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BIOHAZARD REVELATIONS NAVIGATION & ART
(バイオハザード リベレーションズ ナビゲーション&アート) |
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Released: 26/01/2012
Hardcover: 190 Publisher: CAPCOM ISBN-10: 486233332X ISBN-13: 9784862333322 |
Prologue
2005, on the Mediterranean Sea...
Amidst a fierce thunder storm in the dark of night, a tugboat advances upon a ship, through the raging waves appears the figure of Jill Valentine as she embarks on a search and rescue mission.
The shadow of the ship standing before them is that of a luxury cruise ship, the Queen Zenobia. However, the majesty of the queen who used to elegantly sail the world doesn't seem so elegant now as it casts a dark, gloomy figure suitable for being called a ghost ship.
Jill muttered while approaching the ghost ship. "They'll surely be somewhere on this ship..."
But their disappearance was just the beginning of a nightmare.
And they were still unaware they were being led into a trap, within a swirling, endless conspiracy...
2005, on the Mediterranean Sea...
Amidst a fierce thunder storm in the dark of night, a tugboat advances upon a ship, through the raging waves appears the figure of Jill Valentine as she embarks on a search and rescue mission.
The shadow of the ship standing before them is that of a luxury cruise ship, the Queen Zenobia. However, the majesty of the queen who used to elegantly sail the world doesn't seem so elegant now as it casts a dark, gloomy figure suitable for being called a ghost ship.
Jill muttered while approaching the ghost ship. "They'll surely be somewhere on this ship..."
But their disappearance was just the beginning of a nightmare.
And they were still unaware they were being led into a trap, within a swirling, endless conspiracy...
CHARACTER
JILL VALENTINE (p.006)
A member of the NGO "BSAA" established by the Pharmaceutical Industry Association, as well as a founding member. She was also one of few survivors of the Raccoon City Destruction Incident. After the destruction of "Umbrella" in 2003, she joined the BSAA alongside Chris in search of a career fighting biological weapons leaked on the black market. This time, in response to a report Chris has disappeared, she participates in the Queen Zenobia "infiltration mission." But she still doesn't know she's about to be caught in the waves of a great conspiracy...
PARKER LUCIANI (p.007)
Of British Italian descent. Jill's new partner in the Queen Zenobia infiltration mission. A man known for serious and uncompromising investigation. He's a lovable hot-blooded man who tries to play a cool demeanor, but can't hide his deeply sincere and clumsy side. In the past he transferred from the "FBC" to the BSAA, spurred by an incident that happened a year ago. That incident seems closely related to this current event as well...
CHRIS REDFIELD (p.008)
One of the BSAA's founding members. He's been a comrade-in-arms with Jill ever since the incident at the Arklay Laboratory, known as the "Mansion Incident", which they faced in 1998 during their time as members of S.T.A.R.S. Although he's a battle-hardened tough guy who's managed to fight through multiple biohazards and bioterror incidents, he's mysteriously disappeared in the middle of investigating top-secret intel on a large-scale bioterror incident brought to the BSAA in secret...
JESSICA SHERAWAT (p.009)
A female agent with a former FBC career. On this occasion she was working with Chris on a bioterror investigation, but disappeared along with Chris. As her distinctive clothing shows, she never attempts to hide her individuality. Bored with everyday life and seeking thrills, Jessica's behavior and attitude sometimes sow discord in an organization like the BSAA. Although, perhaps she's prudent enough not to shy away from it, knowing a certain danger makes a woman all the more alluring.
KEITH LUMLEY (p.010)
A wise-cracking ladies man. His nickname's "Grinder" (meaning "womanizer"). He's accompanied by a different woman every time he's seen in private. The BSAA had a high opinion of his proven abilities and he was selected as a member for his combat record of many distinguished services in an elite special mercenary unit. Quint, who's an indoor-type shy around women, is the perfect target for his teasing, their daily bickering has become something of a hobby for Keith.
QUINT CETCHAM (p.011)
The BSAA's foremost mech enthusiast, as well as an analyst and scientist specializing in germ weapons. The bioscanner codenamed "GENESIS", which incorporates a vast amount of genetic data and virus samples, is a prototype developed by the Pharmaceutical Industry Association based on his proposals. He's a horror movie fanatic with catchphrases comparing many things to movies. Although he constantly argues with Keith whose personality's the polar opposite, in truth they're a good pair who complement each other.
CLIVE R. O'BRIAN (p.012)
The BSAA's current leader. During the unprecedented bioterror incident known as the "Terragrigia Panic", he was dispatched in the field as the lone BSAA observer at the European camp's request in protest of the FBC's tyranny in bringing the situation under control. Although he appears a bit sloppy on the surface, as a matter of fact he's a shrewd man possessing both political acumen and practical strengths. He expertly unifies the highly skilled members.
RAYMOND VESTER
One of the top ranked agents to have swiftly risen in the elite FBC. He stops at nothing to achieve results though, and his aggressive investigative skills draw criticism from several sides. Naturally, there have of course been countless occasions in which he has clashed with the BSAA, with his blatant sabotages leaving the BSAA unable to intervene in several incidents. A year ago he was Parker's direct subordinate. What happened to him after Parker's transfer... is anyone's guess.
MORGAN LANDSDALE (p.013)
Nicknamed "Silver Fox" after his gray hair, seemingly embodying his ruthlessness. Highly valuing his record as an advisor to the Pharmaceutical Industry Association, he was appointed as the FBC's founding commissioner. In advance of public sentiment, he led the charge in advocating to Congress for expanding the authority of a specialized agency to respond to the dangers of bioterrorism. During the Terragrigia Panic, he personally spearheaded the drive to contain the situation. With an iron will and leadership ability belying his appearance, he elevated the FBC to become the world's largest anti-bioterror organization, in deed as well as in name.
RACHEL
A mysterious woman who holds her arm due to an injury. She wears a wetsuit like Jill, but is she also an ally of Jill's? Her fate awaits her on the ghost ship ...
GAS MASK (p.014)
A mysterious man wearing a gas mask to hide his identity. From his appearance, everyone associates him with "Veltro" since they wore similar masks during their Terragrigia Incident statement. This man awaiting onboard the ghost ship, is he a ghost of Veltro...?
JACK NORMAN
The man said to be the mastermind of the 2004 Terragrigia Panic who led the internationally designated terrorist organization Veltro. Although said to have governed the armed cult group with overwhelming charisma, his personality's shrouded in mystery. After gaining control of the situation in the Terragrigia Panic, the FBC continued to mop-up Veltro. After a number of months, it was announced they'd annihilated Veltro through covert ops. They declared confirmation of Norman's death at the time.
JILL VALENTINE (p.006)
A member of the NGO "BSAA" established by the Pharmaceutical Industry Association, as well as a founding member. She was also one of few survivors of the Raccoon City Destruction Incident. After the destruction of "Umbrella" in 2003, she joined the BSAA alongside Chris in search of a career fighting biological weapons leaked on the black market. This time, in response to a report Chris has disappeared, she participates in the Queen Zenobia "infiltration mission." But she still doesn't know she's about to be caught in the waves of a great conspiracy...
PARKER LUCIANI (p.007)
Of British Italian descent. Jill's new partner in the Queen Zenobia infiltration mission. A man known for serious and uncompromising investigation. He's a lovable hot-blooded man who tries to play a cool demeanor, but can't hide his deeply sincere and clumsy side. In the past he transferred from the "FBC" to the BSAA, spurred by an incident that happened a year ago. That incident seems closely related to this current event as well...
CHRIS REDFIELD (p.008)
One of the BSAA's founding members. He's been a comrade-in-arms with Jill ever since the incident at the Arklay Laboratory, known as the "Mansion Incident", which they faced in 1998 during their time as members of S.T.A.R.S. Although he's a battle-hardened tough guy who's managed to fight through multiple biohazards and bioterror incidents, he's mysteriously disappeared in the middle of investigating top-secret intel on a large-scale bioterror incident brought to the BSAA in secret...
JESSICA SHERAWAT (p.009)
A female agent with a former FBC career. On this occasion she was working with Chris on a bioterror investigation, but disappeared along with Chris. As her distinctive clothing shows, she never attempts to hide her individuality. Bored with everyday life and seeking thrills, Jessica's behavior and attitude sometimes sow discord in an organization like the BSAA. Although, perhaps she's prudent enough not to shy away from it, knowing a certain danger makes a woman all the more alluring.
KEITH LUMLEY (p.010)
A wise-cracking ladies man. His nickname's "Grinder" (meaning "womanizer"). He's accompanied by a different woman every time he's seen in private. The BSAA had a high opinion of his proven abilities and he was selected as a member for his combat record of many distinguished services in an elite special mercenary unit. Quint, who's an indoor-type shy around women, is the perfect target for his teasing, their daily bickering has become something of a hobby for Keith.
QUINT CETCHAM (p.011)
The BSAA's foremost mech enthusiast, as well as an analyst and scientist specializing in germ weapons. The bioscanner codenamed "GENESIS", which incorporates a vast amount of genetic data and virus samples, is a prototype developed by the Pharmaceutical Industry Association based on his proposals. He's a horror movie fanatic with catchphrases comparing many things to movies. Although he constantly argues with Keith whose personality's the polar opposite, in truth they're a good pair who complement each other.
CLIVE R. O'BRIAN (p.012)
The BSAA's current leader. During the unprecedented bioterror incident known as the "Terragrigia Panic", he was dispatched in the field as the lone BSAA observer at the European camp's request in protest of the FBC's tyranny in bringing the situation under control. Although he appears a bit sloppy on the surface, as a matter of fact he's a shrewd man possessing both political acumen and practical strengths. He expertly unifies the highly skilled members.
RAYMOND VESTER
One of the top ranked agents to have swiftly risen in the elite FBC. He stops at nothing to achieve results though, and his aggressive investigative skills draw criticism from several sides. Naturally, there have of course been countless occasions in which he has clashed with the BSAA, with his blatant sabotages leaving the BSAA unable to intervene in several incidents. A year ago he was Parker's direct subordinate. What happened to him after Parker's transfer... is anyone's guess.
MORGAN LANDSDALE (p.013)
Nicknamed "Silver Fox" after his gray hair, seemingly embodying his ruthlessness. Highly valuing his record as an advisor to the Pharmaceutical Industry Association, he was appointed as the FBC's founding commissioner. In advance of public sentiment, he led the charge in advocating to Congress for expanding the authority of a specialized agency to respond to the dangers of bioterrorism. During the Terragrigia Panic, he personally spearheaded the drive to contain the situation. With an iron will and leadership ability belying his appearance, he elevated the FBC to become the world's largest anti-bioterror organization, in deed as well as in name.
