Inspect the record.

KONAMI announces September 24, 2026 as the release date for Silent Hill: Townfall. This edition records that as a scheduled target, not a claim that the game is already available. The June announcement names PlayStation 5, Steam and the Epic Games Store.

The June release announcement says physical versions are available for preorder only on PlayStation 5. PC is represented by the Steam and Epic Games Store listings; a digital storefront listing should not be confused with confirmation of a physical PC edition.

KONAMI lists Rusted as a CRTV cosmetic for the Standard Edition early-purchase/preorder offer. Beach Edition is another CRTV style, specifically labeled PlayStation 5 exclusive. These are appearance bonuses in the announcement, not documented upgrades to the device’s survival capabilities.

The Deluxe Edition announcement lists a digital artbook, digital soundtrack and an alternate outfit for Simon. The digital Deluxe preorder also includes 48-hour early access and the listed CRTV preorder styles. Early access is tied to that preorder offer rather than promised for every edition.

The inspected platform announcement does not list Xbox, PS4 or Nintendo Switch. This wiki therefore does not present those platforms as confirmed. Absence from this source is a limit on what this edition can establish, not proof that a future port is impossible.

The June US announcement describes Simon traveling into a residential part of town just off the fog-shrouded marina. This establishes a published relationship between two areas, not a scale map, total district count or proof that every visible building is accessible.

Simon Ordell is the protagonist named by KONAMI. He is called back to the island of St. Amelia to “put things right” and finds a town quiet beneath heavy fog. The official synopsis makes his connection to the place a mystery to investigate, not an already explained biography.

KONAMI places Townfall against the cold, isolated backdrop of Scotland and names the island St. Amelia. Its synopsis describes a seemingly abandoned town beneath heavy fog. The publisher frames it as a full-length, self-contained psychological horror story rather than an expansion that continues a named previous protagonist’s adventure.

KONAMI describes Townfall as a full-length, self-contained psychological horror experience. Simon ventures deeper into St. Amelia to understand his connection to the place and its inhabitants as fragments of a past rise to the surface. The synopsis sets up that investigation without identifying its final answer.

KONAMI’s June 2026 studio background identifies Screen Burn as a Glasgow-based independent developer founded in 2015 under the name No Code. It credits Stories Untold (2017) and Observation (2019), describing a specialization in atmospheric, tense, narrative-driven experiences. This connects the old and new studio names without inventing a rebrand date.

The June announcement says Townfall is developed by Screen Burn and co-published by Annapurna Interactive and KONAMI. These are separate development and publishing roles. The presence of PlayStation marketing articles should not be read as evidence that Sony developed or publishes the game.

KONAMI presents Townfall as a full-length, self-contained psychological horror experience in Scotland, with Simon investigating St. Amelia. That describes the scope of this story rather than a direct continuation of a named earlier protagonist. It is not a complete explanation of where every event sits within series chronology.

The February reveal identifies Simon as the owner of the pocket television shown in the original teaser. Its name is CRTV, and its functions extend beyond receiving cryptic video: it helps locate threats, discover story signals and navigate some of the challenges he encounters.

Townfall is experienced through Simon’s eyes in first person. Jon McKellan connects that choice to narrative, puzzles and the ability to raise the CRTV while exploring. This is an announced design choice, rather than evidence for optional camera modes or a separate playable protagonist.

McKellan describes the game as a distinctly Silent Hill tale of mystery, tragedy and loss. He pairs those themes with a new town, enemies to fight or evade and story-driven puzzles. These are the developer’s stated aims, not a critical verdict based on a completed playthrough.

The CRTV is a pocket television designed as an evolution of Silent Hill’s handheld radio. McKellan contrasts the old radio’s often passive static warning with an active visual device. It receives both audio and video signals, giving the designers more ways to connect narrative presentation with encounters and exploration.

The February reveal says the CRTV lets Simon “see” through the environment and locate nearby threats. It also picks up signals around town that reveal story information and help with challenges. The wording describes its purposes, but does not provide exact range, battery behavior or a full control tutorial.

