What is your relationship with Resident Evil? Was there any gameplay style or character type that you felt strongly warranted inclusion into the series?

AS: Making a cinematic survival horror game in 3D would be a great challenge. My favourite games were Resident Evil 2 because of how epic it was, and Resident Evil 4 because of gameplay innovation, and I had a dream of merging the two. If somebody asked me, what do you want to make, I would say Resident Evil 2 again with Resident Evil 4 mechanics. That over-the-shoulder camera in Resident Evil 4 gave me the confidence that we could make the camera in ‘Skate’. So it was hugely influential on what I'd done before. And I wanted to merge those two things.

CH: After the game’s launch, what was your team's review of the released product, were you satisfied with the finished build?

AS: This is the one that brings tears to my eyes. I had never worked on a game not critically acclaimed, but I feel selfish as my last conversation with my brother before he died, was about negative reviews. You don’t think someone’s going to pass away, here I am caught up with work, talking about press reporting the game has bugs. It makes me sad, we poured so much into this game, with such little time. I feel devastated by some of the reaction, but then my brother dies, so that eclipses everything. You don't think about bad reviews anymore.

Was I satisfied with the finished build - no. Would I like to do the director's cut of this game - yes. Was the team satisfied - no. They have the same misgivings I do, wishing they could have done another Resident Evil game, the next game we were going to work on. It was a sobering time, when I realised we’re not on earth just to work, to read criticism and take it to heart, we’re here to live. That's the most important thing I can take away.

We felt there were many options to tell a story in Raccoon City. Imagine what it would have been like being in a cafe, the outbreak happening around you, B.O.W.s were being sent into the city. There are different ways you could play through that situation, but there was a shift in what type of game Capcom wanted to make when we were pitching to them. They wanted something more action focused. But I know Slant Six wanted to make something more akin to a Resident Evil 2 remake. The project repository where we keep all the files, was called 'RE2 Remake'! Because it was in Raccoon City, I said ‘can it be a remake of Resident Evil 2’, and they said that's what we pitched, and then I would see on the repository the name ‘RE2 remake’, but Capcom wanted a more action based game.

CH: Before RE7, Revelations 2 returned to horror, following that the Remake HD remaster became the number one selling game on PSN. Capcom then had more confidence in horror, making RE7, so if you had the opportunity now, I (BSAArklay) think it would have been a different game.

AS: I would have loved that opportunity. For me Resident Evil is dark, scary, cinematic survival horror. Those should be the pillars of Resident Evil, and our game didn’t do the survival horror aspect. To much regret, the team didn’t do that, but at the time we were given the direction of creating a more action based game. And that’s why Operation Raccoon City veers away from those pillars.

CH: Did Capcom come to you with the concept for a combat focused Resident Evil game, or did Slant Six approach Capcom with the idea?

AS: (Laughs) This is a question I’ve been waiting to be asked for years! I couldn’t answer during my time at Slant Six when we’re working for Capcom. When you’re a developer working with a producer, it’s a very delicate situation, the PR is tightly controlled. I arrived at Slant Six and I’m like you guys, I’m a Resident Evil fan, and the reason I’m there for the interview is because I love Resident Evil. It’s one of the biggest brands, most beloved franchises, I want to be part of it. I go there thinking I’m going to make Resident Evil games that are going to be so good. But when we deal with Capcom, and we have those initial discussions, it becomes an interesting story. I asked ‘what is this game, what are we going to do’, I’m learning where Slant Six team have been over the past few months (before my arrival), discussing with Capcom. I was told Slant Six approached Capcom with the idea of remaking Resident Evil 2, and this is something I would see with the repository named ‘RE2 remake’!

Over the course of communication with Capcom, they obviously had other ideas about what Operation Raccoon City should be. Eventually they settled on a direction that our game became. But when I first met the Capcom production team, I was asked ‘what is Resident Evil’, and my response was ‘Resident Evil is dark, scary, cinematic, survival horror’.

“However, over the course of that night, I was told no, this game you're going to be working on has more to do with Call of Duty”

CH: Did Capcom make it clear, or did you deduce from reading between the lines, why that decision was made?

