Last month, Square Enix released PARANORMASIGHT: The Mermaid’s Curse for Nintendo Switch, Android, iOS, and PC via Steam. Following its release, we had the chance to speak with PARANORMASIGHT: The Mermaid’s Curse Director Takanari Ishiyama about the inspirations behind the game, real-world research the team participated in, and more.
The game is set in Ise Province, which has documented ningyo folklore going back to the 13th century. How did the team research the real legends, and how did you decide what to use versus what to fictionalize?
Takanari Ishiyama (TI): We started by researching the real history and folklore that remain today, building on the fundamental premise that essentially the same legends also exist within the game’s world. On that basis, we looked for areas where the legends are preserved but remain uncertain, or where new interpretations could be introduced. From there, we constructed the story by weaving in or layering fictional elements, such as revealing that the supposed truth was actually different, or suggesting that there were other untold aspects.
The first game pulled from multiple Edo-period urban legends. This one focuses on a single mythology (ningyo/mermaids). What led to that shift, and how did it change the way you structured the mystery?
TI: While mermaid legends play a key role in the game’s story, we actually drew from various other bits of folklore that still remain in the Ise-Shima region, such as the Tomokazuki; the Seiman and Doman protective talisman symbols passed down among ama (Japanese pearl divers); the mythical sunken island of “Taishima”; the Heike legends; and the story of Kuki/Princess Hatsune. In the previous installment, we worked with just a single urban legend—the Seven Mysteries of Honjo—so in a sense, this time we broadened the scope considerably. The reason for this is that we wanted to bring out more of the distinctive character of the region that serves as the story’s setting. As for how the mystery itself is constructed, our approach has always involved gathering multiple motifs and weaving them together, so that aspect has remained largely consistent with our previous work.
The game was developed in collaboration with Mie Prefecture. What did that collaboration look like in practice? How involved was the prefecture in making sure the locations and culture were portrayed accurately?
TI: We were introduced to locations where we could take reference materials for the game’s background art, and we also obtained permission to shoot there. In addition, we received resources on ama divers and the local culture, and museum curators even provided direct explanations. They also reviewed the in-game texts that introduce various aspects of Mie Prefecture’s culture and society.
The ama diver traditions are central to the game’s identity. How did the team learn about and approach depicting a real, living profession and culture?
TI: We aimed to portray these traditions and practices as naturally and accurately as possible, as they form a part of the characters’ everyday lives. To achieve this, we reviewed reference materials and documents, visited museums to receive explanations, and interviewed former ama divers to refine the setting in a way that would allow us to realize what we wanted to express in this story. For example, we learned that it’s not actually forbidden for boys to become ama divers, who are typically women. While there aren’t any real-life examples to point to, it’s technically not impossible. In the game, however, the protagonist, Yuza Minakuchi, wears a white robe over his wetsuit. This garment is worn in some regions during rituals or festivals and is not part of everyday attire, but we adopted it for the game because of its visually striking look.
Did the team visit Ise-Shima during development? How much of Kameshima is based on real, specific places versus composite locations?
TI: Yes, the development team conducted on-site research in the Ise-Shima area. We visited potential locations to determine which should appear in the game, took many photographs, and selected from among them. The setting of this title, Kameshima, is modeled after a real-life remote island called Kamishima, and many of the game’s background environments were created based on the photos we took there. If you look at the area on Street View, I think you’ll find that the scenery is quite close.
The first game leaned into grim, oppressive horror. The Mermaid’s Curse goes for broad daylight, summer horror. What made the team want to take the tone in that direction?
TI: To begin with, I think it’s worth noting that we aren’t particularly focused on making horror games. Rather, our intention is to highlight the appeal of presenting occult themes and real-world folklore as mysteries—stories built around posing questions and unraveling them. In the first title, The Seven Mysteries of Honjo, we used horror elements more prominently, especially in the early part of the game, as a kind of flavor. However, many Japanese players told us that the horror aspects got in the way of enjoying the mystery, or that while they were interested, the game felt too scary to play. Moreover, for the PARANORMASIGHT series, we don’t want to impose strict conditions like “it has to be horror” or “this character must appear.” Our goal is to give each installment enough flexibility to explore different genres. Because of this, we intentionally changed the atmosphere for the second game, which led to the current direction. What do you think of this approach? We welcome your thoughts and impressions!
For more on PARANORMASIGHT: The Mermaid’s Curse, be sure to check out our review below.
