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GameCube Ver. biohazard Official Navigation Book
(ゲームキューブ版 バイオハザードオフィシヤルナビゲーションブック) |
Released: 25/03/2002
Softcover: 111 Publisher: CAPCOM, Enterbrain ISBN-10: 4757708513 ISBN-13: 9784757708518 |
Developer Interview (p.004-011)
Shinji Mikami - General Manager, Production Studio 4, CAPCOM Co., Ltd. Creator and father of the "BIOHAZARD" series. Worked on numerous hits such as the BIOHAZARD and Dino Crisis series. On this game, he's involved in development as director for the first time in five years.
Hiroyuki Kobayashi - Belongs to CAPCOM Production Studio 4. Involved in production of the BIOHAZARD series, "Dino Crisis", etc. as a planner. Following "Dino Crisis 2" and "Devil May Cry", he's a producer on this game.
--- What's the lineup for the future of the "BIO" series for the GC?
KOBAYASHI: "1", "0", "Remake," "3", "Veronica X", "4".
MIKAMI: Of those mentioned, "2", "3" and "Veronica Complete" are just ports of the same games, so I'll say this, "People who've already played, don't buy!"
KOBAYASHI: The port versions are exactly the same as the PS and PS2 versions.
--- What was the reason for releasing the whole BIO series as GC versions?
MIKAMI: I think it's for some players who are new to this series. It'll be tough to understand the gap between "1" and "4." There's a storyline connection, so I think it'd be better to re-release everything.
KOBAYASHI: We wanted to make it possible to play the whole BIO series on the GC.
MIKAMI: Also, Nintendo consoles like the GC seem to have a longer life, so maybe they can even play as far as "5."
KOBAYASHI: ...That is, if "5" shows up. Well, if there's "4" or even later, we can easily release it on the GC.
MIKAMI: Another reason's that the GameCube's game-only hardware. In a world where you can watch DVDs and play games, I think players can't concentrate on games.
--- I see. So why did you remake the original?
MIKAMI: It's hard to simply make a title that's based on a previous title one more time, right?
KOBAYASHI: Because it's a six-year-old title.
MIKAMI: It's hard to recreate the quality of the game before you get to understand the original attraction of "BIO1." Therefore, before we began I said "Please let's make this scary again", I first decided to fix it with regards to the visuals.
--- Did you envision only changing visual aspects?
MIKAMI: If none of the visuals changed, I think the players would remember, and if the content's all the same, it won't be interesting to replay. At first I was thinking about making a few more changes, but in the end I think we made quite enough.
KOBAYASHI: Last autumn we remodeled the mansion building, made new environments, and altered the visuals. But in the end "1" is "1." At that time, there was the opinion that players want one more game from Mikami...
MIKAMI: I initially wanted to make all the enemies invisible. But that means it'd change the game significantly... If it changes too much, it'd be said it's not BIO, and if it doesn't change enough, there's the dilemma where we're stuck in a "rut"... So, we decided upon changing the game by killing enemies but then having them resurrect, which we felt was enough of a change but not too much.
KOBAYASHI: "The Zombies will come back to life," this is the biggest part of the game...
MIKAMI: Originally to defeat them, XX and △△ (would normally defeat them).
KOBAYASHI: I can't spoil it, but you have to defeat them in two ways.
--- Can we please take a moment to pay particular attention to the details of the game.
MIKAMI: Well the particular details are what's important after all. Drawing, realism, motion... and "effects." The point being the effects of blood spray and gunfire, flame and water, etc. In all these things, they're not just photo-realistic expressions, but the game enjoys an atmosphere with a sense of reality.
KOBAYASHI: It's a "presence" that's likely to be interacted with if it's there. After that, returning to the origin of BIO and "fear." I think this time we aimed for "the ultimate fear."
MIKAMI: Of course, it's simply fun as a game. But we've made it a lot more difficult. Depending on the player, it may be a bit tough. However, there are emergency defense items available this time. Basically, it's a difficult game. If you don't like hard games, please don't play.
EVERYONE: (Laughs)
MIKAMI: I think this game's my favorite. There are some who enjoy the toughness and some don't. BIO's a tough game. The concept was "Let's make a very tough game!"
--- In the past there were many games that couldn't be cleared.
MIKAMI: There's an opinion among players that, "It's all about clearing the game," but this isn't necessarily true, a lot of old games haven't been cleared. So I don't think the important thing's to clear a game, this isn't the value of a game. I think a game's like a 100m hurdle sprint, it should get more difficult as you progress.
KOBAYASHI: In such a world, for this product, we wanted to make the player think about how they play the game.
--- What about the characters?
KOBAYASHI: This time, we chose external models by way of auditions then took a 3D scan of the facial images from actual people. Based on those we made the characters by taking steps like getting close to the resemblance of Chris and Jill using past images... we did a lot of auditions too.
MIKAMI: Yeah... Well, the problem was the self-portrait thing.
---What do you mean?
KOBAYASHI: We didn't want to be sued.
MIKAMI: By making it more realistic, you may not realize it looks like an actual person even when it's not intended to. So we made them look like the models who'd auditioned for us.
KOBAYASHI: It also helps improve quality. After all it was better to shoot directly.