AS: I can speculate, but I don’t want to speculate. I just knew that I was making a very different Resident Evil game. All the questions I was about to ask by being a Resident Evil fan, about the game’s direction, had already been asked, the roots that became Operation Raccoon City were already chosen. But we created the Umbrella soldiers vs. Government soldiers, with B.O.Ws in between. We called that ‘3-corner combat’ and Capcom really liked the idea. I still think it’s a fantastic idea, an asymmetrical game where you’re fighting other humans, and the monsters are not the major threats like in the other games. So it was very different. I totally bought into our 3-corner combat idea.

CH: What was the process you and your team went through to create the characters and detailed biographies of the Wolfpack and Echo Six teams?

AS: Adam Bullied, the creative director wrote the original bios, and the characters owe a lot to Saturday morning television! They were very progressive. For the design process we made sure each character had a quirk to make them interesting. Beltway had a prosthetic leg from an explosive accident, and Vector was a narcissistic ninja and Bertha was a torturer! I received the bios from Adam and they revealed a lot more about their personalities than we ever showed anybody else! Bertha was a dominatrix!

We had to think about abilities that would complement one another. There was a demolition expert, a medic, but on top of that they had class type abilities, like invisibility, the medic could heal with sprays, or the ability to mimic, which were put in the game for multiplayer. One character could reveal the locations to everybody else, so to put them on your team was a great thing to do. They were all designed to complement one another. They initially had ten abilities each which is too much, so we had to cut them down to three.

There was a meeting at E3, I was taken backstage, all the Capcom team were there, with the game showing. Kawata-san aked me ‘what do you think’, and I looked around the show thinking we’ve got Modern Combat 3, Battlefield 3, Saints Row 3, and we’re planning to come out in the middle of all those! I talked about Skate 2 coming out in the new year and how it sold 80% above expectation. So the decision was made during E3 to move the game’s release date. I wasn’t expecting to be roped into a meeting, discussing the release date, because I was there to enjoy the show, not in an official capacity! And in that meeting the number of abilities got cut because I mentioned it had been a struggle for us to make.

Predator was hugely influential. When I went to Blur Studios with Okabe-san & Kawata-san, they had three sequences to show off the characters. My contribution was to combine them all. One was a helicopter ride into the city, one was hunting down Leon, and one of being surrounded by zombies. I asked to combine them all, taking them through each bios, those we lightened of details (laughs), explaining the key abilities, like Vector’s invisibility, asking to work it in, which became the basis of the first trailer.

What research did you undertake, aside from playing the series, and were all canon details important for you to uphold?

The canon was important for us to uphold, we did so much work on the design teams to make sure there weren’t any contradictions, we worked close with Capcom to ensure small details were correct. I wasn’t there for initial meetings and couldn't change those plot points, they were set in stone. In western game development, you can agree something with a producer, but come back if you decide something else works better, and things change to the better idea. But I felt once things were agreed with Capcom, they were agreed, and that was it! It was a very different way of working, a Japanese mentality versus a western mentality. I remember apologising to Capcom because I came up with a bunch of different plot points, and they said ‘this isn’t the game we’ve agreed to’, So quickly I apologised, and then we started making the game they’d agreed to!

We were trying to tie the game to the Resident Evil 2 & 3 timeline, but another thing that came from Capcom was the kill Leon idea, that was not a Slant Six idea. I spoke to fans of Chris Redfield & Jill Valentine and they loved that idea! We created a timeline of the original games and we tried to fit everything into that. The original creative director Adam Bullied, used ‘Rosencrantz & Guildenstern Are Dead’ as a reference, which is a play based on Hamlet, where the audience sees the events unfold from the point of view of minor characters, and that was our approach to the game - Resident Evil 2 is happening, with Leon & Claire, but what’s going on behind that door? It gave us an opportunity to flesh those things out.

“We originally included Resident Evil in the timeline, starting the game earlier, around the Arklay mountains with USS or Spec Ops teams investigating. You would see enemies like Lisa Trevor, we were totally invested”

But as you take locations & characters and build gameplay, you think about the original games and what can we do here. We put in ideas like re-programming Nemesis, we liked the idea of explaining why Nemesis had a mini-gun in the film, but in RE3 a rocket launcher. We thought it would be great if he broke down, was repaired, and Wolfpack supplied the rocket launcher! Those ideas came organically from brainstorming. We had other ideas, like putting the Tyrant into the Dead Factory. Those ideas were to explain why these creatures were there dead, we have no idea why, so we’re trying to provide backstory. Even if our game wasn’t going to be canon, it was our opportunity to try and explain, so that’s what we did.

