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BIOHAZARD UMBRELLA CHRONICLES ART OF ARTS
(バイオハザード アンブレラ・クロニクルズ アート・オブ・アーツ) |
Released: 20/02/2008
Softcover: 125 Publisher: CAPCOM ISBN-10: 4862331726 ISBN-13: 9784862331724 |
"BIOHAZARD UMBRELLA CHRONICLES" was designed as a game that builds upon the stories of the past. As we reviewed the historical materials and current setting documents gathered during development, we felt the desire to compile it into a single book once the vision became clear.
This was during the early stages of development for the Wii when the staff were still exploring what to add, what to remove, and what to keep.
This was during the early stages of development for the Wii when the staff were still exploring what to add, what to remove, and what to keep.
Producer
Masachika Kawata
While generally categorized as "horror games," the horror in "BIOHAZARD" can be described as positive for the player. In other words, the sense of heroism, the ability to escape dire situations through one's own efforts, stands out more than in other horror games. Unlike movies, TV games can be played for hours on end, so this sense of heroism's likely a crucial factor in maintaining motivation. While this is arguably an essential element in action games, we also incorporate various gimmicks to further sustain motivation. For example, the concept of "beautiful things" featured in this book-- that is, objects of interest equated to motivation-- may also apply here.
Now, a note's necessary here: where exactly in the content of this book are these "beautiful things"?
You might wonder if it's just full of things that're unpleasant to look at. Concepts vary from person to person, but after being involved with BIOHAZARD titles for many years, it seems my sense of beauty has deviated significantly from the general public. For example, I no longer find walls beautiful unless they have multiple layers of stain marks.
If the red rust infesting the doors doesn't spread like a viral infection, it doesn't feel beautiful either. The decay of zombies, the sticky fluid of leeches, and the noisy background music must evoke disgust while overwhelming the “beauty” with excessive information to satisfy the designer.
In other words, the designers responsible for development pack a variety of information into polygons and textures, decorate them with lighting and effects, then add or subtract information to refine the quintessential quality of "BIO-ness" in the process of assembling the game. By the time such an enormous amount of work becomes standardized, it's as if they've thoroughly cultivated a distinctly offbeat aesthetic sensibility.
This book's a collection of records from staff members who participated in creating BIOHAZARD UMBRELLA CHRONICLES from various perspectives. Looking at this book again, it might be described as an artbook that doesn't really feel “beautiful.” To be honest, the staff members involved in development weren't aware of their ‘misaligned’ sense of aesthetics at the time. However, I hope after reading this book you'll return to the game world and, with the development team's struggles in mind, once again enjoy the world of BIOHAZARD.
Masachika Kawata
While generally categorized as "horror games," the horror in "BIOHAZARD" can be described as positive for the player. In other words, the sense of heroism, the ability to escape dire situations through one's own efforts, stands out more than in other horror games. Unlike movies, TV games can be played for hours on end, so this sense of heroism's likely a crucial factor in maintaining motivation. While this is arguably an essential element in action games, we also incorporate various gimmicks to further sustain motivation. For example, the concept of "beautiful things" featured in this book-- that is, objects of interest equated to motivation-- may also apply here.
Now, a note's necessary here: where exactly in the content of this book are these "beautiful things"?
You might wonder if it's just full of things that're unpleasant to look at. Concepts vary from person to person, but after being involved with BIOHAZARD titles for many years, it seems my sense of beauty has deviated significantly from the general public. For example, I no longer find walls beautiful unless they have multiple layers of stain marks.
If the red rust infesting the doors doesn't spread like a viral infection, it doesn't feel beautiful either. The decay of zombies, the sticky fluid of leeches, and the noisy background music must evoke disgust while overwhelming the “beauty” with excessive information to satisfy the designer.
In other words, the designers responsible for development pack a variety of information into polygons and textures, decorate them with lighting and effects, then add or subtract information to refine the quintessential quality of "BIO-ness" in the process of assembling the game. By the time such an enormous amount of work becomes standardized, it's as if they've thoroughly cultivated a distinctly offbeat aesthetic sensibility.
This book's a collection of records from staff members who participated in creating BIOHAZARD UMBRELLA CHRONICLES from various perspectives. Looking at this book again, it might be described as an artbook that doesn't really feel “beautiful.” To be honest, the staff members involved in development weren't aware of their ‘misaligned’ sense of aesthetics at the time. However, I hope after reading this book you'll return to the game world and, with the development team's struggles in mind, once again enjoy the world of BIOHAZARD.
Umbrella's Path (p.008)
In 1967, prestigious European aristocrat Oswell E. Spencer, his friend Edward Ashford, virologist Dr. James Marcus and others, discovered a virus which mutates cells, known as "Progenitor."
The following year, Spencer established the "Umbrella" corporation under the pretext of "protecting the health of the people." It was ostensibly a predominant pharmaceutical company, but in reality that was camouflage for virus research and raising funds for it. Ironically, beginning from the U.S. Raccoon City, it achieved massive growth and became a huge multinational enterprise known the world over. At the same time, Dr. Marcus was studying and improving the virus at the executive training school. A year after Albert Wesker, William Birkin and other talented executive trainees joined, the "t-Virus" was finally completed. While Spencer's influence increased, Marcus attempted to use this discovery to gain power once more, but Spencer shut down the executive training school as if to obstruct him. The base of the research was moved to the Arklay Laboratory, the so-called "Mansion." Afterwards, Marcus continued studying it in the training school, but was attacked and died at the hands of Wesker, whom he trusted.
In the Arklay Lab, William took over t-Virus research, replacing Marcus and creating the "Tyrant", the ultimate living organism B.O.W. Construction of a huge underground lab eventually began in Raccoon City while development of the intelligent "Nemesis" commenced in the European Sixth Laboratory. Umbrella's rapid progress looked like it'd continue, but in 1998, a rip in the umbrella was finally laid bare. A virus outbreak. The Arklay Lab was struck by a biohazard and totally destroyed, and the rampaging Marcus also caused a worst case scenario inside the executive training school. These were the "Mansion Incident" and "Ecliptic Express Incident." In the same year, while William conducted research in the underground lab, he completed a more powerful virus, the "G-Virus". William schemed to monopolize this but it was stolen by Umbrella's special forces. The t-Virus stored in the lab leaked by that stage, plunging Raccoon City into utter ruin.
The horrifying virus spread into the city in the blink of an eye. The U.S. Government had been colluding with the merchant of death Umbrella and decided upon dropping a missile into Raccoon City in an effort to annihilate evidence of this. The "Sterilization Strategy" was executed to erase everything, wiping the city's name off the map. The following year as well, with growing criticism from public opinion on the most colossal catastrophe since the beginning of recorded history, the U.S. Government issued an order against Umbrella to cease operations indefinitely.
The nightmare wasn't over however. A scenario for Umbrella's revival was underway at an underground lab based in Russia, funded by a dummy company of Umbrella. The company executive Sergei Vladimir spearheaded the plan. Under Spencer, he strove to revive the company and his motherland and took possession of the supercomputer "U.M.F.-013" containing all of Umbrella's data, as well as confidential data capable of controlling the world, but he was tragically foiled. The Russian branch was destroyed. There, was the figure of a man who had repeatedly worked behind the scenes and had at last stolen all the data. His name was Albert Wesker.
Albert Wesker (p.009)
Behind the scenes of Umbrella lurked the visage of Wesker. One must wonder why he'd betray Umbrella and lead it to collapse with meticulous scheming---
In 1977, Wesker was assigned as an executive candidate to the executive training school alongside William Birkin. He continued research working under Spencer, but harbored doubts concerning his goal and ways of thinking. Then 11 years later in 1988, he killed his teacher Dr. James Marcus at Spencer's command. He had the calm, cruel personality and lack of hesitation appropriate for this crime. He used human lives to push his way up the ladder. At the moment of the assassination, though he repudiated Spencer's philosophy, he may have perceived himself as of the same ilk. Whilst virus research and development saw progress in William's hands, he decided to transfer to the intelligence division. Using various secrets, he resolved to become an absolute ruler in a different manner from Spencer. It was at this point he began working behind the scenes.
When the Raccoon Police Department's special ops unit "S.T.A.R.S." was formed, he was appointed Captain through the intervention of Umbrella, a significant contributor of funding. While he was drawing blueprints for consolidating a quid pro quo position by providing information to an opposing company, an opportunity revealed itself to him. It was the Mansion Incident. He guided the officers into the biohazard-struck Arklay Lab, taking advantage of the chaos to provide combat data with live humans, and was even willing to offer the Tyrant as well. On this occasion, Wesker heard information on resurrection from William beforehand and injected himself with a virus, letting the Tyrant attack him. Though his desperate human experiment succeeded, Sergei blocked his access to the data and the Tyrant vanished at the hands of Chris and Jill. He'd completely severed ties with Umbrella and his plan had ended in failure.
After moving to the opposing company, Wesker promptly put his next scenario into action. This was to seize the G-Virus developed by William. At one stage it came to a standstill due to Umbrella's interference but was brought to light by a female spy on his company's side. A tissue fragment was successfully recovered. In this manner, Wesker's power grew in the new world.
Raccoon City was destroyed and before long, Umbrella collapsed. The opposing company's prosperity put an end to Umbrella, yet Wesker had obtained secret data and stolen the foothold to a revival.
After causing Spencer to lose his position, his frightening scenario continues.
GLOSSARY
Arklay Laboratory
A top-secret Umbrella lab constructed in Arklay's forest area. It's ostensibly merely a mansion, but various traps were placed and invasion from outside is nearly impossible. A virus leaked causing a serious biohazard, and it was destroyed.
Umbrella Executive Training School
A facility for raising Umbrella personnel, built in close proximity to the Arklay Lab. The first director was James Marcus. With his mad research, most of the staff became guinea pigs for experiments.
Umbrella Security Service
A military unit organized by Umbrella executives along with the Supervisors. In contrast with the U.B.C.S., it's a darkside of Umbrella that conducts covert tactical ops. It assembles a small number of elites and HUNK, known as the Grim Reaper, belongs to Alpha Team.
Supervisors
A covert surveillance organization under the direct command of Umbrella executives. For significant fees they mainly observe within the company, but also conduct missions such as assassination and destroying evidence. Nikolai Zinoviev's one of them and Sergei Vladimir commands them.
U.B.C.S.
The Umbrella Biohazard Countermeasure Service. A private military unit of Umbrella, when a biohazard's caused by the company's products, it implements life-saving strategies. Carlos Oliveira belongs to it.
Sterilization Strategy
A strategy for completely eradicating Raccoon City to stem the tide of the t-Virus spreading to the outskirts. 100,000 citizens lost their lives this way. It was a strategy for the U.S. Government to destroy evidence implicating their collusive relationship with Umbrella.
Raccoon City
A city located in the midwestern United States. After courting Umbrella, a wave of industrialization surged and it rapidly developed. About 30% of the population is engaged in Umbrella-related occupations.
R.P.D.
Raccoon Police Department. The chief Brian colluded with Umbrella. Brian's incoherent orders caused the force to collapse when virus infection began in Raccoon.
S.T.A.R.S.
The Special Tactics and Rescue Service under the jurisdiction of the Raccoon City Police, consisting of Alpha and Bravo teams. The Captain was Wesker. It vanished with Raccoon City's destruction.
B.O.W.
Abbreviation of Bio Organic Weapon. Meaning organic life-form weapons Umbrella administered with the t-Virus for weapon product development. Other than the development of large B.O.W. models mainly involving combat, there are also plans such as dispersal weapons for spreading infection.
t-Virus
A virus which improved the Progenitor Virus with emphasis on military application. "t" is an acronym for Tyrant. Absorption has the effect of making a target creature become ferocious. In addition, contact with an infected subject causes secondary infection.
G-Virus
A new virus William Birkin developed. Unlike the t-Virus which causes mutations within a single generation, once infected with this, the G-Cells replicate and produce new G-Organisms. The form Birkin inflicted on himself to turn into a monster is called "G-Birkin."
Chronological Table (p.010-011)
1967
The organism-modifying "Progenitor Virus" is discovered.
1968
The pharmaceutical company Umbrella's founded.
'68
Umbrella establishes an executive training school, Dr. Marcus is first director.
1977
Executive candidates Wesker and William are assigned to the training school.
1978
Dr. Marcus successfully develops the t-Virus.
'78
The executive training school's shut down, t-Virus research moves to the Arklay Lab.
1988
Wesker and Birkin assassinate Dr. Marcus.
'88
The "t-Virus Project" develops the ultimate life-form B.O.W. Tyrant.
1991
The Umbrella Underground Research Facility's constructed in Raccoon City.
'91
The Umbrella Europe Sixth Lab commences the "Nemesis Project."
'91
Spencer approves William's "G-Virus Project."
'91
Wesker transfers to the intelligence division.
1996
S.T.A.R.S. is founded under Raccoon City's jurisdiction, Wesker's inaugurated as Captain.
1999
The U.S. Government issues Umbrella a business suspension order, the company incurs much damage.
2003
The Umbrella Russia Branch is destroyed by a private anti-biohazard unit.
In 1967, prestigious European aristocrat Oswell E. Spencer, his friend Edward Ashford, virologist Dr. James Marcus and others, discovered a virus which mutates cells, known as "Progenitor."
The following year, Spencer established the "Umbrella" corporation under the pretext of "protecting the health of the people." It was ostensibly a predominant pharmaceutical company, but in reality that was camouflage for virus research and raising funds for it. Ironically, beginning from the U.S. Raccoon City, it achieved massive growth and became a huge multinational enterprise known the world over. At the same time, Dr. Marcus was studying and improving the virus at the executive training school. A year after Albert Wesker, William Birkin and other talented executive trainees joined, the "t-Virus" was finally completed. While Spencer's influence increased, Marcus attempted to use this discovery to gain power once more, but Spencer shut down the executive training school as if to obstruct him. The base of the research was moved to the Arklay Laboratory, the so-called "Mansion." Afterwards, Marcus continued studying it in the training school, but was attacked and died at the hands of Wesker, whom he trusted.
In the Arklay Lab, William took over t-Virus research, replacing Marcus and creating the "Tyrant", the ultimate living organism B.O.W. Construction of a huge underground lab eventually began in Raccoon City while development of the intelligent "Nemesis" commenced in the European Sixth Laboratory. Umbrella's rapid progress looked like it'd continue, but in 1998, a rip in the umbrella was finally laid bare. A virus outbreak. The Arklay Lab was struck by a biohazard and totally destroyed, and the rampaging Marcus also caused a worst case scenario inside the executive training school. These were the "Mansion Incident" and "Ecliptic Express Incident." In the same year, while William conducted research in the underground lab, he completed a more powerful virus, the "G-Virus". William schemed to monopolize this but it was stolen by Umbrella's special forces. The t-Virus stored in the lab leaked by that stage, plunging Raccoon City into utter ruin.
The horrifying virus spread into the city in the blink of an eye. The U.S. Government had been colluding with the merchant of death Umbrella and decided upon dropping a missile into Raccoon City in an effort to annihilate evidence of this. The "Sterilization Strategy" was executed to erase everything, wiping the city's name off the map. The following year as well, with growing criticism from public opinion on the most colossal catastrophe since the beginning of recorded history, the U.S. Government issued an order against Umbrella to cease operations indefinitely.
The nightmare wasn't over however. A scenario for Umbrella's revival was underway at an underground lab based in Russia, funded by a dummy company of Umbrella. The company executive Sergei Vladimir spearheaded the plan. Under Spencer, he strove to revive the company and his motherland and took possession of the supercomputer "U.M.F.-013" containing all of Umbrella's data, as well as confidential data capable of controlling the world, but he was tragically foiled. The Russian branch was destroyed. There, was the figure of a man who had repeatedly worked behind the scenes and had at last stolen all the data. His name was Albert Wesker.
Albert Wesker (p.009)
Behind the scenes of Umbrella lurked the visage of Wesker. One must wonder why he'd betray Umbrella and lead it to collapse with meticulous scheming---
In 1977, Wesker was assigned as an executive candidate to the executive training school alongside William Birkin. He continued research working under Spencer, but harbored doubts concerning his goal and ways of thinking. Then 11 years later in 1988, he killed his teacher Dr. James Marcus at Spencer's command. He had the calm, cruel personality and lack of hesitation appropriate for this crime. He used human lives to push his way up the ladder. At the moment of the assassination, though he repudiated Spencer's philosophy, he may have perceived himself as of the same ilk. Whilst virus research and development saw progress in William's hands, he decided to transfer to the intelligence division. Using various secrets, he resolved to become an absolute ruler in a different manner from Spencer. It was at this point he began working behind the scenes.
When the Raccoon Police Department's special ops unit "S.T.A.R.S." was formed, he was appointed Captain through the intervention of Umbrella, a significant contributor of funding. While he was drawing blueprints for consolidating a quid pro quo position by providing information to an opposing company, an opportunity revealed itself to him. It was the Mansion Incident. He guided the officers into the biohazard-struck Arklay Lab, taking advantage of the chaos to provide combat data with live humans, and was even willing to offer the Tyrant as well. On this occasion, Wesker heard information on resurrection from William beforehand and injected himself with a virus, letting the Tyrant attack him. Though his desperate human experiment succeeded, Sergei blocked his access to the data and the Tyrant vanished at the hands of Chris and Jill. He'd completely severed ties with Umbrella and his plan had ended in failure.
After moving to the opposing company, Wesker promptly put his next scenario into action. This was to seize the G-Virus developed by William. At one stage it came to a standstill due to Umbrella's interference but was brought to light by a female spy on his company's side. A tissue fragment was successfully recovered. In this manner, Wesker's power grew in the new world.
