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Spoiler Blinded1


"My eyes...my eyes!""
This article contains spoilers, please read at your own risk.


Fatal Frame III: The Tormented
FF3 Cover
零 ~刺青の聲~
Zero ~Shisei no Koe~
Project Zero 3: The Tormented
Developer(s)Tecmo, Ltd.
Publisher(s)Tecmo, Ltd. (Jap.)
Tecmo, Inc. (US)
Take-Two Interactive Software Europe Ltd. (UK)
Sony Computer Entertainment America, Inc. (PSN release, US)
Release date(s)July 28, 2005 (Jap.)
November 8, 2005 (US, Canada)
February 24, 2006 (Australia, Germany, Denmark, France, UK)
July 06, 2006 (PlayStation 2 the Best release, Jap.)
November 22, 2007 (PlayStation 2 the Best reprint, Jap.)
October 01, 2013 (PSN release, US)
RatingsMature (17+) (ESRB)
CERO C (15+) (Jap.)
15+ (BBFC)
18+ (PEGI)
PlatformPlaystation 2
Jap. cover
Zero III

PAL cover
Project Zero III

The fear that spreads...

—Fatal Frame III


Fatal Frame III: The Tormented, known as Zero ~Shisei no Koe~ (Zero ~Voice of the Tattoo~) and Project Zero III: The Tormented in Japan and Europe respectively, is a PlayStation 2 exclusive, Japanese survival horror game and the third installment in the Fatal Frame series, as well as the direct sequel to the first and second game.

It was developed and published by Tecmo on July 28, 2005 in Japan and November 8, 2005 in North America, and was published by Take-Two Interactive on February 24, 2006 in Europe. It was re-released as a "PlayStation 2 Classic" on the PlayStation Network for the PlayStation 3 on October 1, 2013 in North America.

Unlike the previous games, Fatal Frame III mainly takes place in the protagonists' dreams. While the main protagonist is awake, however, the player has the freedom to explore her home.

The game focuses on Rei Kurosawa, a photographer who has recently lost her fiancé, Yuu Asou, in a tragic accident. Rei sees Yuu while taking photos of an old manor, however, and decides to follow him. In doing so, she falls under the curse of manor, where survivors of a disaster are tormented in their sleep by the ghosts of the dead.

Like the previous game, Fatal Frame III features a dominant color throughout. The dominant color in this game is a luminescent but somber blue, signifying the themes of dreams and ethereal slumber.

SynopsisEdit

Rei Manor of Sleep dream intro

Rei is drawn to the Manor of Sleep in her dreams.

After following Yuu into the strange manor, Rei begins to "visit" the Manor of Sleep in her dreams at night in hopes of seeing him again. While exploring the manor's entrance, however, she is chased by a ghost wandering its halls. The ghost was covered in tattoos, and after being touched by her just once, Rei wakes from her nightmare and the same tattoo begins to appear on her body, causing her pain. When asleep, Rei returns to the manor every night, looking for the truth behind the Tattooed Curse, and eventually she finds out that only those who are sole survivors of a disaster are brought to the snowy manor.

Miku Hinasaki, who lives with Rei and works as her assistant, was the only survivor of the Himuro Mansion in Fatal Frame, and she is brought into the nightmare as well. With her help, Rei is able to uncover the dark rituals that occurred inside the manor, and eventually doomed its inhabitants. The two must work fast to undo the darkness that grips the dream mansion before the curse of the tattoo consumes them, and they are forever trapped inside the nightmare.

PlotEdit

Rei Holly Tattoo curse

Rei falls into the grip of the Tattooed Curse.

When Rei first enters the mansion in her dreams, she is chased by the ghost of a Tattooed Priestess, a shrine maiden of the Kuze Shrine. Rei discovers that their purpose is to be engraved by a sacred tattoo to stop the spread of The Rift, the divide between the land of the living and the land of the dead. To keep the Rift at bay, the tattoo, in the pattern of a Snake and Holly, is instilled with the pains of those who visit the shrine and offer it. This process, called the Piercing of the Soul is done with ink made from the blood of the living and the dead, called Ink of the Soul. Through this ceremony, the tattooed priestess is able to take away the sorrows and suffering of those who come to the shrine, and stop the Rift from spreading. However, because of the agonizing pain she is under, measures must be taken to ensure the priestess will be at peace. At the end of the ritual, the priestess is taken to the Chamber of Thorns deep within the shrine and impaled inside its walls. She is then sung a lullaby to ensure that she falls into a deep sleep and never wakes from her pain. Through this Impalement Ritual, the priestess is kept from wandering the shrine, and allowing the pain engraved on her to affect others.