The design team were Resident Evil fans. We want to make the best experience for Resident Evil fans, putting things in that only hardcore fans would realise when playing, they would think ‘this explains why Nemesis has this weapon in RE3’, and ‘this is why there’s a dead Tyrant here’. That was the idea, to provide a backstory. Also with the original games, you’re following a single character and you're seeing everything through their eyes. This thing was much bigger than that. Operation Raccoon City really sold the idea of it being a war zone, the outbreak being city wide. Ideally it could have been an open-world game. It would have been great to realise the entire city, but that would have taken more than one year. It would have been really nice to do something that’s more open in a Resident Evil universe, a proper survival experience in the city, just trying to escape.

Naoki Shimmachi, my translator, I bonded with the most because he and I were always in meetings together, discussing whether there was any meaning in the translations that we hadn’t considered.

CH: As a fan of the series what gameplay mechanics from the previous games did you choose, and were all your choices implemented?

AS: When I thought about mechanics that worked, I always thought about Resident Evil 4, going up into the house and hearing the sound of windows smashing, with the bad guys coming through the window. Those sorts of mechanics were things that really scared me, and wanted more of in Operation Raccoon City. I just didn’t think we had enough of that type of jump-scare.

One of the most scary things in Resident Evil was the zombie dog jumping through the window, so we re-created this scene, and put it in our test level, but it wasn’t included, I’m playing through the level, but it had gone. Miscommunication on the management team lead to its removal! It’s in the DLC, but not the main game. I wish more of those things went in, but everyone was always concerned we were running out of time. We could only make about one monster a month, there's a lot of mechanic that were cut because of time, including many co-op mechanics.

There was all sorts of ideas, from opening doors, to helping characters climb to different areas, let's use Beltway more to explore and have a secondary route through the level. We didn't have time because if you have a year to produce a game, the most time consuming thing is making art assets. The art assets were built before we nailed the gameplay mechanics, which is crazy. Not how you’re meant to design a game. But what I’ve been taught working at places like Rockstar, sometimes you have to make gameplay in areas that are already built. That’s a fact of working on an open-world game. You need to use a location that hasn’t been designed for the gameplay, but you find some organically to fit. We did that a lot with Operation Raccoon City, especially with environments that went into production first; they were built before we designed the gameplay.

Our art director worked closely with Capcom, so whatever is in the game was something that was devised in meetings when Capcom were trying to get areas correct. You can’t use the original floor plan because that’s not going to work for a co-op shooter, we have to have artistic license and re-imagine the spaces for the gameplay that’s in there. So we had to go through the spaces and identify what kind of gameplay we’d want.

CH: Did Capcom put any tight restrictions on you, or specific input that had to be used, and how heavily were Capcom Japan involved?

AS: It was very collaborative. I pitched the idea of bombarding Raccoon City with bio-organic weapons, Eiichiro Sasaki really liked that concept, and that meeting was was one of those joyous moments when you're creating. We called it ‘The B.O.W. Apocalypse’ and Capcom loved the idea. We felt like we put a missing piece into a jigsaw, and to have that collaboration was absolutely awesome. Talking as fans, those sorts of ideas percolated and become the basis of actual missions in the game. We now had the location and the characters, but how everything unfolded was entirely up to us. Working with Capcom Japan, pitching to them, them pitching to us and working together, was truly the fun part of working on this project.

Capcom did mandate decisions, there aren’t multiple types of ammo, they didn’t want the Resident Evil inventory system, restrictions were imposed, and we had to come up with new designs. Later on, Capcom Osaka staff worked with us closer, staying in Vancouver. They were making Resident Evil 6 and sometimes we were too closely to what their vision was of that game, so they would tell us to do something different.

CH: It's been reported Operation Raccoon City started as a canon title, but Capcom Japan changed that status halfway through development. Is that correct, and how much free reign did you have with narrative, and characters?

AS: Capcom Japan imposed this idea of killing Leon, which killed any idea of it being a canon game! Capcom took a similar approach to how they looked at the Chronicle's games, using the same scenarios, but rehashing them slightly differently. That was their creative mindset to Resident Evil Operation Raccoon City, it was very clear that this wasn't going to be a numbered Resident Evil.

My dream was to always have fans embrace the fiction that we came up with as canon, regardless of its non-canon status, it certainly falls into the realm of an expanded universe. It's up to you if you kill Leon, but that happens right at the end, that's one event, everything leading up to that could be lots of events considered canon. But there's no way Capcom would entertain that! But when you have Kawata-san telling you to kill Leon, you don't argue! So I guess we had what I call ‘freestricted’, restricted free reign, where we were able to do some things with the characters.

