Mateusz Lenart: Creative Director at Bloober Team

It’s an understatement to say that SILENT HILL 2 is one of the games that forged my love of video games, but also of horror in general. It was this same passion that led me to discover Bloober Team’s games, particularly Layers of Fear and The Medium, and their approach to psychological horror. So I was delighted to be able to ask the studio’s creative director, Mateusz Lenart, a few questions. We spoke to him about his career, his inspirations, his vision of horror and Bloober Team’s work on the SILENT HILL 2 remake.

Point’n Think: Can you walk us through your journey into the gaming industry and what initially drew you to this field?

Mateusz Lenart: I always wanted to be an artist and, for a long time, thought I would pursue a career in comics. In the 1990s, Poland experienced a wave of excitement over imported American comics that had previously been unavailable due to political reasons, and I was deeply inspired by them. I’d always wanted to create worlds, characters, and stories and bring them to life visually.

I entered the gaming industry by chance—and at a fairly young age. Toward the end of art high school, I started experimenting with digital painting, creating my first works on a Wacom Graphite A5 tablet. After posting a few illustrations on a popular Polish art platform, I received a call from one of the founders of Teyon (developers of Terminator Resistance and RoboCop), offering me a chance to collaborate.

At the time, I was about to start studying Graphic Design at the Academy of Fine Arts in Krakow. As a 19-year-old, I didn’t think I could balance both, but I agreed to meet with them. It turned out that Teyon’s office was just 400 meters from my house, which felt like a sign. Although I knew little about the gaming industry back then, Teyon proved to be an excellent place to learn and grow across many areas of the field.

I spent several years there, balancing the responsibilities of being a full-time student at the Academy while developing my skills at Teyon in areas like concept art, game design, 3D graphics, and lighting. I think that being actively involved in these two very different worlds at the same time greatly helped me grow as a creator, allowing me to blend knowledge from both fields.

PnT: What has been the most transformative project in your career so far, and how did it shape your approach to game design?

Mateusz: I think it won’t come as a surprise if I say Layers of Fear. It was my first project at Bloober Team and also my first role as a Creative Director in my career. This project was a major step for me in defining a specific direction and finding my place in the industry. It was also a new chapter for Bloober, marking the beginning of its journey as a developer of psychological horror games centered on deep storytelling and haunting atmosphere.

As a huge fan of film, I was able to fully immerse myself in this type of game, focusing on every layer of storytelling, which in previous games was often treated as a secondary element.

PnT: When working on horror games like Layers of Fear and The Medium, what core emotions or themes do you try to evoke in players?

Mateusz: Beyond the obvious fact that horror games should be frightening—a key focus for us—each game in Bloober’s portfolio takes a slightly different approach to horror, exploring distinct themes and the unique emotions tied to them. One of Bloober’s guiding principles, starting with Layers of Fear, was to identify a core theme or issue around which we could build the story. This theme shapes decisions around direction, gameplay, and visual style.

For example Layers of Fear delved into the artist’s dilemma of choosing between career and family; Observer explored the limits of humanity and the father-son relationship; The Medium addressed how different perspectives shape our subjective understanding of the same events and meanings.

In my opinion, what unites all these projects is a distinctive approach to atmosphere and tension-building—a sense of unease that often leaves players feeling uncomfortable and questioning the reality of what they see. The games raise questions for which players must often find their own answers, as the narrative rarely provides a clear resolution.

PnT: How has your background in traditional and digital art influenced your vision as a creative director in game development? 

Mateusz: I believe that my traditional artistic education has greatly helped me find a different perspective when creating games and solving creative challenges, often in ways that may seem unconventional. Art, in itself, conveys emotions in so many unique ways—finding beauty in simple forms or in what isn’t immediately visible. Familiarity with these artistic references often allows to bring fresh, distinctive ideas to a project.

At the same time, having a solid foundation in composition, color theory, painting styles, and architectural design helps to deliver concrete arguments when giving feedback during level design or visual storytelling, ensuring that each element is thoughtfully crafted.

PnT: What personal inspirations or interests do you draw from outside of gaming that fuel your work, especially in psychological horror?

Mateusz: There are so many sources of inspiration that it’s hard to list them all. During production, I most often draw on cinematic influences, with the impact of works like Kubrick’s The Shining, Ridley Scott’s Alien, and David Fincher’s Se7en clearly visible in our games.

