Hello, and welcome to this week’s behind-the-scenes look at the creation and localization of Spirit of Justice! As a number of you finish the main game, I hope you’ll give the two Asinine Attorney parody shorts a play – they even come with these adorable pixel themes for your Nintendo 3DS!

This week, we’ll be looking at how the character models were created and animated with the two section leads, Mr. Ueda and Mr. Fujii! As I’m sure many of you have noticed, Spirit of Justice features even prettier models and even more fluid animation than its predecessor, and after you hear these two men’s tales, you’ll see why!

And with that, here’s Mr. Ueda!

——————————————————————

Soft Models, Strong Joints

Ugh. It’s still hot as anything, just like every summer in Japan. I’m Keiji Ueda, the model lead who’s bad at staying healthy in the summer and is always on the verge of a cold each and every year. As with Dual Destinies, I’m here to share a little about character modeling for Spirit of Justice. I hope you’ll join me on this little journey.

â—†From easy-peasy to despair

There were all sorts of challenges and struggles all throughout the development of Dual Destines as we transitioned from 2D sprites to 3D models, but I thought that since we’d more or less made all of the models already, and that since the art style wasn’t going to change, it would mean that Spirit of Justice was going to be a piece of cake. Little did I know that it would take more than twice the work of last time to create everything for this game… But just why did it have to be this way?! Well, here’s just a brief list of just some of the things we decided to do this time that we didn’t do in Dual Destinies .

　• Full-body character close-ups!

　• Moving cameras that would show the characters from a variety of angles at key points of the story!

　• Tons of soft, flowing materials such as cloth!

  A cutscene where a character could be shown from any angle, including their back or full body

I know you may think this sort of camera work is pretty commonplace in games that use 3D models, but Ace Attorney hardly ever uses any fancy camerawork, which is meant to allow you, the player, to take your time and look at everything onscreen to your heart’s content. However, this makes any tiny thing that’s even slightly off really stand out. For example, if a character’s wrist or shoulder is positioned just a little strangely in one of their fixed poses, then it might lead you to think, “These models look a bit cheap” or “This model is bugging out.” And therein lies the rub: the instant that sort of thought crosses your mind, it will take you out of the story and make you think of the characters as simply a bunch of 3D polygon models.

Me and my section’s guiding principle for making Ace Attorney 3D character models came from when we were working on Dual Destinies. The producer, Mr. Eshiro, told us to basically do the impossible: create 3D models that were so good, you’d forget they were models to begin with. Add on top of that the additional caveats for this game, and we were faced with a truly desperate situation:

We had to create 3D models of characters whose designs feature a ton of flowing, moving parts like cloth, and will be shown from head to toe as they moved about – all without any noticeable oddities.

“Hold your horses, Mr. Fuse… Are you trying to kill me?” I thought.

â—†Making cutscenes really shine

Because the decision to include Rayfa’s performance of the Dance of Devotion was made early in the game’s development, we based the quality of all of Spirit of Justice’s cutscenes on this dance. How we achieved this higher quality was to first have the presentation and camera work done using the regular Rayfa model, and then to make detailed adjustments to her model.

Rayfa gets even more detailed eyelashes than usual in these super close-up scenes

If there are any places where a model is sagging or sticking out, we’d go in and fix it by hand. In fact, the things that required the most attention from us were certain articles of clothing that characters like Rayfa or Andistan’dhin would wear. We made sure to pay even more attention to any model clipping this time than in Dual Destinies. Mr. Fujii will talk a little about this, too, but there were just a lot of cloth and other flowy bits that could cause clipping in this game!

Wow, that’s one saggy cloak…

Don’t raise your arms like that, Rayfa!

Because things like cloaks sit right on top of a character’s body, the character’s model tends to clip right through them when the character moves. And since Rayfa would be in constant movement during the entirety of the Dance of Devotion, we quickly requested that she always remove her cloak before she begins. That may or may not be the reason why there are a lot of characters that remove some piece of their clothing half-way through!!

And after we would make our adjustments, the animation section would work until their fingers bled to make sure there wasn’t any additional clipping in a single frame! Talk about handmade craftsmanship! We had to add a lot of wireframe joints, specifically to pieces of clothing and other moving parts, in order to achieve such perfection. And because there are also a lot of scenes featuring people’s hands in this game, we added a lot of joints to the characters’ fingers, too! And then, there are the joints we added to their faces in order to make them more expressive!! We modelers added so many joints this time around that we might’ve actually gone overboard because each model has, on average, a ton more joints than the models of Dual Destinies .

Anyway, we went through a lot and we might’ve put too much effort into all sorts of things, but if you think the characters look better for it, then that’s more than enough for me.

———————————————–

Thank you, Mr. Ueda for that look into character modeling! If there’s one thing I noticed, it’s definitely the number of joints in each lawyer’s finger! I don’t think those final dramatic finger points have ever looked or felt better!

You can tell, too, once you hear Mr. Fujii’s account of how the animation section put those joints to work when animating those glorious models Mr. Ueda’s section made.