The February developer post announces melee and ranged weapons but says fighting is not always the best option. It pairs the CRTV with environmental opportunities and a peek system, making stealth an equally important survival strategy. The intended choice depends on the encounter rather than a universal instruction to attack.

McKellan says drawing too much attention causes enemies to dynamically hunt the player using their senses. Running, distracting, hiding and fighting are described as options, including changing tactics when plans fail. The announcement gives the design intent, not the exact AI detection model or a guaranteed escape procedure.

McKellan links first-person play to tactile, intricate puzzles and close attention to environmental detail. The CRTV is part of this investigation, receiving story signals and guidance for challenges. That supports a close-observation approach, but is not evidence that every puzzle uses the device or follows the same rules.

The February 12, 2026 developer post presents the first full trailer and explains first-person play, the CRTV and encounter design. Motoi Okamoto explicitly refers back to the 2022 announcement. This dated publication records the transition from a cryptic teaser to explained mechanics, not proof that every feature was finalized then.

The June developer article says Simon does not recognize St. Amelia and has not encountered Zoe before. That sits alongside the invitation to return: the discrepancy is part of the published premise. It should not be silently resolved by inventing an earlier relationship or diagnosing Simon’s memory.

The June developer update identifies the voice heard on the CRTV in the February reveal as Zoe. She is an inhabitant of St. Amelia and a nurse at a local family clinic, described as dedicated to her work. Those details establish her role without supplying a full biography.

Zoe is heard calling for Simon to return to the island while also asking what he is doing there. The same article says Simon has not encountered her before. These statements frame a contradiction for the player to explore; they do not confirm that either character is lying.

The developers explain that puzzles are written alongside the story and grounded in the town and its inhabitants. This provides context for how a character such as Zoe can be understood through investigation rather than only through dialogue. Exact puzzle solutions are not supplied by that design explanation.

The official June introduction does not explain Zoe’s ultimate fate or the reason she appears to know Simon. This article leaves those questions open rather than treating promotional ambiguity as a solved twist. For spoiler-heavy preview interpretation, the original hands-on report is linked in the evidence.

The June developer post explicitly describes a creature stalking Simon in the darkness of the Otherworld. It contrasts encounters where combat matters with others where evasion is the only option. That confirms the use of the Otherworld in the announced experience without furnishing a rulebook for how transitions occur.

The June post announces motion-controlled CRTV interactions on PS5: twisting the device to improve reception of weak signals. The July interview also describes physically tilting it during certain puzzles. These are advertised controller interactions; this wiki has not tested their implementation or alternative input settings.

The June update says some enemies make combat an important aspect of survival, while with others evasion is the only option. The CRTV and peek mechanic are presented as ways to assess danger before moving. Avoid assuming that every creature shown in promotional material can be killed.

The June developer article says Townfall’s puzzles were designed while the story was being written. Their setups and solutions are intended to communicate narrative meaning rather than form a separate layer of obstacles. Solving them is described as a way to understand Simon’s situation and the town’s inhabitants.

The developers advertise adaptive triggers that mimic the feel of firearms and haptic feedback for the heavy footsteps of approaching creatures. The intention is to keep the player focused on an encounter, including when a threat is out of sight. This wiki has not independently tested those controller effects.

The June developer article describes a creature stalking Simon in the Otherworld and explicitly distinguishes enemies that can be fought from encounters where evasion is the only option. This is an encounter-design warning, not a complete bestiary or a claim that every visible creature shares the same vulnerabilities.

The developers recommend using the CRTV and peek mechanic to assess danger, staying out of sight and moving carefully. They warn that being seen can trigger a chase, and some encounters only allow evasion. Apply that as a reason to examine your surroundings rather than assume every obstacle is a combat challenge.

Jon McKellan says Scotland was chosen because it is where the team grew up and the environment they knew best. He links a persuasive setting to that familiarity, and adds that Scotland’s naturally foggy conditions suit Silent Hill. This explains the creative choice without equating St. Amelia with one real town.

In the July interview, McKellan describes the studio’s attention to environmental detail as a way to make players believe in and care about a place. The design goal is emotional credibility. It does not itself establish simulation mechanics, a day/night cycle or persistent schedules for inhabitants.