--- You used faces and movements from actual people?
KOBAYASHI: The looks are different. It's the shape of the face and nose.
MIKAMI: We chose models with particular appearances. That's to make the character appearances more impressive. We wanted to make it more realistic, then wanted to exhibit "raw" character, so we had a lot of options especially for those with agents.
--- How about the movement?
MIKAMI: Pay particular attention to Chris' movements. It's Mr. Actor's motion capture, but it's very physical movements.
KOBAYASHI: That was actually how the actor would move.
--- Were Rebecca or Barry also motion captured?
KOBAYASHI: Of course, we used it for all of them. All five characters, including Wesker, we took photos of. It's only characters who die that weren't captured.
--- Who's Wesker's model?
KOBAYASHI: He was a great person.
MIKAMI: His face was long. It was too long and thin. It's much thicker than the original model, but still thin. The original model's data was a bit too thin. We made the width thicker, but if it gets too much then the reality's broken. So we made him look "fearless" and made him move "slow."
KOBAYASHI: All the models had their own individual cool movements.
MIKAMI: We deliberately wanted to make his movements like an "old man."
--- It looks cool. I felt like I was in control of an actual person.
MIKAMI: Please watch the motions carefully. It's a great way to get into the characters, Mr. Burton's a great character. If you decide to do everything correctly, you'll end up with a "Caring Uncle." Barry's gestures throughout the game are very tasteful. I really like him personally.
KOBAYASHI: Barry's the most charismatic person this time.
--- Rebecca's more of a mature adult.
MIKAMI: In her case, there's the connection to "0." In "0" she's the main character... but the character from "1"... isn't the same after "0", if she says "Oh! No!" like the original version, she'd be too unreliable and timid. So we made her a little more serious.
--- I feel like her personality has changed as well...
MIKAMI: This was discussed by the staff during development, we talked about it a lot... even though she had that "Oh! No!" persona, it was okay, but she needed to toughen up (laugh).
KOBAYASHI: That's why Jill's pretty cute now. We made her to be more attractive as a whole, so this time it'll be a more attractive Jill.
--- But her appearance is pretty "physical."
MIKAMI: We wanted to make her body more visually attractive.
KOBAYASHI: Such as the bonus costume. She can wear her costume from "3", it's quite "fine."
--- I saw the costume, but on the stairs etc...
KOBAYASHI: Underwear?
EVERYONE: (Laughs)
MIKAMI: It was the first time... reusing her "3" outfit. At first, we were shooting at various angles in the sense of sharpening of the camera, and decided to try the "3" costume, so we changed it purposely.
--- There are places that you can see.
MIKAMI: There is. But if you look at the skirt, you can see it but it sticks out strangely. Also, you can even see it in the reflection of a puddle. Actually, when deciding that Jill's pants were "white"... I wasn't sure, but the designer decided for me. But it looks like white, I was deciding between "black" or "light blue." However, since the light was blue, it wouldn't have been "visible at all"... I think we should've gone with black.
--- That sounds like it was a difficult decision. What else?
MIKAMI: The texture of the skin after the costume change, was exciting.
KOBAYASHI: ...Yes, please look closely at the costume changes.
--- Please tell us the details with the enemies this time.
MIKAMI: Zombies have a strong design. In particular, we used textures of "real" materials to process them. We painted shirts and rags with red paint and stained them, covered them with soil from the park, photographed them with a camera, and processed them from there... By the way, there are Zombies in white shirts. At the time of shooting, I was told several times, "Please put them in a shirt!" Or "Put on a shirt!" Or "It's fun!"... "What kind of director am I!" (Laughs).
KOBAYASHI: By the way, in the case of Chris, too, I was asked to put him in a (jacket) by staff who wanted to see this. I told them for all the Zombies and characters, "I want this kind of material," and added the processing of wrinkles and so on. And for the cross section of the body and skin we created creasing. The materials were real.
--- There are also new types of enemies.
KOBAYASHI: As I said earlier, some Zombies revive after being put down... "Crimson Heads." These are scary. I played a big role in creating these. I cannot go to into detail here. But they're certainly an upgrade. The dog hasn't changed, but there's one dog wearing a chain.
MIKAMI: The movement of the dogs is really good this time.
--- How about the other enemies?
KOBAYASHI: I'm terribly afraid of them all.
MIKAMI: Personally I like the movement of the Hunters. Though they feel instinctively dangerous, I think it's one of the key elements of "BIO." By the way, if you stab them with the self-defense dagger, they'll react wildly.
KOBAYASHI: Chimeras also use the vents and hang from the ceiling, those are good moments.
--- What's your commitment to the dialogue?
KOBAYASHI: We had all the lines checked.
MIKAMI: A native English-speaking staff's in charge of the translation. I particularly love the line "I have this." So, "What do we do with this line?" Of course, I said "Change it!" Still, it was a long time ago so, "Do we need to change it?"
EVERYONE: (laughs)
MIKAMI: Even when I was thinking of the scenario, there was a scene in which Barry was caught by a mysterious monster and said, "I have no gun!" Therefore, there was a chance for Jill to say "You have this" and hand over the weapon.
--- Next, I'd like to ask you about the puzzles.