But it’s not only films that inspire us. We’re been also influenced by the unsettling paintings of Zdzisław Beksiński and Nicola Samori, the comics and work of Junji Ito, and the writings of Stephen King, H.P. Lovecraft, and Edgar Allan Poe. Sometimes, even a single music video or art installation can spark a unique idea.

PnT: How would you describe Bloober Team’s unique approach to horror, and what do you think sets it apart from other studios in the genre?

Mateusz: Our approach to horror has evolved with each game we’ve made and with the experience we’ve gained from each project. Layers of Fear relied on a larger number of jump scares, as we weren’t sure if the game would be thrilling enough without them. With each new project, we focused more on atmosphere and creating emotions in a more subtle way.

Keeping the player in a state of unease most of the time works better than relying on sudden, hidden threats. That said, releasing tension occasionally is necessary to sustain the player’s engagement. Personally, I’ve never been a fan of brutal or gory horror—this is a matter of preference, but I find it much more frightening when the imagination and awareness of terrifying events do the work, rather than simply showing a corpse in the closet, which can feel more revolting than frightening.

A good example is the Saw series. I loved the first film, but in the later installments, I could no longer engage emotionally. I think emotional involvement is precisely what I’d like our games to be known for. If a player finishes the game but keeps thinking about it, reflecting on the themes it addressed, then in my view, we’ve succeeded. 

PnT: With The Medium, we can feel the influence of Zdzisław Beksiński on the game. How did you approach as a polish studio to adapt his work?

Mateusz: The work of Zdzisław Beksiński has inspired many creators, especially in Poland. Translating the unique atmosphere of his paintings into the language of gaming was no easy task. The technological limitations alone posed a significant challenge. We spent a lot of time striving to capture the essence of his work as accurately as possible—and I hope that, in most cases, we succeeded.

PnT: When remaking an iconic game like SILENT HILL 2, what’s the balance between staying true to the original and introducing new elements?

Mateusz: I believe each game should be approached individually, as there’s no single formula for a successful remake. From the start, we knew we didn’t want to simply create a copy or compete with the original. At the same time, we understood which elements of SILENT HILL 2 were essential and that altering them would risk losing what makes this game uniquely SILENT HILL 2.

A good example is our distinct approach to story and gameplay. While the core story elements are preserved in the remake, the way we convey them differs from the original—such as through a more realistic approach to voice acting. We spent a long time discussing the unique style of line delivery in the original, knowing that trying to replicate it might come across as mere imitation. By adding a deeper realism to the characters, the remake becomes a somewhat separate entity.

The gameplay changes were way bolder. Moving to a third-person camera, rebuilding nearly every location from scratch, and reworking the combat were necessary to engage players in 2024. Yet, when revisiting these locations, players should feel a sense of recalling familiar places. Players want us to invoke the memory and feeling they experienced years ago, without a direct 1:1 copy. Understanding what’s vital in each part of the experience was key to our success. We are playing with a feeling of nostalgia.

PnT: In terms of storytelling, what did you want to add or modify in Silent Hill 2 to make it resonate with modern players?

Mateusz: When it comes to the main narrative layer, we didn’t want to change much of the original story. Instead, we focused on using modern technology to convey certain elements in a more cinematic way. The dialogues were rewritten to support this approach. Sometimes, it was enough to show emotions rather than talk about them—something films have accustomed us to, but which wasn’t possible in older games.

A lot of the new content can be found in the gameplay narrative, which was designed to maintain player engagement over much longer playtime.

PnT: What was the most challenging aspect of reimagining Silent Hill 2, both creatively and technically?

Mateusz: I can confidently say that the most challenging aspect was the combat. On one hand, it was our first attempt at a combat system in the company, so we had to learn a lot before we achieved the desired results.

On the other hand, the difficulty was compounded by the fact that the combat in SILENT HILL 2 shouldn’t resemble typical gameplay in many ways. Beyond the deep meaning each encounter carries, James should never be perceived as a strong protagonist. He’s not a heroic character, and every action he takes should feel like something an ordinary person could do.

The challenge lies in ensuring that his clumsiness doesn’t frustrate the player. Balancing this aspect—timing, style, and the enjoyment the combat should bring—was a difficult task.

PnT: How did you work with the original creators and Konami Digital Entertainment (KONAMI) to ensure authenticity in the Silent Hill 2 remake?

Mateusz: The involvement of the original creators at the very beginning of production was crucial for gaining a deep understanding of the essence of the game. The ability to ask questions and receive answers not from the internet, but directly from the source, was key.