Asked about the prominent red-and-black palette, McKellan says the colors hold deeply symbolic and vital significance for Simon. He deliberately does not explain that meaning in the interview. A thematic interpretation may be interesting, but it cannot be labeled the confirmed explanation on this evidence.

McKellan says the first-person view allows players to raise the CRTV while exploring, tune signals and discover broadcasts. In July he describes the device as an indispensable foundation for the perspective choice. Reading the screen is integrated into the viewpoint rather than described as a disconnected menu activity.

In the July interview, McKellan says older analog technology can feel unstable and unreliable, and the team wanted players to rely on the CRTV while feeling uneasy about doing so. That is a stated creative intention. It should not be turned into an unsupported claim about scripted malfunctions or deliberately false enemy readings.

In July, McKellan says the team does not want to force one playstyle. Instead, players should experiment with the options that suit each situation. That official explanation is broader than preview advice favoring stealth and helps avoid presenting one writer’s experience as a mandatory rule for the entire game.

In the July interview, McKellan says endings are determined by the culmination of actions across a playthrough, not a simple binary choice at the end. He presents this as a way for an ending to feel earned by a player’s journey. The interview does not disclose the underlying scoring conditions.

In the same interview, Motoi Okamoto says all three main endings can be reached on a first playthrough and a secret ending becomes accessible after clearing the game once. This edition records that explicitly attributed structure, rather than repeating conflicting unsourced counts as though they were verified.

The inspected developer interview supplies an ending structure, not a route guide. This wiki therefore does not offer guaranteed ending checklists or claim to have tested a New Game Plus route. Those require additional explicit evidence or released-game verification beyond the material supporting this article.

In July, McKellan describes motion control for fine aiming, manipulating the map and tilting the CRTV during certain puzzles. These are specific announced uses of the gyroscope. The interview is not a comprehensive input-settings or accessibility specification, so alternative-control availability is not inferred.

McKellan explains that first person restricts the player’s visual field, making sound more important. He says the team deliberately creates situations that require attention to subtle noises and audio cues from unseen threats. That describes the intended role of sound, not a tested headset recommendation or mix-quality assessment.

Motoi Okamoto says Annapurna introduced Screen Burn to KONAMI. He cites having played Stories Untold and Observation and confidence in Annapurna’s taste for narrative and art-driven games. This is an attributed explanation of the collaboration, not a detailed account of procurement or the production schedule.

The July interview says Townfall and The Short Message had different teams and production timelines with no direct exchange of technical know-how. Okamoto calls their shared first-person perspective coincidental. Similar presentation therefore should not be used here to assert shared development technology or a causal design influence.

Asked whether tougher creatures mean the game favors stealth, McKellan says the team provides multiple options and wants players to experiment with what suits each situation. That keeps the official guidance broader than any one previewer’s preferred tactic. No universal stealth-only or fight-everything strategy is established by this interview.

Okamoto says KONAMI has internal story guidelines, but asks each collaborating development team to analyze Silent Hill and build its own understanding of the series. He considers that personal discovery more valuable than simply handing over a thick manual. This is a statement about the creative process, not public access to a canon rulebook.

Okamoto says Townfall and The Short Message had different developers and production timelines, with no direct exchange of technical know-how. He calls their shared first-person view coincidental. McKellan instead ties Townfall’s viewpoint to the CRTV, so a similar camera alone is not evidence of shared technology or a connected plot.

McKellan describes evolving the familiar warning radio into a CRTV that players actively use for audio and video signals. It connects Townfall to an established Silent Hill motif while changing its mechanical role. That design lineage does not mean every old radio behavior or symbolic interpretation carries over unchanged.

When describing three main endings available on a first playthrough and a secret ending after completion, Okamoto compares the structure to the original Silent Hill and Silent Hill 2. His comparison concerns access to endings, not shared ending names, identical unlock conditions or confirmation that those games’ characters return.

