The Lovecraftian fantasy elements and spooky supernatural tones might have turned the Capcom director off, but the influence was more than obvious. The blend of dynamic pre-rendered backgrounds and real-time 3D characters could show off the strengths of new hardware, and balance of adventure and action fit perfectly with the zombie survival scenario. It was from this classic that he was able to find the right template for the gameplay. Mikami's biggest influence was the one he was least vocal about, a French game called Alone in the Dark. Everything from George Romero's Living Dead movies to Alien and Jaws were named as influences, as well as an old Capcom RPG called Sweet Home – a game that might have played like a typical RPG, but had the perfect setting and premise. "I wanted to do a really scary game," Mikami remarked in a 1996 interview, "not ghosts or crap like that, but real monsters that you could see that would come and attack." The horror genre had been around in games forever, but they tended to either lack that visceral element, or they veered too strongly toward action to be truly scary. Perhaps tiring of the licensed fare he had spent so much of his career working on, he chose instead to target the growing number of older gamers craving more mature games.
Mikami had six months to develop a concept and deliver it to Capcom. Sega was preparing multiple new systems, and newcomer Sony was still many ways away from their launch, with many doubting their ability to knock down the industry's titans. It was early 1994 when Mikami began his project, and the next chapter of console gaming was still unclear. His project was built from the ground up as something only a 3D-capable system with a whole lot of storage could deliver – a flagship game for a new wave of gaming. Designer Shinji Mikami had spent the 16-bit years working on Disney games for the Super Nintendo, but his next project took things in a radically different direction. The next generation of consoles would be nothing like the last.
YES NO No Room Left in Hell As the page turned on the 16-bit console era, videogaming was in the middle of two different revolutions: the leap to three dimensions, and the vast ocean of storage afforded by CD-ROM media.
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