To many people taking part in and writing about video video games within the Nineties, Resident Evil appeared to return out of nowhere. The rising PlayStation and Saturn consoles had been all about slick, vivid arcade conversions – the shiny thrills of Daytona and Tekken – and Japanese writer Capcom was in a rut of coin-op conversions and infinite sequels to Avenue Fighter and Mega Man. Scary video games had been uncommon on the time and principally confined to the PC. So when the information of a horror title named Biohazard (the Japanese title for the sequence) began to emerge in 1995, it caught the eye of video games journalists because it appeared radically out of step with prevailing tendencies. Video games had been about energy, however as early demos rapidly revealed, Resident Evil was about vulnerability.
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