When the opportunity to return to get back behind the wheel of the series arose, Mikami seized it. For nearly four years, he sat on the sidelines and watched other directors get their hands dirty in design and directorial work-the creative labors that fueled his passion for games.
Producers got mired in bureaucracy and busywork. Resident Evil’s high scores and revenue earned him a promotion to producer, a position he didn’t want. Less than six months later, Resident Evil Code: Veronica ushered the series on to new hardware, Sega’s Dreamcast, and retired the series’ use of pre-rendered backgrounds with 3D environments and camera movement.Įach Resident Evil raked in sales and critical acclaim, but none were helmed by Mikami. Resident Evil 3 followed in September 1999, and traded in claustrophobic interiors for a labyrinth of streets patrolled by Nemesis, a super zombie that dogged players through the game, upping the tension to its breaking point. Resident Evil 2, released in 1998, set events inside a rambling police station that evoked callbacks to the first game’s Spencer estate. Horror House: The Making and REmaking of Resident Evil Chapter 4: Lingering TraumaĪ string of sequels followed in the wake of Resident Evil’s success. After a long absence from Bio Hazard’s director’s chair, Mikami jumps at the chance to remake the original game with new technology, game mechanics, and bone-chilling scares.
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