With the Umbrella campaign, we’re trying to keep everything as close to the original canon as possible, so it really ties in. That was our link to the past, that scene where Birkin is created. The idea was always to tie it as closely canon as possible, because we’re Resident Evil fans and this is the game we thought would explain some of those things that you've seen, like the Tyrants being dead in the Dead Factory. The campaigns were going to be a choice. So if you look at the missions, they could always be placed side by side, and it’s like you’re doing the opposing thing in the different missions. The ultimate culmination from us would have been the massive boss fight mission between the two sides, but it wasn’t to be.

“There’s room to do a lot more with Resident Evil than Capcom have done, but they’ve to get the basics right, it has to be dark, scary, cinematic, survival, horror.”

CH: Press reports claimed the game underwent heavy editing and the final build did not reflect your concept & vision for Operation Raccoon City. Is that true, and what were the reasons for any disparity?

AS: The game and DLC were meant to be one product, so the game was always meant to be you choose your side, Umbrella or Spec Ops. That’s how the game was designed, so that’s already a big departure from the original vision. At some point in the project there was an issue where we said we just can't do everything in the time that we have. That decision was made, and thankfully it meant better missions for the DLC.

I was shattered by the reviews, there were mechanics that needed repairing and ones that should have been included like jumping over cover, which would have made the whole cover system more palatable. You have Special Forces unable to hop over cover! I remember the animator saying ‘I can get it into the game really fast’, the gameplay programmer saying, ‘we can do this’. So it should have been repaired for the DLC. We used the expression it felt like death by a thousand cuts.

We wanted to show Wesker becoming ‘Super Wesker’, see how he becomes an addictive personality, and to show his character growth. There were other characters that were cut. We had a giant moth, to be based in the city hall. So the city hall location was built specifically for that giant moth. Then Keiji Inafune left Capcom and that was one of the changes that came from Japan, they didn't need the giant moth anymore. I remember the level designer exclaiming ‘I designed this for a moth!’ because obviously it wasn’t designed for whatever we were doing instead! Our bleed-out mechanic ‘blood sense’ was an idea we designed because I wanted to have zombies feast on corpses, but it goes into the game as just a live bleed-out, that’s what attracts the zombies, and for the only animation I got they just held their guts, but are you telling me if you shoot a human in the head it won’t kill them, it just makes them bleed from the chest & stomach!

I really wanted to implement flashlights, everything is scarier with a flashlight, it adds more movement to the scene. If you shine the torch around, shadows move more dynamically. So for me, adding a flashlight, turning the lights off, makes everything scarier. This is something I really wanted in the game, imagine playing with four gamers and they’re all moving torches around, you’ve got a lot of dynamic movement. It would have been amazing, but in the end we made a very dark game without flashlights!

CH: Were you restricted over the use of B.O.Ws you could design, be they originals or your own creations? The Nemesis Beta was an excellent addition with a great backstory, was this a Slant Six or Capcom creation?

AS: We weren’t limited too much by Capcom., if there was an opportunity to create a creature, we’d do that. We put the Nemesis beta parasite into the game to allow us to control the NPCs differently; they climbed up them taking control. They also explain the creation of the Super Parasite Tyrant, we created for the Spec Ops campaign. So we actually created a boss for the end, but we only had room to make one creature for the campaign, and then one creature for DLC. If we had unlimited budget, the game wouldn't be out yet (laughs), and I’d still be making new B.O.Ws!

CH: Has there ever been a plan for a sequel? If so, would you be interested in developing one?

AS: We started pitching ideas to Capcom about the sequel, it wasn't anything like Operation Raccoon City. We wanted to do an origin story of a canon character that would be scary, but a bit like Uncharted. I pitched an idea of a programmable virus with the ability to cure anything, you approach a pharmaceutical with it, but instead of curing things, they use the programming part to create things; you discover this, so you trust no one, you don’t trust anyone at S.T.A.R.S. and when you visit the HQ to confront them, they unleash one of these creations. That’s how the game starts, it puts you at unease with everything, and gives growth to one of the characters, and you understand how they become in the series.