The last Tattooed Priestess to undergo these rituals was a young woman named Reika Yukishiro. Reika came from a village beside the Kuze Shrine, where she met and fell in love with a man named Kaname Ototsuki. One day, when Kaname was away, disaster befell the village and Reika's whole family was killed. When the shrine offered to adopt Reika, she agreed, hoping that by becoming the Tattooed Priestess she would be able to ease the pain of those who have felt loss, as she has.

Miku catches up to Mafuyu

Miku follows her brother deep within the manor.

When the time to sleep in the Chamber of Thorns came, Reika was unable to forget Kaname, and her dreams began to affect him. Kaname visited the shrine and, with the help of a handmaiden, found Reika within the Chamber of Thorns. This was strictly against the code of the shrine, and when the Kuze Family Head found out, she rushed to the chamber and killed Kaname in front of the awake Reika. Devastated, Reika lost control of the tattoo's pain, allowing the Rift to be unleashed. In order to contain the Rift, the shrine's carpenters and handmaidens were sacrificed to seal the shrine within a dream. But the Tattooed Priestess's pain could not be controlled, and those who survived disaster and suffer grief over the dead are haunted by the Manor of Sleep and the Tattooed Curse.

Rei is lured into the manor as she continues to think of Yuu, however, those who continue to follow the dead into the manor are eventually consumed by the cursed tattoo and are forever trapped inside the dream. Miku hoped to be with her brother Mafuyu and so follows him deep into the manor. She eventually goes too far and becomes unable to wake from the dream. Rei is unable to bring her back and as things begin to seem hopeless, Yuu's friend Kei Amakura visits Rei in her home. Kei is the uncle of Mio and Mayu Amakura, and since the events of Fatal Frame II, Mio has been suffering from the Tattooed Curse and dreaming of the Manor of Sleep. Hoping to find a cure for his niece, Kei fervently researched the curse and the Kuze Shrine, but eventually, he began to enter the dream himself. Kei came to Rei to seek her insight and pay his respects to Yuu.

Kei entering Chamber of Thorns

Kei enters the Chamber of Thorns.

Kei brings his research findings out and proposes his plan to Rei. Kei believes that to subdue the Tattooed Priestess for good, they must venture into the Chamber of Thorns and impale the priestess with the Tattooed Stakes belonging to the handmaidens. Kei searched for the stakes and after finding them, enters the chamber. Upon entering, Kei begins to feel an enormous force, as if the chamber is engulfed in darkness. Kei attempts to impale Reika with the stakes, but he discovers that Reika has been pinned down the whole time. Suddenly, Reika begins to break free from her stakes, and before Kei is able to escape, the chamber doors seal shut. The next morning, Rei sees that Kei has been taken by the curse as well. Rei is determined to end this curse, and decides that she needs to enter the Chamber of Thorns herself. When Rei arrives, Reika rises and starts to pursue Rei. With the power of her determination, sixth sense and the Camera Obscura, Rei is able to defeat Reika, who falls and asks to finally be let to sleep.

EndingsEdit

There is only one ending cinematic that plays after completing Fatal Frame III. However, after finishing the game at least once and fulfilling certain tasks during the next playthrough, an additional ending can be achieved where all main protagonists survive.

Fatal Frame III 3 The Tormented Normal Ending English06:58

Fatal Frame III 3 The Tormented Normal Ending English

Rei sees Yuu one final time at the Abyss of the Horizon.

