(Originally published at the now-defunct DASH Republic in March 2012. Re-edited and expanded for Tumblr in 2013. Finalized for January 2016 on The Game Informant.)
Makoto "V. Tomozo" Tomozawa adjusts
audio equipment during the production of Street Fighter IV, circa January 2010.
Under the pseudonym V. Tomozo, as it was Capcom's policy to obscure talents' names back then, Makoto Tomozawa became well-known for composing music for several of the more popular early titles in the Mega Man franchise, including Mega Man X and Mega Man 7 for Super Nintendo (while also supposedly lending a hand in Dr. Wily's Revengefor Game Boy). He would later be best known for his work in the two main Mega Man Legends entries years later.
He continued to be credited under the pseudonym until Resident Evil in 1996, when 3D polygonal games were becoming the norm and the talent it took being more valued and recognized. Tomozawa would work briefly on the first draft of Resident Evil 2 (Resident Evil 1.5) right until it was scrapped. As soon as that game entered redevelopmentin 1997, Tomozawa would be reassigned to compose music for Mega Man Legends, the first major 3D Mega Man game for PlayStation. His other work consisted of titles from other well-known Capcom properties, including the Dino Crisis series on PlayStation. Tomozawa returned to the Resident Evil franchise one last time as a co-composer for the remake in 2002. One year later, after the release of P. N. 03, he left the company to join the Dimps Corporation and work on the highly-celebrated Street Fighter IV. In 2010 he would reunite with the Blue Bomber in Mega Man 10, composing Strike Man's stage theme. Around the time of the Mega Man Legends 3 cancellation catastrophe in summer of 2011, I had a chat with Makoto Tomozawa on Twitter. Being the huge fan of the Legends series and some of the Resident Evil games in particular, I wanted the opportunity to speak with him about his past years at Capcom. He gladly accepted and over a period of months, he and I replied back and forth in an on-and-off manner to the point where he unfortunately dropped out on the middle of Legends 1 portion of our chat. But from what I did gather, he didn't hesitate to admit that the Mega Man Legends projects were among the higher points of his time at Capcom.
Arron - OKeijiDragon: Hello, are you Makoto Tomozawa (友澤 眞) who worked at Capcom Co. Ltd (カプコン)?
Makoto Tomozawa: Yes, I once worked at Capcom, but I retired from the company.
Arron: Oh hello, Mr. Tomozawa! Pleased to finally meet you. I am a big fan of your work in Mega Man Legends. =)
Tomozawa: Thank you very much!!! It was one of my favorite works.
You can catch how the interview unfolded by clicking the jump!
Update: Holy crap, today is my blog's one year anniversary too. Happy Birthday to The Game Informant! You can already tell by previous posts, but I'm a big fan of Resident Evil. Classic Resident Evil if you may and Resident Evil 2 is among one of my favorite Capcom games and probably one of the very few in the franchise that actually leaves a good, thrilling impression on me as a player today. Its infamous first draft and highly publicized revisions have also earned itself the reputation of being one of the most high-profile games in the subject of prototype and unreleased video game content today. So for the night before this year's Halloween, we'll briefly go over a video I published nearly four years ago that details two unique similar music pieces hidden in the sound code for Resident Evil 2 that can't be heard normally in the game. The music pieces sound as though they are actually variations (which I decided to call them) of one another, which you can listen to below on the embedded link.
As we hear in the video, the first variation sounds as though it's a rough mix, as it contains the least instrumentation. The second variation sounds much more refined, containing at least one more instrument playing in the track. Presumably, this would have been the final draft before it would be disused in the game's sound code. Sometimes, music pieces are composed for specific moments before scenes in a movie, TV show, or game is completed. When a scene is sent to the cutting room floor, usually everything is cut along with the scene. In this case, these particular music tracks were left behind as the scenes had been ditched in favor of the form we got in the final form. How these would have fit in the game remains unknown. Seeking for answers, I spoke to lead Resident Evil 2 music composer Masami Ueda on Twitter in which he gave the following response:
Ueda-san vaguely recalls composing these two tracks for the game, but was able to recall their purpose. They were meant to be a theme for Sherry Birkin, the young girl who accompanies lead female Claire Redfield in their escape from Raccoon City.