MIKAMI: The original versions were definitely harder... such as the gallery puzzle with the crows.
KOBAYASHI: I think the crow puzzle was easier this time as well... where you push the pictures. In the original version, you push the picture and if you make a mistake you get punished.
MIKAMI: This time, I made it a color pattern anyone can understand.
Shinji Mikami - General Manager, Production Studio 4, CAPCOM Co., Ltd. Creator and father of the "BIOHAZARD" series. Worked on numerous hits such as the BIOHAZARD and Dino Crisis series. On this game, he's involved in development as director for the first time in five years.
Hiroyuki Kobayashi - Belongs to CAPCOM Production Studio 4. Involved in production of the BIOHAZARD series, "Dino Crisis", etc. as a planner. Following "Dino Crisis 2" and "Devil May Cry", he's a producer on this game.
--- What's the lineup for the future of the "BIO" series for the GC?
KOBAYASHI: "1", "0", "Remake," "3", "Veronica X", "4".
MIKAMI: Of those mentioned, "2", "3" and "Veronica Complete" are just ports of the same games, so I'll say this, "People who've already played, don't buy!"
KOBAYASHI: The port versions are exactly the same as the PS and PS2 versions.
--- What was the reason for releasing the whole BIO series as GC versions?
MIKAMI: I think it's for some players who are new to this series. It'll be tough to understand the gap between "1" and "4." There's a storyline connection, so I think it'd be better to re-release everything.
KOBAYASHI: We wanted to make it possible to play the whole BIO series on the GC.
MIKAMI: Also, Nintendo consoles like the GC seem to have a longer life, so maybe they can even play as far as "5."
KOBAYASHI: ...That is, if "5" shows up. Well, if there's "4" or even later, we can easily release it on the GC.
MIKAMI: Another reason's that the GameCube's game-only hardware. In a world where you can watch DVDs and play games, I think players can't concentrate on games.
--- I see. So why did you remake the original?
MIKAMI: It's hard to simply make a title that's based on a previous title one more time, right?
KOBAYASHI: Because it's a six-year-old title.
MIKAMI: It's hard to recreate the quality of the game before you get to understand the original attraction of "BIO1." Therefore, before we began I said "Please let's make this scary again", I first decided to fix it with regards to the visuals.
--- Did you envision only changing visual aspects?
MIKAMI: If none of the visuals changed, I think the players would remember, and if the content's all the same, it won't be interesting to replay. At first I was thinking about making a few more changes, but in the end I think we made quite enough.
KOBAYASHI: Last autumn we remodeled the mansion building, made new environments, and altered the visuals. But in the end "1" is "1." At that time, there was the opinion that players want one more game from Mikami...
MIKAMI: I initially wanted to make all the enemies invisible. But that means it'd change the game significantly... If it changes too much, it'd be said it's not BIO, and if it doesn't change enough, there's the dilemma where we're stuck in a "rut"... So, we decided upon changing the game by killing enemies but then having them resurrect, which we felt was enough of a change but not too much.
KOBAYASHI: "The Zombies will come back to life," this is the biggest part of the game...
MIKAMI: Originally to defeat them, XX and △△ (would normally defeat them).
KOBAYASHI: I can't spoil it, but you have to defeat them in two ways.
--- Can we please take a moment to pay particular attention to the details of the game.
MIKAMI: Well the particular details are what's important after all. Drawing, realism, motion... and "effects." The point being the effects of blood spray and gunfire, flame and water, etc. In all these things, they're not just photo-realistic expressions, but the game enjoys an atmosphere with a sense of reality.
KOBAYASHI: It's a "presence" that's likely to be interacted with if it's there. After that, returning to the origin of BIO and "fear." I think this time we aimed for "the ultimate fear."
MIKAMI: Of course, it's simply fun as a game. But we've made it a lot more difficult. Depending on the player, it may be a bit tough. However, there are emergency defense items available this time. Basically, it's a difficult game. If you don't like hard games, please don't play.
EVERYONE: (Laughs)
MIKAMI: I think this game's my favorite. There are some who enjoy the toughness and some don't. BIO's a tough game. The concept was "Let's make a very tough game!"
--- In the past there were many games that couldn't be cleared.
MIKAMI: There's an opinion among players that, "It's all about clearing the game," but this isn't necessarily true, a lot of old games haven't been cleared. So I don't think the important thing's to clear a game, this isn't the value of a game. I think a game's like a 100m hurdle sprint, it should get more difficult as you progress.
KOBAYASHI: In such a world, for this product, we wanted to make the player think about how they play the game.
--- What about the characters?
KOBAYASHI: This time, we chose external models by way of auditions then took a 3D scan of the facial images from actual people. Based on those we made the characters by taking steps like getting close to the resemblance of Chris and Jill using past images... we did a lot of auditions too.
MIKAMI: Yeah... Well, the problem was the self-portrait thing.
---What do you mean?
KOBAYASHI: We didn't want to be sued.
MIKAMI: By making it more realistic, you may not realize it looks like an actual person even when it's not intended to. So we made them look like the models who'd auditioned for us.
KOBAYASHI: It also helps improve quality. After all it was better to shoot directly.
--- You used faces and movements from actual people?
KOBAYASHI: The looks are different. It's the shape of the face and nose.