Normal Ending (Ending 1)Edit

Rei shuts Reika's eyes, saying that "It's alright...to close your eyes now". Rei goes farther past the Chamber of Thorns, and she reaches the Abyss of the Horizon. She sends Reika and Kaname's bodies on a boat across the waters of the abyss while singing the last verse of "Sleeping Priestess", allowing them to "Go to the other side". The souls of the dead then appear and follow suit, crossing the rift as brightly lit lanterns floating and drifting on the water. Rei then sees Yuu's soul among the mass of the departed and chases after him. Rei is determined to go with Yuu, believing that she should be by his side from now on, as he had been with her. Yuu turns to face Rei and embraces her, but says that he must go on alone. Before parting, he takes the cursed tattoo away from Rei and says that as long as Rei goes on living, he will continue to live on with her.

Rei wakes up inside her home, and realizing what has happened, breaks into tears. It is then revealed that Miku was also spared from the curse, and the two now understand that they must continue to live on no matter what.

Good Ending (Ending 2)Edit

While the ending movie is the same as in the first, photos shown during the credits reveal a more positive conclusion to the story. During this playthrough, Kei Amakura does not disappear and leave behind a soot stain. Instead, he is shown waking up, as did Miku. The photos also show that Mio was eventually freed from the same curse, and was introduced to Miku and Rei.

To achieve this ending, both pieces of the echostone earrings must have been found and Kyouka Kuze must be fought additional times.

Misc. InfoEdit

Although the second ending hasn't been as canon to the series, Makoto Shibata (director and co-creator of the Fatal Frame series) has stated that he and the other game staff considered the second ending to be the canon ending due to the fact that all the main characters are alive and are free from the curse.

GameplayEdit

FFIII makie fatalframe viewfinder

Viewfinder mode in Fatal Frame III

Fatal Frame III is similar to the previous two games, in that the player controls the character of either Rei, Miku or Kei and uses the Camera Obscura to photograph clues and fight off ghosts. Like the previous games, it is also separated into phases, here called "Hours", and between hours the player is able to look around Rei's home during the day and gather research, before going to bed at night and entering the dream manor. One key difference is that certain photos taken in the mansion can be captured as Musty Film in the real world, where it can be developed in Rei's dark room and used to gather information. After each "Hour", Rei wakes up back in the real world, however, as the plot proceeds the lines between the two worlds begin to blur for Rei. As a result, she starts to have visions of ghosts even when awake and the mysterious tattoo grows to cover an ever-increasing percentage of her body.

Kei hiding from Yashuu Kuze

Kei hiding from a searching ghost. Note the blue glow on the filament.

The basic controls and mechanics have remained generally the same; there is a filament on-screen that indicates the presence of a ghost and the camera can be raised to enter Viewfinder Mode to investigate or to battle. The filament has an added capability, however. In addition to indicating whether the ghost is hostile or not, the filament also turns blue when a wandering ghost is unaware of the player's presence, and red when it knows the player's location, adding an element of stealth gameplay. The camera has a limited amount of film and thus film must constantly be stocked. Points are gained through defeating ghosts or by taking pictures of benign ghosts, and the points can go towards powering up the camera or purchasing the unlockables obtained after beating the game. Like the previous games, there are short puzzle sequences scattered throughout the game, progressively increasing in difficulty and opening up more sections of the manor as the story goes on.

Miku crawling

Miku is able to crawl into the manor's smaller spaces.

In some chapters, the player has the opportunity to play as Miku or Kei. Each character has different special abilities, making each of their playing styles unique. Rei is capable of using the camera's flash to scare off some spirits, but can only use it a limited number of times. Miku has a special "Sacred Stone" charm that decreases the speed of spirits when used. Additionally, using her "Double" ability, she can double the camera's charge and damage. She can also crawl into smaller spaces and openings due to her smaller physical size. Kei, with his greater physical strength, can perform actions such as moving heavier objects or jumping from the roof of one building to another. However, as Kei's spritual capacity is weaker than that of either Rei or Miku, his camera obscura is significantly weaker and he must hide to avoid detection by spirits.

Guidebook interviewEdit

An interview featured in the game's official guidebook, with Keisuke Kikuchi (producer) and Makoto Shibata (director), was published as below:



-Dreams and reality, the tattoo and the voice, and the heart that needs cherished people. To explain all about Zero ~Shisei no Koe~, we spoke to producer Mr. Kikuchi and director Mr. Shibata. What connects "Zero", "Akai Chou" and "Shisei no Koe"?
"I saw ghosts as a child"
-First of all, please explain your roles.