RACHEL
A mysterious woman who holds her arm due to an injury. She wears a wetsuit like Jill, but is she also an ally of Jill's? Her fate awaits her on the ghost ship ...
GAS MASK (p.014)
A mysterious man wearing a gas mask to hide his identity. From his appearance, everyone associates him with "Veltro" since they wore similar masks during their Terragrigia Incident statement. This man awaiting onboard the ghost ship, is he a ghost of Veltro...?
JACK NORMAN
The man said to be the mastermind of the 2004 Terragrigia Panic who led the internationally designated terrorist organization Veltro. Although said to have governed the armed cult group with overwhelming charisma, his personality's shrouded in mystery. After gaining control of the situation in the Terragrigia Panic, the FBC continued to mop-up Veltro. After a number of months, it was announced they'd annihilated Veltro through covert ops. They declared confirmation of Norman's death at the time.
CREATURE
OOZE (p.015)
This bizarre creature, meaning "dripping thing," is the result of the body being infected with t-Abyss. After entering the body, the virus fuses with the cell membrane and begins absorbing excess water. As a result, the cell membrane swells abnormally from osmotic pressure, eventually fusing with surrounding cell membranes and dissolving. As a result of this being repeated throughout the body, the infected person turns white like a dead corpse and the body becomes semi-liquid. Repeatedly growing, t-Abyss drives the host's body to seek out moisture and nutrients. It's due to this impulse that the Ooze absorbs its prey's body fluids.
GLOBSTER (p.016)
Mysterious lumps of flesh (blobs) washing ashore in large quantities along the Mediterranean coast. Globster's an abbreviation of Grotesque Blob Monster, the collective and popular name of this unidentified driftage documented around the world. In other words, nothing accurate's known regarding this Globster either. Supposing they're a product of virus contamination, what on earth could its true identity be...?
FENRIR
A wolf-type B.O.W. developed with deployment among mountains in mind. It exerts a savage nature and combat power, but its controllability's inferior compared to the Doberman pinscher-based "Cerberus." Strongly retaining a wolf's characteristics, Fenrir hunts in social packs. They don't rush prey all at once. First they encircle their prey, cut off their escape, then observe from a distance as it grows weaker, slowly and deliberately torturing them to death. The Fenrir's howl echoing among the mountains signals the start of a hunt.
HUNTER
A combat model B.O.W. bearing long, sharp claws with its entire body covered in scaly skin. Created by crossbreeding DNA, including reptiles, based on a fertilized human egg using the power of the t-Virus. Its appearance looks midway between human and reptile, it exudes creepiness. Possessing tremendous agility and jumping power, the way it reliably pursues and lethally strikes is worthy of the Hunter name. It was also successfully mass-produced and numerous variant types were developed.
FARFARELLO
The name Farfarello (slanderer) originates from one of the twelve demons called the Malebranche (evil claws) that appear in the "Divine Comedy" written by Dante Alighieri. Farfarello's an improved model which further added t-Abyss to the Hunter. As a result, it has a mimicry ability possessed by some aquatic organisms, which allows it to blend into its surroundings and become transparent. However, reports indicate that injecting more than one virus increased its aggressiveness and caused its controllability to deteriorate more remarkably than ever before.
GHIOZZO (p.017)
Fish infected with t-Abyss mutate into a fierce carnivorous fish called Ghiozzo. Its appearance closely resembles the deep-sea fish which served as the host at the time "The Abyss" ichthyopathogenic virus was first discovered, upon which t-Abyss is based. Due to the virus' effects, it has a voracious appetite with sharp fangs and powerful jaw strength capable of crushing anything. While the notorious aggression of piranhas is often portrayed as fiction in movies, a swarm of these Ghiozzo could realistically devour even large mammals down to the bone in a matter of seconds.
SEA CREEPER
The Sea Creeper's a special mutation when the human body's infected with t-Abyss, a literal aquatic monster. This peculiar transformation's primarily observed in female hosts, making the term "She" appropriate to identify a Sea Creeper. The carapace covering its entire body, reminiscent of a woman's long hair, drastically reduces friction, allowing them to creep in the water without a sound. Then as they draw close to prey, they spread out their six-branched arms and embrace prey while devouring it. There's absolutely no way of escaping this motherly affection, as if holding a child.
SCAGDEAD
The Scagdead's an Ooze mutation. t-Abyss' infectious capacity was initially extremely powerful with documented cases where mutations occurred within a few hours after infection, but there's a rare resistance to the virus (a ratio of one in one thousand people). The resistance doesn't halt the virus' progression however. They're affected by high fever for several days to several weeks after infection, causing itchy swelling on the shoulder and neck. As they swell, their consciousness crumbles. While aware they're being taken over, the carrier can do nothing to stop it. Even after being dominated by the madness produced by the virus, a new head sprouts from the neck, and the original's controlled like a sleepwalker.
OOZE RACHEL
Could this be the mutated form of Rachel, the woman attacked by Ooze on the ship...? Perhaps due to it being a short time since she was infected, her features retain some resemblance to her former self, yet her hideously transformed arms reveal the virus' terrifying mutagenic power. She seems to have lost all human consciousness...
OOZE (p.015)
This bizarre creature, meaning "dripping thing," is the result of the body being infected with t-Abyss. After entering the body, the virus fuses with the cell membrane and begins absorbing excess water. As a result, the cell membrane swells abnormally from osmotic pressure, eventually fusing with surrounding cell membranes and dissolving. As a result of this being repeated throughout the body, the infected person turns white like a dead corpse and the body becomes semi-liquid. Repeatedly growing, t-Abyss drives the host's body to seek out moisture and nutrients. It's due to this impulse that the Ooze absorbs its prey's body fluids.
GLOBSTER (p.016)
Mysterious lumps of flesh (blobs) washing ashore in large quantities along the Mediterranean coast. Globster's an abbreviation of Grotesque Blob Monster, the collective and popular name of this unidentified driftage documented around the world. In other words, nothing accurate's known regarding this Globster either. Supposing they're a product of virus contamination, what on earth could its true identity be...?
FENRIR
A wolf-type B.O.W. developed with deployment among mountains in mind. It exerts a savage nature and combat power, but its controllability's inferior compared to the Doberman pinscher-based "Cerberus." Strongly retaining a wolf's characteristics, Fenrir hunts in social packs. They don't rush prey all at once. First they encircle their prey, cut off their escape, then observe from a distance as it grows weaker, slowly and deliberately torturing them to death. The Fenrir's howl echoing among the mountains signals the start of a hunt.
HUNTER
A combat model B.O.W. bearing long, sharp claws with its entire body covered in scaly skin. Created by crossbreeding DNA, including reptiles, based on a fertilized human egg using the power of the t-Virus. Its appearance looks midway between human and reptile, it exudes creepiness. Possessing tremendous agility and jumping power, the way it reliably pursues and lethally strikes is worthy of the Hunter name. It was also successfully mass-produced and numerous variant types were developed.
FARFARELLO
The name Farfarello (slanderer) originates from one of the twelve demons called the Malebranche (evil claws) that appear in the "Divine Comedy" written by Dante Alighieri. Farfarello's an improved model which further added t-Abyss to the Hunter. As a result, it has a mimicry ability possessed by some aquatic organisms, which allows it to blend into its surroundings and become transparent. However, reports indicate that injecting more than one virus increased its aggressiveness and caused its controllability to deteriorate more remarkably than ever before.
GHIOZZO (p.017)
Fish infected with t-Abyss mutate into a fierce carnivorous fish called Ghiozzo. Its appearance closely resembles the deep-sea fish which served as the host at the time "The Abyss" ichthyopathogenic virus was first discovered, upon which t-Abyss is based. Due to the virus' effects, it has a voracious appetite with sharp fangs and powerful jaw strength capable of crushing anything. While the notorious aggression of piranhas is often portrayed as fiction in movies, a swarm of these Ghiozzo could realistically devour even large mammals down to the bone in a matter of seconds.
SEA CREEPER
The Sea Creeper's a special mutation when the human body's infected with t-Abyss, a literal aquatic monster. This peculiar transformation's primarily observed in female hosts, making the term "She" appropriate to identify a Sea Creeper. The carapace covering its entire body, reminiscent of a woman's long hair, drastically reduces friction, allowing them to creep in the water without a sound. Then as they draw close to prey, they spread out their six-branched arms and embrace prey while devouring it. There's absolutely no way of escaping this motherly affection, as if holding a child.
SCAGDEAD
The Scagdead's an Ooze mutation. t-Abyss' infectious capacity was initially extremely powerful with documented cases where mutations occurred within a few hours after infection, but there's a rare resistance to the virus (a ratio of one in one thousand people). The resistance doesn't halt the virus' progression however. They're affected by high fever for several days to several weeks after infection, causing itchy swelling on the shoulder and neck. As they swell, their consciousness crumbles. While aware they're being taken over, the carrier can do nothing to stop it. Even after being dominated by the madness produced by the virus, a new head sprouts from the neck, and the original's controlled like a sleepwalker.
OOZE RACHEL
Could this be the mutated form of Rachel, the woman attacked by Ooze on the ship...? Perhaps due to it being a short time since she was infected, her features retain some resemblance to her former self, yet her hideously transformed arms reveal the virus' terrifying mutagenic power. She seems to have lost all human consciousness...
MASACHIKA KAWATA x TSUKASA TAKENAKA / Producer Interview (p.176-179)
Masachika Kawata
Notable works include "BIOHAZARD 5". Served as producer for "BIOHAZARD Operation Raccoon City" in addition to this title.
Tsukasa Takenaka
After developing "Onimusha 3" and "Rockamn EXE 5", he worked on BIOHAZARD 5 and its Alternative Edition.
■RETURNING TO THE ROOTS IN THE BIOHAZARD SERIES' 15TH YEAR
——Please tell us about the theme of this title, BIOHAZARD REVELATIONS.