MIKAMI: We chose models with particular appearances. That's to make the character appearances more impressive. We wanted to make it more realistic, then wanted to exhibit "raw" character, so we had a lot of options especially for those with agents.
--- How about the movement?
MIKAMI: Pay particular attention to Chris' movements. It's Mr. Actor's motion capture, but it's very physical movements.
KOBAYASHI: That was actually how the actor would move.
--- Were Rebecca or Barry also motion captured?
KOBAYASHI: Of course, we used it for all of them. All five characters, including Wesker, we took photos of. It's only characters who die that weren't captured.
--- Who's Wesker's model?
KOBAYASHI: He was a great person.
MIKAMI: His face was long. It was too long and thin. It's much thicker than the original model, but still thin. The original model's data was a bit too thin. We made the width thicker, but if it gets too much then the reality's broken. So we made him look "fearless" and made him move "slow."
KOBAYASHI: All the models had their own individual cool movements.
MIKAMI: We deliberately wanted to make his movements like an "old man."
--- It looks cool. I felt like I was in control of an actual person.
MIKAMI: Please watch the motions carefully. It's a great way to get into the characters, Mr. Burton's a great character. If you decide to do everything correctly, you'll end up with a "Caring Uncle." Barry's gestures throughout the game are very tasteful. I really like him personally.
KOBAYASHI: Barry's the most charismatic person this time.
--- Rebecca's more of a mature adult.
MIKAMI: In her case, there's the connection to "0." In "0" she's the main character... but the character from "1"... isn't the same after "0", if she says "Oh! No!" like the original version, she'd be too unreliable and timid. So we made her a little more serious.
--- I feel like her personality has changed as well...
MIKAMI: This was discussed by the staff during development, we talked about it a lot... even though she had that "Oh! No!" persona, it was okay, but she needed to toughen up (laugh).
KOBAYASHI: That's why Jill's pretty cute now. We made her to be more attractive as a whole, so this time it'll be a more attractive Jill.
--- But her appearance is pretty "physical."
MIKAMI: We wanted to make her body more visually attractive.
KOBAYASHI: Such as the bonus costume. She can wear her costume from "3", it's quite "fine."
--- I saw the costume, but on the stairs etc...
KOBAYASHI: Underwear?
EVERYONE: (Laughs)
MIKAMI: It was the first time... reusing her "3" outfit. At first, we were shooting at various angles in the sense of sharpening of the camera, and decided to try the "3" costume, so we changed it purposely.
--- There are places that you can see.
MIKAMI: There is. But if you look at the skirt, you can see it but it sticks out strangely. Also, you can even see it in the reflection of a puddle. Actually, when deciding that Jill's pants were "white"... I wasn't sure, but the designer decided for me. But it looks like white, I was deciding between "black" or "light blue." However, since the light was blue, it wouldn't have been "visible at all"... I think we should've gone with black.
--- That sounds like it was a difficult decision. What else?
MIKAMI: The texture of the skin after the costume change, was exciting.
KOBAYASHI: ...Yes, please look closely at the costume changes.
--- Please tell us the details with the enemies this time.
MIKAMI: Zombies have a strong design. In particular, we used textures of "real" materials to process them. We painted shirts and rags with red paint and stained them, covered them with soil from the park, photographed them with a camera, and processed them from there... By the way, there are Zombies in white shirts. At the time of shooting, I was told several times, "Please put them in a shirt!" Or "Put on a shirt!" Or "It's fun!"... "What kind of director am I!" (Laughs).
KOBAYASHI: By the way, in the case of Chris, too, I was asked to put him in a (jacket) by staff who wanted to see this. I told them for all the Zombies and characters, "I want this kind of material," and added the processing of wrinkles and so on. And for the cross section of the body and skin we created creasing. The materials were real.
--- There are also new types of enemies.
KOBAYASHI: As I said earlier, some Zombies revive after being put down... "Crimson Heads." These are scary. I played a big role in creating these. I cannot go to into detail here. But they're certainly an upgrade. The dog hasn't changed, but there's one dog wearing a chain.
MIKAMI: The movement of the dogs is really good this time.
--- How about the other enemies?
KOBAYASHI: I'm terribly afraid of them all.
MIKAMI: Personally I like the movement of the Hunters. Though they feel instinctively dangerous, I think it's one of the key elements of "BIO." By the way, if you stab them with the self-defense dagger, they'll react wildly.
KOBAYASHI: Chimeras also use the vents and hang from the ceiling, those are good moments.
--- What's your commitment to the dialogue?
KOBAYASHI: We had all the lines checked.
MIKAMI: A native English-speaking staff's in charge of the translation. I particularly love the line "I have this." So, "What do we do with this line?" Of course, I said "Change it!" Still, it was a long time ago so, "Do we need to change it?"
EVERYONE: (laughs)
MIKAMI: Even when I was thinking of the scenario, there was a scene in which Barry was caught by a mysterious monster and said, "I have no gun!" Therefore, there was a chance for Jill to say "You have this" and hand over the weapon.
--- Next, I'd like to ask you about the puzzles.
MIKAMI: The original versions were definitely harder... such as the gallery puzzle with the crows.