In Phil Hornshaw’s preview, Simon’s arrival appears to shift from approaching a dock by boat to climbing out of the water. Hornshaw calls those details intentionally ambiguous. This is attributed reporting from an early portion of the game, not a definitive account of what actually happened to Simon.

Phil Hornshaw reports that CRTV signals in his preview relate to the pasts of St. Amelia and Zoe. He describes following clues from her apartment toward the clinic where she worked. Treat this as a preview route, not a complete or tested walkthrough of her storyline.

Hornshaw’s preview describes a town square, an apartment, a clinic and a pharmacy, alongside later yards and alleys. These are attributed observations of a preview build. They offer a sense of the setting’s variety, but this wiki does not convert them into a comprehensive collectible or quest map.

Hornshaw’s preview describes contradictory perceptions and asks whether Simon is hallucinating or being led by dark forces, concluding that it is impossible to say from his session. This is a report of uncertainty, not evidence for either explanation. This edition preserves that distinction when describing the story.

Hornshaw reports fragile improvised clubs, hiding places such as sheds and closets, and throwable bottles and bricks in the preview. He also describes a powerful but loud revolver whose shots drew more enemies. Those observations are useful context, but final durability values, ammunition availability and input bindings are not verified here.

Hornshaw’s July preview reports a 2.35:1 aspect ratio, a 30 FPS Quality setting and a 60 FPS Performance setting. These are attributed preview claims rather than this wiki’s measurements. A named mode or target does not establish a locked frame rate in every scene of the final release.

The same report describes PS5 Pro enhancement, upgraded PSSR and ray tracing. It does not provide this wiki with a controlled comparison across base PS5, PS5 Pro and PC. We therefore keep those advertised or reported features separate from unverified claims about equivalent settings or guaranteed image quality.

Phil Hornshaw describes faceless, writhing street creatures wrapped in industrial straps and sporting axe blades for faces during his four-hour preview. He reports charges and swings that Simon could block with a melee weapon. These are his descriptive observations, not official monster names or a wiki-tested combat specification.

In a later preview section where the Otherworld intrudes on neighborhood yards and alleys, Hornshaw reports another creature firing tentacles from its chest. He says it could attack at range or grab and overwhelm Simon, especially at low health. This remains attributed preview behavior rather than a final-game damage guide.

In Hornshaw’s PS5 preview, tuning the CRTV to certain signals let Simon see monsters through fog and walls; holding L1 allowed peeking around or over cover. As preparation, learn what each tool reveals before moving into an exposed space. These are reported preview inputs, not confirmed universal PC bindings or final control settings.

Hornshaw reports hiding opportunities in closets, sheds and half-open doors, plus throwable bottles and bricks. Radios and televisions could also draw a creature away. These examples suggest checking the environment for options when preparing to move, but his wording does not guarantee that entering a hiding place automatically ends a chase.

The preview describes L2 to block with a melee weapon and R2 to strike when an opening appears. Hornshaw says improvised wooden clubs were scarce and broke after limited fighting. Those observations support caution about spending a weapon on avoidable encounters, rather than a quantified durability chart or a verified combat sequence.

Hornshaw found the revolver powerful but noisy enough to attract additional enemies, and describes a slow cartridge-by-cartridge reload using Square in his session. Treat that as a preview warning to consider the cost of gunfire and reloading. This guide supplies no guaranteed ammunition route, optimal loadout or final-game strategy.

Polygon reported Townfall’s reveal during KONAMI’s Silent Hill Transmission on October 19, 2022. It identified No Code and Annapurna Interactive as involved and noted that no release date or platforms were announced then. That is the historical announcement record, not the current platform or release-date guidance.

KONAMI’s August 25 cast reveal names Jovan Adepo as Simon Ordell. It describes him awakening with few answers and encountering fragments of a past he can barely remember. The same release identifies Richard, played by Terry O’Quinn, as the man who summons him back to St. Amelia.

KONAMI’s August 25 announcement names Kezia Burrows as Zoe. It describes a compassionate nurse who reaches Simon through CRTV static, urging him to come back to her, and says her determination to help others entwined her with St. Amelia’s residents and the events shaping the town.

