In the November of 2002, director Kōji Oda gave an interview to Nintendo Online Magazine on Capcom’s upcoming title “Resident Evil 0.” While most of the interview contains information that might not be new for a game that’s been out for over 17 years, the director also shed light on bits of information regarding the game’s early development for the Nintendo 64 system. Below, you can find excerpts from the interview mostly focusing on the game’s early days.
N.O.M >>> 『バイオハザード０』はニンテンドウ64（N64）時代から発表されていた作品ですよね。
小田 企画自体は実は64DDが発表された頃に立ち上がっていました。しかし、そのスペックや販売状況を見ていくうち、N64本体で発売しようということになったんです。そこからシナリオ制作がスタートし、次いでゲーム本編の制作が始まりました。そしてその後にゲームキューブに移行することになったんです。N64版も半分以上は完成していたんですよ。もちろん映像などはすべて作り直しでしたが、キューブになっても企画の大枠は変わっていないですね。
Q: Resident Evil 0 had been confirmed since the Nintendo 64 (N64) times, hadn’t it?
A: Planning itself actually started around the announcement of the 64DD. But after seeing its specs and sales later on, release was moved to the regular N64. We started scenario production afterwards, then writing for the game’s story commenced. And then, so it happened that the game was moved to the Gamecube. With the N64 version being half-way done already. Although we naturally had to redo all of the visuals and the like, even shifting to the GC didn’t really change the general outline of our plans.
A: Planning itself actually started around the announcement of the 64DD. But after seeing its specs and sales later on, release was moved to the regular N64. We started scenario production afterwards, then writing for the game’s story commenced. And then, so it happened that the game was moved to the Gamecube. With the N64 version being half-way done already. Although we naturally had to redo all of the visuals and the like, even shifting to the GC didn’t really change the general outline of our plans.
N.O.M >>> というと、パートナーザッピングの発想はN64時代からあったんですか。
小田 ええ。パートナーザッピングを採用した理由の１つにN64のスペックがありました。N64はカートリッジですからロード時間が短いですよね。ハードの性能を活かした企画を考えた時、リアルタイムでザッピングができるシステムが生まれたんです。せっかく完成させたシステムだったので、ゲームキューブになってもそれをなんとか維持できないかと思い、研究を重ねて今の状態に持っていきました。N64ではほとんど瞬時にザッピングすることができましたが、ゲームキューブの場合はローディングを挟んでしまうため、それをいかにフレーム単位で短くするかというのは今回の大きな課題の一つでした。最初はお話にならないほど長かったんですが、なんとかストレスを感じない長さに納められたと思います。
Q: So the idea of “partner zapping” has been around since the N64 times?
A: Yeah. One of the reasons for adapting partner zapping was the specs of the N64. The load times were short because the N64 had cartridges. When we thought of ideas for capitalising on the hardware capabilities of the console, a system that’s capable of real-time zapping was born. Because it was a system developed so painstakingly, even when the project was moved to the Gamecube, we were thinking that we should preserve it somehow, and having delved into it once again, we maintained it in its current state. On the N64, zapping could be done almost instantaneously, but in the case of the Gamecube, one of our biggest concerns was how to have it short with a couple frames for inserting the loading process. At first, it was unspeakably long, but I think it ended up being a length where it isn’t really annoying or anything.
A: Yeah. One of the reasons for adapting partner zapping was the specs of the N64. The load times were short because the N64 had cartridges. When we thought of ideas for capitalising on the hardware capabilities of the console, a system that’s capable of real-time zapping was born. Because it was a system developed so painstakingly, even when the project was moved to the Gamecube, we were thinking that we should preserve it somehow, and having delved into it once again, we maintained it in its current state. On the N64, zapping could be done almost instantaneously, but in the case of the Gamecube, one of our biggest concerns was how to have it short with a couple frames for inserting the loading process. At first, it was unspeakably long, but I think it ended up being a length where it isn’t really annoying or anything.
N.O.M >>> パートナーザッピングは以前から温めていた企画だったんですか。
小田 そういうわけではなく、『バイオハザード ０』のために考えたシステムなんです。バイオというのは、シリーズごとに毎回新しいシステムが提示されていますよね。ある程度の統制は必要ですが、毎回その時に最高の面白さがあればいい、という考えが明確に反映されていると思います。
Q: Was partner zapping an idea that was revisited from before?
A: Not at all; it’s a system we came up with for Resident Evil 0. When it comes to RE games, a new feature is presented every time for each entry in the series, you know. While a degree of moderation is definitely required, every time it should be something very interesting for its time, and I think that sort of mindset is clearly apparent.
A: Not at all; it’s a system we came up with for Resident Evil 0. When it comes to RE games, a new feature is presented every time for each entry in the series, you know. While a degree of moderation is definitely required, every time it should be something very interesting for its time, and I think that sort of mindset is clearly apparent.