Masahiro Ito created new interpretations of the monsters from the original game and shared many insights about the game and its specific elements. Akira Yamaoka reimagined the iconic music that every Silent Hill 2 fan holds in their memory. The approval from Konami and the original developers helped us build the confidence we needed to create such a demanding project.

PnT: You and your team did a fantastic work on Silent Hill 2 environments. The set design, the lighting and James’ head tilts make exploration pleasant and organic without any indicator. Achieving this in a game with an entirely free-form camera must have been particularly difficult?

Mateusz: I’m glad we were able to achieve such an effect. Guiding the player subtly without breaking their immersion in the game world was something we dedicated a lot of time to. The right approach to the visual design of doors might seem trivial, but it turned out to be quite a challenge, especially when we were determined to avoid the feeling of playing in a generic, post-apocalyptic, boarded-up city.

PnT: How do you approach the concept of fear in your games—do you have a philosophy or key element you believe is essential to creating suspense?

Mateusz: I think that, through its elements and style, the original Silent Hill 2 is the perfect example of how to build tension and fear in players in the right way.

Silent Hill 2 scares us primarily through its atmosphere and unique design. It frightens us with what we cannot see; we fear the darkness and what lies hidden in the fog. The radio is a wonderful tool for building suspense. The design of the enemies makes every encounter raise questions and create a sense of uncertainty among players. Interpreting what’s around us during gameplay can be mind-bending.

Keeping players on edge for most of the game is something the original did in the best possible way, and I believe we’ve been able to recreate that feeling in the remake, expanding on the ideas from the original and adding new ones.

PnT: What role does player psychology play in the games you develop, and how do you factor it into design choices?

Mateusz: SILENT HILL 2 tells a story about emotions that are universal to all people, even if they manifest in less dramatic forms. The same is true for other games. People engage with things that can reflect their own concerns, problems, and fears. Utilizing these elements of human psychology is key to building a strong psychological horror. If the player doesn’t believe what we’re presenting to them during the game, they won’t be able to emotionally invest in the experience. That’s why every decision in narrative and design should be directly tied to the theme we’re exploring and offer a believable interpretation of it.

PnT: What aspects of your role as a creative director excite you the most, and what are some of the lesser-known challenges that come with it?

Mateusz: I think what’s most interesting about my work is that I have to ensure every element represents the overall vision and style of the game, and I have influence over so many aspects of it. Often, this isn’t simple, as sometimes you have to choose a seemingly less exciting idea in order to maintain that cohesion.

One thing you have to come to terms with at some point is the fact that I can’t do specific thing myself anymore, even though for much of my career, I was able to. The key is having a talented team that you can trust and rely on, which I am fortunate enough to have.

PnT: As an artist, how do you know when a game or design is “complete”? Is there a feeling or standard you aim for?

Mateusz: We never know when it’s truly finished, and there’s always a desire to do more. Fortunately, we have deadlines that force us to say, “It’s good enough.” haha

To be completely serious, we are all still learning. Over the years, as we gain more experience, we become increasingly aware of the things we can do without, in favor of those that will have a real impact on the game’s reception and quality.

PnT: Is there any dream project, genre, or story you haven’t yet explored but would love to tackle in the future? 

Mateusz: In terms of my career at Bloober, there are a few projects I would like to work on, but I will keep them a secret so you can be surprised if we’re able to announce them in the future.

Outside of my work at Bloober, I’d like to create something I can safely show to my three little daughters, as most of the projects I’ve worked on over the past 10 years at Bloober are completely unsuitable for that.

PnT: What do you hope players will take away from experiencing the Silent Hill 2 remake under your direction?

Mateusz: I hope that they simply enjoy their time playing the game into which we’ve poured so much heart and passion. I don’t expect anything more.

PnT: Finally, in your opinion, how will horror in video games evolve in the coming years, and how does Bloober Team plan to stay at the forefront of this change?

Mateusz: It’s hard to predict how horror will evolve in the coming years. I hope we’ll get to experience some new, surprising stories and concepts in games of this genre. I believe there are still many unexplored paths and ideas that can be brought to life.

As for Bloober, I would like us to preserve our DNA as a company and continue developing within the psychological horror genre, with elements of survival horror, reaching an ever-growing number of players. With every new project over the past 10 years, we’ve raised the bar higher, and we want to continue growing as a company and developers. That’s our main goal, and I hope every new project will be better than the last.