KOBAYASHI: I think the crow puzzle was easier this time as well... where you push the pictures. In the original version, you push the picture and if you make a mistake you get punished.
MIKAMI: This time, I made it a color pattern anyone can understand.
S.T.A.R.S. Profile
Chris Redfield (p.012)
Age: 25
Blood Type: O
Height: 181cm
Weight: 80.5kg
Belongs to S.T.A.R.S. Alpha Team. His marksmanship skills are the best in the team and he can handle a variety of weapons. He has strong powers of observation and insight, with abundant experience in actual combat. He's mentally strong with a tough body able to survive under severe circumstances with his exemplary survival abilities. He's a former U.S. Air Force pilot and also has a helicopter license. He's the type to commit to his beliefs.
Jill Valentine (p.013)
Age: 23
Blood Type: B
Height: 166cm
Weight: 50.4kg
Belongs to S.T.A.R.S. Alpha Team. She's formidable in handling explosives and her lock-picking techniques are astounding. She appears delicate at a glance but has experienced a training course of the counter-terrorist unit Delta Force prided by the U.S., so she has excellent combat skills. She fulfills her duties faithfully and is well-trusted by her colleagues. She's the type who burns with justice and can't tolerate injustice.
S.T.A.R.S. ORGANIZATION PROFILE (p.014)
A special operations unit established in 1996 in order to respond to crime that was becoming more differentiated and diversified year after year. Its official name's "Special Tactics and Rescue Service", popularly named "S.T.A.R.S." It belongs to the Raccoon City Police but its formation was sponsored by multiple private companies including a local giant business, the Umbrella Corporation. For this reason it's distinguished from the general police force and possesses advanced equipment as well as its own intelligence network. It currently consists of two teams, "Alpha Team" and "Bravo Team." It's comprised of specialists in every field and each team has 6 people totaling 12 to deal with crimes.
Barry Burton
Age: 38
Blood Type: A
Height: 186cm
Weight: 89.3kg
Belongs to S.T.A.R.S. Alpha Team. A veteran who has accomplished his duties in a great deal of live combat. He has an abundant knowledge of firearms and is proficient in remodeling guns. He has a strong sense of justice and is utmost trusted by his colleagues. He's a devoted husband with two daughters. He has a long-time relationship with Chris.
Rebecca Chambers (Page 015)
Age: 18
Blood Type:
Height: 161cm
Weight: 42.1kg
Belongs to S.T.A.R.S. Bravo Team. She has prominent knowledge in relation to chemicals and is the team's chief medic. This incident will be her first real combat as a rookie following her enlistment, but she'll display her abilities with the her colleagues' support. She has the capabilities to survive hardship.
Albert Wesker
Age: 38
Blood Type: O
Height: 183cm
Weight: 84.5kg
S.T.A.R.S. Captain. When S.T.A.R.S. was established in 1996 he was headhunted by an outside company and assumed office as Captain. He issues instructions during combat as Leader of Alpha Team. He's a calm and composed presence and the officers acknowledge his strength of judgement and ability to act under any situation.
Chris Redfield (p.012)
Age: 25
Blood Type: O
Height: 181cm
Weight: 80.5kg
Belongs to S.T.A.R.S. Alpha Team. His marksmanship skills are the best in the team and he can handle a variety of weapons. He has strong powers of observation and insight, with abundant experience in actual combat. He's mentally strong with a tough body able to survive under severe circumstances with his exemplary survival abilities. He's a former U.S. Air Force pilot and also has a helicopter license. He's the type to commit to his beliefs.
Jill Valentine (p.013)
Age: 23
Blood Type: B
Height: 166cm
Weight: 50.4kg
Belongs to S.T.A.R.S. Alpha Team. She's formidable in handling explosives and her lock-picking techniques are astounding. She appears delicate at a glance but has experienced a training course of the counter-terrorist unit Delta Force prided by the U.S., so she has excellent combat skills. She fulfills her duties faithfully and is well-trusted by her colleagues. She's the type who burns with justice and can't tolerate injustice.
S.T.A.R.S. ORGANIZATION PROFILE (p.014)
A special operations unit established in 1996 in order to respond to crime that was becoming more differentiated and diversified year after year. Its official name's "Special Tactics and Rescue Service", popularly named "S.T.A.R.S." It belongs to the Raccoon City Police but its formation was sponsored by multiple private companies including a local giant business, the Umbrella Corporation. For this reason it's distinguished from the general police force and possesses advanced equipment as well as its own intelligence network. It currently consists of two teams, "Alpha Team" and "Bravo Team." It's comprised of specialists in every field and each team has 6 people totaling 12 to deal with crimes.
Barry Burton
Age: 38
Blood Type: A
Height: 186cm
Weight: 89.3kg
Belongs to S.T.A.R.S. Alpha Team. A veteran who has accomplished his duties in a great deal of live combat. He has an abundant knowledge of firearms and is proficient in remodeling guns. He has a strong sense of justice and is utmost trusted by his colleagues. He's a devoted husband with two daughters. He has a long-time relationship with Chris.