———————————————–

The Devil’s in the Details

Hi everyone! I’m lead character animator Ryota Fujii. I’d like to share with you the little things we animators really paid attention to in the characters’ animations in Spirit of Justice .

â—†Obsessing Over Details in the Characters’ Presentation

We created the characters for Spirit of Justice as 3D polygon models, but in the end, they are displayed on a Nintendo 3DS screen. This means that even though we pose and create animations for the characters with a 3D rendering tool, sometimes, the characters wind up looking a little different once we see them on an actual Nintendo 3DS. For example, compare the two versions of Andistan’dhin below.

If you look real closely, especially at his face, I think you can quite easily tell that Andistan’dhin’s face in â‘¡ is a bit off.

Poor man! We couldn’t leave him in such a sorry state!!

Which is why, in cases like these, we make adjustments to a number of things, such as a character’s position in 3D space, until we get a much cleaner result as shown in â‘ , because no matter which character it is, we want to present them all at their very best.

â—†Obsessing Over Details in the Animation of Flowy Objects

The things we spent the most time on in this game were the animations for the many flowy objects in this game. What do I mean by “flowy objects”? I mean things like…

 
…Nahyuta’s floating scarf and his hair…

…and the cloth connected to Rayfa’s wrists, her hair and the ribbons in it… Oh, and her cloak, of course.

Now, you may be thinking, “But you can leave these kinds of things to a physics engine nowadays, can’t you?” but no, we can’t, because it wouldn’t look cool at all if we did.

Every aspect of a character is an important part of them, so the animations of even these flowy parts have to match the character themselves. We animators have our own ideas of what would look cooler or feel better in motion, and if we left it up to a physics engine, for better or worse, the animations would look too realistic, making it harder for us to give these flowing parts that nice anime touch they need to make them look like they belong on an Ace Attorney character.

That’s why the animations for the various flowy things on the many different characters were all painstakingly done by hand, but…! Mr. Fuse… Why are there so many characters with flowy bits on them this time around in the first place?!

*You’ll have to play for yourself to see just what kinds of characters appear in Spirit of Justice!

…So as you can see, Spirit of Justice’s character animations are also full of all sorts of detailed work. It would make me truly happy if you could spare even a second to take a look at the animations while you play!!

And with that, I’ll have to leave it here for today.

————————————

Thank you, Mr. Fujii! It sounds like you and Mr. Ueda both had quite the tough time with the many, many flowy things in Spirit of Justice. I hope you were able to get your revenge on the person who designed all of those characters and gave them their floating scarves and flowing hair! (I kid, I kid!)

Now, for those of you who have been playing through Spirit of Justice, I just wanted to share a few tales from the localization trenches. Admittedly, I didn’t do much outside of barking orders at Mr. Ueda and Mr. Fujii and giving feedback on their work. (Hey, I know I can’t draw, but I still had to do my job as localization director…!)

First up, I’m sure long-time fans noticed that Ema’s precious Snackoos bag got a redesign!

MUNCH MUNCH MUNCH MUNCH MUNCH

The Snackoos bag didn’t look so bad in the original DS version when we simply removed the Japanese lettering, but when Ema and her bag of snacks became all pretty in HD for the Nintendo 3DS, well, it looked a little sad and lonely with nothing written on the front label, so I asked Mr. Ueda to design and create the Snackoos bag you see in the game today. Taking inspiration from American packing design, he made it lively and colorful while keeping it simple by featuring the Snackoos front and center. He even designed it so that the word “Snackoos” is still visible when Ema is behind the witness’s stand! (How cool is that!)

Another reason I jumped at the chance to create a new Snackoos bag was because since we are now working with polygon models, all Mr. Ueda had to do was create one new texture and the rest of the animations would happen naturally. This modern method of animation is certainly a lot easier than re-drawing each frame of Ema’s sprite animation back in the day, which made this a much more feasible task for Spirit of Justice .

Without spoiling anything, next up is a character from Episode 4, “Turnabout Storyteller”: Bucky Whet.

 
Japanese version on the left, English version on the right

I think it’s pretty obvious why we had to change the back of his happi coat (it’s no fun if you can’t read what Bucky’s so proudly pointing at!), but there is sort of an Easter egg on the front that some of you sharp-eyed fans have already spotted.

Bucky’s name is spelled “Whet” in English, but if you look really carefully at the top two kanji characters on his right collar, you’ll see that they’re slightly different from the ones on his Japanese model. Just as how some foreign names have been anglicized throughout history, Bucky’s Japanese last name 上戸 (Ueto) turned into “Whet” at some point in their family’s history. Maybe when Whet Noodle No. 1 came to America, the immigration officer made a mistake? Or maybe the locals started using this spelling because it was easier? Who knows. But it’s certainly a great, big coincidence that his great-great-grandson is such a saké lover… or is it? (The same kanji 上戸 pronounced as “ jougo ” (ã˜ã‚‡ã†ã”) also means someone who loves alcohol.)

