BEHIND THE SCENES I’m confi dent I would survive in
a world fi lled with zombies! Tsuyoshi Kanda, Producer
So returning players 1
shouldn’t, for example, expect to fi nd every item where it was last time, solve every puzzle the same way, or hear the same dialogue in the cutscenes. “We wanted to treat this
2
Undead end 1 Leon’s trademark locks have never looked better. 2 Never trust a mysterious stranger in a trench coat. 3 The Tyrant remains a terrifying opponent. 4 Ammo is in short supply, so aim carefully. 5 This guy obviously didn’t fl oss.
project with utmost care and also respect the original vision,” says Kanda. “However we also wanted to bring something new to the table. We’ve kept key parts of the original intact, including iconic story beats, but we’ve also fl eshed out the story, made changes to specifi c routes, and introduced new gameplay elements and puzzles. After all, we still want fans to have a fresh experience, something that is familiar but new at the same time.”
Lesser evil While the original was deeply
terrifying at the time, it had a certain amount of playful silliness to it too, including encounters with evil plants and
3
jumbo-sized moths. Translating moments like these into a form that would still feel scary today proved one of the project’s greatest challenges. “Recreating the giant
alligator, for example, was tough in this new, more realistic world that we were creating,” says Kanda. “We had to think about things like how weighty a genuine giant alligator would be in the game world – it wouldn’t be able to bounce around up and down to chase after you.”
One of the biggest changes is simply one of perspective. Where the
original Resident Evil 2 used fi xed camera angles with pre-rendered backgrounds, the remake gives you the full camera control you’d expect of a modern third-person shooter. “The over-the-shoulder
perspective allowed us to make full use of the 360-degree space,” says Kanda. “We were able to play around with clever level design, shadows, use of the fl ashlight, binaural sound, and more to mess with the player’s head – something we could not achieve with the fi xed-camera perspective.” It also has the added benefi t
of giving you a terrifyingly intimate view of the game’s gruesome enemies. “We’ve made zombies truly
terrifying and grotesque, and to best show this off we needed to put the player up close and personal with them,
34 Spring 2019
GAME.CO.UK
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