Rebecca Chambers (Page 015)
Age: 18
Blood Type:
Height: 161cm
Weight: 42.1kg
Belongs to S.T.A.R.S. Bravo Team. She has prominent knowledge in relation to chemicals and is the team's chief medic. This incident will be her first real combat as a rookie following her enlistment, but she'll display her abilities with the her colleagues' support. She has the capabilities to survive hardship.
Albert Wesker
Age: 38
Blood Type: O
Height: 183cm
Weight: 84.5kg
S.T.A.R.S. Captain. When S.T.A.R.S. was established in 1996 he was headhunted by an outside company and assumed office as Captain. He issues instructions during combat as Leader of Alpha Team. He's a calm and composed presence and the officers acknowledge his strength of judgement and ability to act under any situation.
S.T.A.R.S. Report on the Mansion (p.038-091)
The beautifully built hall's divided up by many rooms, and most of the doors are securely locked. The expensive furniture and paintings themselves are often clever traps. First we'll investigate carefully in order to secure an escape route.
A forest area that blends in with the dark of the jet-black night, along with a garden surrounded by a variety of flowers. After finally getting out of the oppressive mansion and making it into the open air, a new terror opened up. I've released the water from a dam and secured a route to the dormitory.
A place where remnants of life show through, such as entertainment facilities and bathrooms. It used to be a lodging for researchers working at the facility. The downfall of the place is evident in their notes and academic books. There was also a huge shark tank, a guard room, and a mysterious area hidden underground.
When returning to the mansion, new doors opened up, and the number of traps was reduced. However, most of the traps are deeply related to the incident, with many where a single mistake would lead to immediate death. We need to be more careful than ever before.
Upon our second return to the courtyard, we found an underground cavern. A dim and dark underpass, a space that felt uncomfortable. We navigated through various traps and continued onward. Then in a room where someone seems to have been imprisoned, we witness the sad history behind this incident.
We made it to a laboratory where various experiment instruments were left unmonitored. A place with a chemical odor. A place where human corpses were treated as mere test subjects. And in my heart, I feel remorse for the incident. I want to get through this final trap and aim to escape with my comrades.
The beautifully built hall's divided up by many rooms, and most of the doors are securely locked. The expensive furniture and paintings themselves are often clever traps. First we'll investigate carefully in order to secure an escape route.
A forest area that blends in with the dark of the jet-black night, along with a garden surrounded by a variety of flowers. After finally getting out of the oppressive mansion and making it into the open air, a new terror opened up. I've released the water from a dam and secured a route to the dormitory.
A place where remnants of life show through, such as entertainment facilities and bathrooms. It used to be a lodging for researchers working at the facility. The downfall of the place is evident in their notes and academic books. There was also a huge shark tank, a guard room, and a mysterious area hidden underground.
When returning to the mansion, new doors opened up, and the number of traps was reduced. However, most of the traps are deeply related to the incident, with many where a single mistake would lead to immediate death. We need to be more careful than ever before.
Upon our second return to the courtyard, we found an underground cavern. A dim and dark underpass, a space that felt uncomfortable. We navigated through various traps and continued onward. Then in a room where someone seems to have been imprisoned, we witness the sad history behind this incident.
We made it to a laboratory where various experiment instruments were left unmonitored. A place with a chemical odor. A place where human corpses were treated as mere test subjects. And in my heart, I feel remorse for the incident. I want to get through this final trap and aim to escape with my comrades.
MONSTER
Zombie (p.098)
Zombies created via experimental administration of t-Virus variants conducted within the facility, and once again after people were infected when it was spread by an accident. Although some of their clothing etc gives off some traces of their lifetimes, their skin's deteriorated with no hint of light in their eyes. There are individual differences but after a short incubation period following infection, the abilities to think and reason are gradually lost with only the instinct to "eat" remaining. Due to their instinct they have many behaviors like occasionally opening their mouths wide to vomit gastric juices. They attack live humans and consume bloody flesh, with the attacked person also following the path to becoming a Zombie. t-Virus contamination spreads like a chain reaction in this manner. However, it's difficult to view them as formerly human whenever they crawl around in search of flesh, having lost the use of their legs.
Crimson Head (p.099)
When a Zombie receives constant attacks and ceases activity, it enters a dormant period and a mutant strain of the t-Virus reconstructs bodily tissues. Zombies that awaken from dormancy have large sharp nails and move faster than before. Since it's more ferocious, it can be classed as a completely different monster. So long as a Zombie isn't killed, it'll transform into this state for certain. A researcher named it "Crimson Head" which literally translated means "a head of crimson color", but in actuality the body of the dormant Zombie gradually turns red. Moreover, after it becomes active, it becomes more red by being bathed in the blood of its victims.
Cerberus
This Cerberus is a type of biological weapon (B.O.W.) created by design within the facility. One of the purposes of B.O.W. production's considered to be military use. This B.O.W. was created via t-Virus administration based on military dogs and given the name of a "hellhound" which appears in Greek mythology. As it was originally a Doberman, it's extremely ferocious. In addition its base features are more powerful and it's proficient in high speed movement as well as collaborative cooperative attacks. When a group entraps prey, they leap one after another making full use of their jumping power, and bite at the throat. On a side note there seem to be dogs inside the facility that were zombified via secondary infection.