Raccoon City was destroyed and before long, Umbrella collapsed. The opposing company's prosperity put an end to Umbrella, yet Wesker had obtained secret data and stolen the foothold to a revival.
After causing Spencer to lose his position, his frightening scenario continues.
GLOSSARY
Arklay Laboratory
A top-secret Umbrella lab constructed in Arklay's forest area. It's ostensibly merely a mansion, but various traps were placed and invasion from outside is nearly impossible. A virus leaked causing a serious biohazard, and it was destroyed.
Umbrella Executive Training School
A facility for raising Umbrella personnel, built in close proximity to the Arklay Lab. The first director was James Marcus. With his mad research, most of the staff became guinea pigs for experiments.
Umbrella Security Service
A military unit organized by Umbrella executives along with the Supervisors. In contrast with the U.B.C.S., it's a darkside of Umbrella that conducts covert tactical ops. It assembles a small number of elites and HUNK, known as the Grim Reaper, belongs to Alpha Team.
Supervisors
A covert surveillance organization under the direct command of Umbrella executives. For significant fees they mainly observe within the company, but also conduct missions such as assassination and destroying evidence. Nikolai Zinoviev's one of them and Sergei Vladimir commands them.
U.B.C.S.
The Umbrella Biohazard Countermeasure Service. A private military unit of Umbrella, when a biohazard's caused by the company's products, it implements life-saving strategies. Carlos Oliveira belongs to it.
Sterilization Strategy
A strategy for completely eradicating Raccoon City to stem the tide of the t-Virus spreading to the outskirts. 100,000 citizens lost their lives this way. It was a strategy for the U.S. Government to destroy evidence implicating their collusive relationship with Umbrella.
Raccoon City
A city located in the midwestern United States. After courting Umbrella, a wave of industrialization surged and it rapidly developed. About 30% of the population is engaged in Umbrella-related occupations.
R.P.D.
Raccoon Police Department. The chief Brian colluded with Umbrella. Brian's incoherent orders caused the force to collapse when virus infection began in Raccoon.
S.T.A.R.S.
The Special Tactics and Rescue Service under the jurisdiction of the Raccoon City Police, consisting of Alpha and Bravo teams. The Captain was Wesker. It vanished with Raccoon City's destruction.
B.O.W.
Abbreviation of Bio Organic Weapon. Meaning organic life-form weapons Umbrella administered with the t-Virus for weapon product development. Other than the development of large B.O.W. models mainly involving combat, there are also plans such as dispersal weapons for spreading infection.
t-Virus
A virus which improved the Progenitor Virus with emphasis on military application. "t" is an acronym for Tyrant. Absorption has the effect of making a target creature become ferocious. In addition, contact with an infected subject causes secondary infection.
G-Virus
A new virus William Birkin developed. Unlike the t-Virus which causes mutations within a single generation, once infected with this, the G-Cells replicate and produce new G-Organisms. The form Birkin inflicted on himself to turn into a monster is called "G-Birkin."
Chronological Table (p.010-011)
1967
The organism-modifying "Progenitor Virus" is discovered.
1968
The pharmaceutical company Umbrella's founded.
'68
Umbrella establishes an executive training school, Dr. Marcus is first director.
1977
Executive candidates Wesker and William are assigned to the training school.
1978
Dr. Marcus successfully develops the t-Virus.
'78
The executive training school's shut down, t-Virus research moves to the Arklay Lab.
1988
Wesker and Birkin assassinate Dr. Marcus.
'88
The "t-Virus Project" develops the ultimate life-form B.O.W. Tyrant.
1991
The Umbrella Underground Research Facility's constructed in Raccoon City.
'91
The Umbrella Europe Sixth Lab commences the "Nemesis Project."
'91
Spencer approves William's "G-Virus Project."
'91
Wesker transfers to the intelligence division.
1996
S.T.A.R.S. is founded under Raccoon City's jurisdiction, Wesker's inaugurated as Captain.
1999
The U.S. Government issues Umbrella a business suspension order, the company incurs much damage.
2003
The Umbrella Russia Branch is destroyed by a private anti-biohazard unit.
scenario:1 Train Derailment (p.017)
The Forest Where It Started
A helicopter crash-landed in the Arklay Mountains due to sudden engine trouble. The occupants were S.T.A.R.S. Bravo Team, who'd gone to investigate bizarre murder cases. After exiting the helicopter they discover a wrecked prisoner transport vehicle in the forest, along with the horrible condition of the Marines. The team disperses to search for the escapee and Rebecca Chambers discovers the Ecliptic Express train. The train's quiet... but the situation changes as Zombies attack her. Rebecca's saved at the last moment by former Marine Second Lieutenant Billy Coen. The heinous criminal who escaped.
With Rebecca's anxiety and suspicion swirling in her mind, the train quietly starts to move. Gradually the train speeds up abnormally, faster and faster, eventually overturning with a roar. The two survivors reach the Umbrella Executive Training School and immediately start searching the facility.
Ending the Nightmare
The director, James Marcus, who was supposed to be dead, appears in a treatment plant filled with countless leeches. He's been revived by the t-Virus after fusing with a leech's tissue. Marcus transforms into the Queen Leech and attacks Rebecca and Billy.
After a fight to the death, the two watch the training school go up in flames from a hilltop. "I have to go. My comrades are waiting for me." Rebecca removes the dog tags from Billy's neck, along with the charges against him. They salute each other, then go their separate ways.
Two Plots
A few hours earlier---. Two men in a monitor room watch Rebecca and Billy on their way to the training school. Umbrella intelligence agent Albert Wesker and researcher William Birkin. They'd been working on a plan to repurpose the training school, but they realized the plan was going to fail. As Wesker schemes to free himself of Umbrella, William's furious at him for the interruption to his research, blurting out a plan to blow up the training school.
A voice echoes through the tunnel. "Where might you be going? Comrade Albert Wesker." The voice belongs to an Umbrella executive, Sergei Vladimir. He unleashes Ivan against Wesker for failing in his Reclamation Project, but with a sudden flash and blast, Wesker vanishes. "Very well... We need to recover the Talos host first." With that, Sergei also left the scene.
scenario:2 Mansion Incident (p.018)
Invitation to Oblivion
In search of Bravo Team who disappeared in the forested region the night before, S.T.A.R.S. Alpha Team are suddenly attacked by bizarre creatures. The team attempts to retreat, but the mansion they take refuge in with Captain Wesker turns out to be a den of monsters. Chris Redfield and Jill Valentine start exploring the mansion, only to find themselves walking into Hell.
The Endless Fight
"Are you okay?" Rebecca awoke in a room in the mansion to the sound of Richard Aiken's voice. He found her asleep, exhausted after escaping the training school. The two of them start to move out as well. Constant fights with monsters that won't stop attacking them... As Rebecca's exhaustion reaches its limit, it mercilessly appears in front of her. A giant viper, so huge it obscured her vision. The moment its sharp fangs attack Rebecca, Richard takes a risk to save her and is mortally wounded. Rebecca's plunged into the depths of despair, but someone appears to light a beacon of hope. It's Chris and Jill.
The Truth Revealed
After leaving Rebecca and company, Chris and Jill are met in an underground incubation room by Wesker wielding a gun. He starts to tell the truth. He stands in front of the ultimate life-form, Tyrant, with an ecstatic expression on his face as he tells them about the bioweapons and his objective of obtaining combat data using the team members. The next moment however, the awakened Tyrant's sharp claws pierce Wesker's abdomen, filling his proud face with abject agony. Shaking with rage at the realization of what has transpired, Chris and Jill hear an alarm ringing in their ears: "Detonation device armed."
They head for the heliport and meet up with Rebecca as they confront the Tyrant on the roof, although the rocket launcher given to them by the helicopter's pilot, Brad Vickers, is powerful enough to put an end to their foe. The helicopter carrying the survivors continues to ascend as the mansion below them is reduced to dust by the explosion.
Scheme's End
In addition to Chris and the others who successfully escaped, there was another survivor. A man who'd risen from the brink of death by injecting himself with a virus, Wesker. He'd parted ways with Umbrella and was planning to take all the data. However, his plan's thwarted by Sergei. Wesker's heart swells with resentment as he vows to retaliate.
scenario:3 Raccoon's Destruction (p.021)
The Pursuer
Two months after the Mansion Incident, Jill infiltrates Raccoon City to investigate the connection between the biohazard and Umbrella. The city's filled with Zombies and just as she's about to fall prey to them, a man appears with submachine gunshots, Carlos Oliveira, a corporal in the U.B.C.S. The two head for the police station, but a giant man in black relentlessly follows them. He's “NEMESIS,” the Pursuer. The two engage in numerous deadly battles with this formidable foe.
At dawn, the city's to be struck by a missile. The bullets they fire in frustration definitively strike the Pursuer and finally end him.
The missile touched down just as their escape helicopter soared, quickly engulfing Raccoon City in flames with a blinding flash of light.
The Grim Reaper Never Dies
Umbrella Security Service member HUNK held a sample of the G-Virus in his hand. The unit's Alpha Team were all dead save for him. "Just you again, huh Reaper." the helicopter pilot receiving the extraction call retorts. HUNK would never die. He easily passes through the harsh battlefield, listening to radio broadcasts of the tragedy like they were background music. Arriving at the rendezvous point, the solitary Reaper's mask reflects Raccoon's final sky.
Worthy of Living
Injured all over her body, a female spy witnesses in her hotel room the grisly sight of her contact. Behind a monitor, Wesker hurls cold words at the apparent suicide, continuing with words of frustration at the woman for failing to steal a sample of the G-Virus. Wesker's attitude changes however once Ada Wong shows him a sample containing a G-Birkin tissue fragment. Finding her of use once more, he gives her intel on the bombing of Raccoon City.
A helicopter leaves Raccoon City with Ada in tow after she leaps onto cargo marked “U.M.F.-013” in her attempt to escape. Aboard the aircraft's Sergei, a fearless smile on his face.
scenario:4 Umbrella's End (p.023)
Nightmare Manufacturing Factory
Russia, Caucasus region. Chris and Jill have landed in this extremely cold land as members of the Private Anti-Biohazard Service, having formed the anti-Umbrella organization after the collapse of S.T.A.R.S.
Upon infiltrating the Russian branch of Umbrella Corp., they proceed to open door after door with no regard for danger, eventually arriving at a space covered in white. Sergei's voice echoes through the hallowed room. "We rarely get visitors here, welcome." As if on cue, Talos appears. Despite being outmatched by the perfect fighting machine, Chris and Jill concentrate on its weak points. Talos writhes in agony and transforms into its second form, but the duo's frantic assault leaves its unseemly remains in their wake.
The long night dawns. Chris and Jill look up at the Russian sky as it starts glowing with white light, convinced of Umbrella's collapse. But Chris mutters, "...he's still out there."
Confrontation
Wesker had also set foot on Russian soil. With great power, he pries open iron bars and proceeds to the back of the building. As he approaches the entrance to the underground facility, Wesker's grazed by a bullet fired by Sergei, and Ivan reappears. Another one shows up, looking exactly the same. Despite feeling cornered, Wesker welcomed the Ivans with a furrowed smile and easily defeated them, reaching his desired location.
On the monitor, Chris and Jill are fighting against Talos. "You took down Ivan?", he says. Sergei metamorphoses, writhing under an extreme stimulation of pain and pleasure. Wesker mercilessly fires bullets into his bizarre body one after another. "Not yet... there's even deeper pain!" Wesker finishes off Sergei while he appears to be pleading with him, then heads back toward the computer without even a hint of intoxicating triumph.
Ending and Beginning
RED QUEEN's voice announces the data copy's complete. Wesker pulls out the media, finishes deleting all the data, then disappears.
A room in a certain location. Looking at a group of monitors covered with a plethora of information, Wesker smiles coldly as he says, "My dear Spencer... Your folded umbrella no longer shields you, bastard. The best you can do is go on the run. We'll eventually meet and have a talk. Concerning the narrative I have in mind."
The Forest Where It Started
A helicopter crash-landed in the Arklay Mountains due to sudden engine trouble. The occupants were S.T.A.R.S. Bravo Team, who'd gone to investigate bizarre murder cases. After exiting the helicopter they discover a wrecked prisoner transport vehicle in the forest, along with the horrible condition of the Marines. The team disperses to search for the escapee and Rebecca Chambers discovers the Ecliptic Express train. The train's quiet... but the situation changes as Zombies attack her. Rebecca's saved at the last moment by former Marine Second Lieutenant Billy Coen. The heinous criminal who escaped.
With Rebecca's anxiety and suspicion swirling in her mind, the train quietly starts to move. Gradually the train speeds up abnormally, faster and faster, eventually overturning with a roar. The two survivors reach the Umbrella Executive Training School and immediately start searching the facility.
Ending the Nightmare
The director, James Marcus, who was supposed to be dead, appears in a treatment plant filled with countless leeches. He's been revived by the t-Virus after fusing with a leech's tissue. Marcus transforms into the Queen Leech and attacks Rebecca and Billy.
After a fight to the death, the two watch the training school go up in flames from a hilltop. "I have to go. My comrades are waiting for me." Rebecca removes the dog tags from Billy's neck, along with the charges against him. They salute each other, then go their separate ways.
Two Plots
A few hours earlier---. Two men in a monitor room watch Rebecca and Billy on their way to the training school. Umbrella intelligence agent Albert Wesker and researcher William Birkin. They'd been working on a plan to repurpose the training school, but they realized the plan was going to fail. As Wesker schemes to free himself of Umbrella, William's furious at him for the interruption to his research, blurting out a plan to blow up the training school.
A voice echoes through the tunnel. "Where might you be going? Comrade Albert Wesker." The voice belongs to an Umbrella executive, Sergei Vladimir. He unleashes Ivan against Wesker for failing in his Reclamation Project, but with a sudden flash and blast, Wesker vanishes. "Very well... We need to recover the Talos host first." With that, Sergei also left the scene.
scenario:2 Mansion Incident (p.018)
Invitation to Oblivion
In search of Bravo Team who disappeared in the forested region the night before, S.T.A.R.S. Alpha Team are suddenly attacked by bizarre creatures. The team attempts to retreat, but the mansion they take refuge in with Captain Wesker turns out to be a den of monsters. Chris Redfield and Jill Valentine start exploring the mansion, only to find themselves walking into Hell.
The Endless Fight
"Are you okay?" Rebecca awoke in a room in the mansion to the sound of Richard Aiken's voice. He found her asleep, exhausted after escaping the training school. The two of them start to move out as well. Constant fights with monsters that won't stop attacking them... As Rebecca's exhaustion reaches its limit, it mercilessly appears in front of her. A giant viper, so huge it obscured her vision. The moment its sharp fangs attack Rebecca, Richard takes a risk to save her and is mortally wounded. Rebecca's plunged into the depths of despair, but someone appears to light a beacon of hope. It's Chris and Jill.
The Truth Revealed
After leaving Rebecca and company, Chris and Jill are met in an underground incubation room by Wesker wielding a gun. He starts to tell the truth. He stands in front of the ultimate life-form, Tyrant, with an ecstatic expression on his face as he tells them about the bioweapons and his objective of obtaining combat data using the team members. The next moment however, the awakened Tyrant's sharp claws pierce Wesker's abdomen, filling his proud face with abject agony. Shaking with rage at the realization of what has transpired, Chris and Jill hear an alarm ringing in their ears: "Detonation device armed."
They head for the heliport and meet up with Rebecca as they confront the Tyrant on the roof, although the rocket launcher given to them by the helicopter's pilot, Brad Vickers, is powerful enough to put an end to their foe. The helicopter carrying the survivors continues to ascend as the mansion below them is reduced to dust by the explosion.
Scheme's End
In addition to Chris and the others who successfully escaped, there was another survivor. A man who'd risen from the brink of death by injecting himself with a virus, Wesker. He'd parted ways with Umbrella and was planning to take all the data. However, his plan's thwarted by Sergei. Wesker's heart swells with resentment as he vows to retaliate.
scenario:3 Raccoon's Destruction (p.021)
The Pursuer
Two months after the Mansion Incident, Jill infiltrates Raccoon City to investigate the connection between the biohazard and Umbrella. The city's filled with Zombies and just as she's about to fall prey to them, a man appears with submachine gunshots, Carlos Oliveira, a corporal in the U.B.C.S. The two head for the police station, but a giant man in black relentlessly follows them. He's “NEMESIS,” the Pursuer. The two engage in numerous deadly battles with this formidable foe.
At dawn, the city's to be struck by a missile. The bullets they fire in frustration definitively strike the Pursuer and finally end him.
The missile touched down just as their escape helicopter soared, quickly engulfing Raccoon City in flames with a blinding flash of light.
The Grim Reaper Never Dies
Umbrella Security Service member HUNK held a sample of the G-Virus in his hand. The unit's Alpha Team were all dead save for him. "Just you again, huh Reaper." the helicopter pilot receiving the extraction call retorts. HUNK would never die. He easily passes through the harsh battlefield, listening to radio broadcasts of the tragedy like they were background music. Arriving at the rendezvous point, the solitary Reaper's mask reflects Raccoon's final sky.
Worthy of Living
Injured all over her body, a female spy witnesses in her hotel room the grisly sight of her contact. Behind a monitor, Wesker hurls cold words at the apparent suicide, continuing with words of frustration at the woman for failing to steal a sample of the G-Virus. Wesker's attitude changes however once Ada Wong shows him a sample containing a G-Birkin tissue fragment. Finding her of use once more, he gives her intel on the bombing of Raccoon City.