Keisuke Kikuchi (henceforth "Kikuchi"): It's difficult to put into words.

Makoto Shibata (henceforth "Shibata"): In the sense of taking care of of creating and expanding it. I created it, and Kikuchi expanded it.

Kikuchi: Shibata was in charge of the whole game in general, the scenario and direction, handling the details of it all. I watched over the whole thing, expanding ideas from planning and giving advice. But since Shibata and I have spent so many years working together, he of course mixes in ideas of mine he likes. So for the most part, Shibata's ideas and plans are used as they are. That way, there are several areas that were originally thought up by me myself.

-Has that style been in place since the first game in the series?




Kikuchi: The first game was something we both did together, through trial and error. It started when Shibata said, "I want to make something like this."

Shibata: For the first game, Kikuchi was project manager. So he was a little more involved in the creation of it. Overseeing all of the programming, and things like that.

-When you were making "Zero ~Shisei no Koe~", what was the image that appeared in your mind like?




Shibata: The idea came to me at the end of making "Zero ~Akai Chou~". We had the image colour from the start. Not only falling snow, but also monochrome creating a cold feeling. And then the blue tattoo violating the skin. Something more simply frightening than Zero ~Akai Chou~. A stronger kind of horror.

-Did you also already have the idea of moving between dreams and reality at that time?




Shibata: Yeah. When you wake up in reality, someone is beside you! ...We hadn't done anything like it up until now, so we created two settings. We also put in other things we haven't done before, like shower scenes... (laughs)

-And constructing a courtyard to suit the story?




Shibata: The courtyard came first. We collected ideas about what places you wouldn't want to walk around, what places were frightening, and put them into the story.

Kikuchi: For example, when we were making the Fireplace Room we tried to give off a sense of that kind of feeling, and we packed in all of the needs of the bigger picture of the design of an adventure game, like a puzzle.

-How did you go about collecting data?




Shibata: We gathered up things like photo albums of old Japanese houses and ruins. Then, we went to Tono in Iwate Prefecture in Tohoku to conduct research. "Zero ~Shisei no Koe~" has the Tohoku image. Lots of areas reflect the things we saw in Tono.

-Did you research normal private houses?




Shibata: We saw a room decorated with lots of "oshira-sama" dolls, crowded up as far as the corners of the ceiling...

-Ah, I know about that, I know!




Shibata: It seems to be a famous place. We took photos there and told the team, "I want a room like this."

Kikuchi: Well, we were gathering data about dark things which, in Shibata's case, has always been a hobby of his (laughs).

-You've always had an interest in supernatural phenomena?




Shibata: I was frightened of it when I was a kid. Actually, I saw ghosts as a child... I haven't seen them since I was in middle or high school, but I feel like I want to see them one more time, and though I watch horror films they aren't as scary as the things I imagine inside my head (laughs). Since then I've become even more interested in seeing them again.

-It's amazing that you've seen ghosts.




Shibata: Actually seeing them is really rare, though. Creating this game, the movements of the ghosts and its atmosphere were based on those experiences. For example, the ghosts' effects. The way in which the effect where they sway from side to side was made based on my parameters. Then, I also heard special sounds when I saw ghosts. Those sounds were also recreated. We recorded me mimicking them...

-When I hear this story, I feel like I understand the secret of the fear the Zero series has...




Shibata: When we were building the setting for Shisei no Koe, I wanted to model it on a certain abandoned house in my neighbourhood when I was young. Even in the afternoon it was really dark in there, and felt like something was in there... My friends and I would play a game where we would take turns going in and taking something. Torn-off memos, magazines, dolls and things like that were in there. This originated with me imagining what could be in this house. Then, one day, I saw an old lady pushing a pram, and then I wanted to put her in a game...

-And she finally appeared in the third game!




Shibata: She did (laughs). But, now that I think about it, why she was there is a mystery. She was just suddenly standing there...

-But back to the story, for what reason did you decide on having three characters?




Shibata: We wanted to have them gather information in fragments from different perspectives. We wanted the game to be set up so that the bits of information gathered while crossing between dreams and reality make the player think, "So this is what happened." For this game, having the information scattered around was one of the concepts. Letters arriving, asking Miku to research things, hearing ghosts' voices. It's all summarised in Rei's notebook. Then, the three were each given a unique action. They were designed to increase playability.