Crow (p.100)
The t-Virus outbreak accident had an influence on the creatures around the facility. Contamination spread due to various factors such as injuries in B.O.W. attacks and feeding on virus-infected organisms. This Crow's also a crow turned into a monster by what's referred to as secondary infection. They usually perch on high places but group up to attack people who approach or behave suspiciously. Their attack methods are the same as their pre-infection habits, persistently aiming at the head with their sharp talons and beaks. The Crow's a creature accidentally infected with the t-Virus, but other secondary infected organisms have been identified. In regards to applications as a weapon, it appears even proliferation in cases like these have been calculated.
Monster Plant
A plant that became monstrous due to secondary infection of the t-Virus. Its appearance has completely changed from before it was infected and its species is unknown. It has lengthy, dense and ivy-like tentacles, and despite its thick and hardened epidermis, it moves flexibly. It uses its tentacles like whips to strike hard or sometimes entangle and constrict prey. It's so powerful it's hard to think of as a plant. Even after becoming a monster, it seems it's dependent on water to sustain its life and it has deeply rooted around a body of water. Although it has no means of movement, when considering the point that it can spread the virus over a wide range via its pollen, its impact can be predicted to be greater than other monsters.
Adder (p.101)
A venomous snake that has become more ferocious due to secondary infection with the t-Virus. Normally snakes rarely aggressively bite other large animals, but in the case of this Adder becoming a monster, they attack those that simply approach its habitat zone. t-Virus infection appears to have made its aggressive qualities more pronounced. They cluster atop walls and in trees then when prey passes beneath them, they drop and leap on their prey in groups. The Adder's terrifying not just because of its hemorrhagic venom, but it also facilitates the t-Virus entering the body via bites. In this respect, it can feel even more frightening than a B.O.W., etc.
Wasp
Wasp is the common name for wasps of the families Vespidae and Sphecidae, and from the wasp's shape, it can be assumed to be a member of the Vespidae family that has grown large as a result of the effects of the t-Virus. Most wasps are carnivorous, so presumably they were infected by feeding on insects that had consumed pollen from plants infected with the virus. If this is the case, it's safe to assume the virus' spread has gone much further than anticipated. And considering their reproductive capacity, contamination could spread even farther. They attack prey en masse with their large, sharp, venomous stinger. They appear to be especially ferocious in the vicinity of their hive, making it impossible to approach them without special protective clothing.
Web Spinner (p.102)
A B.O.W. created through experimental administration and genetic manipulation with the t-Virus. Its appearance and ecology seems to be based on one species of tarantula that widely inhabits Central America to South America. This spider, named the Web Spinner, clings to walls and ceilings while crawling around the facility in a bi-dimensional manner. They spray approaching prey with venom then once it's unable to move, they entangle it with their sticky webs. However, the behavior exhibited by some tarantulas of showering their prey with their own body hairs hasn't been documented. Their reproductive methods have also changed by raising small spiders within the womb, then once the parent's belly's breached, countless small spiders crawl out.
Chimera
Based on humans, this B.O.W.'s produced by altering its genetic structure and incorporating the genetic information of other organisms using the t-Virus. Its appearance is so horrifying as if to curse the researchers who made this creature. It's deserving of the name of the chimera (a lion's head, a goat's torso, a monster with a tail) that appears in Greek mythology. Due to its large number of legs, it appears genetic information from insects is the key, but in any case, their agile movements and claws, which have developed like knives, are astounding. They prefer dimly lit places so they move inside vents and often attack prey with stealth. When it locates prey, it attacks with its huge claws.
Hunter (p.103)
Similar to the Chimera, it's a humanoid B.O.W. created by altering its genetic structure and incorporating the genetic information of other organisms using the t-Virus. As you can imagine from its appearance, it seems genetic information of reptiles or amphibians has been incorporated. It has a thick crust-like armor, huge claws and ugly fangs. It has swift mobility and excellent jumping power. When it locates prey, it jumps high and instantly lands upon them with its claws then slices at the neck. In addition to singular attacks, they also specialize in coordinated attacks with peers. The Hunter's name comes from this trait. Hunters have superior offensive and defensive capabilities and can be expected to be seen as a very powerful weapon among the B.O.W.'s produced within the facility. Sometimes they even display behavior that makes you think they have high intelligence, so when confronting them, severe caution's advised.
Zombie (p.098)
Zombies created via experimental administration of t-Virus variants conducted within the facility, and once again after people were infected when it was spread by an accident. Although some of their clothing etc gives off some traces of their lifetimes, their skin's deteriorated with no hint of light in their eyes. There are individual differences but after a short incubation period following infection, the abilities to think and reason are gradually lost with only the instinct to "eat" remaining. Due to their instinct they have many behaviors like occasionally opening their mouths wide to vomit gastric juices. They attack live humans and consume bloody flesh, with the attacked person also following the path to becoming a Zombie. t-Virus contamination spreads like a chain reaction in this manner. However, it's difficult to view them as formerly human whenever they crawl around in search of flesh, having lost the use of their legs.