The August cast reveal introduces Richard, played by Terry O’Quinn, as the enigmatic man who summons Simon to St. Amelia and sets the story in motion. KONAMI says his connection to the town and its troubled past grows harder to ignore as Simon’s journey unfolds. His final role is not disclosed.

KONAMI’s September 1 publisher-broadcast announcement again describes Townfall as releasing September 24. The August 25 cast announcement also reiterates September 24, 2026 for PS5, Steam and Epic Games Store. These later statements support retaining the announced target rather than treating the older June announcement as the only record.

KONAMI identifies Terry O’Quinn as Richard in its August 25 English cast announcement. The publisher calls Richard the enigmatic man who summons Simon back to St. Amelia and sets the events in motion. That establishes an initiating role in the premise, not his ultimate motives or moral alignment.

The announcement says Richard’s connection to St. Amelia and its troubled past becomes increasingly difficult to ignore as Simon progresses. It does not explain the nature of that connection. The official wording therefore supports following Richard as a mystery, without turning his appearance or performance into a solved backstory.

Jovan Adepo is announced as protagonist Simon Ordell. KONAMI associates Simon’s journey with cryptic CRTV messages and fragments of a barely remembered past. The credit concerns the English cast described in this release; it should not be extended into claims about actors for other language versions.

Kezia Burrows is announced as Zoe, the compassionate nurse who contacts Simon through CRTV static. KONAMI also lists Observation beside her name. The release connects Zoe’s desire to help people with the lives of St. Amelia’s residents, but does not reveal the outcome of those relationships.

The inspected announcement presents the main English cast and names these three roles. This article is therefore a guide to that announcement, not a complete credits database. It does not identify every character, monster performer, localization actor or motion-capture credit that may appear in the finished game.

KONAMI’s August cast announcement says its accompanying trailer includes a glimpse of new monsters. The image reproduced here is from that publisher’s screenshot set. It is useful visual context, but this edition does not identify the creature’s species or symbolic meaning from appearance alone.

KONAMI’s September 1 publisher-broadcast announcement again describes Townfall as releasing September 24. The August 25 cast announcement also reiterates September 24, 2026 for PS5, Steam and Epic Games Store. These later statements support retaining the announced target rather than treating the older June announcement as the only record.

KONAMI announced a September 3 PRESS START broadcast in a September 1 news post, naming Townfall among the featured games and describing new footage and developer messages as part of the program. This edition cites the written announcement only; it does not claim to have reviewed that broadcast or its complete gameplay footage.

Screen Burn’s April 7 composer announcement identifies Anthony Scott Burns, professionally known as Pilotpriest, as Townfall’s composer. Jon McKellan describes an immediate shared enthusiasm for Silent Hill and says the early demos convinced the studio they had found the right collaborator. This is the developer’s credit, rather than an assumption based on the wider franchise.

Burns names Akira Yamaoka’s Silent Hill soundtracks as a formative influence, describing their drones, melodies and industrial textures. He frames his own contribution as a new score made with affection for that legacy. An influence statement is not a co-composer credit for Yamaoka on Townfall.

McKellan says Byron Bullock and his team at Arrival became a co-development partner handling audio, including cutscenes, foley and sound effects. He recalls working with Bullock on Alien: Isolation. That shared work history explains the collaboration; it does not mean Townfall reuses that game’s assets or technology.

The developer describes Arrival implementing a fully dynamic score system that reacts to the player’s actions and enemy activity. Arrival and Pilotpriest worked together on stems, loops and stingers. This explains the announced adaptive approach, but the article supplies neither a technical trigger table nor measurements from the finished game.

Screen Burn closes the announcement with Home, presented alongside visuals of in-game locations in St. Amelia. The embedded video here is that developer-linked listening sample. It offers an introduction to the musical direction, not evidence of a complete album sequence, soundtrack duration or licensing for reuse.

Pilotpriest explicitly credits Yamaoka’s earlier Silent Hill music as an inspiration in Screen Burn’s composer announcement. That is a documented artistic connection across the series. Townfall’s named composer remains Anthony Scott Burns; admiration for an earlier score does not transfer authorship or prove that melodies are reused.