KAWATA: The intent for this title's clear by now, a "return to the roots" of "survival horror." The BIO series has challenged itself with something new every time, for example "BIO5" took on the challenge of "horror during the day," while UMBRELLA CHRONICLES tackled new hardware with the Wii. This time we wanted to take on another challenge with what long-time fans are probably most eager for, a "scary" BIO. For that reason, we were willing to compromise other aspects to some extent. It wouldn't have as many enemies as BIO5 or action elements as strong as THE MERCENARIES 3D. It may not have as many enemies as BIO5 or action elements as strong as THE MERCENARIES 3D, but how far could we push the “fear” aspect? That was our biggest challenge.
TAKENAKA: While it's a return to the roots, I think we were also able to take on new challenges only possible now, unlike 15 years ago with BIO1. Calling it a culmination might be a bit of an exaggeration, but perhaps it's precisely because we've made BIO in so many different forms that we can now craft a classic horror experience.
——Were there any specific points you focused on for the Nintendo 3DS handheld console?
KAWATA: We were conscious of it being a handheld game console, but at the same time, we deliberately choose not to focus on that aspect... It sounds a bit contradictory, I know (laughs).
TAKENAKA: Regarding the game system and fundamental design, we definitely keep its nature as a handheld game console in mind. For example finer details such as avoiding controls like frantically mashing buttons.
KAWATA: Though when making the game, we didn't think, "It's a handheld game console, so this is good enough", instead, it was more like, "Let's aim for this level even on a handheld game console!"
TAKENAKA: The development process itself was near identical to how we'd create for a home console.
KAWATA: We developed it using our in-house engine, "MT FRAMEWORK Mobile," so the staff's development environment wasn't so different from other platforms. I think that was also a big plus.
TAKENAKA: The screen size is smaller than a TV, but that means you hold it closer and don't have family members walking in front of it (laughs), so I actually think it's more immersive. Combined with the stereoscopic vision, I personally believe the Nintendo 3DS and horror are a fantastic match.
■AN AMBITIOUS STORY INFUSED WITH FRESH BLOOD
——Where does this game's story fit within the series' history?
KAWATA: It features popular series characters Jill and Chris as protagonists and the story takes place between "BIO4" and BIO5, putting it in a very important position. I think a major point's how it depicts the origin of the "BSAA" organization that appears in BIO5.
TAKENAKA: There's a file you can get in the game BIO5 called "History of the BSAA", and the content described there feels like the basis for this story. In that sense, the story's truly a prequel to BIO5. Of course, it's enjoyable even if you haven't played BIO5, and the story's structured so that playing BIO5 after playing REVELATIONS will make it even more enjoyable.
KAWATA: Aside from Chris and Jill, almost all the characters are new this time, so I think even users unfamiliar with the BIO series up to now should be able to enjoy it without issue.
——This game incorporates overseas TV drama-style direction, right?
KAWATA: As mentioned earlier about designing with a handheld game console in mind, we prioritized a fast-paced, easy-to-play feel by breaking it up into short chapters.
TAKENAKA: Though dividing it into chapters tends to create a "sense of closure," like "I'll stop here for today after finishing this chapter." But our goal's to keep the pace lively, not make them stop there. So we made sure every chapter ends with a climax that makes you excited to see what happens next. That's why we adopted that overseas TV drama-esque technique, the so-called cliffhanger.
KAWATA: We'd already wanted to try something new with the scenario this time, so the TV drama format was part of the plan from the start of production. Given that, we thought let's ask someone skilled at that kind of scenario. Knowing it might be a stretch, we thus approached Dai Sato-san from "Story Riders", and he agreed without hesitation.
TAKENAKA: Sato-san himself is a huge BIOHAZARD fan, so he was thrilled to write it, saying something like, "Yes! I get to write Jill!"
KAWATA: Thanks to Sato-san joining us, I think we achieved a very fast-paced and engaging script.
TAKENAKA: You could really feel Sato-san's skill. The start of each chapter has a Dante quote for example, right? That kind of worldview Sato-san brings matched up incredibly well coupled with the BIO worldview, and I feel it really flows through the game's core.
——"Previously on BIOHAZARD REVELATIONS" is also quite memorable.
KAWATA: That presentation was a challenge unlike anything BIO had done before. We put a lot of effort into it, aiming to make players think, "I wanna play this again" and I believe we ended up making something enjoyable.
TAKENAKA: It really gets you hyped, doesn't it? (laughs) Also, the "Previously on..." line doesn't just appear between chapters, but also after pausing the game, so beyond the production aspect, I think it also adds real significance to the game experience.
KAWATA: On top of that, the song used in those "Previously on..." segments we just mentioned is essentially the theme song for this installment and we deliberately used it in the pre-release trailers too. We hoped it'd form that association of "When this song plays, you know it's REVELATIONS." Considering this aspect, I think it has an overseas TV drama vibe this time.
■MAKING PLAYERS THINK "THIS IS BIOHAZARD"
——Many FPS and TPS games are released these days. What do you consider to be the defining “BIOHAZARD-ness” within that landscape?
KAWATA: When we talk of "essence," it can easily lean conservative, but I believe the BIO series is expanding in many directions now. When we announced REVELATIONS, we were thrilled to hear feedback like, "This is the kind of scary BIO I wanted!" but at the same time we also received requests like, "I wanna enjoy more gunfights!" That's why we're also developing BIO titles like "Operation Raccoon City" which focus more on shooting. I believe this series can meet a range of needs and we feel it's essential to build a worldview that allows for that flexibility.
TAKENAKA: A major difference from many FPS or TPS games is the characterization inherent to the BIOHAZARD world itself. Elements like distinctive characters such as Chris and Jill and the deep story are elements packaged together as the single character that is BIOHAZARD. Also, with this REVELATIONS, it's not just a shooter, it's "survival horror," so it incorporates elements like "running away" alongside "shooting." I think these differences in gameplay are significant as well.
KAWATA: We want to work even harder to ensure players think, "This is BIOHAZARD." For example, bringing in Sato-san and his team was a new challenge this time, though naturally there were many clashes of opinion during development. Ultimately though it's something that makes you think "This is BIOHAZARD". Everyone involved in making it loves BIO and I believe the efforts of those staff, combined with a track record built up over many years, shape BIO's unique character.
■A BIOHAZARD MADE POSSIBLE BY THE NINTENDO 3DS
——Finally, please share one point each you'd like users to focus on.
TAKENAKA: I really want people to focus on the story. It's crafted to keep users hooked with their emotional curve undulating incredibly subtly. I also personally really love the ending this time, so I hope everyone pushes through and clears the game.
KAWATA: For me, it's definitely that we could only achieve this much because it's on the Nintendo 3DS! We completely redesigned everything, starting with the user interface, specifically for this hardware. I want people to really notice that design as a package tailored specifically for the Nintendo 3DS hardware. I think there are many things this time that were only possible because it's on the Nintendo 3DS. Also, since I think everyone reading this book already owns the game, I'd love for you to recommend it to your friends (laughs) and enjoy RAID MODE together.
Notable works include "BIOHAZARD 5". Served as producer for "BIOHAZARD Operation Raccoon City" in addition to this title.
Tsukasa Takenaka
After developing "Onimusha 3" and "Rockamn EXE 5", he worked on BIOHAZARD 5 and its Alternative Edition.
■RETURNING TO THE ROOTS IN THE BIOHAZARD SERIES' 15TH YEAR
——Please tell us about the theme of this title, BIOHAZARD REVELATIONS.
KAWATA: The intent for this title's clear by now, a "return to the roots" of "survival horror." The BIO series has challenged itself with something new every time, for example "BIO5" took on the challenge of "horror during the day," while UMBRELLA CHRONICLES tackled new hardware with the Wii. This time we wanted to take on another challenge with what long-time fans are probably most eager for, a "scary" BIO. For that reason, we were willing to compromise other aspects to some extent. It wouldn't have as many enemies as BIO5 or action elements as strong as THE MERCENARIES 3D. It may not have as many enemies as BIO5 or action elements as strong as THE MERCENARIES 3D, but how far could we push the “fear” aspect? That was our biggest challenge.
TAKENAKA: While it's a return to the roots, I think we were also able to take on new challenges only possible now, unlike 15 years ago with BIO1. Calling it a culmination might be a bit of an exaggeration, but perhaps it's precisely because we've made BIO in so many different forms that we can now craft a classic horror experience.
——Were there any specific points you focused on for the Nintendo 3DS handheld console?
KAWATA: We were conscious of it being a handheld game console, but at the same time, we deliberately choose not to focus on that aspect... It sounds a bit contradictory, I know (laughs).
TAKENAKA: Regarding the game system and fundamental design, we definitely keep its nature as a handheld game console in mind. For example finer details such as avoiding controls like frantically mashing buttons.
KAWATA: Though when making the game, we didn't think, "It's a handheld game console, so this is good enough", instead, it was more like, "Let's aim for this level even on a handheld game console!"
TAKENAKA: The development process itself was near identical to how we'd create for a home console.
KAWATA: We developed it using our in-house engine, "MT FRAMEWORK Mobile," so the staff's development environment wasn't so different from other platforms. I think that was also a big plus.
TAKENAKA: The screen size is smaller than a TV, but that means you hold it closer and don't have family members walking in front of it (laughs), so I actually think it's more immersive. Combined with the stereoscopic vision, I personally believe the Nintendo 3DS and horror are a fantastic match.
■AN AMBITIOUS STORY INFUSED WITH FRESH BLOOD
——Where does this game's story fit within the series' history?
KAWATA: It features popular series characters Jill and Chris as protagonists and the story takes place between "BIO4" and BIO5, putting it in a very important position. I think a major point's how it depicts the origin of the "BSAA" organization that appears in BIO5.
TAKENAKA: There's a file you can get in the game BIO5 called "History of the BSAA", and the content described there feels like the basis for this story. In that sense, the story's truly a prequel to BIO5. Of course, it's enjoyable even if you haven't played BIO5, and the story's structured so that playing BIO5 after playing REVELATIONS will make it even more enjoyable.
KAWATA: Aside from Chris and Jill, almost all the characters are new this time, so I think even users unfamiliar with the BIO series up to now should be able to enjoy it without issue.
——This game incorporates overseas TV drama-style direction, right?
KAWATA: As mentioned earlier about designing with a handheld game console in mind, we prioritized a fast-paced, easy-to-play feel by breaking it up into short chapters.
TAKENAKA: Though dividing it into chapters tends to create a "sense of closure," like "I'll stop here for today after finishing this chapter." But our goal's to keep the pace lively, not make them stop there. So we made sure every chapter ends with a climax that makes you excited to see what happens next. That's why we adopted that overseas TV drama-esque technique, the so-called cliffhanger.