Crimson Head (p.099)
When a Zombie receives constant attacks and ceases activity, it enters a dormant period and a mutant strain of the t-Virus reconstructs bodily tissues. Zombies that awaken from dormancy have large sharp nails and move faster than before. Since it's more ferocious, it can be classed as a completely different monster. So long as a Zombie isn't killed, it'll transform into this state for certain. A researcher named it "Crimson Head" which literally translated means "a head of crimson color", but in actuality the body of the dormant Zombie gradually turns red. Moreover, after it becomes active, it becomes more red by being bathed in the blood of its victims.
Cerberus
This Cerberus is a type of biological weapon (B.O.W.) created by design within the facility. One of the purposes of B.O.W. production's considered to be military use. This B.O.W. was created via t-Virus administration based on military dogs and given the name of a "hellhound" which appears in Greek mythology. As it was originally a Doberman, it's extremely ferocious. In addition its base features are more powerful and it's proficient in high speed movement as well as collaborative cooperative attacks. When a group entraps prey, they leap one after another making full use of their jumping power, and bite at the throat. On a side note there seem to be dogs inside the facility that were zombified via secondary infection.
Crow (p.100)
The t-Virus outbreak accident had an influence on the creatures around the facility. Contamination spread due to various factors such as injuries in B.O.W. attacks and feeding on virus-infected organisms. This Crow's also a crow turned into a monster by what's referred to as secondary infection. They usually perch on high places but group up to attack people who approach or behave suspiciously. Their attack methods are the same as their pre-infection habits, persistently aiming at the head with their sharp talons and beaks. The Crow's a creature accidentally infected with the t-Virus, but other secondary infected organisms have been identified. In regards to applications as a weapon, it appears even proliferation in cases like these have been calculated.
Monster Plant
A plant that became monstrous due to secondary infection of the t-Virus. Its appearance has completely changed from before it was infected and its species is unknown. It has lengthy, dense and ivy-like tentacles, and despite its thick and hardened epidermis, it moves flexibly. It uses its tentacles like whips to strike hard or sometimes entangle and constrict prey. It's so powerful it's hard to think of as a plant. Even after becoming a monster, it seems it's dependent on water to sustain its life and it has deeply rooted around a body of water. Although it has no means of movement, when considering the point that it can spread the virus over a wide range via its pollen, its impact can be predicted to be greater than other monsters.
Adder (p.101)
A venomous snake that has become more ferocious due to secondary infection with the t-Virus. Normally snakes rarely aggressively bite other large animals, but in the case of this Adder becoming a monster, they attack those that simply approach its habitat zone. t-Virus infection appears to have made its aggressive qualities more pronounced. They cluster atop walls and in trees then when prey passes beneath them, they drop and leap on their prey in groups. The Adder's terrifying not just because of its hemorrhagic venom, but it also facilitates the t-Virus entering the body via bites. In this respect, it can feel even more frightening than a B.O.W., etc.
Wasp
Wasp is the common name for wasps of the families Vespidae and Sphecidae, and from the wasp's shape, it can be assumed to be a member of the Vespidae family that has grown large as a result of the effects of the t-Virus. Most wasps are carnivorous, so presumably they were infected by feeding on insects that had consumed pollen from plants infected with the virus. If this is the case, it's safe to assume the virus' spread has gone much further than anticipated. And considering their reproductive capacity, contamination could spread even farther. They attack prey en masse with their large, sharp, venomous stinger. They appear to be especially ferocious in the vicinity of their hive, making it impossible to approach them without special protective clothing.
Web Spinner (p.102)
A B.O.W. created through experimental administration and genetic manipulation with the t-Virus. Its appearance and ecology seems to be based on one species of tarantula that widely inhabits Central America to South America. This spider, named the Web Spinner, clings to walls and ceilings while crawling around the facility in a bi-dimensional manner. They spray approaching prey with venom then once it's unable to move, they entangle it with their sticky webs. However, the behavior exhibited by some tarantulas of showering their prey with their own body hairs hasn't been documented. Their reproductive methods have also changed by raising small spiders within the womb, then once the parent's belly's breached, countless small spiders crawl out.
Chimera
Based on humans, this B.O.W.'s produced by altering its genetic structure and incorporating the genetic information of other organisms using the t-Virus. Its appearance is so horrifying as if to curse the researchers who made this creature. It's deserving of the name of the chimera (a lion's head, a goat's torso, a monster with a tail) that appears in Greek mythology. Due to its large number of legs, it appears genetic information from insects is the key, but in any case, their agile movements and claws, which have developed like knives, are astounding. They prefer dimly lit places so they move inside vents and often attack prey with stealth. When it locates prey, it attacks with its huge claws.
Hunter (p.103)
Similar to the Chimera, it's a humanoid B.O.W. created by altering its genetic structure and incorporating the genetic information of other organisms using the t-Virus. As you can imagine from its appearance, it seems genetic information of reptiles or amphibians has been incorporated. It has a thick crust-like armor, huge claws and ugly fangs. It has swift mobility and excellent jumping power. When it locates prey, it jumps high and instantly lands upon them with its claws then slices at the neck. In addition to singular attacks, they also specialize in coordinated attacks with peers. The Hunter's name comes from this trait. Hunters have superior offensive and defensive capabilities and can be expected to be seen as a very powerful weapon among the B.O.W.'s produced within the facility. Sometimes they even display behavior that makes you think they have high intelligence, so when confronting them, severe caution's advised.