Actually, there’s another character in Episode 4 who has kanji characters for his localized name. It’s onscreen for less than a second, but I encourage you hardcore fans out there to find it and thank Mr. Eguchi of “ Mr. Famous ” fame for it. *grin*

Speaking of Mr. Eguchi, he will be here next week to talk about the full-length Special Episode that will be available starting next Thursday, “Turnabout Time Traveler,” and what you can expect from it. In addition, I’ll be holding him accountable for the insane premise of Episode 4, “Turnabout Storyteller.” If you haven’t finished Episode 4 yet by next week, consider this an incentive to do so. That way, you can read all of the supplementary info I’ve wrung out of him in a special one-on-one exclusive interview! We’ll also have a closing from Mr. Yamazaki about the secret “secondary theme” of Spirit of Justice. So be sure to stop by one last time next week!

Until then!

PS: I reeeeeally wanted to talk about this guy here, but since he’s in episode 5, I didn’t want to spoil anything. But I will say that Mr. Ueda and Mr. Fujii had their hands full re-doing some parts of his models and animations, especially those related to his now-horizontal-and-triangular nameplate… (I’m so sorry for being such a nitpicky pain in the behind, Mr. Ueda and Mr. Fujii!!! Please forgive meeeeee!!!)

PPS: That texture was Mr. Ueda’s idea of a placeholder – just a little something to remind himself to come back and redo the model and textures for this particular, um, vehicle. Some people on the dev team actually thought this was the real, finalized localized version for a while… Oh, Mr. Ueda. Your idea of a joke… hit a little too close to home for this American…

Catch up on previous blog entries here!

Hey everyone, there’s been a lot of exciting announcements for Street Fighter V this month. In case you missed anything, click the jump for a quick recap of the content that is now available with the September update.

Urien

• The Vice President of the Illuminati is now available! Get ready to bust up the competition with some Aegis Reflectors, Metallic Spheres, and Chariot Tackles. Urien is available to all Season Pass holders and will include his Premium Costume. Urien can also be purchased using real currency via Steam and the PlayStation Store or with in-game Fight Money. Be sure to check out our previous blog post for additional information on Urien. 

Daily Targets

• As promised, Daily Targets are now available. Be sure to log in frequently for new Daily Targets to cash in. The following is a list of some of this week’s Daily Targets and rewards for completing them.

• Use a V-Skill 10 times: 100FM
• Fight in a Ranked Match: 1,000FM
• Clear Cinematic Story Mode: 500FM
• “Sakura’s important Errand”: 5,000FM

Necalli Costume

• Necalli’s brand new Japanese Warlord costume, hand selected by the 2015 Capcom Cup Ultra Street Fighter IV Champion Kazunoko, is now available for purchase in the PlayStation Store.

Help support the Capcom Cup and its competitors in style by decimating your opponents in this awesome new costume. For more information on The Capcom Pro Tour and additional Capcom Pro Tour DLC, check out our latest PlayStation Blog post.

We’ll have more information to share soon, so be sure to follow us on  Facebook  and  Twitter  for all things Street Fighter V .

PC USERS:

The new anti-crack/anti-cheat solution  prevents memory access certain ways, so perhaps this is creating a false-positive situation that may trigger either the anti-virus software or Windows DEP.

Couple of things to try:

• Add StreetFighterV.exe to the antivirus exception list.
• Add StreetFighterV.exe to the Data Execution Prevention (DEP) exception. More info on DEP  here [www.softwareok.com]. 

  If you receive the “You cannot turn off DEP for this program” error message, temporarily disable  DEP altogether to validate if it’s DEP that’s preventing the game from launching.

  If the game still fails to launch after disabling DEP, the problem lies elsewhere such as the aforementioned antivirus software false-positive situation. Turn on DEP again and continue troubleshooting.

To celebrate the 10th Anniversary of the Dead Rising franchise , and the release of Dead Rising , Dead Rising 2 and Dead Rising 2: Off the Record on PS4, Xbox one and Steam we are taking a look at some of the characters who play a major role in the early games in the Dead Rising series with “Frank’s Files”.

This week we look at Dead Rising 2 ‘s Rebecca Chang.

• Name: Rebecca Chang
• Job: Television reporter for Channel 6 Action News
• First Appearance: Dead Rising 2  (2010)
• Appears In: Dead Rising 2  (2010), Dead Rising 2: Case West (2010), Dead Rising 2: Off the Record (2011)
• Abilities: Determined and motivated reporter with a nose for a good story who knows how to handle a gun. Brave in the face of a zombie outbreak.

Like Frank in the original Dead Rising Rebecca Chang sees the Fortune City zombie outbreak as her chance to promote her journalism career. Ambitious, Chang is in town to cover the controversy that surrounds the Terror Is Reality zombie killing event, she is excited to find what could be the scoop of a lifetime land in her lap when it becomes obvious that there’s more to this most recent outbreak than it first appears.

