first mainline entry in the long-running series told entirely in first person, and the shift matters far more than a simple camera change implies. Developed by Screen Burn Interactive, the Scottish studio formerly known as No Code, and published by Konami, it released on 24 September 2026 for PlayStation 5 and PC. The series' defining formula stays recognisable: a stranger arrives somewhere that should not exist, carrying guilt he cannot fully remember, and the town itself rearranges its geography and monsters around what he has done. This time, the setting is a fogbound Scottish island rather than the American town the series is best known for, and that relocation gives the familiar formula a genuinely different texture rather than simply reskinning the same beats. What the first-person perspective actually changes is dread itself. Unable to simply observe a threat from a controllable third-person distance, players are locked directly into the protagonist's own limited field of view, which means the fog, long one of the series' signature tools for hiding technical limitations and building atmosphere simultaneously, becomes something closer to a genuine sensory handicap rather than a visual effect you watch happen to a character. That shift is the best thing about Townfall, and for roughly its first two-thirds, the game commits to it fully: environmental storytelling, ambient sound design, and careful pacing all working together to make the fog feel dangerous again in a way the series has not consistently managed in well over a decade. Where the game runs into real trouble is structural rather than atmospheric. The back stretch leans heavily on stealth sequences that repeat the same basic threat-avoidance loop without meaningfully escalating it, and what felt genuinely unsettling in the opening hours starts to feel like padding by the time the credits approach. Compounding that pacing issue, the game launched with rough technical performance on both PlayStation 5 and PC, the kind of stutter and frame-rate inconsistency that actively works against a horror game's ability to build and sustain tension, undercutting some of the atmospheric work the first two-thirds does so well. Taken as a whole, this is a genuinely unsettling return to the kind of analog, atmosphere-first horror the series built its reputation on, achieved through a perspective shift bold enough to change what fear actually feels like inside a Silent Hill game. The repetitive back half and the technical rough edges at launch keep it from greatness, but the first-person reinvention itself is a real success, and it is difficult to imagine the series going back to a fixed third-person camera after seeing what this specific change accomplishes.
You may love it because
The claustrophobic view makes every corridor and CRTV scan genuinely tense.
It may frustrate you because
It also means no over-the-shoulder combat camera, so melee swings with a plank or pipe can feel clumsy to aim.
You may love it because
Ammo is scarce enough that avoiding a fight feels like the intended, tenser choice.
It may frustrate you because
Extended stealth-chase sections in the game's middle stretch repeat the same cat-and-mouse idea past the point it stays scary.
You may love it because
Multiple resolutions to Simon's guilt reward replaying key choices instead of locking the story to one outcome.
It may frustrate you because
Seeing all five demands a second and third playthrough of a game whose middle act already outstays its welcome once.
14 min read
· By Game Avant
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