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NAKAMURA IKUMI The Evil Within did not start off as a survival horror game. At one point it was sci-fi, and at another it was more of an open-world gane. Creating a new game at a new cOmpany is never straightforward. Taking into account what the players wanted from our studio was a big turn1ng point, and tha was when Shinji Mikami decided to go back to hiS roots and create a surviual horror game. That was the challenge to the team at Tango. game, but I now realize the depth of the world of horror, regardless of the genre. Reality and horror are inseparable; if you overdesign, you force the player, and without any design the experience becomes less memorable, Just having blood splatters and heads chopped off is not enough. That is only It has been a long time since we've faced the prospect of making a horror scary for its grotesqueness and is not what we were looking for with The Evil Within. Realizing this idea in the visuals of a video game is incrediblv difficult, one of the more difficult challenges game designers face. The entire team wrestled with determining just what survival horror is conceptual1y. People are predisposed to reject new things, and each of feel comf ort in the us has our own fears. I focused on the fact that we familiar and we remember those things more easily. The real world is full of horror concepts realized by those who came before us. I took inspiration from the interesting parts and started designing. You can say the same about location. Location is very important to the horror genre. The Evil Within's mental hospital is probably a typical locale, but I thought that typicality was just what made it so appealing. From there we developed the lighthouse and the creatures which serve as the core for a horror game, and the world of The Evil Within took shape The Japanese horror style has a distinct aesthetic, especially compared with that of the West, and that essence has been infused at pivotal points. I think you can get a sense of that from this art book, though thiss is not the complete World of The Evil Within. There is lots of room for expansion. As a designer I am proud of my contribution to the creation of The Evil Within and the other Worlds that represent Japan. - Ikumi Nakamura - Lead Concept Artist

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NAKAMURA IKUMI The Evil Within did not start off as a survival horror game. At one point it was sci-fi, and at another it was more of an open-world gane. Creating a new game at a new cOmpany is never straightforward. Taking into account what the players wanted from our studio was a big turn1ng point, and tha was when Shinji Mikami decided to go back to hiS roots and create a surviual horror game. That was the challenge to the team at Tango. game, but I now realize the depth of the world of horror, regardless of the genre. Reality and horror are inseparable; if you overdesign, you force the player, and without any design the experience becomes less memorable, Just having blood splatters and heads chopped off is not enough. That is only It has been a long time since we've faced the prospect of making a horror scary for its grotesqueness and is not what we were looking for with The Evil Within. Realizing this idea in the visuals of a video game is incrediblv difficult, one of the more difficult challenges game designers face. The entire team wrestled with determining just what survival horror is conceptual1y. People are predisposed to reject new things, and each of feel comf ort in the us has our own fears. I focused on the fact that we familiar and we remember those things more easily. The real world is full of horror concepts realized by those who came before us. I took inspiration from the interesting parts and started designing. You can say the same about location. Location is very important to the horror genre. The Evil Within's mental hospital is probably a typical locale, but I thought that typicality was just what made it so appealing. From there we developed the lighthouse and the creatures which serve as the core for a horror game, and the world of The Evil Within took shape The Japanese horror style has a distinct aesthetic, especially compared with that of the West, and that essence has been infused at pivotal points. I think you can get a sense of that from this art book, though thiss is not the complete World of The Evil Within. There is lots of room for expansion. As a designer I am proud of my contribution to the creation of The Evil Within and the other Worlds that represent Japan. - Ikumi Nakamura - Lead Concept Artist

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