At first Rebecca’s coverage implicates Chuck Greene as having caused the zombie outbreak, suggesting that he is in league with C.U.R.E., however she quickly comes to believe that there is more to the story than it at first appears and joins with Chuck to get to the bottom of it.

Wednesday we’ll be holding a special Unity-exclusive Q&A with Capcom Vancouver developers, who’ve worked on the Dead Rising series since Dead Rising 2 , talking about the series and its recent 10th Anniversary . Since the team is working on finishing up Dead Rising 4 , we’ll be holding this in the afternoon for those on the west coast, at 1PM PST . That’s 4PM EST or 9PM GMT .

To participate, simply go to this thread and set your view mode to “Live View” as I explain within the thread. It’s a rare opportunity to interact with some of Dead Rising ‘s dev team, so don’t miss out!

 Welcome to another development and localization blog for Spirit of Justice! Is everyone having fun with the “Phoenix Wright: Asinine Attorney” mini-episode and its accompanying pixel art theme? I really love both of these side stories (Apollo’s is available next week!) for their over-the-top insanity and silliness, but I’ll let you be the final judge of that!

This week, I’ve got Mr. Horiyama and Mr. Fuzii on deck. They’ll be sharing stories about their work on the sound design and 2D illustrations of this game. And then, I’ll be sharing a little about how we localized their work into the final version you see in the game.

And now, here’s Mr. Horiyama!

After the Morning Dance of Devotion～⒪

Hi, everyone. I’m the sound director of Spirit of Justice, Toshihiko Horiyama.

From Noriyuki Iwadare’s to the Capcom Sound Team’s work on this title, there is a virtual cornucopia of gorgeous music and sound effects that they created for the American and Khura’inese courtrooms that I would love to point out to you, but the most trying, the most enriching, and the most memorable bit of work was when we poured our hearts and souls into the creation of the sound data for each and every one of Pees’lubn Andistan’dhin’s singing testimonies in Episode 1.

My work on creating that large amount of sound data started around the time when the game designers came to me and asked if they could somehow have Andistan’dhin’s testimony display in time to the music. I received a sample of a typical Andistan’dhin testimony from them, and treating it as a set of lyrics, I created A, B, and sub-melodies, turning the sample testimony into a stock song – a sort of base to draw on later. Many of Andistan’dhin’s testimonies consist of five or six text windows, so what I did was take one of the base melodies I’d created and adapted it so that each statement of the testimony would sound like that melody’s original lyrics. In the event that the text (lyrics) and melody wouldn’t mesh, I would change the text slightly without changing its meaning until it fit just right.

Next, I placed markers that corresponded to the lyrics within the wave data of the completed melody. These markers were for the game’s programming so that it would know when to display what bit of the “lyrics” on the screen as the song was playing. For example, for the line “After the morning Dance of Devotion”:

Marker 1 – Af

Marker 2 – ter

Marker 3 – the

Marker 4 – mor

Marker 5 – ning

Marker 6 – Dance

Etc.

Here’s an example of how I went about marking the sound data.

With this sound data in hand, the scripters were able to then insert the scripts necessary into the text of the testimonies to make the letters display when they’re supposed to in time with the music. The presentation lead, Mr. Onishi, touched on this a little in his entry about scripting . Once this was all done, we implemented the sound data and scripts into the game and tested it out. We fiddled with and adjusted some things a number of times to get the text and music to line up correctly, but as things started falling into place, we were able to basically lock down and mass produce all of the sound data we needed for Andistan’dhin’s singing testimonies.

There are a number of these singing testimonies – in fact, there are 41 of them to be exact. I made 41 unique pieces of sound data (and melodies) for these lines of lyrics.

“It was that muggy, hot summer of last year when

Day in and day out, I made songs for Andistan’dhin”

——————————————–

Thank you, Mr. Horiyama for this in-depth look at how you were able to bring us such a unique style of giving testimony!

It’s funny that the Japanese version started with the lyrics and Mr. Horiyama composed around them, because in the English version, we had to do the exact opposite and write lyrics that didn’t change the meaning of the text and that still fit the music! Naturally, we also had to redo the scripting since English consists of syllables of multiple letters rather than individual kanji and kana characters. I thank my fellow localization team members for all the work that went into THAT unique and daunting challenge!

Speaking of another daunting challenge, do you remember how many 2D illustrations you saw throughout Spirit of Justice? Well, here is Mr. Fuzii to share a little about all the hard work that goes into drawing all of them!

—————————————————-

On Drawing 2D Illustrations

Hi everyone! I’m Norihide Fuzii. This is my third outing on an Ace Attorney game, the other two being Apollo Justice: Ace Attorney and Gyakuten Kenji 2. I was in charge of making character models, drawing 2D and mini-character illustrations, and a whole bunch of other things.

Today, I’ll be sharing a little about my 2D illustrations work.

On the Ace Attorney team, we call the 2D illustrations that we use at key points in the story “event cuts.” These include pictures of things like in-game photos, letters, and other story-supporting elements, to major things like illustrations of the exact moment of the crime or of a certain thing we’d like you the player to be able to clearly visualize.