The pieces were originally discovered in a PSF zipped folder at Zophar.com, a game emulator and hacking resource website. A PSF. (PlayStation Sound Format) is a sound file that often holds the synthesized sound data in various PlayStation games. Cracking the format required computer hacking and disassembly skills. The individual who originally ripped the tracks from the game's sound directory and uploaded them on to Zopher in the first place is currently unknown. I'd like to thank that individual for finding these bits. Wanna know what my Halloween treat this year is for you guys? If you're a Resident Evil fan like me, I think you'll like it a lot. Stay tuned.
In a time when Street Fighter and Mega Man where the biggest names in Capcom's arsenal of video games in the early 1990s, 3D polygonal games had just begun to be a thing and polygons consisted mostly of origami figures that resembled moving pyramids and stationary chunks of sausage blocks, figuratively speaking. BIO HAZARD, or as commoners call it Resident Evil, would become the company's first bold experiment working with 3D polygons that would pay off in a major way.
Let's set the clock back to late summer of 1995. The PlayStation was already less than a year old in Japan, while BIO HAZARD had been in development for some time already. At this point in time, the game had just moved on from its "co-op" experimentation period (which not much is known about, and if I can even say it was co-op, actually) and into the period where survival was mandatory and isolation horror would shape up the final form it would assume.
On stage, director Shinji Mikami and supervisor Masahiko Kurokawa would present this direction to the silent audience of hundreds at the V-Jump Festival '95 in Japan.
This footage has been around for a long time now and in fact some of you might even recall seeing it on Inflames' website or other familiar locale. For the purpose of preservation (and because I can't stand the quality of the original rip anyways), I've once again taken upon myself to purchase the original VHS source to bring to you remastered footage of the segment in 1080p60. So the narrative is set in the near-future (for the time of the game's release) of 1998 at the northwest side of the United States where S.T.A.R.S, a police force stationed at Raccoon City, is called in to investigate a series of bizarre murders committed in the outskirts of their city. Upon receiving no word from Bravo team, the team that was initially dispatched the previous evening to find any clues to intercept the supposed killers at the Arklay Mountains, Alpha team arrives swiftly to locate their missing members.
I have an A.A degree in Journalism and I can tell you that that's a really terrible newspaper headline for a news story. Not that mine for this blog post is much better.
To their horror, they discover the grisly remains of their compatriots. The vicious dogs responsible for the deaths appear abnormal, and set their eyes and noses on the remaining Alpha members, killing one of them by the neck, and chasing the rest to a nearby abandoned mansion full of zombies and other horrific monstrosities. Now taking desperate refuge inside the establishment are three (six?) remaining S.T.A.R.S members: Chris Redfield, Jill Valentine, and Albert Wesker. They don't know where Barry Burton is or that Rebecca Chambers, who had one hell of an horror fest with an escaped convict the previous night, is somewhere inside. Thanks for leaving them behind, go to hell Brad Vickers.
OK, whatever. Cool story.
*Until REmake came and destroyed every single RE game that
came before it (Electronic Gaming Monthly #80, March 1996).
Upon the unveiling, comparisons were already being made between Resident Evil and the preceding Alone In The Dark, released four years prior. The two share similar horror and gameplay philosophies, but the key difference being that Resident Evil's graphics kicked ass* according to Mikami. He wouldn't be wrong though, it did prove itself as an immersive horror game with an intricate level of graphical detail into the polygon character models and CGI backgrounds even during the advent of the pre-rendered computer graphics craze in video games at the time.
The V-Jump prototype is dated
August 4, 1995.
So onto the prototypical context of the footage itself. First off, only a handful of areas of the first floor mansion are actually playable and the camera positions in some of these areas are drastically different. For example, in one angle, the camera appropriated to the first floor door leading to the first zombie is positioned behind the banister from the second floor (which I find the angle itself interesting, actually).
Jill Valentine is stands at the front stairs on the first floor of the mansion. She doesn't say much other than "I'll stand watch here." Nothing else. Interestingly, despite her presence in this prototype, Jill isn't actually seen in the embedded footage above. My guess is that in between the aforementioned previous prototype version and the leaked August 4th prototype, her model had just been redone from her previous, implementeddesign. But that would mean that there had to have been a build of that that existed at some point.
