-inspired opening cinematic. With the success of
Resident Evil 2 in 1998, Capcom began more
Resident Evil projects across multiple consoles.
Code: Veronica originated from an unsuccessful attempt to port
Resident Evil 2 to the
Sega Saturn. After producer
Shinji Mikami and his team learned they would be unable to port the game without making a large sacrifice to quality, Mikami was asked by his leadership to create something else for Sega fans, and so development began on an original Saturn game. When Mikami asked for more time to develop the game, he was told it would need to have a better technical quality, making Sega's upcoming
Dreamcast more appealing. Around the same time development on the Dreamcast game was starting, a side-story game for the PlayStation starring
Jill Valentine in the events leading up to
Resident Evil 2 was being developed. It was intended to be a spin-off with the more ambitious Dreamcast game as the true sequel, however, the PlayStation game was made a numbered release (
Resident Evil 3), and the Dreamcast game was titled
Code: Veronica. According to a 2009 article by
IGN, Sony bartered for limited exclusivity on the "
Resident Evil 3" title. In a 2020 interview, Mikami stated that
Code: Veronica deserved to be numbered more than
Resident Evil 3, but was not because of "political reasons between Capcom and the console manufacturing company."
Code: Veronicas story, setting, and artistic design strayed away from the series standard. While previous games are set in the United States and have a corresponding American feel to them,
Code: Veronica is set in the
Southern Ocean and
Antarctica and carries a European
gothic horror inspired design. This is made clear in the environments which feature
gothic architecture and
art in addition to central European carvings and German-style weaponry. In addition, the gothic feel is emphasized through the story. The horror in
Code: Veronica is driven by this story which follows a crazed man and the fate of his
noble bloodline. The story is told partly through a lullaby, and this method of storytelling is intended to bring out European operatic undertones. This contrasts to previous games in the series which were driven by the panic elements from American horror films, such as monsters and zombies. With regards to managing the art staff, Mikami split them up depending on their interests. Those interested in guns worked solely on gun designs while those interested in environments researched photographs of houses and castles. During in-game cutscenes, the polygon count is increased to nearly 2,500 polygons, especially on character faces. Capcom added detail to the zombie enemies unprecedented in the series, such as making their jaws move and eyes twitch. By September 1999, Sega was sending some of its own developers to help add final touches to the game. Sega assisted Capcom with the game's programming to help keep a good framerate. ==Release==