Kikuchi: The first game had a fear that appeals to the power of imagination. The second game's fear came from the power of its story and its detailed setting. It wasn't simply scary, but also included sorrow in the fantastical and story elements. In Shisei no Koe, we wanted it to have a game system that would follow the good parts of the past games while actively creating fear. But of course, we had to elevate the scariness. This was tricky, and trying to increase the fear in comparison to past games was impossible. We would've had to gradually increase the grotesque, physiologically disgusting things. We didn't want to do that. So we analysed scariness, and had variations on the fear, and combined everything into one big design we favoured.

Shibata: For the first game, I packed in everything I thought was really scary. With Akai Chou, we made something that, while scary, was something you would want to play until the end. With Shisei no Koe, we wanted to expand the gameplay, and immerse the player in terms of the game system and story.

-How did you come up with the details about the characters?




Shibata: I already had an image of Rei in my head. As well as wanting to make the protagonist mature, it would be better in terms of suiting the visuals of the "tattoo" keyword.

Kikuchi: A beautiful but mature woman. We wanted the protagonist to be a woman who is strong enough to face her destiny, and endure the pain of her lover's death.

Shibata: Initially I thought about making her around 26 years old, but since that's a bit austere for a game's protagonist she was set as being 23.

The "Voice" is Reika's Call
-"Tattoo" is also used for the subtitle, but in what way did you come up with it?




Kikuchi: We wanted pain to be the theme. Initially we started with the protagonist losing her lover. We wanted the pain to be visual, and convey fear.

-What does the "voice" part represent?




Shibata: That's the goal the protagonist is being called by. It refers to the calling. The voice of Reika, burdened with her sorrowful fate. She keeps seeing the image of her lover's death, indicated by her voice saying "I don't want to see any more" and "Please, close my eyes".

-I see, so her calling leads you to the other world. By the way, the presence of the protagonist of the last game, Mio, is weak - why is that?




Kikuchi: At first, Mio was the third protagonist. But their story from Akai Chou was mostly complete, the story too strong. That's when their uncle, Kei, became a protagonist.

Shibata: With regards to Akai Chou, it's all been said already. We would've had to have to have put all of those elements in there. And if we had, the scenario would've bloated to more than double the size and be consumed by Akai Chou. To that extent, since that story was so powerful, we had Mio appear in a manner than wouldn't conflict with the story of Akai Chou.

-How did you decide on the characters' outfits for this game?




Kikuchi: Shibata established the concepts, and I looked over the designs we came up with and amended them. We redid Kei over and over.

Shibata: There really were lots of alterations made to Kei. Since he's a man, we didn't have to think too deeply about the finer details. Even though we looked at Rei and Miku from all angles (laughs).

Kikuchi: At first, Rei's outfit was a skirt, but the female staff in charge of clothing design suggested that "pants are cool". In comparison, pants were overwhelmingly superior. Since Miku's is quite symmetrical, I think there's a balance. Rei's bedtime outfit also suits her nicely.

-Did you have any trouble coming up with the hidden costumes?




Kikuchi: None whatsoever (laughs). At first, Shibata sent me an email saying "How about this?" about an underwear outfit. I replied, "...I'm begging you, change that to a skirt." Then he sent me an email saying, "Is this satisfactory?" about a see-through skirt. Naturally, it was turned down (laughs).

Shibata: We also tentatively had a negligee.

Kikuchi: Wasn't it a sheer one? (Laughs) But we had crazier designs.

Shibata: I went crazy (laughs). We gradually thinned them out. Kei in a black bondage outfit, Rei as a sexy casino dealer, things like that (laughs).

-Ruri also has costumes.




Shibata: Kikuchi was strangely focused on Ruri.

Kikuchi: I wanted to put a black cat in the game. A black cat in a Japanese ghost story! I had lots of

things planned for it to do. Only humans had appeared in the games so far, so I wanted to change the perspective and put in something that was always moving around.

Shibata: We originally thought about having ghosts that only the cat could see, places you could photograph only by following the cat's eyes. Then later, having a Ruri-model Camera Obscura. It would be held dangling in your arms, and when you looked through it it had a night-vision scope. And to take photos you had to press its head and it would go "Meow~" (laughs). We didn't actually do it, though.