We’d have loved to have done more with Wolfpack & Echo Six, they were going to be the basis of a planned sequel. We were in talks about a scenario where it becomes a war over the samples, an Umbrella war. Wolfpack would survive, fighting to regain control of samples for Umbrella. After Umbrella, everybody’s got these samples, the Plaga in Spain, so they would try to retrieve samples. We wanted to continue these characters that fans cosplayed before they’d come out! Their biographies were progressive, it’s one thing a western developer brings to Resident Evil, a different humanity we’re used to, that’s part of the culture around us. That’s what’s great about those teams, a bunch of misfits, different caricatures of people we’ve met before.

These are the things I put in emails, trying to get interest, and nothing is more disappointing than finding out they’re not going to do game two with you. The reason I worked so hard on game one was because I wanted the opportunity of getting a proper timeline and making game two. Ultimately, I would have done anything to have made a proper game with a proper timeline. And that's not to say Operation Raccoon City isn’t a proper game, because I enjoyed playing it with people and I enjoyed making it. You just wish you could have moved forward with one of those other ideas and still worked with Capcom, because I have great respect for Capcom, the people that work there, they are experts, they’re super talented. I loved working with these people, and I absolutely adored my time with Capcom.

CH: Operation Raccoon City multi-player has been a highlight of my (USS Command) gaming! I’ve never experienced anything like it, with players fighting for seats on a helicopter, and I experienced many matches where teammates were betraying each other to get a seat!

AS: The best thing about that mode is the ability to turn friendly fire off (laughs), with the helicopter landing and then it’s just a free for all! It was fantastic. That’s what I love about the game, those mechanics, the bleed-out really works, it attracts the monsters to the person bleeding. We had the moment where you could capture somone and if you sneaked up to them with the melee move correct, you’d knock the person down and had the choice of shooting them very personally up close in the face, or the stomach to make them bleed out, or to hit them. And that hadn’t been done before, taking the power away from another player. That was a design decision I loved making, so that’s probably the sadistic side of me! The multiplier for me, it was one of the best multiplayer experiences I played, every time I got to play test it, it was absolutely amazing.

CH: What is your opinion of the critical reviews the game did receive? Do you think the criticisms were fair, and if not, why not?

AS: Some reviews were just lazy journalism, they didn’t understand this was a game made by Resident Evil fans, for fans, it would explain and challenge things, challenge perceptions that Resident Evil could do more. Red Dead Redemption 2 was in development for eight years, so to do a game in a year, it’s tough. And they were making a sequel, not a game from scratch. It was really hard, every mechanic in Operation Raccoon City was developed from scratch, even shooting. Every day there was something hard to deal with, there was so much to design. The artist, animators, programmers, everybody worked as hard as they could, to make something that was going to be fun in the Resident Evil universe. I made videos of comparisons of the monsters, I took the the Hunter from Umbrella Chronicles, and the Hunter we made for Operation Raccoon City. And it’s night and day! You can see that the Operation Raccoon City Hunter is really dynamic and scarier, less cartoony.

I think part of the criticism is fair because of issues like bugs. When it came out it did have a day one patch and there were bugs that you should never ship with. Part of that rests with us and part of it rests with Capcom. This game could have been PR’d better. It would have been different if they knew the lead designer of Skate was now making a Resident Evil game. It should have been pointed out who was leading & directing it, because I read in the mainstream press, ‘this Canadian company who destroyed Socom is now making Resident Evil’. That is lazy, it was a different team, with a different director, on a brand new engine. It wasn’t a reskin Socom game. So it's incredibly lazy to think of it as Socom in Resident Evil colours, that’s not the case at all and it's hugely disrespectful to all the team.

But there was a lot of lazy press that would compare us to the Socom games that the studio had made before. And that angered me because they weren’t telling the right story. We studied Call of Duty, we studied Halo. We studied the best games that had shooting in them. And we tried to get the response time as close to Halo as we possible. We had software to time how many milliseconds between pressing the trigger and getting a response so we could be on par with the best triple-A games. Everything was completely redone and it wasn't a case of re-skinning Socom.

CH: How did you get the opportunity to become the director of Operation Raccoon City, for Capcom?

AS: I was at a wedding and the guys that brought me to Canada, who were initially at Rockstar, saw me and said ‘We've heard you’re doing good things in the city, would you like to come work for us?’ I said no, but when we got a bit more drunk, one of them whispered ‘Resident Eeeeviiilll’, and the next week I was going for an interview!