A helicopter leaves Raccoon City with Ada in tow after she leaps onto cargo marked “U.M.F.-013” in her attempt to escape. Aboard the aircraft's Sergei, a fearless smile on his face.
scenario:4 Umbrella's End (p.023)
Nightmare Manufacturing Factory
Russia, Caucasus region. Chris and Jill have landed in this extremely cold land as members of the Private Anti-Biohazard Service, having formed the anti-Umbrella organization after the collapse of S.T.A.R.S.
Upon infiltrating the Russian branch of Umbrella Corp., they proceed to open door after door with no regard for danger, eventually arriving at a space covered in white. Sergei's voice echoes through the hallowed room. "We rarely get visitors here, welcome." As if on cue, Talos appears. Despite being outmatched by the perfect fighting machine, Chris and Jill concentrate on its weak points. Talos writhes in agony and transforms into its second form, but the duo's frantic assault leaves its unseemly remains in their wake.
The long night dawns. Chris and Jill look up at the Russian sky as it starts glowing with white light, convinced of Umbrella's collapse. But Chris mutters, "...he's still out there."
Confrontation
Wesker had also set foot on Russian soil. With great power, he pries open iron bars and proceeds to the back of the building. As he approaches the entrance to the underground facility, Wesker's grazed by a bullet fired by Sergei, and Ivan reappears. Another one shows up, looking exactly the same. Despite feeling cornered, Wesker welcomed the Ivans with a furrowed smile and easily defeated them, reaching his desired location.
On the monitor, Chris and Jill are fighting against Talos. "You took down Ivan?", he says. Sergei metamorphoses, writhing under an extreme stimulation of pain and pleasure. Wesker mercilessly fires bullets into his bizarre body one after another. "Not yet... there's even deeper pain!" Wesker finishes off Sergei while he appears to be pleading with him, then heads back toward the computer without even a hint of intoxicating triumph.
Ending and Beginning
RED QUEEN's voice announces the data copy's complete. Wesker pulls out the media, finishes deleting all the data, then disappears.
A room in a certain location. Looking at a group of monitors covered with a plethora of information, Wesker smiles coldly as he says, "My dear Spencer... Your folded umbrella no longer shields you, bastard. The best you can do is go on the run. We'll eventually meet and have a talk. Concerning the narrative I have in mind."
INTERVIEW 01: Movie Part Director HIDÉ GONDOH (p.024)
profile
Hidekazu Gondoh: He's been involved in the event movies for the BIOHAZARD series, including "CODE:Veronica," "GUN SURVIVOR 2", biohazard 4, & "Time Crisis 3", also working as a film director & scriptwriter for TV dramas.
“VERONICA WAS THE START”
——Gondoh-san, you started as a movie director for BIOHAZARD UMBRELLA CHRONICLES (hereinafter UC), but before that, you were also involved in film production, isn't that right?
GONDOH: I was working on film, but it didn't pay very well (laughs). A senior from the film school I attended in London approached me and offered me the opportunity to work on “BIOHAZARD CODE:Veronica” (hereinafter referred to as “Veronica”). Actually, the first game-related project I worked on was CAPCOM's Veronica. At that time I was responsible for camera work and editing.
——What about other BIOHAZARD series titles?
GONDOH: After Veronica, I worked on the demos for GUN SURVIVOR 2. Then came the remake of “BIO1.” Like Veronica, I was involved in camera work and editing. I thought about things like angles, how to present certain scenes, and how many frames to use, and then handled the editing afterward. Then came BIO4 where I started directing the movie sequences. And now UC.
——What exactly is your role in UC?
GONDOH: I'm the director of all the movie parts in the staff credits. Specifically, I'm involved in everything from the storyboards to the MA. The storyboards are based on the scenario written by director Seto. The storyboards are the hardest part (laughs). It's really interesting though. CAPCOM gave me a lot of freedom so I was able to draw the storyboards however I wanted. I don't know anything about 3DCG, so I left the technical aspects to the talented CG staff, including Link's. MA's the process of adjusting and organizing all the sounds, including the background music and sound effects.
A SPICE CALLED “DIRECTION”
——So you start by drawing the storyboards.
GONDOH: We don't change the story, but I added various touches to the action and direction while drawing the storyboards. This time, I added some “weird” elements I personally liked (laughs).
——What do you mean by “weird”?
GONDOH: For example, a Zombie touching Rebecca's hair, the Hunter receiving Ada's pump, or HUNK's face briefly appearing in the virus case. Things that are a bit unsettling, make you chuckle, or feel odd... I think having scenes that “stick with you” makes the story more memorable. HUNK never shows his face no matter the situation, right? He's a character you wonder about. We tease you by making you think he might appear, but then he doesn’t (laugh). We aimed to make the movies enjoyable, not just a tool for explaining the game's progression.
——The scene with the two Ivans was also effective.
GONDOH: Those twins, right? (laughs) We initially planned to have both twins appear at the same time. But we wanted to add a twist. We wanted players to think, “There he is again,” then reveal, there's actually another Ivan! So we had the Ivan with orange sunglasses appear first, followed by the Ivan with blue sunglasses.
——How was the motion capture work?
GONDOH: It was fun! Of course, I think it was tough for the actors. During motion capture filming, they had to act out fighting creatures that weren't actually there. But I wanted to give them something to aim at, like dummies for eye contact or gun targets. For the scene where Crows attack, we used sticks with crow-like objects attached to the ends and flew them around (laughs), and for Yawn, we used rolled-up mats or blankets held up high. We created creature dummies and had them surround the actors (laughs). Not everything was a dummy of course, for example the Eliminators and Hunters were played by actors, and the CG staff used their movements as reference.
——Speaking of movement, Rebecca's expressions are very rich.
GONDOH: Her face was very difficult. It couldn't be captured with motion capture so all her facial expressions and mouth movements for her lines were done by the CCJ staff. Rebecca's expressions are the richest since she's a rookie member of S.T.A.R.S. with no real combat experience. She's not a professional fighter so her emotions show easily on her face. She's a girl, after all. Come to think of it, I heard requests to make Rebecca cute from some. Especially from Seto-san (laughs). Even when I watched other people working, I felt they had a special passion for Rebecca (laughs).
——I was surprised by Wesker's cool laugh.
GONDOH: That's a smirking scene. Well, I thought it'd be good if it was a bit creepy (laughs), so I made him look reptilian. I've never seen Wesker smile before. I like Wesker. Not just Wesker, but male characters in general look cooler when they don't show their emotions. Especially combat pros. I think the audience can infer the emotions not shown or can't be shown from the context before and after the situation.
——What aspects of camera work did you pay particular attention to?
GONDOH: In the BIOHAZARD series, we avoid camera work that ignores the laws of gravity and inertia, such as extreme camera movements. While such CG-style camera work may seem flashy and cool at first glance, it can lack realism. Of course, in UC we also deliberately restrict the camera movements.
——In terms of the production process, I'd like to ask about MA, which comes at the end. MA, or multi-audio, is the process of merging various sounds, like editing the sound of taste.
GONDOH: Yeah. It's the adjustment of all sounds, such as background music, sound effects, and voice actors' voices. It's a very detailed process of adding or subtracting sounds and adjusting the balance of pitch and volume. I actually had my own image for the background music, but I didn't want the music creators to be influenced by it, so I didn't tell them.(laughs). I didn't give much direction to Takada-san and Fukuda-san from Grasshopper Manufacture, only asking them to make minor adjustments where the music didn't quite match the visuals. I left the overall tone of the music to Grasshopper, but I think the balance turned out well overall. I was surprised to hear a Van Halen-style song during the end credits though (laughs).
REFLECTIONS
——What’s your favorite scene, Gondoh-san?
GONDOH: The scene where Rebecca has a nightmare and fights Yawn. She doesn’t really fight much though (laughs).
——That dream scene with Rebecca is unusual for a BIOHAZARD game.
GONDOH: Yeah. It's fantastical and something not seen in the BIOHAZARD series before. In the scenario it was just written as “Yawn fantasy space” (laughs). I wasn't sure what to do... (laughs). Personally I also find Yawn himself an interesting character to watch (laughs). I also like the scene where Richard saves Rebecca from a flock of Crows outside the mansion, then Yawn's massive shadow looms overhead. That scene took a lot of time. We did motion capture for the various actions many times, created video storyboards instead of traditional storyboards, then did motion capture again based on those. It's similar to how movies are made. For some reason I get really into it when Yawn's involved (laughs).
——I see. Let's focus on the Yawn scenes (laughs). It sounds like you had a lot of different tasks to do, but what was the most difficult part?
GONDOH: The schedule was tight this time. In the movie production process, a movie's assembled in order of the scenes where the CG data's complete. CG data includes things like stages, characters, and backgrounds. We can’t wait for all the CG data to be ready so we start working on whatever scenes we can do first. We create temp stages and replace them with the actual data as it becomes available. While replacing data may sound like a simple task, it requires detailed adjustments in a number of areas. As the deadline approached, a large amount of data was completed all at once, resulting in an overwhelming workload. We managed to meet the deadline by assigning a large number of staff members in a short period of time. Despite the limited production period, the technical staff, including Links, who were in charge of CG image processing, were highly skilled, and I believe we were able to create great movies.
——Gondoh-san, you're also involved in movies, but what're your thoughts on the connection between the game & movie versions?
GONDOH: In UC, the character RED QUEEN, who was based on feedback from the BIOHAZARD movie, plays a major role. We've prepared several scenes people who've seen the movies will notice. For example, Wesker stepping on sunglasses provided by Umbrella, and Jill breaking a Zombie's neck with her legs. WHITE QUEEN from the “BIOHAZARD III” movie also appears on a monitor screen for just a moment. The games and the movies are parallel worlds, but I think with these sorts of crossovers or interactions, viewers will be more aware of the connections between the two.
——Looking back on UC, how do you feel?
GONDOH: I always kept in mind the goal of improving the quality of older works. The technical team worked hard, the actors and voice actors were great, and I think fans of the BIOHAZARD series from before will be satisfied. BIOHAZARD has a wonderful worldview built up over the years, so moving the characters around within that world is a very interesting process. More than just moving them around, it feels like the characters are alive within the work and act naturally on their own. The Hunter who receives Ada's pump and looks puzzled, for instance. (laughs)
profile
Hidekazu Gondoh: He's been involved in the event movies for the BIOHAZARD series, including "CODE:Veronica," "GUN SURVIVOR 2", biohazard 4, & "Time Crisis 3", also working as a film director & scriptwriter for TV dramas.
“VERONICA WAS THE START”
——Gondoh-san, you started as a movie director for BIOHAZARD UMBRELLA CHRONICLES (hereinafter UC), but before that, you were also involved in film production, isn't that right?
GONDOH: I was working on film, but it didn't pay very well (laughs). A senior from the film school I attended in London approached me and offered me the opportunity to work on “BIOHAZARD CODE:Veronica” (hereinafter referred to as “Veronica”). Actually, the first game-related project I worked on was CAPCOM's Veronica. At that time I was responsible for camera work and editing.
——What about other BIOHAZARD series titles?
GONDOH: After Veronica, I worked on the demos for GUN SURVIVOR 2. Then came the remake of “BIO1.” Like Veronica, I was involved in camera work and editing. I thought about things like angles, how to present certain scenes, and how many frames to use, and then handled the editing afterward. Then came BIO4 where I started directing the movie sequences. And now UC.
——What exactly is your role in UC?
GONDOH: I'm the director of all the movie parts in the staff credits. Specifically, I'm involved in everything from the storyboards to the MA. The storyboards are based on the scenario written by director Seto. The storyboards are the hardest part (laughs). It's really interesting though. CAPCOM gave me a lot of freedom so I was able to draw the storyboards however I wanted. I don't know anything about 3DCG, so I left the technical aspects to the talented CG staff, including Link's. MA's the process of adjusting and organizing all the sounds, including the background music and sound effects.
A SPICE CALLED “DIRECTION”
——So you start by drawing the storyboards.
GONDOH: We don't change the story, but I added various touches to the action and direction while drawing the storyboards. This time, I added some “weird” elements I personally liked (laughs).
——What do you mean by “weird”?
GONDOH: For example, a Zombie touching Rebecca's hair, the Hunter receiving Ada's pump, or HUNK's face briefly appearing in the virus case. Things that are a bit unsettling, make you chuckle, or feel odd... I think having scenes that “stick with you” makes the story more memorable. HUNK never shows his face no matter the situation, right? He's a character you wonder about. We tease you by making you think he might appear, but then he doesn’t (laugh). We aimed to make the movies enjoyable, not just a tool for explaining the game's progression.
——The scene with the two Ivans was also effective.
GONDOH: Those twins, right? (laughs) We initially planned to have both twins appear at the same time. But we wanted to add a twist. We wanted players to think, “There he is again,” then reveal, there's actually another Ivan! So we had the Ivan with orange sunglasses appear first, followed by the Ivan with blue sunglasses.
——How was the motion capture work?
GONDOH: It was fun! Of course, I think it was tough for the actors. During motion capture filming, they had to act out fighting creatures that weren't actually there. But I wanted to give them something to aim at, like dummies for eye contact or gun targets. For the scene where Crows attack, we used sticks with crow-like objects attached to the ends and flew them around (laughs), and for Yawn, we used rolled-up mats or blankets held up high. We created creature dummies and had them surround the actors (laughs). Not everything was a dummy of course, for example the Eliminators and Hunters were played by actors, and the CG staff used their movements as reference.
——Speaking of movement, Rebecca's expressions are very rich.
GONDOH: Her face was very difficult. It couldn't be captured with motion capture so all her facial expressions and mouth movements for her lines were done by the CCJ staff. Rebecca's expressions are the richest since she's a rookie member of S.T.A.R.S. with no real combat experience. She's not a professional fighter so her emotions show easily on her face. She's a girl, after all. Come to think of it, I heard requests to make Rebecca cute from some. Especially from Seto-san (laughs). Even when I watched other people working, I felt they had a special passion for Rebecca (laughs).
——I was surprised by Wesker's cool laugh.
GONDOH: That's a smirking scene. Well, I thought it'd be good if it was a bit creepy (laughs), so I made him look reptilian. I've never seen Wesker smile before. I like Wesker. Not just Wesker, but male characters in general look cooler when they don't show their emotions. Especially combat pros. I think the audience can infer the emotions not shown or can't be shown from the context before and after the situation.
——What aspects of camera work did you pay particular attention to?
GONDOH: In the BIOHAZARD series, we avoid camera work that ignores the laws of gravity and inertia, such as extreme camera movements. While such CG-style camera work may seem flashy and cool at first glance, it can lack realism. Of course, in UC we also deliberately restrict the camera movements.
——In terms of the production process, I'd like to ask about MA, which comes at the end. MA, or multi-audio, is the process of merging various sounds, like editing the sound of taste.
GONDOH: Yeah. It's the adjustment of all sounds, such as background music, sound effects, and voice actors' voices. It's a very detailed process of adding or subtracting sounds and adjusting the balance of pitch and volume. I actually had my own image for the background music, but I didn't want the music creators to be influenced by it, so I didn't tell them.(laughs). I didn't give much direction to Takada-san and Fukuda-san from Grasshopper Manufacture, only asking them to make minor adjustments where the music didn't quite match the visuals. I left the overall tone of the music to Grasshopper, but I think the balance turned out well overall. I was surprised to hear a Van Halen-style song during the end credits though (laughs).
REFLECTIONS
——What’s your favorite scene, Gondoh-san?
GONDOH: The scene where Rebecca has a nightmare and fights Yawn. She doesn’t really fight much though (laughs).
——That dream scene with Rebecca is unusual for a BIOHAZARD game.
GONDOH: Yeah. It's fantastical and something not seen in the BIOHAZARD series before. In the scenario it was just written as “Yawn fantasy space” (laughs). I wasn't sure what to do... (laughs). Personally I also find Yawn himself an interesting character to watch (laughs). I also like the scene where Richard saves Rebecca from a flock of Crows outside the mansion, then Yawn's massive shadow looms overhead. That scene took a lot of time. We did motion capture for the various actions many times, created video storyboards instead of traditional storyboards, then did motion capture again based on those. It's similar to how movies are made. For some reason I get really into it when Yawn's involved (laughs).
——I see. Let's focus on the Yawn scenes (laughs). It sounds like you had a lot of different tasks to do, but what was the most difficult part?
GONDOH: The schedule was tight this time. In the movie production process, a movie's assembled in order of the scenes where the CG data's complete. CG data includes things like stages, characters, and backgrounds. We can’t wait for all the CG data to be ready so we start working on whatever scenes we can do first. We create temp stages and replace them with the actual data as it becomes available. While replacing data may sound like a simple task, it requires detailed adjustments in a number of areas. As the deadline approached, a large amount of data was completed all at once, resulting in an overwhelming workload. We managed to meet the deadline by assigning a large number of staff members in a short period of time. Despite the limited production period, the technical staff, including Links, who were in charge of CG image processing, were highly skilled, and I believe we were able to create great movies.
——Gondoh-san, you're also involved in movies, but what're your thoughts on the connection between the game & movie versions?
GONDOH: In UC, the character RED QUEEN, who was based on feedback from the BIOHAZARD movie, plays a major role. We've prepared several scenes people who've seen the movies will notice. For example, Wesker stepping on sunglasses provided by Umbrella, and Jill breaking a Zombie's neck with her legs. WHITE QUEEN from the “BIOHAZARD III” movie also appears on a monitor screen for just a moment. The games and the movies are parallel worlds, but I think with these sorts of crossovers or interactions, viewers will be more aware of the connections between the two.
——Looking back on UC, how do you feel?