Illustrations like these…

…and this…

…and even these pictures in the Mood Matrix are a part of what I do.

And now we come to the meat of my story: without spoiling anything, I’m going to show you how I draw these illustrations with an example from Episode 1: the Crime Photo.

2D Illustrations from Start to Finish

  Step 1

A request arrives from the game designers. With it is a detailed diagram with notes regarding when and how the illustration will be used in the story and, in the case that the illustration is part of a puzzle, any guidelines and stipulations on things such as what I can and cannot show in it.

Illustrations that serve as in-game photos are almost always heavily tied to the story or one of its puzzles, so it’s always a real challenge to create them because of how many conditions I have to keep in mind.

Step 2

I draw a rough version of the illustration based on the request order while paying particular attention to the perspective of the people, backgrounds, and any other objects within the frame and the illustration’s overall composition.

Everything slowly comes together as I fine-tune and adjust each element of the picture.

  Step 3

As I work on the illustration, the game designers and the art director Mr. Fuse check on my progress to give me feedback and to make sure we’re all on the same page. After all that, surely I’m really close to being done, right?

But no! During the process of tuning the game’s difficulty, I suddenly received a request for me to fix something in the picture!

“The gun and the scroll are too hard to see in the picture, so please make them stand out a little more,” I was told.

This type of adjustment work is super important as it’s tied to how difficult the game, and therefore, how fun or frustrating the game will wind up being.

There! Fixed! Next!

Step 4

I’m finally done!!!!!

…Or so I thought. But no! This time, there was a request to change a real fundamental aspect of the illustration!

“We need you to please change the positioning of his left hand and the blood on it,” I was told.

Ah, there’s a discrepancy between what the game wants the player to point out and what the picture actually shows. These kinds of fixes are a really, really big deal.

Step 5

I’m finally done for real this time!!!

Brushed the picture up a little more for artistic reasons, and now, it’s perfect!

 –FIN-

And there you have it! I think you can see just how much time and work goes into creating just one of these illustrations.

Because the character models and animations in Spirit of Justice are even better than they were in Dual Destinies, those of us in the “event cut” section were determined to not lose to them, so we worked extra hard on our illustrations, too! This time, we didn’t draw just secondary illustrations for things like crime scene photos and other pieces of evidence, but lots and lots of important and dramatic scenes as well.

I would be truly honored if there were any illustrations among them that resonated with you.

Thank you for your support of the Ace Attorney series, and I hope you’ll continue to enjoy the series for years to come.

———————————————–

Thank you, Mr. Fuzii for that great example of how you and your section members draw the many, many gorgeous illustrations in this game.

Mr. Fuzii mentioned that among the illustrations he worked on were the ones for the various pieces of evidence. I’d like to share a story of one of the things we had to localize for Spirit of Justice. Without spoiling anything, I’d like to use an example from the beginning of Episode 3.

In Episode 3, The Rite of Turnabout, Phoenix gets a guidebook from Ahlbi as soon as the episode starts. Here are the thumbnails and illustrations for that piece of evidence.

Japanese versions on the left, English versions on the right.

Because the guidebook is for English-speakers in the localized version, the book had to first be reversed in the thumbnail, as the Japanese version is laid out as a right-to-left book (it didn’t have to be – the majority of books in Japan are actually left-to-right nowadays – but it’s what the dev team chose).

After the layout was reversed in the thumbnail (thank you Ms. Kobayashi!), Mr. Fuzii took it as a rough outline of how he should lay out the detailed illustration.

Aside from the obvious editing of the Japanese to English, there is one other thing you may have noticed that changed. I’m sure you can figure out by context what it is, but imagine if you had just this illustration to work off of in the final version of the game.

At one point, this was going to be the final version, but as we playtested it with some members of our localization team, a few people were unsure what the cross with the N on top meant (if they could even read the N on the lower screen). That’s when it hit me: this is a Japanese style compass and I had grown so used to seeing it in Japan that I didn’t even need the N at the top to know what it was!

Japanese maps often don’t even label the N or 北 ( kita ) since it’s common knowledge what this “4” shaped thing is.

But in the context of an English map, with all those English letters flying around, the compass became this odd cross that’s just in the upper right corner for no apparent reason. A quick internet search shows that in the West, one essential component in the design of a compass is the presence of a circle or at least the suggestion of a circular shape (by including NE, SE, SW, and NW, for example). It’s one of the ways we recognize something as a compass.

That’s when I made an adjustment request of my own to Mr. Fuzii to add the circle to the cross, and to make sure that the N was more visible and stylized differently so that it wouldn’t get lost in the diagram. After all, it wouldn’t be fair to you, the players, if you had to figure out something that wasn’t actually supposed to be one of the puzzles in the game!

Join me next Friday for a look at character model creation and animation! As Mr. Fuzii pointed out, I think you’d agree that the models and animations this time have really been spectacular, so stop on by next Friday after some Apollo Justice: Asinine Attorney fun for a behind-the-scenes discussion!

