Silent Hill: Townfall Reveals 5 Endings, Eerie CRTV Twist

Konami and Screen Burn Interactive have shared this big, new look behind how Silent Hill: Townfall is coming together, and it sort of explains how an isolated Scottish setting, retro technology, a first-person point of view, and these unusual gameplay ideas will all steer the next entry in the psychological horror franchise.

In an interview that’s up on the PlayStation Blog, Silent Hill series producer Motoi Okamoto and Screen Burn writer-director Jon McKellan talked through the thinking behind the whole thing. Silent Hill: Townfall is set to launch September 24, 2026, and PlayStation has already confirmed it’ll land on PS5.

Scotland Gives Townfall Its Own Silent Hill Identity

Instead of trying to redo the well-known American backdrop from the earlier games, Townfall goes to a remote Scottish island. The fog and the isolation just fit the series vibe, pretty much on their own.

Image Source: PlayStation Blog

McKellan said Scotland was picked in part because it’s where the team grew up. So, that local familiarity lets Screen Burn build places with more authenticity instead of acting like outsiders. And yeah, the region’s naturally misty landscapes also give an easy visual tie into Silent Hill itself.

Okamoto also frames it as a bigger perk of collaborating with studios worldwide: each team can bring in its own local culture and outlook, while still keeping the psychological core that Silent Hill is known for, in the first place.

First-Person Perspective Is Central to Townfall

Townfall kinda runs on a first-person vibe; it’s really the core of how it all works. It will be the first full-length Silent Hill game built around seeing and acting from that viewpoint. Silent Hill: The Short Message did use a first-person presentation in 2024 too, but Okamoto mentions the overlap was just accidental; the projects were handled separately, so it wasn’t meant as some direct carryover in design.

For Screen Burn though, first-person was not just a look, or a simple aesthetic pick. McKellan says the camera angle became important because of how the game’s central CRT device basically operates. Even with that big switch in viewpoint, the studio says they were careful to keep the atmosphere and the presentation you expect from Silent Hill, rather than turning the whole thing into some standard, conventional first-person horror thing.

CRTV Makes Silent Hill’s radio “live” and usable

One of Townfall’s most noticeable mechanics is the CRTV; it takes the franchise’s well-known radio idea and pushes it into a more active role. Instead of only signaling danger nearby through sound, the CRTV can take in both video and audio signals. Screen Burn wanted the radio concept to stop being a passive warning gadget, and instead be something the player actually messes with and depends on while moving.

Image Source: PlayStation Blog

That choice opens up a bunch of options for how the device can show up in storytelling, exploration, and even in stealth moments. Also, this retro-tech angle matches Screen Burn’s earlier experience. The studio worked on Stories Untold and Observation, and both of those lean hard on interfaces and tech as part of the storytelling itself, not just background flavor.

In Townfall, that comfort with old electronics gets flipped into something colder and more uneasy. The developers want players to rely on tech that feels, in practice, inherently unreliable. The CRTV might end up being required for survival, but the game is built to make you feel uncomfortable about ever placing full trust in it.

Combat and Stealth Give Players Different Ways to Survive

Screen Burn also seems to be taking on the tougher creatures folks keep noticing in Townfall. Instead of building the whole thing around combat only, or asking players to always stay hidden from every enemy, the studio is aiming for a bunch of different ways to handle encounters, almost like a more flexible toolbox or something.

Players will end up deciding what approach works best based on the moment, and that kind of room to maneuver should keep confrontations feeling risky, without locking the game into one single, predetermined way of playing.

The visual design also leans into the psychological themes in a pretty direct way. Red and black show up a lot through the experience, and McKellan says those colors carry a symbolic meaning tied to protagonist Simon, which players will uncover as the story slowly unfolds, bit by bit.

Player Actions Shape Townfall’s Multiple Endings

Multiple endings, which is a long-running Silent Hill tradition, are back in Townfall, but it doesn’t work like just a final fork in the road where one choice decides everything. Instead, the game is evaluating actions across the entire run, and those accumulated choices will nudge which ending the player gets.

Screen Burn wants the ending to feel less like a random result and more like a consequence of the player’s overall path through the game.

Image Source: PlayStation Blog

Okamoto confirmed there are three main endings, and the important part is that all three can be unlocked from the first playthrough. A secret ending also becomes available after finishing once.

The overall structure takes cues from the original Silent Hill and Silent Hill 2, so players shouldn’t have to replay the game several times just to access the standard endings.

PS5 Features Push Horror Beyond What Players Can See

For the PS5 release, Screen Burn says it’ll lean on the DualSense controller, with adaptive triggers, haptic feedback, and motion controls woven right into the fear side of things. The adaptive triggers, basically, clue you into the weight and “feel” of firearms, while the haptics can make you sense footsteps from certain creatures getting closer through the controller itself. There are also gyro controls for aiming, but Screen Burn has not stopped there; motion input shows up in exploration too. Players can mess with their map using movement, and in some puzzles you can physically tilt the CRTV as you look around, trying to pick up a signal or whatever is left of it.

Sound matters just as much. Since first-person gameplay kind of shrinks the player view, Screen Burn has built moments where small noises and positional audio cues end up being the real key for spotting danger that you can’t really see yet. Okamoto frames the DualSense touch as adding another layer to a series that has long been praised for its visuals and audio alone.

Conclusion

Silent Hill: Townfall seems like it wants its own identity, not just redoing the old template from earlier games. The Scottish island location, the first-person angle, the CRT TV mechanic, enemy encounters that can shift, plus endings that push more action, all bring in fresh concepts. Still Screen Burn tells us the main goal is holding onto Silent Hill’s unsettling atmosphere, keeping it intact through all the changes.

With the September 24 launch getting closer, the latest developer interview paints a clearer scene of what you’ll be in for: a Silent Hill where faulty technology, a limited perspective, and even the players’ own choices become part of the horror equation.