GONDOH: I always kept in mind the goal of improving the quality of older works. The technical team worked hard, the actors and voice actors were great, and I think fans of the BIOHAZARD series from before will be satisfied. BIOHAZARD has a wonderful worldview built up over the years, so moving the characters around within that world is a very interesting process. More than just moving them around, it feels like the characters are alive within the work and act naturally on their own. The Hunter who receives Ada's pump and looks puzzled, for instance. (laughs)
CHARACTERS
Rebecca Chambers (p.028)
A rookie in S.T.A.R.S. Bravo Team. Position Rear Security and in charge of health. She went to investigate bizarre murder cases and encountered death row inmate Billy Coen on the Ecliptic Express train. Soon after hearing the truth, Rebecca believed his words as well as her intuition and fought alongside Billy.
Chris Redfield (p.030)
S.T.A.R.S. Alpha Team. Charged with Point Man, the unit's vanguard. Suspecting the police, he took a leave of absence after the Mansion Incident and originally investigated Umbrella's associated facilities in Europe. Chris learned development of a new weapon was being conducted at the Russian branch and infiltrated the research facility with Jill.
Jill Valentine (p.032)
S.T.A.R.S. Alpha Team. Rear Security position. Trained in the U.S. Army Special Forces Delta Force, she acquired skills in explosive disposal and handling drugs. Jill escaped Raccoon City by a hairbreadth and is heading to Umbrella's Russian branch to settle it all.
Richard Aiken (p.035)
Belongs to S.T.A.R.S. Bravo Team. He has the support role of Backup Man and is in charge of communications. Since his little sister was killed in front of him during his childhood, he'll do his utmost to protect someone. He supported the rookie Rebecca but was severely wounded while defending Rebecca when they were attacked by the venomous snake Yawn.
HUNK (p.037)
Belongs to Alpha Team of the Security Service, an elite unit under the direct command of Umbrella executives. Much of his career's unclear but with his prominent survival skills, only he comes back alive from all kinds of dangerous missions, with his comrades referring to him as "Grim Reaper." He recovered a G-Virus sample in Raccoon City and escaped.
Ada Wong (p.038)
A spy employed by the rival company Wesker moved to after leaving Umbrella. She has calm situational judgement and is skilled in expert marksmanship. She infiltrated Raccoon City to retrieve the G-Virus developed by William Birkin. She established a feigned cooperative relationship with Leon but they were gradually attracted to each other.
Sergei Vladimir (p.040)
Though once a colonel in the employ of the former Soviet military, he became dependent on Umbrella after the Soviet Union's collapse. He obtained an executive position and now plots Umbrella's revival based in the Russian branch. He has a soldier's personality and swears absolute loyalty to Spencer, with a masochistic side that makes pain supreme pleasure for him.
Ivan (p.041)
A new B.O.W. based on the Tyrant T-103, customized for bodyguard applications by Sergei. It already has a human appearance without the large claws peculiar to Tyrants. It's more familiar with society and able to conduct itself. In addition its ability to think has been drastically elevated so it can comprehend human speech.
Rebecca Chambers (p.028)
A rookie in S.T.A.R.S. Bravo Team. Position Rear Security and in charge of health. She went to investigate bizarre murder cases and encountered death row inmate Billy Coen on the Ecliptic Express train. Soon after hearing the truth, Rebecca believed his words as well as her intuition and fought alongside Billy.
Chris Redfield (p.030)
S.T.A.R.S. Alpha Team. Charged with Point Man, the unit's vanguard. Suspecting the police, he took a leave of absence after the Mansion Incident and originally investigated Umbrella's associated facilities in Europe. Chris learned development of a new weapon was being conducted at the Russian branch and infiltrated the research facility with Jill.
Jill Valentine (p.032)
S.T.A.R.S. Alpha Team. Rear Security position. Trained in the U.S. Army Special Forces Delta Force, she acquired skills in explosive disposal and handling drugs. Jill escaped Raccoon City by a hairbreadth and is heading to Umbrella's Russian branch to settle it all.
Richard Aiken (p.035)
Belongs to S.T.A.R.S. Bravo Team. He has the support role of Backup Man and is in charge of communications. Since his little sister was killed in front of him during his childhood, he'll do his utmost to protect someone. He supported the rookie Rebecca but was severely wounded while defending Rebecca when they were attacked by the venomous snake Yawn.
HUNK (p.037)
Belongs to Alpha Team of the Security Service, an elite unit under the direct command of Umbrella executives. Much of his career's unclear but with his prominent survival skills, only he comes back alive from all kinds of dangerous missions, with his comrades referring to him as "Grim Reaper." He recovered a G-Virus sample in Raccoon City and escaped.
Ada Wong (p.038)
A spy employed by the rival company Wesker moved to after leaving Umbrella. She has calm situational judgement and is skilled in expert marksmanship. She infiltrated Raccoon City to retrieve the G-Virus developed by William Birkin. She established a feigned cooperative relationship with Leon but they were gradually attracted to each other.
Sergei Vladimir (p.040)
Though once a colonel in the employ of the former Soviet military, he became dependent on Umbrella after the Soviet Union's collapse. He obtained an executive position and now plots Umbrella's revival based in the Russian branch. He has a soldier's personality and swears absolute loyalty to Spencer, with a masochistic side that makes pain supreme pleasure for him.
Ivan (p.041)
A new B.O.W. based on the Tyrant T-103, customized for bodyguard applications by Sergei. It already has a human appearance without the large claws peculiar to Tyrants. It's more familiar with society and able to conduct itself. In addition its ability to think has been drastically elevated so it can comprehend human speech.
INTERVIEW 02: Character Designer SHIGECHIYO (p.042)
profile
Shigechiyo: He worked on the image concept design for the “Rockman X” series, and recently has been working on character, background, and title design for “DEAD RISING” (Xbox 360), as well as development design and illustrations for magazines.
BIOHAZARD'S SIGNIFICANCE
——Please tell us about your role in this project.
SHIGECHIYO: Mainly the small items and costumes used by the characters, as well as the objects that appear in the game. For the characters I was involved in visual design for Sergei and Talos.
——Which title in the BIOHAZARD series holds a special place in your heart?
SHIGECHIYO: I've played them all, but personally I love FPS games, so biohazard 4 stands out for me.
——Did you feel the challenge of continuing a popular series?
SHIGECHIYO: Thanks to the solid foundation of the BIOHAZARD series, I was able to dive into the project smoothly. The thing I focused on most was not disappointing the fans' expectations. I approached the project with that pressure in mind. For new designs, I made sure to stay true to the time period. I was able to design freely and enjoy the process, and I'm grateful to the understanding producer, director, and staff.
——What was the concept behind the new characters Sergei and Ivan?
SHIGECHIYO: Sergei was designed based on an ideal image of “what kind of person would he be?” Ivan was designed to inherit the Tyrant's basic design with a ghoulish, cyber-inspired costume. The sunglasses were initially based on an existing design, but to emphasize Ivan's “not human,” we changed them to a more cyber-inspired, impactful design. We also tried to make it more realistic and functional based on the concept of “what if he really existed.”
——Which design did you spend the most time on?
SHIGECHIYO: Talos. Its shape changes and the final form's huge, so we designed it while considering how it'd interact with the stage. It was difficult to balance the new image with the parts characteristic of the Tyrant.
——When do ideas come to you most often?
SHIGECHIYO: Mostly when I read the text in the proposal and the words I hear (which become design materials), I can form a rough image. It's kind of like cooking. Also, I don't bring work home, so ideas only come to me when I'm at my desk. It's like “gathering materials outside and expanding them inside.”
——Do you have any works or creators you look up to in your work?
SHIGECHIYO: Basically, I believe individuality shouldn't be compared, so I don't work with a specific goal in mind. My goal's to do my best in the role I've been given and always strive to create works people will enjoy when they see them. I always try to watch and listen to things that can serve as a catalyst for me. In a different sense from a goal, I think all the people at the top of their field are wonderful.
——What's important to you in game design?
SHIGECHIYO: Gaining knowledge from a wide range of fields. This isn't limited to games, but applies to everyone in the world of design. Personal style's important of course, but I think the fundamental idea behind design comes from logic. Production periods can range from short to long, and depending on the situation, it's necessary to draw using various techniques. To do this you need to be able to propose many ideas, so you must have “different perspectives” and “a wealth of knowledge.” In my daily life, I believe it's my duty as a designer to continue to increase my “design formulas” by observing, touching, and feeling things. Oh, and a sense of playfulness is also important.
profile
Shigechiyo: He worked on the image concept design for the “Rockman X” series, and recently has been working on character, background, and title design for “DEAD RISING” (Xbox 360), as well as development design and illustrations for magazines.
BIOHAZARD'S SIGNIFICANCE
——Please tell us about your role in this project.
SHIGECHIYO: Mainly the small items and costumes used by the characters, as well as the objects that appear in the game. For the characters I was involved in visual design for Sergei and Talos.
——Which title in the BIOHAZARD series holds a special place in your heart?
SHIGECHIYO: I've played them all, but personally I love FPS games, so biohazard 4 stands out for me.
——Did you feel the challenge of continuing a popular series?
SHIGECHIYO: Thanks to the solid foundation of the BIOHAZARD series, I was able to dive into the project smoothly. The thing I focused on most was not disappointing the fans' expectations. I approached the project with that pressure in mind. For new designs, I made sure to stay true to the time period. I was able to design freely and enjoy the process, and I'm grateful to the understanding producer, director, and staff.
——What was the concept behind the new characters Sergei and Ivan?
SHIGECHIYO: Sergei was designed based on an ideal image of “what kind of person would he be?” Ivan was designed to inherit the Tyrant's basic design with a ghoulish, cyber-inspired costume. The sunglasses were initially based on an existing design, but to emphasize Ivan's “not human,” we changed them to a more cyber-inspired, impactful design. We also tried to make it more realistic and functional based on the concept of “what if he really existed.”
——Which design did you spend the most time on?
SHIGECHIYO: Talos. Its shape changes and the final form's huge, so we designed it while considering how it'd interact with the stage. It was difficult to balance the new image with the parts characteristic of the Tyrant.
——When do ideas come to you most often?
SHIGECHIYO: Mostly when I read the text in the proposal and the words I hear (which become design materials), I can form a rough image. It's kind of like cooking. Also, I don't bring work home, so ideas only come to me when I'm at my desk. It's like “gathering materials outside and expanding them inside.”
——Do you have any works or creators you look up to in your work?
SHIGECHIYO: Basically, I believe individuality shouldn't be compared, so I don't work with a specific goal in mind. My goal's to do my best in the role I've been given and always strive to create works people will enjoy when they see them. I always try to watch and listen to things that can serve as a catalyst for me. In a different sense from a goal, I think all the people at the top of their field are wonderful.
——What's important to you in game design?
SHIGECHIYO: Gaining knowledge from a wide range of fields. This isn't limited to games, but applies to everyone in the world of design. Personal style's important of course, but I think the fundamental idea behind design comes from logic. Production periods can range from short to long, and depending on the situation, it's necessary to draw using various techniques. To do this you need to be able to propose many ideas, so you must have “different perspectives” and “a wealth of knowledge.” In my daily life, I believe it's my duty as a designer to continue to increase my “design formulas” by observing, touching, and feeling things. Oh, and a sense of playfulness is also important.
CREATURES
Zombie (p.044)
Humans infected with the t-Virus. The virus alters the genetic structure and the infected person is struck by an intense sense of hunger, displaying rotting of the skin and loss of intelligence and reason. In addition, the Crimson Head's the result of the t-Virus reconstructing the body tissues of Zombies that are incapacitated upon suffering fatal injuries.
Licker (p.046)
The t-Virus invaded a Zombie's body and mutated it. It's able to leap and hang on ceilings due to its jumping power. It lost its vision but its hearing developed in turn, so it can rely on minute sounds to pinpoint the position of prey. The underground lab has developed an improved version as a B.O.W.
Chimera
Created by fusing human and fly genes using a characteristic of the t-Virus, its grotesque appearance makes it comparable to the Greek mythological synthetic beast "Chimera." It inherited the attributes of a fly, crawling on walls using sharp claws with a habit of skulking in small spaces such as vents. However, since its intelligence is at the same level as a fly, it has a poor ability to execute commands.
Eliminator (p.047)
A Bio Organic Weapon requires the intelligence to understand commands and excel in combat. In the face of such a problem, a monkey was selected as the host. It has exemplary athletic capability and since there was barely any loss of brain cells, it succeeded in understanding simple commands. It wasn't mass-produced, but the test data contributed to B.O.W. research using humans as the host.
Hunter
Reptile DNA was crossed with a fertilized human egg using a characteristic of the t-Virus, creating the Hunter with the intelligence to understand and execute simple commands. It was deemed a highly perfected B.O.W. influencing much B.O.W. development as a successful example of human-based research with many derivative models created afterwards.
Ivy
Developed as a B.O.W. based on the data of "Plant 42." Commonly known as "Ivy." Mobile with two leg-like limbs, it has the ability to protect itself from harmful pesticides and adapt to environmental changes. There's also a mutant which discharges a toxic exhalation and has buds that turned red.
Yawn (p.048)
It was a venomous snake bred in the Arklay Lab as a B.O.W. test subject, but after escaping was infected with the t-Virus and grew abnormally. Its extremely enlarged head has a jaw that can swallow large creatures, and the venom shed from its fangs was intensified after infection and can only be detoxified with a special serum.
Plant 42
A plant that was accidentally infected with the t-Virus and grew enormous. Some researchers named it Plant 42 and observed its ecology in the mansion. It has a self-defense capability and spouts strong acid-like sap when it senses danger. Its huge figure cannot be maintained only with nourishment in the earth and it catches creatures with tentacles and absorbs their blood.
Grave Digger
An arthropod infected with the t-Virus due to soil contamination by waste from the underground lab. Umbrella Supervisors discovered it in the graveyard in the municipal park. It lays eggs in waterfronts that hatch in approximately two hours. The larvae absorb the blood of creatures and grow to a mature form of 10m in about one week after repeated ecdysis.
Large Roach (p.050)
It has a habit of catching small animals like rats and attacking fleshy parts, and in the case of humans it easily aims at the carotid artery. It has high fertility and propagated enough to fill up the interior of the sewers and rapidly expand its power.
Adder
A small venomous snake inhabiting damp areas that was secondarily infected with the t-Virus, and when it observes a creature's body temperature, it immediately enters an aggressive state and leaps with increased strength. If it catches an individual with its hemorrhagic venom, detoxification is instantly essential. It has strong fertility and explosive power and often appears in groups during an attack.
Cerberus
A B.O.W. developed as Code Number "MA-39" by injecting Doberman military dogs with the t-Virus. It can be produced cheaply and was anticipated as a weapon from the research's presentation, but it escaped into the Arklay Mountains after the virus outbreak incident. It was the cause of the bizarre murder cases in the Arklay Mountain forest.
Infected Bat / Bat (p.051)
Its appearance is identical to a normal bat but it's ferocious and forms flocks to attack humans. Highly compatible with the t-Virus, the Infected Bat has undergone a unique mutation. The muscles that move the wings developed abnormally to form a strong sternum, reaching 3m when its wings are extended. It can fly while carrying a human with its legs.
Wasp
A bee that mutated due to the virus outbreak accident, surprisingly large depending on the individual. It attacks prey in a coordinated manner with its poisonous tail needle, which in addition to its poison also injects the t-Virus. It forms huge nests in narrow spaces and reproduces with greater fertility than before infection. Its ability to fly spurred the spread of infection injuries.
Crow
Crows that were infected due to feeding on animals secondarily infected with the t-Virus. Normally crows rarely attack humans except in breeding season to protect chicks, but have come to form ferocious groups and attack. In addition to being omnivorous and eating anything, it also has the ability to fly, which causes the virus to spread over a wide range.
Lisa Trevor (p.052)
The t-Virus Project advanced in the Arklay Lab triggered a later large-scale biohazard. Hidden in the background was a family tragedy. The Arklay Lab constructed in the Arklay Mountains is a top-secret research facility cleverly camouflaged with an above-ground mansion, and within the mansion were various devices to prevent intruders from escaping. This building was designed by the talented architect George Trevor. At Lord Oswell E. Spencer's request he spent five years building the mansion, but was invited to the mansion after its completion under the pretense of gratitude and was imprisoned as a result. Spencer had an aim. To keep his mouth shut. Spencer couldn't release someone who knew everything to every corner of the mansion, so George would follow his family's poor fate of being made biological samples in the t-Virus Project.
George's wife Jessica and daughter Lisa were first to become guinea pigs. Jessica was administered Progenitor Virus variant TYPE-A while Lisa was given TYPE-B, failing to take hold in Jessica who was subjected to cold-blooded disposal. On the other hand, Lisa was placed under intense observation since the virus took hold, used as a biological sample afterwards for about 30 years. From "Trevor's Notes" written and left behind by George, we learn he once tried to escape the mansion. However, his path ahead was blocked by a device Spencer had newly installed and he was finally given a Progenitor Virus variant like his wife, then disposed of after the experiment failed.
Whilst developing the prototype virus in the virus research advanced by chief research scientist William Birkin, Lisa was subjected to repeated experiments. Lisa lost her sense of self due to doses of the virus and her appearance gradually morphed to that of a mutant. Since more than 20 years passed without easily displaying an outcome however, the researchers referred to her as a "bastard." After more than 20 years though, Lisa once again attracted attention as a useful research subject and Birkin transplanted the prototype of the parasite "NE-α Type" into her body. Since the primitive form of the new virus "G" was discovered within Lisa's body, Birkin immediately proposed the development project for the G-Virus surpassing the t-Virus. By absorbing Nemesis, Lisa on the other hand recovered a little intelligence and became more active. When attacking a female researcher she skinned her face since she sought her mother's features, so the Arklay Lab concluded on initiating "disposal processing." Since the research had entered the next stage, there was no reason to keep her alive anywhere.