KAWATA: We'd already wanted to try something new with the scenario this time, so the TV drama format was part of the plan from the start of production. Given that, we thought let's ask someone skilled at that kind of scenario. Knowing it might be a stretch, we thus approached Dai Sato-san from "Story Riders", and he agreed without hesitation.
TAKENAKA: Sato-san himself is a huge BIOHAZARD fan, so he was thrilled to write it, saying something like, "Yes! I get to write Jill!"
KAWATA: Thanks to Sato-san joining us, I think we achieved a very fast-paced and engaging script.
TAKENAKA: You could really feel Sato-san's skill. The start of each chapter has a Dante quote for example, right? That kind of worldview Sato-san brings matched up incredibly well coupled with the BIO worldview, and I feel it really flows through the game's core.
——"Previously on BIOHAZARD REVELATIONS" is also quite memorable.
KAWATA: That presentation was a challenge unlike anything BIO had done before. We put a lot of effort into it, aiming to make players think, "I wanna play this again" and I believe we ended up making something enjoyable.
TAKENAKA: It really gets you hyped, doesn't it? (laughs) Also, the "Previously on..." line doesn't just appear between chapters, but also after pausing the game, so beyond the production aspect, I think it also adds real significance to the game experience.
KAWATA: On top of that, the song used in those "Previously on..." segments we just mentioned is essentially the theme song for this installment and we deliberately used it in the pre-release trailers too. We hoped it'd form that association of "When this song plays, you know it's REVELATIONS." Considering this aspect, I think it has an overseas TV drama vibe this time.
■MAKING PLAYERS THINK "THIS IS BIOHAZARD"
——Many FPS and TPS games are released these days. What do you consider to be the defining “BIOHAZARD-ness” within that landscape?
KAWATA: When we talk of "essence," it can easily lean conservative, but I believe the BIO series is expanding in many directions now. When we announced REVELATIONS, we were thrilled to hear feedback like, "This is the kind of scary BIO I wanted!" but at the same time we also received requests like, "I wanna enjoy more gunfights!" That's why we're also developing BIO titles like "Operation Raccoon City" which focus more on shooting. I believe this series can meet a range of needs and we feel it's essential to build a worldview that allows for that flexibility.
TAKENAKA: A major difference from many FPS or TPS games is the characterization inherent to the BIOHAZARD world itself. Elements like distinctive characters such as Chris and Jill and the deep story are elements packaged together as the single character that is BIOHAZARD. Also, with this REVELATIONS, it's not just a shooter, it's "survival horror," so it incorporates elements like "running away" alongside "shooting." I think these differences in gameplay are significant as well.
KAWATA: We want to work even harder to ensure players think, "This is BIOHAZARD." For example, bringing in Sato-san and his team was a new challenge this time, though naturally there were many clashes of opinion during development. Ultimately though it's something that makes you think "This is BIOHAZARD". Everyone involved in making it loves BIO and I believe the efforts of those staff, combined with a track record built up over many years, shape BIO's unique character.
■A BIOHAZARD MADE POSSIBLE BY THE NINTENDO 3DS
——Finally, please share one point each you'd like users to focus on.
TAKENAKA: I really want people to focus on the story. It's crafted to keep users hooked with their emotional curve undulating incredibly subtly. I also personally really love the ending this time, so I hope everyone pushes through and clears the game.
KAWATA: For me, it's definitely that we could only achieve this much because it's on the Nintendo 3DS! We completely redesigned everything, starting with the user interface, specifically for this hardware. I want people to really notice that design as a package tailored specifically for the Nintendo 3DS hardware. I think there are many things this time that were only possible because it's on the Nintendo 3DS. Also, since I think everyone reading this book already owns the game, I'd love for you to recommend it to your friends (laughs) and enjoy RAID MODE together.
KOSHI NAKANISHI x KAZUHISA INOUE / Director & Planner Interview (p.180-183)
Koshi Nakanishi
He worked on BIOHAZARD 5 as a game designer. Primarily responsible for game design.
Kazuhisa Inoue
He served as director of THE MERCENARIES 3D. Primarily handled event scenes.
■HOW TO MAKE PLAYERS DESPERATE
——What points did you focus on to realize the concept this time of "going back to the roots"?
NAKANISHI: Even when we say "going back to the roots," the first question is what exactly are those "roots"? In terms of game genre, the origin's undoubtedly the "survival horror" experience established by BIO1, as one might imagine. Furthermore, what's crucial in survival horror is how desperately players can fight to survive. A question of how to continuously instill tension in the player, making them think, "I mightn't survive..." or "This might be impossible..."
——Specifically, what techniques were used?
NAKANISHI: To begin with, you know fundamentally it starts with dark spaces full of blind spots. That sense of uncertainty never knowing where something might pop up, and the ship setting itself is a confined space with the ocean all around, making escape difficult. Plus, the new creatures are unknown entities whose actions are unpredictable. I think this return to the roots involved revisiting and reconstructing those elements.
——How about the direction for event scenes?
INOUE: We definitely retained that classic BIO1 feel like when the player gets trapped, wanders around for a bit, starts investigating, then a Zombie suddenly appears with that "Here it comes!" moment (laughs). Since it's horror, we paid special attention to crafting those "scary scenes."
——In this case, it's the scene in Episode 1-1 where you pick up the gun under the floorboards.
INOUE: You pick up the gun lying there, turn around, and sure enough "There it is!" (laughs).
NAKANISHI: By the way, some may recognize it, but that scene where she picks up the gun is actually a shot from the live-action opening of BIO1. You could also call that a homage, I suppose.
INOUE: We really struggled with that scene to make the severed wrist not look too grotesque. I think BIO's more about horror that leaves room for imagination, rather than gory scenes or gruesome depictions.
NAKANISHI: There aren't really that many horror sights in the event scenes this time. The idea's to have players experience the truly terrifying moments during actual gameplay, the ones that make you yell “Ahhhh!” After all, if we put the scary scenes in the events, it inevitably creates a sense of security.
■STRESS, THRILL, SUSPENSE
——Regarding the controls, they feel closer to recent series entries like BIO4 and BIO5.
NAKANISHI: The "return to survival horror roots" I mentioned earlier primarily refers to the "experience" aspect, I don't think it has much to do with the "controls." So, our initial approach was to not fixate on the controls from BIO1, but rather make them comfortable for modern players.
INOUE: I do think that in BIO1, that frustrating control scheme contributed to the fear, although... this time, I'm not sure if "modern-style controls" is the right phrase, but we strongly aimed for controls that feel stress-free to use.
NAKANISHI: We can create stress elsewhere.
INOUE: Exactly. We can create stress through the "experience" itself.
——New actions have also been added.
NAKANISHI: The core principle when adding actions to also express a "sense of survival," you see. Things like shooting while downed, or dodging because you're out of ammo, actions that stem from "dire situations."
——Like the initial concept of "how to make the player feel desperate?"
NAKANISHI: Exactly. The "swimming" mechanic that appears later in the game is the same. Your movement becomes restricted, and you're like, "Will my oxygen last?" The charged melee attack against stunned enemies is also about that feeling of, "Can I even make it to the next stop?" (laughs). We're aiming for that chicken race-style thrill.
INOUE: It's like if you get too greedy, you'll get punished instead.
NAKANISHI: In that sense, rather than seeking exhilaration or flashiness, we added actions that push the "survival feel" further.
——What aspects did you consciously focus on for event scenes this time?
INOUE: As mentioned earlier, we aimed to depict scary scenes primarily within gameplay, so event scenes tend to handle the suspense elements.
NAKANISHI: Since overseas dramas were one theme this time, we wanted to incorporate that sort of dramatic suspense into the game. Suspense isn't about instant terror, more about gradually building tension for the player.
INOUE: In that sense, we consciously timed the end of each episode to cut off right at the moment where you think, "What happens next!?" Dai Sato-san did an excellent job cleverly writing these parts in the scenario.
――The "Previously on BIOHAZARD REVELATIONS" segments are also quite impactful.
INOUE: The intention's that when players resume after a break, they first see the "Previously..." segment, they re-experience their emotions from earlier then dive right back into the game.
――Kawata-san also mentioned how challenging it was to create.
INOUE: We knew each player would have their own story and emotional journey after all, so we had to capture the greatest common denominator in the footage we prepared. Plus, we didn't just string together event scenes, we also used gameplay footage. Choosing which scenes to use was quite difficult.
NAKANISHI: As mentioned earlier, we didn't create many creature encounter scenes as events, so we just didn't have the footage (laughs). That's why Rachel doesn't appear in event scenes either.
INOUE: For those parts, we actually played the game ourselves and picked scenes that made us all go "Oh my god." (laughs).
■NEW WAYS TO PLAY IN REVELATIONS
——Tell us about the new "GENESIS" gear.
NAKANISHI: One aspect was the game's "exploration" part, we wanted to add another layer to it. Exploration is a crucial element in expressing survival horror. Scrambling to find something to fight with when facing strong enemies while ammunition is scarce. The other aspect was, well, it's a Nintendo 3DS game, so we wanted to incorporate gameplay that utilizes the 3D and gyro sensor.
INOUE: Here's a behind-the-scenes tidbit, remember the beach scene in Episode 1-1? The GENESIS was originally intended as an item used only in that specific scene.
NAKANISHI: Exactly. Just a minor item for investigating flotsam. Once we saw it though, it perfectly aligned with those two points of "Can we add more exploration elements?" and "Can we make better use of the Nintendo 3DS?" So we decided to expand on it, leading to its current form.
——What was the intent behind adopting “RAID MODE”?
NAKANISHI: While BIO5 supported co-op play, this campaign mode's single-player. So we packed the two-player experience into RAID MODE.
INOUE: It's a bit different from a mode like "THE MERCENARIES 3D", where you push your score to the limit.
NAKANISHI: THE MERCENARIES 3D's a battle against yourself, but RAID MODE leans a bit more toward being more relaxed. If you level up, you can progress fairly far.
INOUE: The goals in RAID MODE vary, you might want to get stronger, complete missions, or acquire powerful weapons.
NAKANISHI: By the way, the person who handled the adjustments for THE MERCENARIES 3D is in charge of this RAID MODE, so it's crafted with quite a bit of maniacal detail.
INOUE: Though it did tend to swing dangerously toward being ridiculously difficult at times (laughs).
