In Takayuki's view, jump scares were still too basic. He believed that games had much more potential for expression, and Resident Evil was one of the benchmarks in that regard — at least during its first four entries, it was considered a gold standard for horror-thriller games.
For example, being chased by a terrifying creature created a sense of tension far beyond anything films could offer.
And when that pursuit finally ended, the surge of relief and exhilaration would hit like a wave — making the experience addictive.
This cycle of tension and release kept pushing the player's nerves to the edge, again and again.
What Takayuki hadn't expected, though, was that the game wouldn't just strain the players' nerves — it would stress the developers too.
At first, Hide Ueyama and his 9th Development Division were hesitant about developing Resident Evil.
Especially Ueyama himself. He had always felt that horror and thriller genres were boring — just cheap scare tactics, like a ghost face suddenly jumping out in front of you. Movies had already run that formula into the ground.
Of course, this world's film industry had also produced some psychological horror like Silent Hill and Ju-On — movies that built intense emotional pressure and then burst. But to Ueyama, even those were just "decent at best."
Compared to horror, he much preferred over-the-top visual spectacle — explosions, action, flashy set pieces.
...
...
If Takayuki had asked him to make a flashy action game, he'd be all over it.
But horror? Ueyama was a little... reluctant.
Of course, he'd never show that in front of Takayuki. At the end of the day, it was still a job, and as a professional, he had to give it his best.
However, Resident Evil turned out to be very different from the horror games or films Ueyama had seen or played before.
First, its story leaned heavily on a scientific setting, built on logical foundations and internal consistency. This resonated with the era's fascination with "science transforming the world." Zombies weren't a new idea, but Resident Evil's interpretation was completely distinct from prior depictions in this world.
Previously, zombies were supernatural — demons or cursed beings from B-movies. But in Resident Evil, they were the result of biotech experiments gone wrong. The virus turned bitten humans into mindless monsters, spreading rapidly from one host to another.
Someone perfectly normal a minute ago could suddenly turn into a crazed, bloodthirsty zombie lunging at you the next.
This setting instantly captivated Ueyama.
Against that backdrop, the player-controlled character had to proceed cautiously, never letting the infected get too close — and using decisive force to neutralize threats.
Unlike horror films or games where all you could do was run, Resident Evil gave you the power to fight back. That shift in experience made all the difference.
As development continued, Ueyama found himself increasingly engrossed in the story. His enthusiasm grew as the game took shape.
And it wasn't just him — the whole team felt the same. As progress continued, they realized the game wasn't actually as scary as they thought it would be.
Once the story was wrapped in a layer of scientific rationale, even the scariest elements began to feel manageable. There were logical explanations for everything — and realistic methods to respond.
Gradually, the team — Ueyama included — became completely absorbed in the world-building. The tense chase mechanics and strategic counterattacks felt refreshing, giving players an emotional rollercoaster of fear and empowerment.
It was genuinely fun.
Eventually, Ueyama started coming to Takayuki proactively, seeking more guidance and creative input. Now, he was the one eager to make the game perfect.
He wasn't satisfied with the base game either. After repeated requests, he added multiple difficulty levels, and then became obsessed with playing on the hardest setting — almost like he'd awakened some deep-seated masochistic quirk.
The rest of the dev team followed suit, becoming more passionate about the project. Ideas started flowing. Whenever a new feature or mechanic didn't compromise the player experience and could enhance the game, Takayuki approved it immediately.
Thanks to this united passion and effort, Resident Evil was finished ahead of schedule, and the game ran extremely smoothly.
Next came the official release. This time, the game would launch not just in Japan and America, but Europe as well — giving Gamestar three full markets.
Still, whether the game would be a hit was anyone's guess. Everything would depend on market feedback.
"Gamestar Electronic Entertainment's latest first-party blockbuster! Their first-ever horror-thriller title — a must-play masterpiece!"
"Resident Evil — a game that could redefine horror gaming!"
Advertising regulations in this world weren't fully developed yet. Back in Takayuki's previous life, this kind of over-the-top copywriting had basically disappeared.
But here, department stores and game shops loved using dramatic phrases to describe new releases.
However, the word horror naturally scared some people off.
Even calling it a "thriller" didn't help much — most gamers just weren't into it.
After all, people played games to have fun, not to make themselves uncomfortable.
So for now, Resident Evil still seemed like a very niche genre.
On release day, an American gamer who loved chasing thrills was among the first to arrive at a local department store.
Sales didn't look great. Players didn't even have to wait in long lines to buy the game.
That thrill-seeking gamer picked up a copy of Resident Evil without issue.
Strictly speaking, the game was titled Biohazard in this world, though the box art depicted a heavily armed tactical team exploring a dark, eerie interior.
"Huh… a horror game about a team exploring together? That's different from the usual horror stuff I've played."
The American gamer mumbled to himself, a bit intrigued, and walked out of the store with a hint of anticipation.