Lisa's final disposal was carefully pushed forward. The absence of vital signs was confirmed over three days, but Lisa wasn't dead since she acquired phenomenal vitality through the many years of virus injection experiments. After disposal she continued wandering in the darkness of the Arklay Mountains and three years later appeared in front of S.T.A.R.S. while they were visiting the mountains in an investigation into the matter, and she attempted to kill the officers with uncharacteristic strength.
Black Tiger (p.054)
A Web Spinner which was disposed of and mutated after the research was terminated. In the process of mutating, its ability to make nests was restored. With its webs it can stop large animals in their tracks and occasionally spray them to weaken them before feeding. Many children lurk in the female's womb and appear if the abdomen's torn open.
Web Spinner
It became huge under the t-Virus' influence and acquired the ability to spit strongly acidic venom on prey. It has multiple red eyes on its head. It was expected to be a virus dispersal weapon due to its mobility on ceilings and walls, but the lack of advanced control was a bottleneck so subsequent research was discontinued.
Leech (p.055)
A blood-sucking leech created in the process of breeding by Dr. James Marcus, discoverer of the Progenitor Virus. When it clings to absorb blood it even tears away flesh, and attacked people die in several minutes. Even if their life's saved, they're injected with a high concentration of the virus, and it's difficult to escape infection.
Mimicry Marcus
Countless blood-sucking leeches bound together by a highly adhesive fluid, which in their mimic state are modeled on the appearance of Dr. James Marcus in life. The transformation of the leeches into a humanoid form increases the variety of their attacks. The mimicry's maintained in a stationary state, and when an external enemy or prey approaches, the mimicry's unraveled and morphs into a form more suitable for attacking.
Queen Leech
It reigns at the top of the mutant leeches, usually mimicking Dr. Marcus on the day of his death. Over the years, the Queen Leech has been able to imitate his thoughts and personality by infesting the doctor's corpse and continuously extracting DNA. Its first form's a humanoid condition, but when it enters a crisis, it transforms into a second form, becoming a bloated humanoid.
Queen Leech (p.057)
This creature, referred to as the "Queen", controls swarms of mutant leeches, repeating cellular growth using its companions as an energy source for its vital functions. It usually mimics the living appearance of Dr. James Marcus, first director of the Umbrella Executive Training School, and once attacked, it alters its appearance to its original first form to fight back. In the event its own life is in danger, the t-Virus within its body will activate and it'll morph into a second form, but since its mass is dozens of times that of the first form, it becomes an evil figure lacking any semblance of its original appearance.
The origin of the Queen Leech's birth. That dates back to before Umbrella's establishment. Together with Oswell E. Spencer and Edward Ashford, Marcus discovered the Progenitor Virus, a new RNA virus, and together the three founded the camouflage pharmaceutical company Umbrella which they used to divert the virus into biological weapons development. Following Ashford's death, Marcus in his desire to be a researcher rather than a corporate manager had also already stepped aside from the front stage, continuing his own Progenitor Virus research as director of the Umbrella Executive Training School. While Spencer had become leader and prioritized the company's management, it was Marcus who first achieved research results. By combining the Progenitor Virus with leech DNA to create a mutational variant "mutant leech", he succeeded in developing the t-Virus, which causes organisms to become ferocious. This was precisely Umbrella's purpose. Marcus immediately set out to develop a tangible Bio Organic Weapon (B.O.W.) in order to perfect the research, changing the experiment base with arthropods, amphibians and mammals one after another. Then finally, the research progressed into human experiments using executive candidates as guinea pigs, with the contents treated as top-secret within the company.
It seemed unreasonable the rampaging Marcus would be permitted indefinitely. Similar B.O.W. development was also underway at the Arklay Lab. When the Arklay Lab's B.O.W. development entered the third stage, Spencer immediately instructed Albert Wesker and William Birkin, executive candidate employees at the time, to assassinate Marcus. This was to intercept the t-Virus developed by Marcus. Thus, betrayed by his former friend and students, Marcus died in the midst of his ambition. His hatred however eventually yielded an unprecedented vengeance that transcended biology. That was in truth the Queen Leech. Beneath the training school, a marvelous phenomenon occurred in which a mutant leech infested Marcus' abandoned corpse and assimilated his DNA. The mutant leech repeated tissue development and transformation through the t-Virus within its body.
Ten years later---- A terrifying creature was born which inherited Marcus' voice and intellect, and began exacting revenge against Umbrella.
Stinger (p.058)
A scorpion injected with the t-Virus. It enlarged to approx. three meters, its skeleton hardened able to absorb shock from bullets and its two claws can cut iron. However its movement slowed in reaction to its enlargement and the head weakened. The natural characteristic of the tail needle's poison gland was degenerated and it lacked perfection as a B.O.W.
Neptune (p.059)
A Great white shark selected as a host to verify t-Virus adaptability to marine organisms. The test subject was codenamed "FI-03" and the virus' influence displayed in its improved aggression, durability and enlargement. It boasted unrivaled combat capabilities in water but was ineffective on land with little usefulness, so research stalled.
Nemesis-T Type (p.060)
The "t" initial of the t-Virus is short for Tyrant. The Tyrant name was attached to the B.O.W. Code "T-002" created in the final stage of the t-Virus Project as a symbol of the project with the meaning of "the ultimate life-form." The Tyrant had intelligence and overwhelming combat capabilities with the ability to follow commands, but in the combat test conducted against S.T.A.R.S. in the Arklay Lab, control was lost due to an unexpected limiter release before it could display sufficient performance. Therefore the advanced model Code "T-103" was developed afterwards with reinforced combat capabilities while compensating for the T-002 model's shortcomings. Unlike the T-002 model, it utilized a human appearance with a limiter control function via a protective coat and undertook a critical mission: retrieving the G-Virus.
Through this, the Tyrant's perfection as a B.O.W. was steadily elevated, but after the loss of control accident in the Arklay Lab, a completely different humanoid B.O.W. was developed at the Sixth Lab in Europe. That was the "Nemesis-T Type." This B.O.W. planned to enhance intelligence by allowing a new parasitic organism, NE-α Type, popularly called Nemesis, to parasitize a Tyrant. Since Nemesis forms an original brain within the host body, the t-Virus' secondary effect of intelligence decline is restrained. In addition, since it also has excellent self-judgment capability, it uses weapons that require complicated handling and also performs multi-purpose tasks such as tracking and eliminating multiple targets within an operational area.
In normal times, the Nemesis-T Type usually wears a special long bulletproof coat with anti-ballistic effects, reminiscent of the T-103 model, and as such the chance of going out of control is suppressed. However, in the event of excessive damage caused by external factors, the Nemesis-T Type's self-regeneration ability induces unreasonable overcompensation, so the body of the host Tyrant is deformed in the blink of an eye. Abnormally developed tentacles break through the long coat, and as a result, it enters an uncontrollable state like other Tyrants. This is referred to as the so-called second form, and if the interlocked host's brain is destroyed, this time Nemesis' instinctual defensive functions as well as the two organism's rejection responses makes the body explosively huge.
Tyrant (T-002) (p.062)
Developed as the apex B.O.W. emphasizing combat prowess. It was to be improved based on combat test data with soldier combatants but its battle with the S.T.A.R.S. officers occurred with insufficient preparations being made.
Tyrant Reborn (p.062)
A state in which, faced with a crisis of survival, the Tyrant's cells are activated and mutate, transforming into a body with greatly enhanced offensive capabilities and mobility. Its skin hardens like a rock with both arms and claws becoming larger.
Proto Tyrant (p.063)
A prototype model of the Tyrant B.O.W. using a human as the host. The heart supported phenomenal vitality and the right arm developed like a giant claw, with its agility to attack prey comparing favorably to the subsequent completed model. However it failed to acquire sufficient intelligence to execute commands and was disposed of in the middle of the research. It remained active after disposal however.
Ivan (p.064)
Their destructive power's the same as the conventional Tyrant series, with improved mobile performance. They wear a newly developed white shock absorbing coat and sunglasses with a custom-made HMD. When danger approaches they can metamorphose into Super Tyrants and unleash their full capabilities. Since there are two, it's believed to be the mass-produced model.
Talos (p.065)
Codename T-A.L.O.S. (Armored Lethal Organic System). The first form wears a special alloy armor that suppresses out of control t-Virus tissue in addition to neutralizing firearms. Cardiopulmonary function was enhanced using artificial internal organs to achieve overwhelming mobility.
Talos (p.066)
Movement's usually controlled via wireless connection but it's possible to draw out maximum performance through direct synaptic connection with RED QUEEN. Although mobility's impaired in the second form, its offensive strength's elevated through the use of powerful lasers and tentacles as weapons for long-range exterminating attacks.
Monster Sergei (p.068)
The form Sergei takes after becoming a monster. He also injected himself with a virus similar to Wesker, and transforms his physical appearance by activating his cells. The virus developed by William Birkin failed to strengthen cells for the majority of incompatible individuals, who are common so-called Zombies. Sergei however was a perfect match whose brain cells would never deteriorate, said to be a probability of one in ten million people.
As a person engaged in Umbrella, Sergei's base was the Russian branch underground research facility in the Caucasus region. It's Umbrella's newest facility, covertly engaged in many activities without demolishing the former government-run chemical plant on the ground level, which is often used as camouflage. Here he pushed forward development of a new B.O.W. model in conjunction with the RED QUEEN, the AI of Umbrella's supercomputer U.M.F.-013 (the thirteenth mainframe). He managed to see Talos to completion. Talos' host body was referred to as the "Guardian of Crete" and Sergei recovered it from the Arklay Lab at a mysterious individual's request. Sergei's also the one who later dropped many "T" into the city. He commanded the Umbrella surveillance organization known as "Supervisors." Comrade Nikolai Zinoviev's also a Supervisor. Sergei exchanged information in a letter with Nikolai, but in the text, he wrote very interesting keywords such as "ten comrades", "alter egos" and "let them go." This could be taken as an indication of the existence of clones of Sergei, a perfect adapter. It's probably due to this he obtained his position as an executive and also exercises his power as he sees fit.
Sergei's appearance after becoming a monster differs from other B.O.W.'s in many respects. Although it has a large claw like the Tyrant T-002 Type, it's used not just for offense but also movement, along with tentacles like those found in the Nemesis-T Type which appear to bind both arms together. Wesker hypothesizes the transformation process to be "not by chance, but strongly influenced by the carrier's thoughts and beliefs." We don't know what was in the depths of his heart to endure utter pain, bound by thorny stretching tentacles.
Zombie (p.044)
Humans infected with the t-Virus. The virus alters the genetic structure and the infected person is struck by an intense sense of hunger, displaying rotting of the skin and loss of intelligence and reason. In addition, the Crimson Head's the result of the t-Virus reconstructing the body tissues of Zombies that are incapacitated upon suffering fatal injuries.
Licker (p.046)
The t-Virus invaded a Zombie's body and mutated it. It's able to leap and hang on ceilings due to its jumping power. It lost its vision but its hearing developed in turn, so it can rely on minute sounds to pinpoint the position of prey. The underground lab has developed an improved version as a B.O.W.
Chimera
Created by fusing human and fly genes using a characteristic of the t-Virus, its grotesque appearance makes it comparable to the Greek mythological synthetic beast "Chimera." It inherited the attributes of a fly, crawling on walls using sharp claws with a habit of skulking in small spaces such as vents. However, since its intelligence is at the same level as a fly, it has a poor ability to execute commands.
Eliminator (p.047)
A Bio Organic Weapon requires the intelligence to understand commands and excel in combat. In the face of such a problem, a monkey was selected as the host. It has exemplary athletic capability and since there was barely any loss of brain cells, it succeeded in understanding simple commands. It wasn't mass-produced, but the test data contributed to B.O.W. research using humans as the host.
Hunter
Reptile DNA was crossed with a fertilized human egg using a characteristic of the t-Virus, creating the Hunter with the intelligence to understand and execute simple commands. It was deemed a highly perfected B.O.W. influencing much B.O.W. development as a successful example of human-based research with many derivative models created afterwards.
Ivy
Developed as a B.O.W. based on the data of "Plant 42." Commonly known as "Ivy." Mobile with two leg-like limbs, it has the ability to protect itself from harmful pesticides and adapt to environmental changes. There's also a mutant which discharges a toxic exhalation and has buds that turned red.
Yawn (p.048)
It was a venomous snake bred in the Arklay Lab as a B.O.W. test subject, but after escaping was infected with the t-Virus and grew abnormally. Its extremely enlarged head has a jaw that can swallow large creatures, and the venom shed from its fangs was intensified after infection and can only be detoxified with a special serum.
Plant 42
A plant that was accidentally infected with the t-Virus and grew enormous. Some researchers named it Plant 42 and observed its ecology in the mansion. It has a self-defense capability and spouts strong acid-like sap when it senses danger. Its huge figure cannot be maintained only with nourishment in the earth and it catches creatures with tentacles and absorbs their blood.
Grave Digger
An arthropod infected with the t-Virus due to soil contamination by waste from the underground lab. Umbrella Supervisors discovered it in the graveyard in the municipal park. It lays eggs in waterfronts that hatch in approximately two hours. The larvae absorb the blood of creatures and grow to a mature form of 10m in about one week after repeated ecdysis.
Large Roach (p.050)
It has a habit of catching small animals like rats and attacking fleshy parts, and in the case of humans it easily aims at the carotid artery. It has high fertility and propagated enough to fill up the interior of the sewers and rapidly expand its power.
Adder
A small venomous snake inhabiting damp areas that was secondarily infected with the t-Virus, and when it observes a creature's body temperature, it immediately enters an aggressive state and leaps with increased strength. If it catches an individual with its hemorrhagic venom, detoxification is instantly essential. It has strong fertility and explosive power and often appears in groups during an attack.
Cerberus
A B.O.W. developed as Code Number "MA-39" by injecting Doberman military dogs with the t-Virus. It can be produced cheaply and was anticipated as a weapon from the research's presentation, but it escaped into the Arklay Mountains after the virus outbreak incident. It was the cause of the bizarre murder cases in the Arklay Mountain forest.
Infected Bat / Bat (p.051)
Its appearance is identical to a normal bat but it's ferocious and forms flocks to attack humans. Highly compatible with the t-Virus, the Infected Bat has undergone a unique mutation. The muscles that move the wings developed abnormally to form a strong sternum, reaching 3m when its wings are extended. It can fly while carrying a human with its legs.
Wasp
A bee that mutated due to the virus outbreak accident, surprisingly large depending on the individual. It attacks prey in a coordinated manner with its poisonous tail needle, which in addition to its poison also injects the t-Virus. It forms huge nests in narrow spaces and reproduces with greater fertility than before infection. Its ability to fly spurred the spread of infection injuries.
Crow
Crows that were infected due to feeding on animals secondarily infected with the t-Virus. Normally crows rarely attack humans except in breeding season to protect chicks, but have come to form ferocious groups and attack. In addition to being omnivorous and eating anything, it also has the ability to fly, which causes the virus to spread over a wide range.
Lisa Trevor (p.052)
The t-Virus Project advanced in the Arklay Lab triggered a later large-scale biohazard. Hidden in the background was a family tragedy. The Arklay Lab constructed in the Arklay Mountains is a top-secret research facility cleverly camouflaged with an above-ground mansion, and within the mansion were various devices to prevent intruders from escaping. This building was designed by the talented architect George Trevor. At Lord Oswell E. Spencer's request he spent five years building the mansion, but was invited to the mansion after its completion under the pretense of gratitude and was imprisoned as a result. Spencer had an aim. To keep his mouth shut. Spencer couldn't release someone who knew everything to every corner of the mansion, so George would follow his family's poor fate of being made biological samples in the t-Virus Project.
George's wife Jessica and daughter Lisa were first to become guinea pigs. Jessica was administered Progenitor Virus variant TYPE-A while Lisa was given TYPE-B, failing to take hold in Jessica who was subjected to cold-blooded disposal. On the other hand, Lisa was placed under intense observation since the virus took hold, used as a biological sample afterwards for about 30 years. From "Trevor's Notes" written and left behind by George, we learn he once tried to escape the mansion. However, his path ahead was blocked by a device Spencer had newly installed and he was finally given a Progenitor Virus variant like his wife, then disposed of after the experiment failed.
Whilst developing the prototype virus in the virus research advanced by chief research scientist William Birkin, Lisa was subjected to repeated experiments. Lisa lost her sense of self due to doses of the virus and her appearance gradually morphed to that of a mutant. Since more than 20 years passed without easily displaying an outcome however, the researchers referred to her as a "bastard." After more than 20 years though, Lisa once again attracted attention as a useful research subject and Birkin transplanted the prototype of the parasite "NE-α Type" into her body. Since the primitive form of the new virus "G" was discovered within Lisa's body, Birkin immediately proposed the development project for the G-Virus surpassing the t-Virus. By absorbing Nemesis, Lisa on the other hand recovered a little intelligence and became more active. When attacking a female researcher she skinned her face since she sought her mother's features, so the Arklay Lab concluded on initiating "disposal processing." Since the research had entered the next stage, there was no reason to keep her alive anywhere.