NAKANISHI: They absolutely love things like lining up Oozes (chunks)... Even we testers were like, "Hey, come on!!" (laughs). But unlike CAMPAIGN, it's designed to be more cutthroat, so we allow it to a certain extent. If it's fun, that's fine.
INOUE: Enormous enemies, incredibly fast enemies... The initial impact is huge, after all.
■"WHAT LIES BEYOND THE CORNER" DEPICTED IN 3D STEREOSCOPIC VISION
——Many FPS and TPS games are released these days. What do you think defines the "BIOHAZARD-ness" among them?
NAKANISHI: As I mentioned earlier, I think BIO's core identity is survival horror. If I had to add something, it's that service-minded spirit that doesn't stop there. Before you know it, it ends with explosions and running around (laughs). It's kind of a tradition, but I think that's part of being BIO too.
INOUE: Ultimately, a rocket launcher appears, and it's like BOOM! and YEAH! (laughs).
NAKANISHI: This time too, the ending gets more and more spectacular (laughs). What remains consistently grounded is the stoic survival horror element and that unique gritty, over-the-top flair. I think that's one aspect that defines the BIO style.
——Finally, please each share one point you'd like users to focus on.
INOUE: In this story, I want players to notice the scale, how events happening around the world and things from the past are woven together and converging. The presence of terrorists is also significant. Bioterrorism spreads globally, making the virus a more immediate threat. Just thinking about what if your friend turned into a Zombie... it's chilling, isn't it? This time, we glimpse part of the catalyst for that bioterrorism spreading, so I think players will find new discoveries in BIO5, which continues the REVELATIONS story.
NAKANISHI: Firstly, as a team, we were determined to create a title that doesn't feel like it's for a handheld console! I think that's why it turned out with so many highlights. Personally, it's definitely the "corner of the hallway" rendered in 3D stereoscopic vision. When I first tried the Nintendo 3DS, I thought it'd really capture that signature BIO feeling, that sense of "something might be lurking around the corner", in a very realistic way. By the way, the 3D depth's set a bit conservatively by default. If you're confident, try setting the depth to "Very Strong" and use the gyro controls for the camera. That should give you a sense of immersion unique to the Nintendo 3DS.
He worked on BIOHAZARD 5 as a game designer. Primarily responsible for game design.
Kazuhisa Inoue
He served as director of THE MERCENARIES 3D. Primarily handled event scenes.
■HOW TO MAKE PLAYERS DESPERATE
——What points did you focus on to realize the concept this time of "going back to the roots"?
NAKANISHI: Even when we say "going back to the roots," the first question is what exactly are those "roots"? In terms of game genre, the origin's undoubtedly the "survival horror" experience established by BIO1, as one might imagine. Furthermore, what's crucial in survival horror is how desperately players can fight to survive. A question of how to continuously instill tension in the player, making them think, "I mightn't survive..." or "This might be impossible..."
——Specifically, what techniques were used?
NAKANISHI: To begin with, you know fundamentally it starts with dark spaces full of blind spots. That sense of uncertainty never knowing where something might pop up, and the ship setting itself is a confined space with the ocean all around, making escape difficult. Plus, the new creatures are unknown entities whose actions are unpredictable. I think this return to the roots involved revisiting and reconstructing those elements.
——How about the direction for event scenes?
INOUE: We definitely retained that classic BIO1 feel like when the player gets trapped, wanders around for a bit, starts investigating, then a Zombie suddenly appears with that "Here it comes!" moment (laughs). Since it's horror, we paid special attention to crafting those "scary scenes."
——In this case, it's the scene in Episode 1-1 where you pick up the gun under the floorboards.
INOUE: You pick up the gun lying there, turn around, and sure enough "There it is!" (laughs).
NAKANISHI: By the way, some may recognize it, but that scene where she picks up the gun is actually a shot from the live-action opening of BIO1. You could also call that a homage, I suppose.
INOUE: We really struggled with that scene to make the severed wrist not look too grotesque. I think BIO's more about horror that leaves room for imagination, rather than gory scenes or gruesome depictions.
NAKANISHI: There aren't really that many horror sights in the event scenes this time. The idea's to have players experience the truly terrifying moments during actual gameplay, the ones that make you yell “Ahhhh!” After all, if we put the scary scenes in the events, it inevitably creates a sense of security.
■STRESS, THRILL, SUSPENSE
——Regarding the controls, they feel closer to recent series entries like BIO4 and BIO5.
NAKANISHI: The "return to survival horror roots" I mentioned earlier primarily refers to the "experience" aspect, I don't think it has much to do with the "controls." So, our initial approach was to not fixate on the controls from BIO1, but rather make them comfortable for modern players.
INOUE: I do think that in BIO1, that frustrating control scheme contributed to the fear, although... this time, I'm not sure if "modern-style controls" is the right phrase, but we strongly aimed for controls that feel stress-free to use.
NAKANISHI: We can create stress elsewhere.
INOUE: Exactly. We can create stress through the "experience" itself.
——New actions have also been added.
NAKANISHI: The core principle when adding actions to also express a "sense of survival," you see. Things like shooting while downed, or dodging because you're out of ammo, actions that stem from "dire situations."
——Like the initial concept of "how to make the player feel desperate?"
NAKANISHI: Exactly. The "swimming" mechanic that appears later in the game is the same. Your movement becomes restricted, and you're like, "Will my oxygen last?" The charged melee attack against stunned enemies is also about that feeling of, "Can I even make it to the next stop?" (laughs). We're aiming for that chicken race-style thrill.
INOUE: It's like if you get too greedy, you'll get punished instead.
NAKANISHI: In that sense, rather than seeking exhilaration or flashiness, we added actions that push the "survival feel" further.
——What aspects did you consciously focus on for event scenes this time?
INOUE: As mentioned earlier, we aimed to depict scary scenes primarily within gameplay, so event scenes tend to handle the suspense elements.
NAKANISHI: Since overseas dramas were one theme this time, we wanted to incorporate that sort of dramatic suspense into the game. Suspense isn't about instant terror, more about gradually building tension for the player.
INOUE: In that sense, we consciously timed the end of each episode to cut off right at the moment where you think, "What happens next!?" Dai Sato-san did an excellent job cleverly writing these parts in the scenario.
――The "Previously on BIOHAZARD REVELATIONS" segments are also quite impactful.
INOUE: The intention's that when players resume after a break, they first see the "Previously..." segment, they re-experience their emotions from earlier then dive right back into the game.
――Kawata-san also mentioned how challenging it was to create.
INOUE: We knew each player would have their own story and emotional journey after all, so we had to capture the greatest common denominator in the footage we prepared. Plus, we didn't just string together event scenes, we also used gameplay footage. Choosing which scenes to use was quite difficult.
NAKANISHI: As mentioned earlier, we didn't create many creature encounter scenes as events, so we just didn't have the footage (laughs). That's why Rachel doesn't appear in event scenes either.
INOUE: For those parts, we actually played the game ourselves and picked scenes that made us all go "Oh my god." (laughs).
■NEW WAYS TO PLAY IN REVELATIONS
——Tell us about the new "GENESIS" gear.
NAKANISHI: One aspect was the game's "exploration" part, we wanted to add another layer to it. Exploration is a crucial element in expressing survival horror. Scrambling to find something to fight with when facing strong enemies while ammunition is scarce. The other aspect was, well, it's a Nintendo 3DS game, so we wanted to incorporate gameplay that utilizes the 3D and gyro sensor.
INOUE: Here's a behind-the-scenes tidbit, remember the beach scene in Episode 1-1? The GENESIS was originally intended as an item used only in that specific scene.
NAKANISHI: Exactly. Just a minor item for investigating flotsam. Once we saw it though, it perfectly aligned with those two points of "Can we add more exploration elements?" and "Can we make better use of the Nintendo 3DS?" So we decided to expand on it, leading to its current form.
——What was the intent behind adopting “RAID MODE”?
NAKANISHI: While BIO5 supported co-op play, this campaign mode's single-player. So we packed the two-player experience into RAID MODE.
INOUE: It's a bit different from a mode like "THE MERCENARIES 3D", where you push your score to the limit.
NAKANISHI: THE MERCENARIES 3D's a battle against yourself, but RAID MODE leans a bit more toward being more relaxed. If you level up, you can progress fairly far.
INOUE: The goals in RAID MODE vary, you might want to get stronger, complete missions, or acquire powerful weapons.
NAKANISHI: By the way, the person who handled the adjustments for THE MERCENARIES 3D is in charge of this RAID MODE, so it's crafted with quite a bit of maniacal detail.
INOUE: Though it did tend to swing dangerously toward being ridiculously difficult at times (laughs).
NAKANISHI: They absolutely love things like lining up Oozes (chunks)... Even we testers were like, "Hey, come on!!" (laughs). But unlike CAMPAIGN, it's designed to be more cutthroat, so we allow it to a certain extent. If it's fun, that's fine.
INOUE: Enormous enemies, incredibly fast enemies... The initial impact is huge, after all.
■"WHAT LIES BEYOND THE CORNER" DEPICTED IN 3D STEREOSCOPIC VISION
——Many FPS and TPS games are released these days. What do you think defines the "BIOHAZARD-ness" among them?
NAKANISHI: As I mentioned earlier, I think BIO's core identity is survival horror. If I had to add something, it's that service-minded spirit that doesn't stop there. Before you know it, it ends with explosions and running around (laughs). It's kind of a tradition, but I think that's part of being BIO too.
INOUE: Ultimately, a rocket launcher appears, and it's like BOOM! and YEAH! (laughs).
NAKANISHI: This time too, the ending gets more and more spectacular (laughs). What remains consistently grounded is the stoic survival horror element and that unique gritty, over-the-top flair. I think that's one aspect that defines the BIO style.
——Finally, please each share one point you'd like users to focus on.
INOUE: In this story, I want players to notice the scale, how events happening around the world and things from the past are woven together and converging. The presence of terrorists is also significant. Bioterrorism spreads globally, making the virus a more immediate threat. Just thinking about what if your friend turned into a Zombie... it's chilling, isn't it? This time, we glimpse part of the catalyst for that bioterrorism spreading, so I think players will find new discoveries in BIO5, which continues the REVELATIONS story.