Kikuchi: Shibata was really persistently concentrating on that. Even though we didn't put it in (laughs)

Everything becomes zero. The best, true ending.
-Please tell me about the production of the fear - was there anything about the ghosts' representation you paid particular consideration to for this game?




Shibata: Generally speaking, the house in this game is completely ruled by ghosts, so we wanted to make it feel like it was dangerous to be in. The number of polygons was increased, and each ghost is represented more vividly, making them all feel somewhat like bosses. Because of this, all of the ghosts were created with a good backbone, which you'll gradually start to see.

-All of the ghosts have plenty of facial expressions.




Shibata: That's right. Things like the tattoo appearing during a shutter chance moment. When you're looking through the viewfinder, they'll make a scary face with superb timing.

Kikuchi: Also, we had the concept of the fear that perhaps arises through confronting things you don't understand. During the game, there are lots of documents, but there are also incorrect documents. The books were written with mistakes. They were put in on purpose. They were written based on historical facts, but misinterpreted, and then left behind. They were an element added with the intention of causing confusion.

Shibata: We gave ourselves the task of making it confusing, thinking it would immerse the player even deeper into the world. While playing, you reason out various things, which I think is interesting. That concept was also put into the layout of the house.

Kikuchi: The unnatural layout of the house and things like that. Like the way the rooms are connected; we were aiming to make people think, "Ah, so these areas are connected". But for some reason, I'm gradually starting to understand this kind of house...

Shibata: We should have made more of a fake layout, but making fake things is surprisingly hard (laughs).

Kikuchi: In that sense, it's not like games these days. It doesn't show you things in great detail. Of course, though it would be nice if it was simple, I also wanted there to be things left over that you wouldn't understand just by thinking about them yourself.

Shibata: But I think that's how horror is. Amongst the three protagonists, you don't know which is the true one. So you push on with Kei's mistaken interpretation.

-Of course, when you play you feel the contradiction of how it makes you feel bad for a good reason.




Shibata: That's what we were aiming for. Not which interpretation is correct, but finding the scattered bits of information about the house and picking up all of the fragments. It was constructed in a premeditated way to make it so that it could expand without things coming to a resolution. However, in order to follow that we introduced the new "notebook system". New things you learn will be written in the notebook.

Kikuchi: Also, it breaks the story down piece by piece so that it's easy to take in. By having the notebook, you can follow along the people from before you had forgotten, and I feel as though it was put in while conscious of beginners. However, this game's Mission Mode is tricky (laughs).

Shibata: This game is difficult from the start. But once you get stronger it's easy. As a tip, play the game at leisure and strengthen your Camera Obscura. If you don't, you'll find yourself in trouble.

The Best Ending
-Unlike the other games in the series, for this game you didn't make an ending exclusive to a second playthrough. Why is that?




Shibata: From the start, we decided that we would only make one this time. That's because we thought that if we had the best ending, we would only need one.

Kikuchi: I also thought that if the story and ending had a clear message, it would be best to have only one ending. Since so far the endings have been sad ones, we wanted to make another kind of ending, and so we created a different one for the second playthrough. Incidentally, in the series so far, the ending that plays after beating the game once has been the true ending. This time, the one that plays during the credits and shows the story afterwards in photos is the true ending.

Shibata: The ending I originally wrote was much longer. It was about 13 minutes long. Since it was too lengthy, we modified it and shrunk it to its current form, but one of the scenes we cut out when we were making modifications was put into the true ending in a photo. There were other pictures I wanted to add, like at the end a number of photos taken by Rei floating across the screen, and by their style you would understand Rei's feelings... but we didn't do it.

Kikuchi: 1 and 2 had horror-style endings in which you can't save people, but this one begins with the worst at the beginning, so the endings of 1 and 2 and the opening of Shisei no Koe are the same situation. We did it so that the start is as bad as it gets, and the end is where it becomes zero.

Shibata: I would say it's "bad opening, happy ending". In any case, I was enthusiastic about seeing the best ending.

-Amongst the staff, including the previous two games, which ending is the favourite?