Lisa's final disposal was carefully pushed forward. The absence of vital signs was confirmed over three days, but Lisa wasn't dead since she acquired phenomenal vitality through the many years of virus injection experiments. After disposal she continued wandering in the darkness of the Arklay Mountains and three years later appeared in front of S.T.A.R.S. while they were visiting the mountains in an investigation into the matter, and she attempted to kill the officers with uncharacteristic strength.
Black Tiger (p.054)
A Web Spinner which was disposed of and mutated after the research was terminated. In the process of mutating, its ability to make nests was restored. With its webs it can stop large animals in their tracks and occasionally spray them to weaken them before feeding. Many children lurk in the female's womb and appear if the abdomen's torn open.
Web Spinner
It became huge under the t-Virus' influence and acquired the ability to spit strongly acidic venom on prey. It has multiple red eyes on its head. It was expected to be a virus dispersal weapon due to its mobility on ceilings and walls, but the lack of advanced control was a bottleneck so subsequent research was discontinued.
Leech (p.055)
A blood-sucking leech created in the process of breeding by Dr. James Marcus, discoverer of the Progenitor Virus. When it clings to absorb blood it even tears away flesh, and attacked people die in several minutes. Even if their life's saved, they're injected with a high concentration of the virus, and it's difficult to escape infection.
Mimicry Marcus
Countless blood-sucking leeches bound together by a highly adhesive fluid, which in their mimic state are modeled on the appearance of Dr. James Marcus in life. The transformation of the leeches into a humanoid form increases the variety of their attacks. The mimicry's maintained in a stationary state, and when an external enemy or prey approaches, the mimicry's unraveled and morphs into a form more suitable for attacking.
Queen Leech
It reigns at the top of the mutant leeches, usually mimicking Dr. Marcus on the day of his death. Over the years, the Queen Leech has been able to imitate his thoughts and personality by infesting the doctor's corpse and continuously extracting DNA. Its first form's a humanoid condition, but when it enters a crisis, it transforms into a second form, becoming a bloated humanoid.
Queen Leech (p.057)
This creature, referred to as the "Queen", controls swarms of mutant leeches, repeating cellular growth using its companions as an energy source for its vital functions. It usually mimics the living appearance of Dr. James Marcus, first director of the Umbrella Executive Training School, and once attacked, it alters its appearance to its original first form to fight back. In the event its own life is in danger, the t-Virus within its body will activate and it'll morph into a second form, but since its mass is dozens of times that of the first form, it becomes an evil figure lacking any semblance of its original appearance.
The origin of the Queen Leech's birth. That dates back to before Umbrella's establishment. Together with Oswell E. Spencer and Edward Ashford, Marcus discovered the Progenitor Virus, a new RNA virus, and together the three founded the camouflage pharmaceutical company Umbrella which they used to divert the virus into biological weapons development. Following Ashford's death, Marcus in his desire to be a researcher rather than a corporate manager had also already stepped aside from the front stage, continuing his own Progenitor Virus research as director of the Umbrella Executive Training School. While Spencer had become leader and prioritized the company's management, it was Marcus who first achieved research results. By combining the Progenitor Virus with leech DNA to create a mutational variant "mutant leech", he succeeded in developing the t-Virus, which causes organisms to become ferocious. This was precisely Umbrella's purpose. Marcus immediately set out to develop a tangible Bio Organic Weapon (B.O.W.) in order to perfect the research, changing the experiment base with arthropods, amphibians and mammals one after another. Then finally, the research progressed into human experiments using executive candidates as guinea pigs, with the contents treated as top-secret within the company.
It seemed unreasonable the rampaging Marcus would be permitted indefinitely. Similar B.O.W. development was also underway at the Arklay Lab. When the Arklay Lab's B.O.W. development entered the third stage, Spencer immediately instructed Albert Wesker and William Birkin, executive candidate employees at the time, to assassinate Marcus. This was to intercept the t-Virus developed by Marcus. Thus, betrayed by his former friend and students, Marcus died in the midst of his ambition. His hatred however eventually yielded an unprecedented vengeance that transcended biology. That was in truth the Queen Leech. Beneath the training school, a marvelous phenomenon occurred in which a mutant leech infested Marcus' abandoned corpse and assimilated his DNA. The mutant leech repeated tissue development and transformation through the t-Virus within its body.
Ten years later---- A terrifying creature was born which inherited Marcus' voice and intellect, and began exacting revenge against Umbrella.
Stinger (p.058)
A scorpion injected with the t-Virus. It enlarged to approx. three meters, its skeleton hardened able to absorb shock from bullets and its two claws can cut iron. However its movement slowed in reaction to its enlargement and the head weakened. The natural characteristic of the tail needle's poison gland was degenerated and it lacked perfection as a B.O.W.
Neptune (p.059)
A Great white shark selected as a host to verify t-Virus adaptability to marine organisms. The test subject was codenamed "FI-03" and the virus' influence displayed in its improved aggression, durability and enlargement. It boasted unrivaled combat capabilities in water but was ineffective on land with little usefulness, so research stalled.
Nemesis-T Type (p.060)
The "t" initial of the t-Virus is short for Tyrant. The Tyrant name was attached to the B.O.W. Code "T-002" created in the final stage of the t-Virus Project as a symbol of the project with the meaning of "the ultimate life-form." The Tyrant had intelligence and overwhelming combat capabilities with the ability to follow commands, but in the combat test conducted against S.T.A.R.S. in the Arklay Lab, control was lost due to an unexpected limiter release before it could display sufficient performance. Therefore the advanced model Code "T-103" was developed afterwards with reinforced combat capabilities while compensating for the T-002 model's shortcomings. Unlike the T-002 model, it utilized a human appearance with a limiter control function via a protective coat and undertook a critical mission: retrieving the G-Virus.
Through this, the Tyrant's perfection as a B.O.W. was steadily elevated, but after the loss of control accident in the Arklay Lab, a completely different humanoid B.O.W. was developed at the Sixth Lab in Europe. That was the "Nemesis-T Type." This B.O.W. planned to enhance intelligence by allowing a new parasitic organism, NE-α Type, popularly called Nemesis, to parasitize a Tyrant. Since Nemesis forms an original brain within the host body, the t-Virus' secondary effect of intelligence decline is restrained. In addition, since it also has excellent self-judgment capability, it uses weapons that require complicated handling and also performs multi-purpose tasks such as tracking and eliminating multiple targets within an operational area.
In normal times, the Nemesis-T Type usually wears a special long bulletproof coat with anti-ballistic effects, reminiscent of the T-103 model, and as such the chance of going out of control is suppressed. However, in the event of excessive damage caused by external factors, the Nemesis-T Type's self-regeneration ability induces unreasonable overcompensation, so the body of the host Tyrant is deformed in the blink of an eye. Abnormally developed tentacles break through the long coat, and as a result, it enters an uncontrollable state like other Tyrants. This is referred to as the so-called second form, and if the interlocked host's brain is destroyed, this time Nemesis' instinctual defensive functions as well as the two organism's rejection responses makes the body explosively huge.
Tyrant (T-002) (p.062)
Developed as the apex B.O.W. emphasizing combat prowess. It was to be improved based on combat test data with soldier combatants but its battle with the S.T.A.R.S. officers occurred with insufficient preparations being made.
Tyrant Reborn (p.062)
A state in which, faced with a crisis of survival, the Tyrant's cells are activated and mutate, transforming into a body with greatly enhanced offensive capabilities and mobility. Its skin hardens like a rock with both arms and claws becoming larger.
Proto Tyrant (p.063)
A prototype model of the Tyrant B.O.W. using a human as the host. The heart supported phenomenal vitality and the right arm developed like a giant claw, with its agility to attack prey comparing favorably to the subsequent completed model. However it failed to acquire sufficient intelligence to execute commands and was disposed of in the middle of the research. It remained active after disposal however.
Ivan (p.064)
Their destructive power's the same as the conventional Tyrant series, with improved mobile performance. They wear a newly developed white shock absorbing coat and sunglasses with a custom-made HMD. When danger approaches they can metamorphose into Super Tyrants and unleash their full capabilities. Since there are two, it's believed to be the mass-produced model.
Talos (p.065)
Codename T-A.L.O.S. (Armored Lethal Organic System). The first form wears a special alloy armor that suppresses out of control t-Virus tissue in addition to neutralizing firearms. Cardiopulmonary function was enhanced using artificial internal organs to achieve overwhelming mobility.
Talos (p.066)
Movement's usually controlled via wireless connection but it's possible to draw out maximum performance through direct synaptic connection with RED QUEEN. Although mobility's impaired in the second form, its offensive strength's elevated through the use of powerful lasers and tentacles as weapons for long-range exterminating attacks.
Monster Sergei (p.068)
The form Sergei takes after becoming a monster. He also injected himself with a virus similar to Wesker, and transforms his physical appearance by activating his cells. The virus developed by William Birkin failed to strengthen cells for the majority of incompatible individuals, who are common so-called Zombies. Sergei however was a perfect match whose brain cells would never deteriorate, said to be a probability of one in ten million people.
As a person engaged in Umbrella, Sergei's base was the Russian branch underground research facility in the Caucasus region. It's Umbrella's newest facility, covertly engaged in many activities without demolishing the former government-run chemical plant on the ground level, which is often used as camouflage. Here he pushed forward development of a new B.O.W. model in conjunction with the RED QUEEN, the AI of Umbrella's supercomputer U.M.F.-013 (the thirteenth mainframe). He managed to see Talos to completion. Talos' host body was referred to as the "Guardian of Crete" and Sergei recovered it from the Arklay Lab at a mysterious individual's request. Sergei's also the one who later dropped many "T" into the city. He commanded the Umbrella surveillance organization known as "Supervisors." Comrade Nikolai Zinoviev's also a Supervisor. Sergei exchanged information in a letter with Nikolai, but in the text, he wrote very interesting keywords such as "ten comrades", "alter egos" and "let them go." This could be taken as an indication of the existence of clones of Sergei, a perfect adapter. It's probably due to this he obtained his position as an executive and also exercises his power as he sees fit.
Sergei's appearance after becoming a monster differs from other B.O.W.'s in many respects. Although it has a large claw like the Tyrant T-002 Type, it's used not just for offense but also movement, along with tentacles like those found in the Nemesis-T Type which appear to bind both arms together. Wesker hypothesizes the transformation process to be "not by chance, but strongly influenced by the carrier's thoughts and beliefs." We don't know what was in the depths of his heart to endure utter pain, bound by thorny stretching tentacles.
INTERVIEW 03: Composer MASAFUMI TAKADA / JUN FUKUDA (p.070-071)
profile
Masafumi Takada: ghm Director, Sound Director. Handled all music for ghm titles including "The Silver Case", "Flower, Sun and Rain", "killer7", & "NO MORE HEROES". Also provided music for third-party games such as "Tekki Taisen", "GOD HAND", and "THE Earth Defense Force".
Jun Fukuda: Joined the ghm sound team in 2003 as support staff for Masafumi Takada. Handled in-house titles including killer7, NO MORE HEROES, and "contact", as well as third-party game titles like GOD HAND & THE Earth Defense Force 3.
Translating screen into music—that's our job
CONFUSION & JOY
——Please tell us how you felt when you received the request to compose music for BIOHAZARD UMBERLLA CHRONICLES (hereafter UC).
TAKADA: Grasshopper Manufacture (ghm) is a game development company, but we'd never worked on sequels or series before. Our approach to game music always felt like building a new world each time. When we got this offer, we agonized over it. The BIOHAZARD series already has millions of fans. We had to make sure they'd enjoy it... and also ensure it wouldn't break when implemented within the UC game system... We couldn't disappoint them... Honestly, it was gut-wrenching. But the desire to work on such a title as big as BIOHAZARD was incredibly strong.
——What about you, Fukuda-san?
FUKUDA: I was just plain happy. I played the original BIOHAZARD. Though I got scared and quit halfway through (laughs). Back then I thought, "Wow, what an amazing game that just came out." So when I got this offer, I was surprised and genuinely thrilled. Takada and I talked it over and decided we had to do it. I didn't share his concerns at that point. I was more like, "It's BIO! Woo-hoo!" (laughs).
——What're your respective roles in composing?
TAKADA: There's no strict division of labor. Basically, Fukuda plays guitar and I play keyboard, but we both write songs. When each of us has something rough, we share it with each other, pick the better version, then develop it further into a complete song.
——So you share your work with each other as it's being created?
TAKADA: Not in a formal way. More often, we'd watch footage from the development process, play around with it in a session-like vibe, saying “How about this?” while discussing it. We were seated next to each other at the company (laughs). Since we didn't have a dedicated sound team room, the graphic artists working right next to us would complain sometimes (laughs). From the outside, it probably looked like we were just playing around. Like, “This isn't work, is it?”
FUKUDA: For the ending theme though, I made the basic structure then handed it to Takada. He gave feedback like, "How about changing the drum sound to this?" We made adjustments and it gradually took shape.
TAKADA: I handled the final polish. That's how we usually work on rock-style songs.
ANALYZING HORROR
——What aspects did you focus on when composing the music?
TAKADA: Actually, after UC was decided, I researched "What exactly is horror music?" I looked at movies and TV, of course, but also how it's used in amusement park haunted houses, the levels of fear it evokes, melodies, trends, and more. That's when I realized Japan and overseas have different approaches. Japanese horror tends to rely on low frequencies, with many tracks designed to amplify the anxiety stemming from fear. Conversely, overseas horror often uses higher frequencies to express unease. Since this is a worldwide title, we needed to satisfy both audiences. It might be an uncommon approach in Japan, but we challenged ourselves to express it using the higher register.
——Fukuda-san, did you consciously aim for that horror feel in the guitar parts?
FUKUDA: Creating horror through guitar... that was tough (laughs). Like, instead of playing clean, I tried playing it all wobbly and distorted.
TAKADA: For me, the guitar was less about horror and more about establishing the tempo. I wanted to add a "guitar-like rhythm." Figuring out how much horror to infuse was also tricky, but the biggest unknown during composition was the tempo. I kept thinking: What would feel good to the audience? What tempo and rhythm would they find comfortable?
——Arranging existing tracks while also creating new ones. That must've been tough.
TAKADA: The past tracks were mostly ambient. Within that, I aimed to bring out the songs that lingered in everyone's memory. But we couldn't exactly survey the audience asking, "What music do you like?"... So, I had them send me the soundtracks from all the BIOHAZARD games, listened to them repeatedly, then picked out the ones that resonated with me. For both the rearranged tracks and the new compositions, I was careful to ensure the game-like accents of the gun shooting mechanics and the rhythmic accents didn't clash. It was about balancing all the different elements to find what would please the audience most.
——What was the biggest hint during this challenging composition process?
TAKADA: Ultimately, it was the visuals. The most crucial task in creating game music is "translating the screen into music." First you watch the moving elements, play from the player's perspective, feel it, and think: what kind of music would feel absolutely perfect here? It was about respecting the visuals, translating them into music, and creating a sound unique to us.
NOTABLE TRACKS FROM THE SOUNDTRACK
——The original soundtrack for UC has been released. Which tracks left an impression or are your favorites?
FUKUDA: Speaking purely from my personal preference, it's "Begin Here". That's the track that plays during "Scenario Selection". It's in the higher register and has that distinct BIO feel.
TAKADA: For me, it's "Live Evil". I think it's the best-crafted track.
FUKUDA: I shaped the song's form, but once it was almost complete with the guitar parts in, Takada stepped in. The main material used is a track from "BIOHAZARD 2". CAPCOM asked for "a bit more eeriness," then Takada gave musical advice like "this part should descend from above." The finished track is this Live Evil. So, you could call it our collaborative signature piece.
TAKADA: So, as ghm, we recommend this track (laughs).
A NEW GENRE IS BORN!
——If you had to describe the sound of this work, what genre would it be?
TAKADA: Maybe we should just invent a new word. We never think about genres at all (laughs). Is there anything cool out there? (laughs)
FUKUDA: Adventure?
TAKADA: The hell's that!? Adventure as a genre (laughs). Hmm, ghm-wise, it's punk, but... So then, punk horror? Horror punk?
FUKUDA: Horror punk!? That sounds lame (laughs). Hopu... Hopu... Um...
EVERYONE: Oh!?
FUKUDA: Hopunk.
EVERYONE: Wha—? (laughs)
TAKADA: That's just shortening horror punk, isn't it? (laughs) Hopunk... Ah, how about this? Punk Horror ghm Mix.
EVERYONE: Ooh! (clapping)
TAKADA: Alright, we'll go with "Punk Horror ghm Mix" then. (laughs)
profile
Masafumi Takada: ghm Director, Sound Director. Handled all music for ghm titles including "The Silver Case", "Flower, Sun and Rain", "killer7", & "NO MORE HEROES". Also provided music for third-party games such as "Tekki Taisen", "GOD HAND", and "THE Earth Defense Force".
Jun Fukuda: Joined the ghm sound team in 2003 as support staff for Masafumi Takada. Handled in-house titles including killer7, NO MORE HEROES, and "contact", as well as third-party game titles like GOD HAND & THE Earth Defense Force 3.
Translating screen into music—that's our job
CONFUSION & JOY
——Please tell us how you felt when you received the request to compose music for BIOHAZARD UMBERLLA CHRONICLES (hereafter UC).
TAKADA: Grasshopper Manufacture (ghm) is a game development company, but we'd never worked on sequels or series before. Our approach to game music always felt like building a new world each time. When we got this offer, we agonized over it. The BIOHAZARD series already has millions of fans. We had to make sure they'd enjoy it... and also ensure it wouldn't break when implemented within the UC game system... We couldn't disappoint them... Honestly, it was gut-wrenching. But the desire to work on such a title as big as BIOHAZARD was incredibly strong.
——What about you, Fukuda-san?