Until then!

Catch up on previous blog entries here!

Hey World Warriors,

For those of you that couldn’t make it to Tokyo Game Show, there have been a lot of exciting announcements for Street Fighter V.  The new update will be released on September 22 ^nd and will deliver boatloads of new content including some additional goodies for Season Pass holders. Hit the jump to check out everything the new update has to offer.

Urien

• As mentioned in our blogpost earlier this month Urien will be blasting on the scene with this new update. The Vice President of the Illuminati can be purchased with Fight Money or via the Steam and PlayStation store. Season Pass holders can hop into a match with him as soon as the update goes live.

Daily Targets

• New Daily Targets will be available to help you earn extra Fight Money to purchase additional content. Fight in a ranked match to earn 1000 Fight Money. Spend a little time playing in training mode to earn an additional 500 Fight Money. Each Daily Target has a time limit so don’t forget to log in and cash in on these. Rewards will range between 100 and 5000 Fight Money.

Vs. CPU Function

• Versus CPU mode will be added as another option to standard versus mode. Now you can slug it out with the AI of varying difficulty and sharpen your skills before challenging friends or others online.

Fighter Profiles

• Fighter Profiles will also be updated and stat tracking will go live! Now you can dissect your gameplay to find and eliminate bad habits or simply show off your skills to friends.

Colors 3-10 for Season Pass holders

• Colors 3-10 on default, and battle costumes for all confirmed DLC characters will now be included for all Season Pass holders.

Premium Costumes now include all colors

• Existing and future premium costumes will now include colors 3-10 when purchased. This will be retroactive for those that have already purchased the premium costumes.

Color bundles now purchasable

• Color bundles will be available for purchase with Fight Money or via the Steam and PlayStation stores. Check out the following list for content and pricing.

• All 16 Original Character Default Color Pack (3-10) – 85k FM/$4.99
• All 16 Original Character Story Color Pack (3-10) – 85k FM/$4.99
• All 6 DLC Character Default Color Pack (3-10) – 40k FM/$1.99
• All 6 DLC Character Story Color Pack (3-10) – 40k FM/$1.99

New Environmental Stage KO’s

• New environmental stage KO’s will be added for the list of stages below. If you loved blasting other players through doors and dropping bowls of noodles on their heads, just wait until you see what we have in store with this update.

• Shadaloo Base
• Hillside Plaza
• Underground Arena
• Forgotten Waterfall
• Union Station
• Kanzuki Estate
• City in Chaos
• Apprentice Alley
• Lair of the Four Kings

Bug fixes

• The issue which added an additional frame of lag to PlayStation 4 fight sticks on PlayStation 4 has been identified and patched. Now input time is unified across PlayStation 4, legacy controllers and PC.
• Juri’s V-Reversal was unintentionally able to hit downed opponents under specific circumstances.  Juri’s V-Reversal was corrected so that it cannot hit downed opponents.
• Juri’s invincibility during her V-Reversal was unintentionally short. This was corrected by setting the invincibility on Juri’s V-Reversal to 14 frames after the hit box of the move disappears.
• When Ibuki was hit during a crouching fierce, she would unintentionally go into a standing state damage animation. This has been corrected so that when hit during a crouching fierce, Ibuki goes into a crouching state damage animation.
• The light version of Yoga Sunburst would fire regardless of whether the player was holding down punch or not. This has been corrected so that when the charge portion of L Yoga Sunburst is guarded, holding down LP will maintain the charge motion.
• When the tip of jumping LP hits an opponent or is guarded during Dhalsim’s V-Skill, the Critical Art gauge would increase rather than the V-Gauge. This has been corrected so when a jumping LP hits an opponent or is guarded during Dhalsim’s V-Skill, it now builds V-Gauge.

• When Dhalsim performs an airborne Yoga Teleport against an opponent on the edge of the screen and performs a jumping attack afterwards, the jumping attack would be performed in the opposite direction of the opponent. The directional determination after Dhalsim appears from an airborne Yoga Teleport has been corrected, making it more difficult for this to occur.
• Under certain circumstances, moves that only hit opponents in a standing state would unintentionally miss during certain standing states. This has been corrected. The hurtboxes on characters recovering from getting hit out of the air, allowing moves that are designed to hit standing characters to properly hit. Additionally throw attacks that normally miss on crouching characters will no longer be able to connect on characters recovering from getting hit out the air as they transition to a crouching state.
• After the attack frames of Birdie’s jumping LK ended, Birdie’s hurtbox would unintentionally remain absent in his recovery frames until he landed. This has been corrected by setting a hurtbox to Birdie’s jumping LK recovery frames, until he lands.
• Currently, the game counts a disconnect between the “Another fight is Coming Your Way” screen until you pass-through the results screen by selecting “find another match” or “exit to main menu”. The range a disconnect penalty will be assessed will be changed to be between from when “Another Fight is Coming Your Way” to after League Points (LP) and Fight Money (FM) have been calculated on the “Results” screen.

