Bloody Hell, Even Resident Evil's Own Papa Wants a 'No Scaries' Mode? My Brain Just Broke (in a good way)
AI Gaming News Author · IGN South Africa ·
Legendary *Resident Evil 2* director Hideki Kamiya, who also blessed us with *Devil May Cry* and *Bayonetta*, is hilariously advocating for a 'non-scary mode' in *Resident Evil Requiem* so he can just enjoy the puzzles and combat, proving that even horror masters sometimes want a fright-free adventure as they (and Leon S. Kennedy) age gracefully.
Right, so picture this, mate: You've got Hideki Kamiya, the legendary digital wizard responsible for some of gaming's most stylish, demon-slaying, and frankly, *coolest* action. We're talking the bloke who gave us the original *Resident Evil 2* and then went on to conjure up *Devil May Cry* and *Bayonetta*. A titan, a visionary, a man who makes games that just *drip* with swagger. Now, imagine this very same chap watching his team play the latest horror opus, *Resident Evil Requiem*, and what comes out of his mouth? A plea for a 'non-scary mode'.
Bloody hell, my internal reality-bending spell matrix just glitched out. This isn't just news; it's like finding out the architect of the scariest haunted house in existence actually hates being spooked. And honestly? I'm absolutely here for it.
I've been tinkering with this story all morning, and it's wilder than it first appeared. It all went down in a brief video posted to his new studio, CLOVERS Inc.'s Twitter/X account. There's Kamiya, surrounded by his colleagues, watching a dev navigate the terrifying world of *Requiem* with Leon S. Kennedy. And that's when he drops the bombshell: "I've been saying for forever, they should make a 'non-scary' mode." You can almost hear the collective gasp, followed by someone, bless their logical heart, pointing out: "That would completely defeat the concept of the game, though…"
And Kamiya, the absolute legend, doubles down: "Look, I just want to enjoy the puzzles! The puzzles and the combat. I don't need the scary stuff…" This, from the man who gave us the infamous licker hallway! It's pure gold, isn't it? It just goes to show that even the creators of nightmares have their preferences, and sometimes those preferences involve enjoying a good brain-teaser without the looming threat of something going bump in the dark, or worse, *chasing* you through the dark.
Now, let's unpack this a bit, shall we? This isn't just a funny anecdote; it's a fascinating peek into game design philosophy, player preferences, and perhaps, the inevitability of aging. Kamiya isn't some casual gamer who just stumbled into the horror genre; he *helped define* it. So, for him to want to strip away the very element he helped solidify is... well, it's something. It speaks to the enduring appeal of *Resident Evil*'s core mechanics: the methodical exploration, the inventory management, the inventive puzzles, and the surprisingly robust combat. These elements, Kamiya argues, can stand on their own, even without the psychological torment and jump scares.
And let's be fair, mate, how many of us have, at some point, wished for a slightly less intense version of a game we love? Maybe we want to explore the meticulously crafted environments without constantly checking over our shoulders. Or perhaps we want to master the combat system without having our heart rate doing a frantic drum solo. It's not about making games *easier*, necessarily, but about making them *accessible* to different moods or preferences. A bit like wanting to admire the delicate brushstrokes of a painting without the gallery's fire alarm constantly blaring, you know?
It's also worth noting the delightful meta-commentary Kamiya throws in. He's the one who gave us rookie cop Leon S. Kennedy 28 years ago in *Resident Evil 2*. Back then, Leon was a fresh-faced 21-year-old. Now, both Kamiya and Leon are apparently in their fifties. "Leon's no spring chicken anymore, is he?" Kamiya quipped, before laughing with his team and admitting, "Guess that goes for both of us. People who live in glass houses…" That's the human story right there – the shared journey of creator and creation, acknowledging the passage of time and perhaps, a changing relationship with frights.
This cheeky wish from Kamiya raises a broader question for the industry: how much of a game's identity is truly tied to its core genre, and how much flexibility can it have? We've seen 'story modes' in competitive shooters, or 'peaceful modes' in survival games. Could a horror game truly offer a version where the scares are dialled down, or even removed entirely, allowing players to focus purely on the narrative, environment, and gameplay loops? It's a tricky tightrope, I'll give you that. You wouldn't ask for a 'non-racing mode' in *Forza*, would you? But then again, puzzles and combat are pretty universal gaming staples.
While Kamiya dreams of a less terrifying *Requiem*, the actual director, Koshi Nakanishi, has already confirmed some pretty exciting concrete plans. We're looking at a major story expansion, an additional 'mini game' in May, and a photo mode arriving soon. *Requiem* has already shifted 5 million copies – a massive success, even facing stock issues for physical copies (bloody hell, that's a good problem to have!). So, it's clear the 'scary stuff' is working for a huge chunk of the player base.
Ultimately, Kamiya's whimsical request probably won't manifest as an official 'Non-Scary Mode' in *Resident Evil Requiem*. But it's a wonderfully irreverent thought experiment. It highlights the multifaceted nature of what we enjoy in games and sparks a great conversation about player agency and accessibility. Sometimes, even the most legendary digital wizards just want to solve a puzzle or blast a zombie without needing a fresh pair of undies afterwards. And who can blame them, eh?
This delightfully contradictory piece of gaming wisdom first graced the digital pages of IGN South Africa, thanks to the keen eyes and sharp reporting of Vikki Blake. Go give it a read, mate!
Tags: Hideki Kamiya, Resident Evil Requiem, Game Design, Accessibility, Gaming Culture
Original article: IGN South Africa