FUKUDA: I was just plain happy. I played the original BIOHAZARD. Though I got scared and quit halfway through (laughs). Back then I thought, "Wow, what an amazing game that just came out." So when I got this offer, I was surprised and genuinely thrilled. Takada and I talked it over and decided we had to do it. I didn't share his concerns at that point. I was more like, "It's BIO! Woo-hoo!" (laughs).
——What're your respective roles in composing?
TAKADA: There's no strict division of labor. Basically, Fukuda plays guitar and I play keyboard, but we both write songs. When each of us has something rough, we share it with each other, pick the better version, then develop it further into a complete song.
——So you share your work with each other as it's being created?
TAKADA: Not in a formal way. More often, we'd watch footage from the development process, play around with it in a session-like vibe, saying “How about this?” while discussing it. We were seated next to each other at the company (laughs). Since we didn't have a dedicated sound team room, the graphic artists working right next to us would complain sometimes (laughs). From the outside, it probably looked like we were just playing around. Like, “This isn't work, is it?”
FUKUDA: For the ending theme though, I made the basic structure then handed it to Takada. He gave feedback like, "How about changing the drum sound to this?" We made adjustments and it gradually took shape.
TAKADA: I handled the final polish. That's how we usually work on rock-style songs.
ANALYZING HORROR
——What aspects did you focus on when composing the music?
TAKADA: Actually, after UC was decided, I researched "What exactly is horror music?" I looked at movies and TV, of course, but also how it's used in amusement park haunted houses, the levels of fear it evokes, melodies, trends, and more. That's when I realized Japan and overseas have different approaches. Japanese horror tends to rely on low frequencies, with many tracks designed to amplify the anxiety stemming from fear. Conversely, overseas horror often uses higher frequencies to express unease. Since this is a worldwide title, we needed to satisfy both audiences. It might be an uncommon approach in Japan, but we challenged ourselves to express it using the higher register.
——Fukuda-san, did you consciously aim for that horror feel in the guitar parts?
FUKUDA: Creating horror through guitar... that was tough (laughs). Like, instead of playing clean, I tried playing it all wobbly and distorted.
TAKADA: For me, the guitar was less about horror and more about establishing the tempo. I wanted to add a "guitar-like rhythm." Figuring out how much horror to infuse was also tricky, but the biggest unknown during composition was the tempo. I kept thinking: What would feel good to the audience? What tempo and rhythm would they find comfortable?
——Arranging existing tracks while also creating new ones. That must've been tough.
TAKADA: The past tracks were mostly ambient. Within that, I aimed to bring out the songs that lingered in everyone's memory. But we couldn't exactly survey the audience asking, "What music do you like?"... So, I had them send me the soundtracks from all the BIOHAZARD games, listened to them repeatedly, then picked out the ones that resonated with me. For both the rearranged tracks and the new compositions, I was careful to ensure the game-like accents of the gun shooting mechanics and the rhythmic accents didn't clash. It was about balancing all the different elements to find what would please the audience most.
——What was the biggest hint during this challenging composition process?
TAKADA: Ultimately, it was the visuals. The most crucial task in creating game music is "translating the screen into music." First you watch the moving elements, play from the player's perspective, feel it, and think: what kind of music would feel absolutely perfect here? It was about respecting the visuals, translating them into music, and creating a sound unique to us.
NOTABLE TRACKS FROM THE SOUNDTRACK
——The original soundtrack for UC has been released. Which tracks left an impression or are your favorites?
FUKUDA: Speaking purely from my personal preference, it's "Begin Here". That's the track that plays during "Scenario Selection". It's in the higher register and has that distinct BIO feel.
TAKADA: For me, it's "Live Evil". I think it's the best-crafted track.
FUKUDA: I shaped the song's form, but once it was almost complete with the guitar parts in, Takada stepped in. The main material used is a track from "BIOHAZARD 2". CAPCOM asked for "a bit more eeriness," then Takada gave musical advice like "this part should descend from above." The finished track is this Live Evil. So, you could call it our collaborative signature piece.
TAKADA: So, as ghm, we recommend this track (laughs).
A NEW GENRE IS BORN!
——If you had to describe the sound of this work, what genre would it be?
TAKADA: Maybe we should just invent a new word. We never think about genres at all (laughs). Is there anything cool out there? (laughs)
FUKUDA: Adventure?
TAKADA: The hell's that!? Adventure as a genre (laughs). Hmm, ghm-wise, it's punk, but... So then, punk horror? Horror punk?
FUKUDA: Horror punk!? That sounds lame (laughs). Hopu... Hopu... Um...
EVERYONE: Oh!?
FUKUDA: Hopunk.
EVERYONE: Wha—? (laughs)
TAKADA: That's just shortening horror punk, isn't it? (laughs) Hopunk... Ah, how about this? Punk Horror ghm Mix.
EVERYONE: Ooh! (clapping)
TAKADA: Alright, we'll go with "Punk Horror ghm Mix" then. (laughs)
INTERVIEW 04: Publicity CG Artist SATOSHI UEDA (p.096)
profile
Satoshi Ueda: Now a freelance designer after working for a game company. His notable works include enemy creature design for "GUN SURVIVOR 4 BIOHAZARD HEROES NEVER DIE," CG production for the campaign model of the first issue of "Title" (Bungeishunjū Ltd.), making character models for "KOF MAXIMUM IMPACT" & "KOF MAXIMUM IMPACT 2," & art direction for "Bullet Witch." Author of the “3ds max Super Techniques” series of instructional books.
CG Models = Fusing precision & imagination
ENHANCING THE COMPLETENESS OF THE "IMAGE"
——What parts did you work on for BIOHAZARD UMBRELLA CHRONICLES (hereafter "UC")?
UEDA: I was in charge of creating all the publicity art. I received the character CG models from the game and refined them into high-resolution images. I decided on the model's pose, worked on the details, applied lighting, and improved the overall quality of the image.
——To what extent did you rework the CG models from the game?
UEDA: Publicity images require high resolution, so some parts of the CG models from the game were noticeably rough. Things like the inner corners of the eyes or the hair. Every visible part needed refining, so I had to use my imagination to fill in and complete them. The skin texture on the face in particular needed to be very detailed. For example, even among white people, skin tones vary, so I'd reference photo books and imagine, "Is this close to this person's skin?" I ended up redoing quite a bit.
——This title features characters from earlier in the BIOHAZARD series. What aspects did you pay particular attention to?
UEDA: Since I couldn't change hairstyles or costumes, I was asked to add a fresh impression elsewhere. The goal was to intuitively convey UC's originality, meaning all character art was completely redone for UC. So I altered the lighting to make them look different from previous art, sometimes using harsh lighting to create halation. Regarding posing, I went through several retakes to ensure the silhouettes looked cool even when reduced to outlines.
——You also handled the package design. What requests did Director Seto have?
UEDA: The requests were to feature all the main characters, symbolically position Wesker, and capture the unique color palette of this “new world.” I started by sketching several rough concepts and refined the direction from there.
IN THE DEPTHS OF REBECCA'S EYES...
——What was the process behind creating the Rebecca illustration used for this book's cover?
UEDA: The director's initial concept request was for an emotional expression: "A close-up of Rebecca's despairing expression, yet also conveying hope within it." It was quite challenging (laughs). There were also specific instructions regarding the tears and blood on her cheek. The process involved creating one side of the face, flipping it symmetrically, then breaking it down. Human faces aren't perfectly symmetrical either. At first it didn't look like Rebecca at all (laughs).
——It's like the world of miniature painting.
UEDA: It feels like the accumulation of meticulous work. The BIOHAZARD series uses real human faces that've been captured in order to create the CG models. Since the baseline quality's already high, it was expected to naturally be high quality this time too (laughs).
——I heard that among the female characters, you're a Jill fan (laughs).
UEDA: If I ever get to draw a close-up of Jill, I'd want to make it look like a fashion model, with a clean, beautiful feel against a white background (laughs).
profile
Satoshi Ueda: Now a freelance designer after working for a game company. His notable works include enemy creature design for "GUN SURVIVOR 4 BIOHAZARD HEROES NEVER DIE," CG production for the campaign model of the first issue of "Title" (Bungeishunjū Ltd.), making character models for "KOF MAXIMUM IMPACT" & "KOF MAXIMUM IMPACT 2," & art direction for "Bullet Witch." Author of the “3ds max Super Techniques” series of instructional books.
CG Models = Fusing precision & imagination
ENHANCING THE COMPLETENESS OF THE "IMAGE"
——What parts did you work on for BIOHAZARD UMBRELLA CHRONICLES (hereafter "UC")?
UEDA: I was in charge of creating all the publicity art. I received the character CG models from the game and refined them into high-resolution images. I decided on the model's pose, worked on the details, applied lighting, and improved the overall quality of the image.
——To what extent did you rework the CG models from the game?
UEDA: Publicity images require high resolution, so some parts of the CG models from the game were noticeably rough. Things like the inner corners of the eyes or the hair. Every visible part needed refining, so I had to use my imagination to fill in and complete them. The skin texture on the face in particular needed to be very detailed. For example, even among white people, skin tones vary, so I'd reference photo books and imagine, "Is this close to this person's skin?" I ended up redoing quite a bit.
——This title features characters from earlier in the BIOHAZARD series. What aspects did you pay particular attention to?
UEDA: Since I couldn't change hairstyles or costumes, I was asked to add a fresh impression elsewhere. The goal was to intuitively convey UC's originality, meaning all character art was completely redone for UC. So I altered the lighting to make them look different from previous art, sometimes using harsh lighting to create halation. Regarding posing, I went through several retakes to ensure the silhouettes looked cool even when reduced to outlines.
——You also handled the package design. What requests did Director Seto have?
UEDA: The requests were to feature all the main characters, symbolically position Wesker, and capture the unique color palette of this “new world.” I started by sketching several rough concepts and refined the direction from there.
IN THE DEPTHS OF REBECCA'S EYES...
——What was the process behind creating the Rebecca illustration used for this book's cover?
UEDA: The director's initial concept request was for an emotional expression: "A close-up of Rebecca's despairing expression, yet also conveying hope within it." It was quite challenging (laughs). There were also specific instructions regarding the tears and blood on her cheek. The process involved creating one side of the face, flipping it symmetrically, then breaking it down. Human faces aren't perfectly symmetrical either. At first it didn't look like Rebecca at all (laughs).
——It's like the world of miniature painting.
UEDA: It feels like the accumulation of meticulous work. The BIOHAZARD series uses real human faces that've been captured in order to create the CG models. Since the baseline quality's already high, it was expected to naturally be high quality this time too (laughs).
——I heard that among the female characters, you're a Jill fan (laughs).
UEDA: If I ever get to draw a close-up of Jill, I'd want to make it look like a fashion model, with a clean, beautiful feel against a white background (laughs).
INTERVIEW 05: Background Designer YASUKO SHIMODA (p.097)
profile
Yasuko Shimoda: Handled background design for "Devil May Cry" & background, treasure item, & ending designs for "biohazard 4".
The place of the end, a world of white
INTENSE EMOTIONS COLLIDE: THE RUSSIA STAGE
——Could you tell us about your responsibilities for this title?
SHIMODA: I handled the background imagery for the Russia stage. I designed backgrounds for the mine tunnels, factory grounds, lab, final computer room, and the Talos activation dock.
——Looking back, what stands out most in your memory?
SHIMODA: Designing the deepest part of the Russia stage research facility. It was deeply moving to be entrusted with designing the grand stage depicting Umbrella's demise and Wesker's shadowy machinations, aspects never revealed before in the BIOHAZARD series. It was enjoyable to create a design with a slightly different flavor compared to the research facilities from past titles.
——What parts did you struggle with or obsess over?
SHIMODA: Since the camera movement in-game was predetermined, it was challenging to position it so showstopping moments naturally fit within the screen. Also, the interactions when the backgrounds and enemies came together was tricky. Simply putting them together them wasn't interesting enough, so I incorporated elements like the background's reaction when shot as a benchmark for responsiveness. After I heard we could include destructible props, I focused on adding playful elements. I hope players enjoy not just shooting enemies, but also discovering multiple breakable items hanging from the ceiling and experiencing the background's responses.
——How'd the overall image for the Russia stage come about?
SHIMODA: Director Seto provided me with reference materials on Russia as a foundation. From there, I gathered images of various landscapes from regions of the former Soviet Union, focusing on the Caucasus region and including places like Azerbaijan and Georgia. We didn't want typical tourist-spot imagery, so we aimed to create visuals that shifted slightly from familiar Russian imagery. We designed it envisioning Umbrella's final stronghold, where smoke and blizzard make even the silence feel stagnant.
——What was the concept for this final Umbrella stronghold?
SHIMODA: We chose white as the concept color for the deepest part of the facility. White's inherently difficult to render effectively in CG, but I insisted on it. It represents the image of a sterile room, a "void" signifying the final destination and Umbrella's collapse, as well as a new starting point for the battle surrounding Wesker. I believe it creates a different impact compared to the past titles dominated by darker tones. The factory exterior that appears just before it embodies the opposite concept, serving as a "handover point for BIO essence." That was a natural progression.
THE ESSENCE OF BACKGROUND DESIGN
——What do you prioritize most in game background design?
SHIMODA: Conveying the atmosphere and purpose of the space at a glance, and what kind of gameplay it offers. Then blending in a singular distinctive element. All while staying true to its role as background. This process is both enjoyable and a labor of love.
——When do ideas most often strike you?
SHIMODA: Usually after my imagination's sparked by a movie or novel, then I doodle it from vague memory. Drawing while the memory's hazy often produces more interesting pictures. Conversely, looking at too much reference material leads to pictures that are too literal, which doesn't work.
——What do you consider essential qualities for a creator?
SHIMODA: You need an eye for observing things objectively. I believe both passion and a cool head are crucial for creating things. It's not a job where you can get by on enthusiasm alone, but that's precisely what makes the sense of accomplishment so great.
profile
Yasuko Shimoda: Handled background design for "Devil May Cry" & background, treasure item, & ending designs for "biohazard 4".
The place of the end, a world of white
INTENSE EMOTIONS COLLIDE: THE RUSSIA STAGE
——Could you tell us about your responsibilities for this title?
SHIMODA: I handled the background imagery for the Russia stage. I designed backgrounds for the mine tunnels, factory grounds, lab, final computer room, and the Talos activation dock.
——Looking back, what stands out most in your memory?
SHIMODA: Designing the deepest part of the Russia stage research facility. It was deeply moving to be entrusted with designing the grand stage depicting Umbrella's demise and Wesker's shadowy machinations, aspects never revealed before in the BIOHAZARD series. It was enjoyable to create a design with a slightly different flavor compared to the research facilities from past titles.
——What parts did you struggle with or obsess over?
SHIMODA: Since the camera movement in-game was predetermined, it was challenging to position it so showstopping moments naturally fit within the screen. Also, the interactions when the backgrounds and enemies came together was tricky. Simply putting them together them wasn't interesting enough, so I incorporated elements like the background's reaction when shot as a benchmark for responsiveness. After I heard we could include destructible props, I focused on adding playful elements. I hope players enjoy not just shooting enemies, but also discovering multiple breakable items hanging from the ceiling and experiencing the background's responses.
——How'd the overall image for the Russia stage come about?
SHIMODA: Director Seto provided me with reference materials on Russia as a foundation. From there, I gathered images of various landscapes from regions of the former Soviet Union, focusing on the Caucasus region and including places like Azerbaijan and Georgia. We didn't want typical tourist-spot imagery, so we aimed to create visuals that shifted slightly from familiar Russian imagery. We designed it envisioning Umbrella's final stronghold, where smoke and blizzard make even the silence feel stagnant.
——What was the concept for this final Umbrella stronghold?
SHIMODA: We chose white as the concept color for the deepest part of the facility. White's inherently difficult to render effectively in CG, but I insisted on it. It represents the image of a sterile room, a "void" signifying the final destination and Umbrella's collapse, as well as a new starting point for the battle surrounding Wesker. I believe it creates a different impact compared to the past titles dominated by darker tones. The factory exterior that appears just before it embodies the opposite concept, serving as a "handover point for BIO essence." That was a natural progression.
THE ESSENCE OF BACKGROUND DESIGN
——What do you prioritize most in game background design?
SHIMODA: Conveying the atmosphere and purpose of the space at a glance, and what kind of gameplay it offers. Then blending in a singular distinctive element. All while staying true to its role as background. This process is both enjoyable and a labor of love.
——When do ideas most often strike you?
SHIMODA: Usually after my imagination's sparked by a movie or novel, then I doodle it from vague memory. Drawing while the memory's hazy often produces more interesting pictures. Conversely, looking at too much reference material leads to pictures that are too literal, which doesn't work.
——What do you consider essential qualities for a creator?
SHIMODA: You need an eye for observing things objectively. I believe both passion and a cool head are crucial for creating things. It's not a job where you can get by on enthusiasm alone, but that's precisely what makes the sense of accomplishment so great.
STAFF TALK - MASACHIKA KAWATA X YASUHIRO SETO X HARUO MURATA X HIROAKI KOTAKE (p.120-125)
Haruo Murata: Supervised scenario and world settings. Participated in the "BIOHAZARD OUTBREAK" series as a planner. Handled world setting supervision and various settings for the "Street Fighter" series and "Vampire" series.
Masachika Kawata: Producer. Launched this project and produced the entire game, from quality control to sales strategies. Notable works include the PS2 version of biohazard 4.
Yasuhiro Seto: Director overseeing the game as a whole, as well as production of the overall story and world settings. Notable works include "Beat Down," "Street Fighter III," and "Clock Tower 3."