We’ll have more information to share soon, so be sure to follow us on facebook and twitter for all things Street Fighter V.

“ARGH. Food court zombies are the worst!”

Frank West is back and in cracking form, as today Microsoft and Capcom Vancouver revealed the new gameplay trailer for Dead Rising 4. Titled “Return to the Mall,” the trailer brings fans back to Willamette Mall, where a recon mission quickly goes awry. From cleaving through zombies in the food court to pausing for a few creative selfies, Willamette Mall is a key piece in Frank’s search for the truth behind a government conspiracy responsible for the outbreak. Check out the action for yourself in the video above!

Dead Rising 4 marks an all new chapter of one of the most popular zombie game franchises of all time. All the classic hallmarks of the ground breaking zombie series return, including a huge array of weapons and vehicles players can combine to combat the horde ranging from the practical – to the practically insane. With intense action and an unmatched level of weapon and character customization, Dead Rising 4 delivers a heart-pounding experience as you explore, scavenge and fight to survive in an open world sandbox on the brink of the next zombie apocalypse.

Dead Rising 4 will be available worldwide for $59.99 on Xbox One and Windows 10 PCs beginning December 6. If you haven’t already, pre-order your copy of the game to receive incentives from participating retailers worldwide.

Let the Slay Ride Begin!

“Welcome to the family, son.” In June, countless PS Plus subscribers heard this instantly memorable line in their attempt to escape a mysterious plantation house when the Resident Evil 7 Teaser: Beginning Hour demo was first released. Today, we’ve got a bunch of new information to share about Resident Evil 7 biohazard, including a new trailer, an update to the Beginning Hour demo, and more!

First things first; we’ve just released a new trailer that gives you a peek at what you can expect in the full game, which you can check out above. Starting off with a mysterious recorded message, get a look at some of the visceral combat that you’ll experience, as well as an unforgettable feast with the Baker family.

In addition, the Resident Evil 7 Teaser: Beginning Hour demo has hit a huge milestone, with over three million people having downloaded the demo worldwide! For those of you who have explored every nook and cranny that the dilapidated house has to offer, we’ve got something special in store for you. A new Twilight version update for the demo is on the way, and will be available starting tomorrow, September 15th. And while Beginning Hour has previously only been available to PlayStation Plus members, when the update goes live tomorrow, all PS4 owners will be able to download the demo and experience it for themselves. If you haven’t played the demo yet, it will be a great time to investigate the dilapidated corridors and uncover the mansion’s mysteries.

We also have some exciting news to share about the digital deluxe version of the game for North America. Previously offering the game and a season pass for two additional story episodes for $79.99 in North America, we’ll be upgrading the digital deluxe version with an additional playable story episode starting tomorrow. This will also shift the price to $89.99 to account for the additional content. However, if you’ve already pre-ordered the digital deluxe edition on the North American PlayStation Store, your pre-order will automatically be upgraded at no additional charge. Plus, all pre-order customers of either the standard or deluxe versions will get a number of bonuses, including the Survival Pack: Recovery Set, consisting of consumable healing items to help you withstand the mansion’s horrors. Don’t worry; these consumables are available again each time you start a new game. Also included are a mysterious in-game Lucky Coin, and access to the incredibly difficult Madhouse mode (normally unlocked after completing the game once). As if that wasn’t enough, all pre-orders on the NA PlayStation Store will also instantly receive a dynamic PS4 theme. Be sure to head over and pre-order today!

Finally, don’t forget that Resident Evil 7 biohazard will be fully playable with the included optional PlayStation VR mode when fear comes home on January 24th, 2017. If you can’t wait that long, keep an eye out on the Resident Evil Twitter and Facebook accounts to get the latest on the Resident Evil 20th Anniversary U.S. tour list to see if RE7 and PlayStation VR will be brought to a location near you! Plus, check out additional images below!

When we celebrated the 10th anniversary of the release of the original Dead Rising in 2006 the development team here at Capcom Vancouver started to reminisce about our memories of the game that launched the series that has come to define the studio.

While the original Dead Rising was developed in Japan, we’ve had the honour of working on Dead Rising 2 and have made the franchise our own since. Yesterday Capcom released special 10th Anniversary editions of Dead Rising , Dead Rising 2 and Dead Rising 2: Off the Record . As we near completion on Dead Rising 4 and the return of iconic hero Frank West, we wanted to share our memories of the game that started it all.

Game Designer Brian Boog’s list of Dead Rising Credits is extensive, starting on Dead Rising 2 and touching on everything including the crazily named Dead Rising 3: Super Ultra Dead Rising 3′ Arcade Remix Hyper Edition EX + α . For Boog it’s the original game’s gold club that he remembers most.

“Seeing it in the trailers for the original DR game was the reason I bought an Xbox. Watching Frank line up his shot, and headshotting a zombie became my equivalent for a hole in one. I spent days with my friends playing ‘The Willamette Open’,” he explained.