Kikuchi: For me, the one that left the deepest impression was 2's first ending, the "Butterfly" ending. It's sad, but clearly represents the game's theme of an unescapable destiny. Well, it's also the most often criticised. "Why did she kill her?" and things like that.

Shibata: But if you take time to read the notes as you play, you should vaguely feel as though that is the ending you're heading for. Also, if you think about it after the impact of the ending, I think you'll see what's deep inside Mayu's heart. It's also a game in which by thinking backwards the player realises the deeper parts, which we thought about while making it.

-Is the photo in this game of a dam-like place Minakami Village?




Shibata: Yeah, it's Minakami Village. It's an image of Mio and Kei visiting it. I believed that players would understand without explaining it, so we didn't put in any special explanation. In the other photos you also see Kei introducing Mio to Rei and Miku, and see that they're all safe.

-All of the characters who appear approach their own resolution, but does Shisei no Koe complete the Zero series?




Kikuchi: It does. For now, the story is over. But since each game is its own story, there will be other episodes made in the Zero series. Well, at the present time we don't have anything really planned. Of course, if we can make something new, we'd like to do more. Maybe if Shibata has another dream (laughs).

Shibata: Before this I had another Zero dream, but even though I explained the story of the next game I think someone rejected it (laughs).

-Then, will the Zero series continue in the future?




Kikuchi: I think there's more than one way to do it. For example, it might be nice to make the best of Zero to create a completely different kind of game. We might look for something completely new, not binding the series to a genre or console. I think that's what the players would want. In the end, it's only the story of Zero until now that's complete, which doesn't mean the end of the Zero world. I think the time when we can give you a new Zero will definitely come, so please wait until then.


Sales in JapanEdit

Fatal Frame III was released on July 28.

Below is displayed the weekly results based on Media Create and Famitsu's software sales charts (number of sales vary depending of the chart):

Media Create Top 50
Week 30, 2005 (July 25 - July 31)

The game debuted at 5th place, selling 39 thousand units, but didn't become the highest sold PS2 title of the week for staying behind the PS2 games: Super Robot Wars Alpha 3 (1st place), Let's Make a Pro Baseball Team! 3 (2nd place), Shadow Hearts: From the New World (3rd place) and Kaido: Legend of the Touge (4th place). [1]

Week 31, 2005 (August 1- August 7)

The game didn't reach the Top 10. [2]

Famitsu Top 30
Week ??, 2005 (July 25 - July 31)

The game debuted at 4th place, selling 46.671 units, but didn't become the highest sold PS2 title of the week for staying behind the PS2 games: Super Robot Wars Alpha 3 (1st place), Let's Make a Pro Baseball Team! 3 (2nd place) and Shadow Hearts: From the New World (3rd place). [3]

Week ??, 2005 (August 1- August 7)

The game declined 23 positions in the ranking, jumping from 4th to 27th place, selling 7.396 units.

The number of sales combined with the previous week resulted in a total of 54.067 units sold. [4]

Week ??, 2005 (August 8 - August 14)

?????

Global salesEdit

Below is displayed the number of units sold worldwide according to VGChartz:

North America: 0.04m (49.0%)
Europe: 0.03m (38.2%)
Rest of the World: 0.01m (12.8%)
Global: 0.08m

As of February 21st 2015, 0.08m units were sold. [5]

TriviaEdit

FFIII promo DVD

The promotional DVD and book.

  • The game's ending theme is Koe, performed by Tsukiko Amano.
  • Advertised at the end of the game's promotional trailer was a DVD of the "History of Project Zero" and an art book titled "The Kurosawa Report". The book and DVD were available to those who pre-ordered the game in Japan.
  • Assuming the player has achieved the second ending, all four main characters of the series (Miku, Mio, Rei and Kei) are introduced to one another by the end of the game.
  • The main protagonist of the game shares the same initials as the main antagonist of the game. *Rei* *Ku*rosawa - *Rei*ka *Ku*ze. Both also share the same voice actresses in the Japanese and North American versions.
  • Unlike the first two games, Fatal Frame III didn't have a special edition released for the Xbox. Thus, remaining as a PlayStation 2 exclusive.

Promotional imagesEdit

External linksEdit

  1. [1]
  2. [2]
  3. [3]
  4. [4]
  5. [5]

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