One of the elements I find more interesting is the lack of a finalized set of voice samples for Chris, possibly in Japanese. Presumably, this build was created at a time when the game was still planned to feature Japanese language performances. There's even a set for Jill as well. Take a sample (for more, check out the prototype's page that I sometimes update at The Cutting Room Floor):
Chris: | Jill:
Aside of that, and a snake that shows up from almost out of nowhere at the exit to the garden, there's not much else in the build that provides more of the game than the later protos exhibit. Beyond this prototype, there are at least two more other prototypes (three if you include the Trial Edition) that proceed the progress of the game's development. For now however, the focus is just for this build only. Sometime in the future, I'd like to explore those other builds. If there is a prototype of this game that you'd like for me to explore and document in detail, I'd be happy to.
I'm more motivated to start and complete projects based on the level of demand for their release, and in fact I've invited YouTube users to like this comment I've made about remaking a video about the Japanese dialogue that never materialized in the final game. You can too. Otherwise, hit me up at Google+ or Twitter if you want me to talk about it more.
(Originally published at the now-defunct DASH Republic and Tumblr in 2013. Now I'm posting this again, refined, on my own blog because goddamn it I can, that's what.) At a time when the third dimension was taking over the gaming landscape in the mid-1990s with 3D polygonal-based consoles, 2D-native characters of previous generations were making the leap to 3D, often to mixed results. Franchises like Super Mario, Zelda, Final Fantasy made the jump to 3D and closely followed their 2D gameplay concepts.Mega Man's transition wasn't familiar. In what could be called one of the boldest transitions to 3D gaming ever, Capcom completely re-imagined the very core of Mega Man for his first major entry in the world of triangular-shaped polygons and textures. No longer did you select your level on a menu. No longer did you jump and shoot across side-scrolling stages and fight eight robot masters and anthropomorphic robot animals, or fighting evil scientists and rogue reploids. It wasn't gonna be the same Mega Man we knew. Not anymore.
Ah, hell nah. This was Mega Man Legends. You explored inside abandoned ancient dungeons. You shot at creepy bloodthirsty robots that live in said dungeons. You talked to goddamn talking monkeys and legomen. You live in an airship that crash lands on an island that becomes invaded by pirates who gave you psuedo-Team Rocket vibes. You fought a vaguely effeminate, psychopathic cyborg that wants to invoke a skynet-like apocalypse on humans that aren't even humans but "Carbons." You can kick cans over to a bakery and get free money. You could kick animals if you wanted to. In 3D.
So you have these awesome concepts that don't fit into the traditional Mega Man formula and yet it identifies itself as such. How do you market this game to your core fanbase, and the mainstream at large? Well, you create a demo and you include it in the same demo disc of a highly-anticipated sequel to your biggest-selling PlayStation game, with the director's cut release of that game in Japan. Enter Rockman Neo.
Capcom included this demo in the second disc of first edition copies of the Japanese version of Resident Evil: Director's Cut in 1997. The video above demonstrates the several major differences in gameplay, audio and visual content in this pre-release that the annotations in the video will elaborate over. Mega Man Legends went through many name changes in its development. First, Rockman Neo in Japan, whereas the English name would officially be known as Mega Man Neo when it was showcased at E3 1997 in Atlanta, Georgia; followed by the final Japanese name Rockman DASH. Mega Man Nova (really?) was a likely candidate before someone at Capcom USA or Japan recalled a boring lecture from their astronomy classes in school and figured how lame the name sounded, and finally settled upon... you should know by now.
Yes I know its 35 minutes long (!) but it's full of information, tons of beta facts, and fun stuff that supplements background to this demo. Plus, there's references to TauVertex'sMega Man Legends Abridged series. So take a seat and enjoy all the juicy details this demo has!
If you're even more interested in Rockman Neo, you should check out the Rockman Neo page give at The Cutting Room Floor! Lots of fascinating material found inside the games you thought gave you everything it offered!
Resident Evil games always had some of the most interesting development stories told in video games. Compared to other entries in the franchise though, Resident Evil Zero had a much less chaotic development cycle.
I've already briefed this a bit in the last post, but this game was about to come out late in the Nintendo 64's life cycle and memory wasn't helping. So Capcom moved the game over to GameCube so it could become the gorgeous, bad-ass looking game that it became.