NAKANISHI: Firstly, as a team, we were determined to create a title that doesn't feel like it's for a handheld console! I think that's why it turned out with so many highlights. Personally, it's definitely the "corner of the hallway" rendered in 3D stereoscopic vision. When I first tried the Nintendo 3DS, I thought it'd really capture that signature BIO feeling, that sense of "something might be lurking around the corner", in a very realistic way. By the way, the 3D depth's set a bit conservatively by default. If you're confident, try setting the depth to "Very Strong" and use the gyro controls for the camera. That should give you a sense of immersion unique to the Nintendo 3DS.
SATOSHI TAKAMATSU x YOSHIZUMI HORI x AKIKO HASHIMOTO / Graphic Designer Interview (p.184-187)
Satoshi Takamatsu
Served as Art Director for this title, primarily responsible for character design. Previous notable works include BIOHAZARD 5 and Dead Rising.
Yoshizumi Hori
Served as Art Director for this title, primarily responsible for stages. Previous notable works include "biohazard 4" and BIOHAZARD 5.
Akiko Hashimoto
Primarily responsible for the user interface in this title. Previous notable works include THE MERCENARIES 3D, Devil May Cry 4, and Lost Planet 2.
■DARK SEA, DEEPENING TERROR
——Could you tell us about the overall design concept for REVELATIONS?
HORI: Since the main setting's the sea, the theme revolves around images like "water," "liquid," and "the deep sea." Beyond that, as the whole team emphasized, it's a return to the horror roots.
TAKAMATSU: Since it's set on a ship, I think it emphasizes the fear of a dark, cramped, suffocating, enclosed space more than ever.
——How was the ghost ship, the main setting this time, designed?
HORI: If anything, I'm not really the type of designer who starts with the design itself... I begin by thinking about how to make it work as a game. I'm not the kind who starts by drawing concept art, like what people might imagine.
——So your approach is gameplay and level design first?
HORI: Exactly. So I'd be pleased if people could see how all the necessary game elements are neatly contained within this single box, the luxury cruise ship. We didn't prioritize realism inside the ship either, the cabins aren't actually built like that (laughs), but we shaped them to fit the gameplay.
■NEWLY CREATED POPULAR CHARACTERS & DISTINCTIVE NEW CHARACTERS
——Was there anything you focused on for the overall character design?
TAKAMATSU: Compared to home consoles, the screen size is smaller this time, so to make the characters stand out, we've gone for a slightly stronger deformed designs. For Keith and Quint too, we aimed for a slightly cartoonish, almost over-the-top presentation to make their acting shine.
——How'd you design Jill, a familiar character from the series, for this game?
TAKAMATSU: As the series went on, Jill's image had become strongly associated with being heroic, a battle-hardened veteran. However, that image of a tough veteran Jill clashed with our concept of prioritizing horror again this time. So we consciously moved away from that strong, veteran image for Jill. Within this production, we designed her to fit the setting, embodying a horror movie heroine who progresses in fear as the drama unfolds.
——What about Chris?
TAKAMATSU: Chris is still the same as ever (laughs). Like in BIO5, he has a rugged image, with his gear having a strong military feel. This time we aimed for a balance between the two, with Jill being a bit scared while letting Chris play the tough guy.
——Chris is in snow mountain gear but wearing short sleeves...
TAKAMATSU: We tried various designs, but since it's Chris, he naturally ends up rolling his sleeves up (laughs). Also, since this story takes place during the early days of the BSAA, we aimed for a slightly rougher feel as it's not as polished an organization as in BIO5.
——Many characters like Parker are debuting in this game. How'd you design them?
TAKAMATSU: Parker wasn't designed to be as heroic as Chris or Jill, but more relatable. That's why he's not as physically fit as Chris, and he talks more casually.
——Jessica's also a unique female character.
TAKAMATSU: With REVELATIONS, we wanted to expand the worldview a bit, so we included new characters positioned slightly off-center. In that sense, if Jill's considered an orthodox type, Jessica's like the complete opposite as an anti-hero or rather abnormal (laughs). We were fairly conscious of that.
■CREATURES BORN FROM NEW IDEAS
——How'd you design the new creatures this time?
TAKAMATSU: Since the ocean's the main setting this time, we initially tried things like attaching seaweed or barnacles to Zombies (laughs). We felt it lacked a little punch though, so we rethought it from scratch.
——And that led to the creation of the Ooze.
TAKAMATSU: As a water-soluble virus called t-Abyss appears this time, we imagined the Ooze as made from corpses in the water fused with this virus. So the core image is a drowned corpse with pretty swollen skin and such. If we made it too realistic, it'd be disgusting, so I thought about how to balance that and turn it into a character-- that's how we designed the Ooze.
——By the way, do you have any personal favorite creatures?
HORI: For me it's definitely the Sea Creeper. The design's very fresh, you can instantly tell it's something from underwater. Also, this one's unmistakably female, isn't it? (laughs).
HASHIMOTO: Mine's the Scagdead. He was so incredibly strong I couldn't defeat him, so it really made a lasting impression on me (laughs). Before you first fight it, you can read in a diary how the original person's personality gradually breaks down until they become a Scagdead, that feels very BIO-like. Plus, during the fight, this guy's pretty lively (laughs), so I think it's a wonderfully enjoyable enemy.
——Rachel was also quite memorable this time.
HORI: Here's an inside story... You know how there are all kinds of Ooze types, like the ones that explode or attack from a distance. Rachel was actually one of those types too originally. She was the fast-moving kind, so during development, we called her “Move-kun” (laughs).
HASHIMOTO: Along with “Burst-kun” and “Long Arm-kun” (laughs).
HORI: Eventually though it was ultimately turned into the Rachel character and elevated.
——What led to that change?
TAKAMATSU: Those who played the trial version included in THE MERCENARIES 3D may remember... The scene where Rachel gets killed originally featured an unnamed male corpse. To really emphasize the horror though, we wanted something more distinctive, so we thought what if we use this corpse...
HORI: It was such a last-minute idea, I thought, "Will it even be ready in time!?" (laughs). Looking at the finished product in the end though, it was definitely the right call.
TAKAMATSU: Plus, we were even able to create that memorable trailer featuring Rachel.
HORI: That's what's great about CAPCOM. That service-minded spirit, or rather, "If it's fun, let's just do it!" or something.
■USER INTERFACE AND NEW EQUIPMENT • GENESIS
——What were your key considerations for the user interface design?
HASHIMOTO: First, to keep players focused on the upper screen and be more immersed, we aimed for a design where you could operate it without looking at the lower screen at all, where you could memorize finger placement. Finger lengths vary, naturally, so we fumbled and iterated many times to find a size women could comfortably reach and distinguish between buttons.
——What about the visual aspect?
HASHIMOTO: The BSAA organization itself was set up with funding from the Pharmaceutical Industry Association, so we consciously aimed for a clean image associated with pharmaceutical companies and hospitals. That sense of cleanliness carries a slightly exclusive, unsettling quality, a kind of "so pretty it's creepy" vibe which I felt matched the transparency etc. of "water" this time. It's not generic sci-fi design, it's meant to somehow instinctively induce a sense of unease or discomfort.
——Did you also handle the design for the GENESIS peephole?
HASHIMOTO: Yes. I made sure the crosshairs properly conveyed depth. Even in the early development stages when we were experimenting with 3D stereoscopic vision, we kept saying how fascinating the viewpoint felt when peering into something. We applied that concept to the GENESIS.
——Nakanishi-san mentioned it was only supposed to appear in one early scene initially?
HORI: Yes. Just the beach scene. But then everyone said, “That's such a waste!” (laughs). So before we knew it, it got promoted to a constantly used item.
——That's similar to Rachel earlier, if something turns out great you just keep using it more and more.
HORI: Exactly, that's right.
HASHIMOTO: As a creator, it was a truly happy accident. I was surprised at first... (laughs). Ultimately, it fit well with elements that came later, like the secret signs. For those playing through multiple times or wanting to dive deeper, I think it'd be fun to play with GENESIS while searching for those secret signs.
——Finally, please each share one point you'd like users to pay attention to.
HASHIMOTO: While we naturally designed the user interface with usability in mind, we also put effort into making the menu screens engaging by leveraging the hardware's capabilities, so we'd be happy if players noticed that aspect too.
TAKAMATSU: For this REVELATIONS, we aimed to include as many new elements as possible, including some pretty distinctive characters. We crafted it hoping the elements we've incorporated this time will keep evolving in future series entries, so we really hope you enjoy it.
HORI: I think all the developers would agree, we didn't approach this with a handheld game console in mind. We really polished every detail. The ghost ship's designed so you can explore various areas, including places not essential for clearing the game, and there are hidden items too, so please try to find them.
Served as Art Director for this title, primarily responsible for character design. Previous notable works include BIOHAZARD 5 and Dead Rising.
Yoshizumi Hori
Served as Art Director for this title, primarily responsible for stages. Previous notable works include "biohazard 4" and BIOHAZARD 5.
Akiko Hashimoto
Primarily responsible for the user interface in this title. Previous notable works include THE MERCENARIES 3D, Devil May Cry 4, and Lost Planet 2.
■DARK SEA, DEEPENING TERROR
——Could you tell us about the overall design concept for REVELATIONS?
HORI: Since the main setting's the sea, the theme revolves around images like "water," "liquid," and "the deep sea." Beyond that, as the whole team emphasized, it's a return to the horror roots.
TAKAMATSU: Since it's set on a ship, I think it emphasizes the fear of a dark, cramped, suffocating, enclosed space more than ever.
——How was the ghost ship, the main setting this time, designed?
HORI: If anything, I'm not really the type of designer who starts with the design itself... I begin by thinking about how to make it work as a game. I'm not the kind who starts by drawing concept art, like what people might imagine.
——So your approach is gameplay and level design first?
HORI: Exactly. So I'd be pleased if people could see how all the necessary game elements are neatly contained within this single box, the luxury cruise ship. We didn't prioritize realism inside the ship either, the cabins aren't actually built like that (laughs), but we shaped them to fit the gameplay.
■NEWLY CREATED POPULAR CHARACTERS & DISTINCTIVE NEW CHARACTERS
——Was there anything you focused on for the overall character design?
TAKAMATSU: Compared to home consoles, the screen size is smaller this time, so to make the characters stand out, we've gone for a slightly stronger deformed designs. For Keith and Quint too, we aimed for a slightly cartoonish, almost over-the-top presentation to make their acting shine.
——How'd you design Jill, a familiar character from the series, for this game?