N.O.M >>> 映像面ではキューブ版の『バイオハザード』よりもさらにクオリティがアップしているようですが。
小田 N64から移行したあと暫くしてから、次の絵作りをどうしようかと考えていたところ、三上（真司＝第四開発部部長＝）からGC版『バイオハザード』のテスト画像を見せてもらったんです。ハードのスペックとは別に絵作りをとことん追求していたものだったので、それはもう凄まじいものがあったんですよ。これに近い絵が実機で動くのかと思うとどうしようかと。もちろん『バイオハザード ０』の方が後に出ますから、それ以上の絵にしないといけないわけですよね。そこから苦労が始まりました。
Q: In terms of graphics, the game seems to be of even higher quality than the GC version of Resident Evil.
A: After moving away from the N64, not long had passed until we found ourselves thinking about how to approach the game’s new visuals; that’s when we were shown test screens for the GC version of Resident Evil by Mikami (the head of R&D4). Because the specs of the hardware meant that we were in relentless pursuit of visuals in particular, that was already an intimidating thing. I don’t even know what I would do if I considered graphics close to that rendered in real time. And naturally, because “Resident Evil 0” would come later, we had to do even better visuals. That’s where our troubles started.
A: After moving away from the N64, not long had passed until we found ourselves thinking about how to approach the game’s new visuals; that’s when we were shown test screens for the GC version of Resident Evil by Mikami (the head of R&D4). Because the specs of the hardware meant that we were in relentless pursuit of visuals in particular, that was already an intimidating thing. I don’t even know what I would do if I considered graphics close to that rendered in real time. And naturally, because “Resident Evil 0” would come later, we had to do even better visuals. That’s where our troubles started.
N.O.M >>> 列車が舞台ということで、発表当時話題になりました。しかし、実際には列車以外にもたくさんのステージがありますよね。
小田 ええ。列車の画像しか出さなかったのは、冒頭のステージが列車で、そこの作りこみが一番進んでいたからなんです。本当はあの時点で他のステージも作っていたんですがクオリティにもまだバラつきがあったので、出しませんでした。列車も最初は止まっている車内でだけ物語が進んでいたのですが、いまひとつ新鮮味も感じられなかったので、走らせることにしました。N64の時はしばらく走っては止まるという流れだったんですが、ゲームキューブになってからは常に走行している状態にまで持っていけましたね。これは背景の動画をループさせて表現しているんですが、描き手がものすごくこだわりまして、「それは見てもわからないんじゃないか」というところまで細かく作りこんであります。目を凝らして見てみてください。
Q: During the reveal, the game became quite a popular topic with it taking place on a train. But surely there had to be many stages other than the train, right?
A: Yeah. The reason why only the train was shown was because it was the opening level, and that’s where the most progress was made regarding production. Truth is, at that point, other stages had been created too, but because in terms of quality, they were all over the place, they were never shown. With the train too, initially, the story was going to progress in just stationary wagons, but because it didn’t feel particularly fresh, we went with actually making it move. During the N64 times, it had a flow of sort of moving a bit then stopping but after the project was moved to the Gamecube, we took it to the current point where it moves constantly. That is expressed by looping moving backgrounds, but being extremely particular about illustrating that, they are built so finely that you wouldn’t really be able to tell that it’s the case just by looking at it. Try and take a close look.
A: Yeah. The reason why only the train was shown was because it was the opening level, and that’s where the most progress was made regarding production. Truth is, at that point, other stages had been created too, but because in terms of quality, they were all over the place, they were never shown. With the train too, initially, the story was going to progress in just stationary wagons, but because it didn’t feel particularly fresh, we went with actually making it move. During the N64 times, it had a flow of sort of moving a bit then stopping but after the project was moved to the Gamecube, we took it to the current point where it moves constantly. That is expressed by looping moving backgrounds, but being extremely particular about illustrating that, they are built so finely that you wouldn’t really be able to tell that it’s the case just by looking at it. Try and take a close look.
[…]
N64版を作った時にハードの制約上、映像表現やムービーの容量の制限が大きく、ゲーム部分でいかに遊ばせるかという部分をかなり検討したのですが、それはキューブになってもかなり色濃く残ってると思います。ゲームキューブ版の『バイオハザード』発表時にも三上が同じことを言っていたと思うんですが、ゲームをしたい人が、ゲーム専用のハードで、ゲームをプレイするということを想定しています。ＣＧに手を抜いているわけではありませんが、やはりゲーム性で評価された時、スタッフ全員が本当にやった甲斐があったと感じることができると思います。
[…] When we made the N64 version, from the point of view of hardware limitations, and with the huge restrictions for visuals and FMVs, we considerably examined the aspect of how to make gameplay entertaining, but I think that quite noticeably remained even when the project became a GC game. I think Mikami said the same thing during the announcement of the Gamecube version of Resident Evil also; however, people who want to game – on hardware dedicated to games – are expecting to play games. It’s not that we neglected graphics, but when the product is evaluated by way of gameplay, I think all members of the staff can truly feel that what they did was rewarding.