Now, about the footage. If you were a major Resident Evil fan back in the day, you may have seen this particular trailer from E3 2000 before in the past as a really low-res video on YouTube or even back in the day when, even then, it looked like a pixelated mess of squares. Now, thanks to a VHS source I purchased online where this trailer originated from, and for YouTube for finally enabling 60FPS video playback, I can finally now share this 1080p60 HD rip of the trailer that was originally of low-quality for the rest of the world to watch.
I'll get into the meaning behind Capcom E3 2000 Sales Presentation [VHS / 2000] at a later point of time. There's more where this trailer came from too! Stay tuned!
I'm a fairly big fan of old-school Resident Evil. Anyone remember that spin-off that came out for PlayStation in 2000, where you're actually controlling your character in a first-person viewpoint without any pre-rendered backgrounds? I didn't. I never cared about the spin-offs but some fans do, and its those fans I have a treat for tonight.
Issue #76 of Famitsu PS contains both a six-page strategy guide and a scored review of the critically-panned light gun shooter Resident Evil: Gun Survivor. Along with a reprinted review of Resident Evil 3 from an earlier issue of Famitsu PS, there are also other articles of Resident Evil: Code Veronica and the Nintendo 64 port of Resident Evil 2. Tonight's focus will beGun Survivor however and once again I do not provide translations.
So let's go over this quick. Pages 32 to 37, starting from the left at the top row to the right and following that same orientation on the middle and bottom, are just strategy guides with supplemental maps and enemies of the game.
Review Scores (Click to enlarge)
The common format forFamitsu reviews are presented in a four-score column with four reviewers in a rowproviding their scores, individually. On page 39, Gun Survivor scored a 8, 6, 6, and 5, totaling 25 out of 40.
The average-level scores given by Famitsu PS' reviewers do reflect the same overall attitude toward the game at the time of it's release. It actually got a lot of venom from many publications, particularly from Game Informer who called the game one of the worst horror games ever made. Interestingly, Weekly Famitsuscored the game six points more than its PlayStation-specialized publication. How interesting indeed.
Page 39
I've never played so I didn't care much for scanning these articles at first. But I figured, I should just archive and scan all Resident Evil content from this magazine for the sake of archiving (I'd be happy to look into other games that I haven't scanned and released on my blog too).
Having just sampled a video of the game in action though, it does have that consistently dark, industrial atmosphere of Resident Evil 2 that I adore so much. Maybe I'll give it a try myself sometime.
Coming up next are scans of magazine coverage for Code Veronica, the Nintendo 64 version of Resident Evil 2, and a review of Resident Evil 3.
Oops.
This article was meant for yesterday, and I was working on it then, but time
management is a skill I have a lot to improve upon. But here it is, a scan about Resident Evil Zero as it was meant for on Nintendo 64.
Ignore the Japanese text below Rebecca, that's just part of a copyright notice in another part of the page that is little to do with the game.
Anyways, page 148 of Famitsu PS (Japanese) NO. 81, 5/12.26/2000 gives a small column of their Capcom page about the Item Box function in the game -- or rather, lack of. The ability for your character to drop items in any room, was evident in this version, and the column specifically refers this to Sweet Home's inventory system. Having never played this game personally, I have no clue as to how much both game's have in common (besides the series' roots to the Famicom game).
For those that need a little context, Zero was a prequel to the hit survival-horror franchise that was
meant to be the game that carried the same level of ambition and
quality its CD-based predecessors had onto a small-capacity Nintendo 64
cartridge. The N64 port of
Resident Evil 2 cemented that probability in late 1999. But that's not to say things would go smooth for this title.
Basically, while the game had a much less chaotic development cycle compared to previous entries, the only major roadblocks for Zero were
basically both the memory capacity limitations and the timing of its
projected release date. The game was simply becoming too big to fit into
a cartridge and the hardware transition from the Nintendo 64 to GameCube was fast approaching. The only logical solution was to adapt to then-upcoming sixth generation, and release the game as a GameCube-exclusive in 2002.
As with many of the Japanese I will be posting on The Game Informant, let's hope someone plucky will be willing to
translate this article and enlighten us the details of this column. The front cover and entire page can be found below.
Coming up next, I'll post up more scans other some other Resident Evil games from this era of gaming. Stay tuned!
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