That’s one of my issues with the press printing that the company that made shitty Socom games was now doing Resident Evil. That was so not fair because I hadn’t worked on any Slant Six previous projects, and we created new technology for the game. So it wasn’t just a reskin. It was pretty hard to take when you read that press. I’ve never done any self-promotion, I’m shy. Maybe that's why I don’t have the Ferrari!

CH: What is the most valuable lesson you have learned from working with Capcom on this particular production, and with the benefit of hindsight, what is the one aspect you would change about the game’s final build, or its development process?

AS: There’s a lot of things I would personally change about the whole thing, from the inception onward. Ideally made a very different Resident Evil game. But the biggest learning for me as an individual was to not put work in front of life. That’s what I did on this project. Despite being a global number one game, it didn't change my life. It's not like having a movie or a song get that sells millions of copies, and now suddenly your life is completely different. It was the reverse of that for me, and a lot of bad events happened immediately after the game was released. I think from just the development process, you need to respect the IP and respect the fans. I felt we had a duty to make the best game possible for the fans, and I felt the fans were crying out for a certain type of game, and and we didn't make that game. And that was the ultimate criticism in the reviews. People want to go back to Raccoon City and have a survival horror experience, and we didn’t nail one of the pillars; we didn't nail that. In retrospect, I would have joined the project sooner. I would have been in those early meetings. Maybe I would have been able to convince somebody at the point that they decided what this game was going to be.

The team was exceptionally talented, making a game in one year, when I tell people in the industry they’re amazed, I’ve worked on mobile games with a longer development. It’s an amazing technical feat, just imagine what we could have made using Unreal Engine, we would have cranked out so much more content in that time. On the Capcom side, I’m still in awe with those people, I might not agree with every decision, but I still have a lot of respect for the Capom people I worked with. I was so proud that the game was a Japanese number one. It was a global number one, but the fact it was number one in Japan, really blows my mind. To think that I’m a designer of a number one game in the country that made me love video games!

There are a lot of things I learnt that have made me a better game developer, and I loved the opportunity it gave me to go to something like the Vancouver Fan Expo, talking about Resident Evil. I got to unveil the DLC live, meeting fans afterwards, and they're not shouting ‘Three out of ten’ (laughs). They just want to talk and understand the game and the characters. It was all those things combined that made it such a special experience.

The first time we got Raccoon City textured it was absolutely amazing. Wow, when it changed from a grey block environment, to all the textures, all the details, and a tyrant dropped in, it was amazing. We created a demo where you fought through Raccoon City to the RPD, we deployed a Tyrant, that’s what got the game greenlit. It didn’t make any sense in the story, it was just trying to understand what the game could be. And it was awesome.

When Capcom invited me to E3 for the game’s premeire, they didn't have me signed up for PR work, so I was wandering around E3, wanting to play my game! Resident Evil Revelations is also there, and I thought I’ll have a go at Revelations. I started playing, I was locked in a room and fired my gun at the lock to see if it breaks, and of course, because it’s a game designer that’s designed the gun, it doesn’t work on the lock! I was so angry, and the press came up to me not knowing I was a director on a Resident Evil game, and took a photo! The next day at E3, I’m in a meeting with Capcom people, and one said, ‘Wow, have you seen this’, there was a Japanese newspaper clip, and on the front page of this newspaper in Japan, a photo of me playing Resident Evil with the headline ‘Violent People Play Violent Video Games’!

I’ll tell you something very personal. It’s hard for me to look at Resident Evil the same way now, because I’ve been involved in it and it hasn’t gone the way I wanted. I feel things should be different. When I quit my safe job at Ubisoft, for a company that had six weeks left of funding, to make a demo to impress Capcom, it was crazy and high risk, but was done out of the love of wanting to make a Resident Evil game. I remember being warned, this is not guaranteed, this could be the shortest career move ever! But I did it, and for me, it's still a success in a way. We got the deal, we made the game. I got Keiji Inafune to sign my copy of Megaman (laughs). I’m happy, I’m a game fan like you guys, so it’s just a great experience.

CH: Make sure you pitch that Uncharted game, because I (BSAArklay) want to play it!

AS: Imagine if somebody makes that now (laughs), wow!

CH: It’s called Resident Evil 8, Capcom will be putting it out now!

[Not to be reproduced (c) Crimson Head Elder 2018]

SPECIAL THANKS: ANDREW SANTOS, BSAARKLAY, USS COMMAND, GEORGE TREVOR