Hiroaki Kotake: Chief director at Cavia Co., Ltd. who developed this title. Notable works include the "Drag-On Dragoon" series and "Bullet Witch."
PROJECT'S START & BRINGING THE CREATORS TOGETHER
——How'd the project itself get started?
KAWATA: This project started with the idea of making a festival BIOHAZARD game.
SETO: At that time, the Wii, a new and innovative hardware, was announced.
KAWATA: The game controller they announced was perfect for gun shooting, so we decided the game's direction.
SETO: Since we were bringing BIOHAZARD to a completely new type of hardware, we wanted to appeal to a new audience with a fresh take on the series. The decision to go with gun shooting was part of that, and the Wii hardware's unique characteristics were also a major factor. I think any developer making a Wii game would naturally want to make use of its unique control system. That's how it all started. The project's starting point was to make the game more accessible and intuitive for a wider audience than ever before.
KAWATA: Another initial idea was to collaborate with external creators. We'd come up with the concept and the plan internally at CAPCOM, then bring in outside help to develop the game.
SETO: In 2005 we worked with Cavia on a title called Beat Down. At the time I thought they were a company capable of developing a major title from scratch. Cavia was in fact also involved in GUN SURVIVOR 4, so we thought their experience could be useful.
KAWATA: This time we wanted to work with a number of creators outside the company in a collaborative format.
SETO: When Kawata and I first talked about it, we decided the creators responsible for each part should be people who fit the core of BIOHAZARD, and whom we could trust, so we asked Gondoh and Takada.
——Did the staff selection go smoothly?
KAWATA: Gondoh was the first person we asked. He'd already worked on event movies for the BIOHAZARD series so it was easy to move forward with him. Actually, there was another development team who'd also approached Gondoh-san, but he said he wanted to work on UC after reading the scenario. As for Takada-san, both I and Seto really liked the game killer7 and we talked about how great its music was. We thought the arrangements would fit well with BIOHAZARD so we gave it a shot and asked him, and he agreed without hesitation. Since everything fell into place smoothly, we decided to entrust him with all the music. After discussing that we wanted music with a bit of a unique flavor, he made it for us.
SETO: It wasn't decided from the beginning, but we gradually negotiated and I think it worked out well in the end.
KAWATA: I'd known Ueda-san a long time so I asked him if he could do all the CG for publicity. He agreed right away.
TRIAL & ERROR REALIZING THE VISION
——Were there any aspects of your development experience with the GameCube remake of "biohazard" that you were able to apply to this project?
KAWATA: Not really. Even though the visuals are similar the games are different, with different engines. We also remade the backgrounds rather than just reusing them.
*The remake and "biohazard 0" used a technique where characters walk on pre-rendered background screens.
——What's your role Kotake-san?
KOTAKE: I'm the director on the Cavia side. My role's to oversee game development on Cavia's side. So Seto-san and I worked together the most (laughs).
——Does that include settings as well?
SETO: Yes. I check everything in the game. However, I left the game's basic aspects to Kotake-san.
KOTAKE: He'd review the absolutely essential parts.
SETO: As a director, I had to be careful not to get too close to the developers and lose objectivity. I needed to step back and judge whether something was truly suitable for the product. That's something I learned from past experience.
KAWATA: Our starting stance was working together based on mutual trust.
SETO: In this case, that meant having Murata handle the story, Takada compose the music, and Gondoh take charge of the movie production. In game development, there aren't many things a single person can do alone. I think the ideal approach is building relationships of trust with various people and working together to bring everything together. I think we were able to achieve that to a large extent this time.
KAWATA: There were many conflicts along the way of course.
SETO: Conflicts are inevitable in any creative process. What's important is how much you can refine it in the end. Looking back, the development period was short, but we had enough time for adjustments. We also had a research period.
KOTAKE: At first we were researching the idea of "shooting wildly with a submachine gun for a sense of exhilaration." As we discussed the specs however, we decided "Handguns are the main weapon in BIOHAZARD." We wanted to convey the fear of Zombies approaching and continuing to advance even after being shot multiple times with a handgun.
SETO: We went through a lot of trial and error. There was a period where we were trying to figure out “How far can we go?” and “How should the movements be?”
KOTAKE: For the first two or three months, in order to create a sense of terror we kept changing and reworking the part where you defeat approaching Zombies with handguns.
SETO: We also made significant changes to the control system.
KAWATA: We never wavered from the core concept of making a gun shooting game, so it took time to verify everything, but in the end it all came together nicely.
SETO: The knife was something we really struggled with until the very end though.
KAWATA: We really pushed the adjustments to the absolute limit.
SETO: We decided to lower the difficulty for EASY mode at the last minute, that was a good call (laughs).
KOTAKE: That's true (laughs).
——Was it even harder before?
KOTAKE: It was harder.
KAWATA: Even now people say it's hard, but it was even harder back then. I still find it difficult even on EASY mode. The people making it have a completely different sense of it.
KOTAKE: That's right.
SETO: I wonder if it's really okay to make it this easy.
EVERYONE: (laughs)
KOTAKE: I think this game will give players a real sense of accomplishment when they play HARD and improve their skills.
SETO: Oh, that's a success. That's where I really admired Kotake-san's work. We made adjustments based on feedback from the quality control department (CAPCOM's team that thoroughly checks the game) after discussions with Cavia, that collaboration was crucial.
——Was there any trial & error with the knife controls?
SETO: The controls changed drastically between the early and late stages.
KAWATA: At first there was a problem where you couldn't attack with the knife if you couldn't get the right distance. Considering this game's movement style, I thought it might be impossible, but it turned out to be a surprisingly useful weapon.
SETO: That's because we added enemies that stick to the screen.
KAWATA: Seto was really particular about things like leeches sticking to you and cockroaches flying at you. I didn't really want to include those, but he got really mad at me, saying, “What're you talking about?”(laughs).
SETO: When you're depicting horror, I think you have to depict things you're potentially afraid of. Cockroaches represent a fundamental fear modern people have (laughs).
SEEKING A BALANCE BETWEEN EXHILARATION & FEAR
KAWATA: The exhilaration of traditional gun shooting games is different from UC's exhilaration. It was quite difficult until the staff shared that understanding.
SETO: In my mind, it was a sense of exhilaration within the framework of “what's typical of BIOHAZARD." But from the perspective of someone who prioritizes exhilaration, it might feel like “something's missing.”
KOTAKE: That's really difficult. Another thing we focused on this time was making objects as destructible as possible.
KAWATA: We heard the women were the ones who created the breakable objects, so we jokingly called them “Crash Gals” (laughs). “Those Crash Gals are the ones who made it so you can break this!” (laughs). The billiard balls actually go into the pockets when you shoot them, the details are so intricate!
SETO: Also, when you hit the bell in the Infected Bat area, it makes a “gong” sound. That was great too (laughs).
SETO: That part was amazing too. The first thing that made me think, “This game's gonna be great!” was the style of fighting with the lights shining. The theme was “gun shooting, but we want to convey a sense of fear.”
KAWATA: Then there's the radio DJ performance in HUNK's scenario. In a way, I think that might be the scariest part of the game.
MURATA: In "BIO HAZARD" there's that famous “itchy tasty” scene in the Keeper's Diary. That really freaked me out. It's not just gore or scares, but a psychological horror. It's the atmosphere, or the “creepy feeling of madness.” I think the DJ's performance really captures that, so it's a scene with a great atmosphere.
THE STORY'S ENDING & EXPLORING NEW POSSIBILITIES
SETO: I thought, “Maybe there could be a story told from Wesker's perspective about Umbrella's history.” The idea that “Wesker's the one who'll bring an end to Umbrella” was something I'd discussed and solidified with a number of people. So it's not something I came up with on my own but rather a conclusion that emerged through discussions with people who love BIOHAZARD, as well as those who created it.
KOTAKE: We're a group of people who truly love BIOHAZARD and we focused on how to recreate BIOHAZARD how everyone imagines, through gun shooting. We hope players can feel the sense of impending terror and other such elements while playing.
MURATA: I was mainly involved in the story rather than the game itself. Being able to work on this series with such a rich history was a great experience for me. I hope you'll look forward to the next installment while exploring the background settings and imagining the story behind the scenes.
SETO: Games can't be made by a single person, so I'm very grateful to everyone who helped make this game a reality. I hope users will enjoy it, and that it'll live up to the expectations of BIOHAZARD fans.
KAWATA: I wasn't too nervous at first, but in the end, I did feel some pressure. I think everyone's struggles were similar to when we were making previous BIOHAZARD games. In a good way though, we were able to make a BIOHAZARD game different from the usual, and I want to use that experience in the next game.
Haruo Murata: Supervised scenario and world settings. Participated in the "BIOHAZARD OUTBREAK" series as a planner. Handled world setting supervision and various settings for the "Street Fighter" series and "Vampire" series.
Masachika Kawata: Producer. Launched this project and produced the entire game, from quality control to sales strategies. Notable works include the PS2 version of biohazard 4.
Yasuhiro Seto: Director overseeing the game as a whole, as well as production of the overall story and world settings. Notable works include "Beat Down," "Street Fighter III," and "Clock Tower 3."
Hiroaki Kotake: Chief director at Cavia Co., Ltd. who developed this title. Notable works include the "Drag-On Dragoon" series and "Bullet Witch."
PROJECT'S START & BRINGING THE CREATORS TOGETHER
——How'd the project itself get started?
KAWATA: This project started with the idea of making a festival BIOHAZARD game.
SETO: At that time, the Wii, a new and innovative hardware, was announced.
KAWATA: The game controller they announced was perfect for gun shooting, so we decided the game's direction.
SETO: Since we were bringing BIOHAZARD to a completely new type of hardware, we wanted to appeal to a new audience with a fresh take on the series. The decision to go with gun shooting was part of that, and the Wii hardware's unique characteristics were also a major factor. I think any developer making a Wii game would naturally want to make use of its unique control system. That's how it all started. The project's starting point was to make the game more accessible and intuitive for a wider audience than ever before.
KAWATA: Another initial idea was to collaborate with external creators. We'd come up with the concept and the plan internally at CAPCOM, then bring in outside help to develop the game.
SETO: In 2005 we worked with Cavia on a title called Beat Down. At the time I thought they were a company capable of developing a major title from scratch. Cavia was in fact also involved in GUN SURVIVOR 4, so we thought their experience could be useful.
KAWATA: This time we wanted to work with a number of creators outside the company in a collaborative format.
SETO: When Kawata and I first talked about it, we decided the creators responsible for each part should be people who fit the core of BIOHAZARD, and whom we could trust, so we asked Gondoh and Takada.
——Did the staff selection go smoothly?
KAWATA: Gondoh was the first person we asked. He'd already worked on event movies for the BIOHAZARD series so it was easy to move forward with him. Actually, there was another development team who'd also approached Gondoh-san, but he said he wanted to work on UC after reading the scenario. As for Takada-san, both I and Seto really liked the game killer7 and we talked about how great its music was. We thought the arrangements would fit well with BIOHAZARD so we gave it a shot and asked him, and he agreed without hesitation. Since everything fell into place smoothly, we decided to entrust him with all the music. After discussing that we wanted music with a bit of a unique flavor, he made it for us.
SETO: It wasn't decided from the beginning, but we gradually negotiated and I think it worked out well in the end.
KAWATA: I'd known Ueda-san a long time so I asked him if he could do all the CG for publicity. He agreed right away.
TRIAL & ERROR REALIZING THE VISION
——Were there any aspects of your development experience with the GameCube remake of "biohazard" that you were able to apply to this project?
KAWATA: Not really. Even though the visuals are similar the games are different, with different engines. We also remade the backgrounds rather than just reusing them.
*The remake and "biohazard 0" used a technique where characters walk on pre-rendered background screens.
——What's your role Kotake-san?
KOTAKE: I'm the director on the Cavia side. My role's to oversee game development on Cavia's side. So Seto-san and I worked together the most (laughs).
——Does that include settings as well?
SETO: Yes. I check everything in the game. However, I left the game's basic aspects to Kotake-san.
KOTAKE: He'd review the absolutely essential parts.
SETO: As a director, I had to be careful not to get too close to the developers and lose objectivity. I needed to step back and judge whether something was truly suitable for the product. That's something I learned from past experience.
KAWATA: Our starting stance was working together based on mutual trust.
SETO: In this case, that meant having Murata handle the story, Takada compose the music, and Gondoh take charge of the movie production. In game development, there aren't many things a single person can do alone. I think the ideal approach is building relationships of trust with various people and working together to bring everything together. I think we were able to achieve that to a large extent this time.
KAWATA: There were many conflicts along the way of course.
SETO: Conflicts are inevitable in any creative process. What's important is how much you can refine it in the end. Looking back, the development period was short, but we had enough time for adjustments. We also had a research period.
KOTAKE: At first we were researching the idea of "shooting wildly with a submachine gun for a sense of exhilaration." As we discussed the specs however, we decided "Handguns are the main weapon in BIOHAZARD." We wanted to convey the fear of Zombies approaching and continuing to advance even after being shot multiple times with a handgun.
SETO: We went through a lot of trial and error. There was a period where we were trying to figure out “How far can we go?” and “How should the movements be?”
KOTAKE: For the first two or three months, in order to create a sense of terror we kept changing and reworking the part where you defeat approaching Zombies with handguns.
SETO: We also made significant changes to the control system.
KAWATA: We never wavered from the core concept of making a gun shooting game, so it took time to verify everything, but in the end it all came together nicely.
SETO: The knife was something we really struggled with until the very end though.
KAWATA: We really pushed the adjustments to the absolute limit.
SETO: We decided to lower the difficulty for EASY mode at the last minute, that was a good call (laughs).
KOTAKE: That's true (laughs).
——Was it even harder before?
KOTAKE: It was harder.
KAWATA: Even now people say it's hard, but it was even harder back then. I still find it difficult even on EASY mode. The people making it have a completely different sense of it.
KOTAKE: That's right.
SETO: I wonder if it's really okay to make it this easy.
EVERYONE: (laughs)
KOTAKE: I think this game will give players a real sense of accomplishment when they play HARD and improve their skills.
SETO: Oh, that's a success. That's where I really admired Kotake-san's work. We made adjustments based on feedback from the quality control department (CAPCOM's team that thoroughly checks the game) after discussions with Cavia, that collaboration was crucial.
——Was there any trial & error with the knife controls?
SETO: The controls changed drastically between the early and late stages.
KAWATA: At first there was a problem where you couldn't attack with the knife if you couldn't get the right distance. Considering this game's movement style, I thought it might be impossible, but it turned out to be a surprisingly useful weapon.
SETO: That's because we added enemies that stick to the screen.
KAWATA: Seto was really particular about things like leeches sticking to you and cockroaches flying at you. I didn't really want to include those, but he got really mad at me, saying, “What're you talking about?”(laughs).
SETO: When you're depicting horror, I think you have to depict things you're potentially afraid of. Cockroaches represent a fundamental fear modern people have (laughs).
SEEKING A BALANCE BETWEEN EXHILARATION & FEAR
KAWATA: The exhilaration of traditional gun shooting games is different from UC's exhilaration. It was quite difficult until the staff shared that understanding.
SETO: In my mind, it was a sense of exhilaration within the framework of “what's typical of BIOHAZARD." But from the perspective of someone who prioritizes exhilaration, it might feel like “something's missing.”
KOTAKE: That's really difficult. Another thing we focused on this time was making objects as destructible as possible.
KAWATA: We heard the women were the ones who created the breakable objects, so we jokingly called them “Crash Gals” (laughs). “Those Crash Gals are the ones who made it so you can break this!” (laughs). The billiard balls actually go into the pockets when you shoot them, the details are so intricate!
SETO: Also, when you hit the bell in the Infected Bat area, it makes a “gong” sound. That was great too (laughs).
SETO: That part was amazing too. The first thing that made me think, “This game's gonna be great!” was the style of fighting with the lights shining. The theme was “gun shooting, but we want to convey a sense of fear.”
KAWATA: Then there's the radio DJ performance in HUNK's scenario. In a way, I think that might be the scariest part of the game.
MURATA: In "BIO HAZARD" there's that famous “itchy tasty” scene in the Keeper's Diary. That really freaked me out. It's not just gore or scares, but a psychological horror. It's the atmosphere, or the “creepy feeling of madness.” I think the DJ's performance really captures that, so it's a scene with a great atmosphere.
THE STORY'S ENDING & EXPLORING NEW POSSIBILITIES
SETO: I thought, “Maybe there could be a story told from Wesker's perspective about Umbrella's history.” The idea that “Wesker's the one who'll bring an end to Umbrella” was something I'd discussed and solidified with a number of people. So it's not something I came up with on my own but rather a conclusion that emerged through discussions with people who love BIOHAZARD, as well as those who created it.
KOTAKE: We're a group of people who truly love BIOHAZARD and we focused on how to recreate BIOHAZARD how everyone imagines, through gun shooting. We hope players can feel the sense of impending terror and other such elements while playing.
MURATA: I was mainly involved in the story rather than the game itself. Being able to work on this series with such a rich history was a great experience for me. I hope you'll look forward to the next installment while exploring the background settings and imagining the story behind the scenes.
SETO: Games can't be made by a single person, so I'm very grateful to everyone who helped make this game a reality. I hope users will enjoy it, and that it'll live up to the expectations of BIOHAZARD fans.
KAWATA: I wasn't too nervous at first, but in the end, I did feel some pressure. I think everyone's struggles were similar to when we were making previous BIOHAZARD games. In a good way though, we were able to make a BIOHAZARD game different from the usual, and I want to use that experience in the next game.