TAKAMATSU: As the series went on, Jill's image had become strongly associated with being heroic, a battle-hardened veteran. However, that image of a tough veteran Jill clashed with our concept of prioritizing horror again this time. So we consciously moved away from that strong, veteran image for Jill. Within this production, we designed her to fit the setting, embodying a horror movie heroine who progresses in fear as the drama unfolds.
——What about Chris?
TAKAMATSU: Chris is still the same as ever (laughs). Like in BIO5, he has a rugged image, with his gear having a strong military feel. This time we aimed for a balance between the two, with Jill being a bit scared while letting Chris play the tough guy.
——Chris is in snow mountain gear but wearing short sleeves...
TAKAMATSU: We tried various designs, but since it's Chris, he naturally ends up rolling his sleeves up (laughs). Also, since this story takes place during the early days of the BSAA, we aimed for a slightly rougher feel as it's not as polished an organization as in BIO5.
——Many characters like Parker are debuting in this game. How'd you design them?
TAKAMATSU: Parker wasn't designed to be as heroic as Chris or Jill, but more relatable. That's why he's not as physically fit as Chris, and he talks more casually.
——Jessica's also a unique female character.
TAKAMATSU: With REVELATIONS, we wanted to expand the worldview a bit, so we included new characters positioned slightly off-center. In that sense, if Jill's considered an orthodox type, Jessica's like the complete opposite as an anti-hero or rather abnormal (laughs). We were fairly conscious of that.
■CREATURES BORN FROM NEW IDEAS
——How'd you design the new creatures this time?
TAKAMATSU: Since the ocean's the main setting this time, we initially tried things like attaching seaweed or barnacles to Zombies (laughs). We felt it lacked a little punch though, so we rethought it from scratch.
——And that led to the creation of the Ooze.
TAKAMATSU: As a water-soluble virus called t-Abyss appears this time, we imagined the Ooze as made from corpses in the water fused with this virus. So the core image is a drowned corpse with pretty swollen skin and such. If we made it too realistic, it'd be disgusting, so I thought about how to balance that and turn it into a character-- that's how we designed the Ooze.
——By the way, do you have any personal favorite creatures?
HORI: For me it's definitely the Sea Creeper. The design's very fresh, you can instantly tell it's something from underwater. Also, this one's unmistakably female, isn't it? (laughs).
HASHIMOTO: Mine's the Scagdead. He was so incredibly strong I couldn't defeat him, so it really made a lasting impression on me (laughs). Before you first fight it, you can read in a diary how the original person's personality gradually breaks down until they become a Scagdead, that feels very BIO-like. Plus, during the fight, this guy's pretty lively (laughs), so I think it's a wonderfully enjoyable enemy.
——Rachel was also quite memorable this time.
HORI: Here's an inside story... You know how there are all kinds of Ooze types, like the ones that explode or attack from a distance. Rachel was actually one of those types too originally. She was the fast-moving kind, so during development, we called her “Move-kun” (laughs).
HASHIMOTO: Along with “Burst-kun” and “Long Arm-kun” (laughs).
HORI: Eventually though it was ultimately turned into the Rachel character and elevated.
——What led to that change?
TAKAMATSU: Those who played the trial version included in THE MERCENARIES 3D may remember... The scene where Rachel gets killed originally featured an unnamed male corpse. To really emphasize the horror though, we wanted something more distinctive, so we thought what if we use this corpse...
HORI: It was such a last-minute idea, I thought, "Will it even be ready in time!?" (laughs). Looking at the finished product in the end though, it was definitely the right call.
TAKAMATSU: Plus, we were even able to create that memorable trailer featuring Rachel.
HORI: That's what's great about CAPCOM. That service-minded spirit, or rather, "If it's fun, let's just do it!" or something.
■USER INTERFACE AND NEW EQUIPMENT • GENESIS
——What were your key considerations for the user interface design?
HASHIMOTO: First, to keep players focused on the upper screen and be more immersed, we aimed for a design where you could operate it without looking at the lower screen at all, where you could memorize finger placement. Finger lengths vary, naturally, so we fumbled and iterated many times to find a size women could comfortably reach and distinguish between buttons.
——What about the visual aspect?
HASHIMOTO: The BSAA organization itself was set up with funding from the Pharmaceutical Industry Association, so we consciously aimed for a clean image associated with pharmaceutical companies and hospitals. That sense of cleanliness carries a slightly exclusive, unsettling quality, a kind of "so pretty it's creepy" vibe which I felt matched the transparency etc. of "water" this time. It's not generic sci-fi design, it's meant to somehow instinctively induce a sense of unease or discomfort.
——Did you also handle the design for the GENESIS peephole?
HASHIMOTO: Yes. I made sure the crosshairs properly conveyed depth. Even in the early development stages when we were experimenting with 3D stereoscopic vision, we kept saying how fascinating the viewpoint felt when peering into something. We applied that concept to the GENESIS.
——Nakanishi-san mentioned it was only supposed to appear in one early scene initially?
HORI: Yes. Just the beach scene. But then everyone said, “That's such a waste!” (laughs). So before we knew it, it got promoted to a constantly used item.
——That's similar to Rachel earlier, if something turns out great you just keep using it more and more.
HORI: Exactly, that's right.
HASHIMOTO: As a creator, it was a truly happy accident. I was surprised at first... (laughs). Ultimately, it fit well with elements that came later, like the secret signs. For those playing through multiple times or wanting to dive deeper, I think it'd be fun to play with GENESIS while searching for those secret signs.
——Finally, please each share one point you'd like users to pay attention to.
HASHIMOTO: While we naturally designed the user interface with usability in mind, we also put effort into making the menu screens engaging by leveraging the hardware's capabilities, so we'd be happy if players noticed that aspect too.
TAKAMATSU: For this REVELATIONS, we aimed to include as many new elements as possible, including some pretty distinctive characters. We crafted it hoping the elements we've incorporated this time will keep evolving in future series entries, so we really hope you enjoy it.
HORI: I think all the developers would agree, we didn't approach this with a handheld game console in mind. We really polished every detail. The ghost ship's designed so you can explore various areas, including places not essential for clearing the game, and there are hidden items too, so please try to find them.
KOTA SUZUKI / Composer Interview (p.188-191)
Kota Suzuki
Handled sound composition for BIOHAZARD 5, BIOHAZARD 5 Alternative Edition, and THE MERCENARIES 3D. Other notable works include Onimusha 3 and Devil May Cry 4.
■"RICHNESS" & "CATCHINESS"
——Could you tell us about the overall sound concept for REVELATIONS?
SUZUKI: There are two main concepts this time, the first being "richness." If you look at the game, you'll see the visuals are truly high quality. So we aimed for sound matching that high quality. We didn't really think of it as a handheld game system, we approached it like a home console, for example, even BGM that was played using the built-in sound source on previous Nintendo DS systems is now all audio-based. We recorded several tracks featuring orchestras, choir performances, and several other instruments.
——Was the same approach applied to the sound effects (SE)?
SUZUKI: Yes. First off, it's fully voiced, so there's an enormous amount of voice acting. Then there's the sound design itself. We've added sound effects even to the smallest gimmicks.
——What's the second point?
SUZUKI: The second point's "approachability" or "catchiness." While horror's naturally an essential element in the BIO series, adopting an overseas drama format's also a theme this time. So we wanted sound to match that, aiming for a bit more approachability or catchiness.
——What specific aspects does that involve?
SUZUKI: In music for example, it's symbolic touches like incorporating catchy theme-like tunes throughout. Also, the voice acting supports multiple languages, so you can play in either Japanese or English. We're consciously aiming to make the game more approachable. Especially since it's on the Nintendo 3DS, we expect a very wide age range to play it. So we really want to take good care of that aspect.
■BALANCING MUSIC & SOUND EFFECTS FOR EACH SCENE
——In the BIO series, "scenes without music" are also crucial for heightening fear. What do you focus on in these quiet moments?
SUZUKI: This applies to the entire sound throughout the BIO series, BGM alone doesn't work and neither does sound effects alone, the interplay and balance between the two is extremely important. In scenes without BGM for example, you'll naturally hear SE, that's where we emphasize that "richness" I mentioned earlier. Sounds such as echoing footsteps or whirring of a fan noise on the ship's side... We make these gimmick sounds stand out prominently so even the SE alone can make you feel fear. Like when a duct makes a "clunk" sound and you can't help but jump in surprise.
——Conversely, how about action scenes?
SUZUKI: Conversely, in spectacular scenes the BGM becomes intense, so if we played all those sounds mentioned earlier, the player wouldn't know where to focus their listening. It'd blur the focus points and cause volume saturation. In those scenes, we basically prioritize essential sound effects, taking measures like slightly lowering the volume of lower-priority sounds, balancing them out. For example, in REVELATIONS, voices are obviously crucial, as are gunfire or explosions, in a really spectacular scene though, sounds like footsteps or minor movement noises aren't really that important. We adjust that balance according to the scene.
■CREATING MUSIC FOR THE GHOST SHIP
——The music for the ghost ship, this game's main setting, is striking, with tracks tailored to various rooms like the dark, eerie ship's hold and the starkly contrasting, lavishly ornate halls.
SUZUKI: Regarding room-specific BGM, for REVELATIONS the overall theme for the game this time was to return to the series' starting roots. Back then, it was common to assign BGM based on the room. We thought we'd try that approach again this time, so you'll find that kind of staging scattered throughout.
——Specifically, how'd you approach composing the music?
SUZUKI: When composing a piece of music for a specific room, I often start by setting a key instrument that defines that space. For example, in the grand hall of REVELATIONS, we wanted a slightly classical feel, so I thought about incorporating a pipe organ. Incidentally, it initially included a choir and had a very divine feel to it, but we felt it strayed a little from the hall's image, so we settled on the current, slightly darker atmosphere.
——It may be a bit different from rooms, but the weapon boxes play a calming BGM reminiscent of the series' save rooms.
SUZUKI: Yes. That was precisely the goal. While there are no save rooms this time, we also didn't want players to relax too much during episode transitions or result screens. Given the overseas drama format, we wanted it to make you want to see what happens next. So when considering where to create a calming scene, we thought about there being a weapon box. Ultimately, that spot also serves as a position for creating tension and release within the game itself.
■DIRECTION INSPIRED BY OVERSEAS DRAMAS
——This time you adopted overseas drama-style direction. How'd you approach composing the music for this?
SUZUKI: First, I felt I needed to deeply understand what kind of direction overseas dramas favorm so for about a month after joining REVELATIONS, I watched overseas dramas non-stop. From there I considered aspects like the "Previously on BIOHAZARD REVELATIONS", the opening sequence, episode endings, and other directions, that could be applied to REVELATIONS.
——Kawata-san mentioned the music playing during the “Previously on...” segment serves as the theme song for this game.
SUZUKI: That's right. As you'd expect, I felt the "Previously on..." segment was the most crucial point within the overseas drama-style direction. It's tied to the "catchiness" I mentioned earlier, for REVELATIONS, I wanted to create a song "users would listen to repeatedly and remember." Since the "Previously on..." is what everyone sees first, we decided to make that the theme song. If that theme song went on for a minute or two though, I think it'd feel repetitive too. So I created smaller theme songs, each around 30 to 40 seconds long, and scattered them throughout. A long version combining all these themes also plays during a specific scene in the game, so I hope you'll listen to that too.
——What about the opening sequences?
SUZUKI: Think of it like the transition before commercials in overseas dramas. Actually, the "Previously on..." sequence mentioned earlier was recorded instrument-by-instrument. We had sections like strings, piano, harp, etc. play separately. So I arranged them to make the music change up every few episodes. I thought using the same intro every time may get a bit repetitive, so we designed it to gradually become more elaborate as the story approaches its core.
——How about the result screen?
SUZUKI: This is exactly like finishing an episode of a foreign drama and thinking, "Ahh, I wonder what happens next." Also, with foreign dramas, the final cut before the opening or ending sequence often ends the music and visuals with a "Slap!" or a "Boom!" We incorporated that kind of crisp, prepared direction into the event scenes of REVELATIONS.
■VARIED MUSICAL TRACKS
——A slightly comical BGM plays in scenes where Keith & Quint show up.
SUZUKI: The music for the ship scenes represents the quintessential musical flow within REVELATIONS, as it were. For scenes like Keith & Quint's though, I thought adding variety would be more interesting. Their dialogue's also very comical, so while listening to it, I thought a "bouncy" hip-hop-style rhythm would fit well. When I tried composing that track, it was well-received within the development team, then it became like, "Whenever these guys appear, this song absolutely has to play." (laughs).
——It definitely felt a bit different for the BIO series.
SUZUKI: Even so, I think incorporating tracks like this really adds more flair to the main story's music. Plus, in overseas dramas, you sometimes get a mix of different genres, or songs by specific artists might play mid-episode. That sort of presentation's common, so I thought it could work for REVELATIONS too.
——The Terragrigia scenes also have a slightly different atmosphere compared to other stages.
SUZUKI: Terragrigia's set in a near-future city, so we mixed in elements like synthesizers and digital breakbeats to change the musical feel a bit. So in those scenes, I think players can enjoy a slightly different experience from the main story.
——Finally, what points would you like users to pay attention to?
SUZUKI: Definitely the catchy parts we've discussed so far. Previous BIOHAZARD music tended to be more like background music, although this time there are many memorable tunes I hope you'll enjoy the ease of listening, or rather that "listening experience." Also, while we've naturally adjusted it for speakers, I'd be thrilled if players could listen intently with headphones and savor all the subtle sounds.
Handled sound composition for BIOHAZARD 5, BIOHAZARD 5 Alternative Edition, and THE MERCENARIES 3D. Other notable works include Onimusha 3 and Devil May Cry 4.
■"RICHNESS" & "CATCHINESS"
——Could you tell us about the overall sound concept for REVELATIONS?
SUZUKI: There are two main concepts this time, the first being "richness." If you look at the game, you'll see the visuals are truly high quality. So we aimed for sound matching that high quality. We didn't really think of it as a handheld game system, we approached it like a home console, for example, even BGM that was played using the built-in sound source on previous Nintendo DS systems is now all audio-based. We recorded several tracks featuring orchestras, choir performances, and several other instruments.
——Was the same approach applied to the sound effects (SE)?
SUZUKI: Yes. First off, it's fully voiced, so there's an enormous amount of voice acting. Then there's the sound design itself. We've added sound effects even to the smallest gimmicks.
——What's the second point?
SUZUKI: The second point's "approachability" or "catchiness." While horror's naturally an essential element in the BIO series, adopting an overseas drama format's also a theme this time. So we wanted sound to match that, aiming for a bit more approachability or catchiness.
——What specific aspects does that involve?
SUZUKI: In music for example, it's symbolic touches like incorporating catchy theme-like tunes throughout. Also, the voice acting supports multiple languages, so you can play in either Japanese or English. We're consciously aiming to make the game more approachable. Especially since it's on the Nintendo 3DS, we expect a very wide age range to play it. So we really want to take good care of that aspect.
■BALANCING MUSIC & SOUND EFFECTS FOR EACH SCENE
——In the BIO series, "scenes without music" are also crucial for heightening fear. What do you focus on in these quiet moments?
SUZUKI: This applies to the entire sound throughout the BIO series, BGM alone doesn't work and neither does sound effects alone, the interplay and balance between the two is extremely important. In scenes without BGM for example, you'll naturally hear SE, that's where we emphasize that "richness" I mentioned earlier. Sounds such as echoing footsteps or whirring of a fan noise on the ship's side... We make these gimmick sounds stand out prominently so even the SE alone can make you feel fear. Like when a duct makes a "clunk" sound and you can't help but jump in surprise.
——Conversely, how about action scenes?
SUZUKI: Conversely, in spectacular scenes the BGM becomes intense, so if we played all those sounds mentioned earlier, the player wouldn't know where to focus their listening. It'd blur the focus points and cause volume saturation. In those scenes, we basically prioritize essential sound effects, taking measures like slightly lowering the volume of lower-priority sounds, balancing them out. For example, in REVELATIONS, voices are obviously crucial, as are gunfire or explosions, in a really spectacular scene though, sounds like footsteps or minor movement noises aren't really that important. We adjust that balance according to the scene.
■CREATING MUSIC FOR THE GHOST SHIP
——The music for the ghost ship, this game's main setting, is striking, with tracks tailored to various rooms like the dark, eerie ship's hold and the starkly contrasting, lavishly ornate halls.
SUZUKI: Regarding room-specific BGM, for REVELATIONS the overall theme for the game this time was to return to the series' starting roots. Back then, it was common to assign BGM based on the room. We thought we'd try that approach again this time, so you'll find that kind of staging scattered throughout.
——Specifically, how'd you approach composing the music?
SUZUKI: When composing a piece of music for a specific room, I often start by setting a key instrument that defines that space. For example, in the grand hall of REVELATIONS, we wanted a slightly classical feel, so I thought about incorporating a pipe organ. Incidentally, it initially included a choir and had a very divine feel to it, but we felt it strayed a little from the hall's image, so we settled on the current, slightly darker atmosphere.
——It may be a bit different from rooms, but the weapon boxes play a calming BGM reminiscent of the series' save rooms.
SUZUKI: Yes. That was precisely the goal. While there are no save rooms this time, we also didn't want players to relax too much during episode transitions or result screens. Given the overseas drama format, we wanted it to make you want to see what happens next. So when considering where to create a calming scene, we thought about there being a weapon box. Ultimately, that spot also serves as a position for creating tension and release within the game itself.
■DIRECTION INSPIRED BY OVERSEAS DRAMAS
——This time you adopted overseas drama-style direction. How'd you approach composing the music for this?
SUZUKI: First, I felt I needed to deeply understand what kind of direction overseas dramas favorm so for about a month after joining REVELATIONS, I watched overseas dramas non-stop. From there I considered aspects like the "Previously on BIOHAZARD REVELATIONS", the opening sequence, episode endings, and other directions, that could be applied to REVELATIONS.
——Kawata-san mentioned the music playing during the “Previously on...” segment serves as the theme song for this game.
SUZUKI: That's right. As you'd expect, I felt the "Previously on..." segment was the most crucial point within the overseas drama-style direction. It's tied to the "catchiness" I mentioned earlier, for REVELATIONS, I wanted to create a song "users would listen to repeatedly and remember." Since the "Previously on..." is what everyone sees first, we decided to make that the theme song. If that theme song went on for a minute or two though, I think it'd feel repetitive too. So I created smaller theme songs, each around 30 to 40 seconds long, and scattered them throughout. A long version combining all these themes also plays during a specific scene in the game, so I hope you'll listen to that too.
——What about the opening sequences?
SUZUKI: Think of it like the transition before commercials in overseas dramas. Actually, the "Previously on..." sequence mentioned earlier was recorded instrument-by-instrument. We had sections like strings, piano, harp, etc. play separately. So I arranged them to make the music change up every few episodes. I thought using the same intro every time may get a bit repetitive, so we designed it to gradually become more elaborate as the story approaches its core.
——How about the result screen?
SUZUKI: This is exactly like finishing an episode of a foreign drama and thinking, "Ahh, I wonder what happens next." Also, with foreign dramas, the final cut before the opening or ending sequence often ends the music and visuals with a "Slap!" or a "Boom!" We incorporated that kind of crisp, prepared direction into the event scenes of REVELATIONS.
■VARIED MUSICAL TRACKS
——A slightly comical BGM plays in scenes where Keith & Quint show up.
SUZUKI: The music for the ship scenes represents the quintessential musical flow within REVELATIONS, as it were. For scenes like Keith & Quint's though, I thought adding variety would be more interesting. Their dialogue's also very comical, so while listening to it, I thought a "bouncy" hip-hop-style rhythm would fit well. When I tried composing that track, it was well-received within the development team, then it became like, "Whenever these guys appear, this song absolutely has to play." (laughs).
——It definitely felt a bit different for the BIO series.
SUZUKI: Even so, I think incorporating tracks like this really adds more flair to the main story's music. Plus, in overseas dramas, you sometimes get a mix of different genres, or songs by specific artists might play mid-episode. That sort of presentation's common, so I thought it could work for REVELATIONS too.
——The Terragrigia scenes also have a slightly different atmosphere compared to other stages.
SUZUKI: Terragrigia's set in a near-future city, so we mixed in elements like synthesizers and digital breakbeats to change the musical feel a bit. So in those scenes, I think players can enjoy a slightly different experience from the main story.
——Finally, what points would you like users to pay attention to?
SUZUKI: Definitely the catchy parts we've discussed so far. Previous BIOHAZARD music tended to be more like background music, although this time there are many memorable tunes I hope you'll enjoy the ease of listening, or rather that "listening experience." Also, while we've naturally adjusted it for speakers, I'd be thrilled if players could listen intently with headphones and savor all the subtle sounds.