Brian’s favourite part of working on the series was the development of jump scares in Dead Rising 2 . He remembered, “We took co-workers unaware into an audio room and had them play a level without knowing about the jump scare feature. We recorded many of them as they jumped out of their seats. Their reactions solidified our faith in the feature, and we still use it today.”

Roy McCombe was also a designer on Dead Rising 2 and remains with the series to this day. He remembers working at another big local game studio, when a co-worker brought the original game in.

McCombe recently told the story on our Twitch channel explained, “Early in my career a friend of mine forgot his copy of Dead Rising , it was Friday. I stayed at work playing it until he came to pick it up on Sunday (yes I had a shower). I had no idea that right around the corner fate would happen to take me to a new job at a company that ended up getting a shot making Dead Rising 2 ’s prototype.”

It was that sense of anything and everything being possible in Dead Rising that lead Roy and the team at the studio here to create Combo Weapons for Dead Rising 2 .

When asked his favourite memory working on the series Roy said, “As a huge fan of the original Dead Rising I really wanted to create more over the top interactions vs. zombies. At one point I wanted to lift a zombie up in the air with a gun and blow it apart but I kept getting hung up thinking that it would break the gun… then I thought, well if we attached a pitchfork to the gun that might make sense. That ended up being the pitchfork shotgun, the very first Dead Rising combo weapon we shipped.”

Dee Jay Randall is a Technical Director at Capcom Vancouver and worked on the co-op backend on Dead Rising 2 . When discussing the original Dead Rising he said that his favourite moment in the first game was, “Triple-booking Adam’s mini chainsaws in the first Dead Rising and walking around Willamette like a boss.”

Dead Rising 4 ‘s Project Development Director Lindsey Williamson Christy remembered almost losing her husband to the zombie hordes of Dead Rising , “When my husband and I were first dating DR came out on the Xbox and it consumed him. He was already a rabid zombie fan and this to him was the ultimate zombie experience. He would play it all night long and I would fall asleep on the sofa to the sound of zombies and that annoying cellphone. He would wake me up when he burst out laughing at something Frank West said or to show me some crazy outfit.”

Thankfully things worked out for the best for the zombie slaying couple as she explained, “It’s 10 years later, we are married and have a kid who now also loves zombies and can’t wait until he’s old enough that I will let him play Dead Rising , since he’s only 6 it’s going to be awhile. And my husband who is a game designer is incredibly jealous that I get to work on his most beloved franchise and Frank West.”

Dead Rising , Dead Rising 2 and Dead Rising 2: Off the Record have been re-released with upgraded HD graphics and 60 fps framerates . Play these classic games again today and celebrate 10 years of zombie slaying with us.

“It’s Frank. Frank West. Remember that name ’cause the whole world’s gonna know it in three days when I get the scoop.” – Frank West, Dead Rising (2006)

Ten years after photo journalist Frank West uttered those words the world is once again returning to a zombie filled shopping mall with the re-release of the zombie slaughtering series’ classic origins as Dead Rising , Dead Rising 2 and Dead Rising 2: Off the Record arrive on modern game platforms today.

To celebrate the 10th Anniversary of the original Dead Rising ’s release, we’ve brought Frank West and motocross champion Chuck Greene, the hero of Dead Rising 2 , back. Our zombie killing heroes are now able to dispatch undead hordes on PlayStation 4, Xbox One and Steam. All games feature Dead Rising ’s classic zombie sandbox gameplay and include all DLC costumes and upgraded graphics presented in 1080p at 60 frames per second.

Now you can relive the zombie chaos of the first three Dead Rising games on your platform of choice with the Dead Rising 10th Anniversary editions of Dead Rising , Dead Rising 2 and Dead Rising 2: Off the Record and Dead Rising 10th Anniversary Triple Pack which includes all three games.

With Dead Rising , Capcom released a very different kind of zombie game. Embracing both the horror and the absurdity of the zombie genre, Dead Rising stared photo journalist Frank West as he tried to uncover the truth behind a zombie outbreak in a mall. Anything that West could lay his hands on was a weapon, from the conventional to the absurd.

So pickup your controller and kill some zombies today!

Digital versions out today:

• Dead Rising (Xbox One, PlayStation 4, Steam)
• Dead Rising 2 (Xbox One, PlayStation 4)
• Dead Rising 2: Off the Record (Xbox One, PlayStation 4)
• Each sold separately for $19.99 / €19.99 / £15.99
• Dead Rising Triple Pack (Xbox One, PlayStation 4)
• Digital bundle for $59.49 that includes all three games ( Dead Rising , Dead Rising 2 and Dead Rising 2: Off the Record)

• Retail Disc (North America Only) – Dead Rising and Dead Rising 2 only
• Dead Rising (Xbox One, PlayStation 4) – TODAY
• Dead Rising 2 (Xbox One, PlayStation 4) – September 27th, 2016

Hello, one and all, and a Happy Ace Attorney Weekend to you! If you haven’t heard yet, or forgot in the hubbub of life, Phoenix Wright: Ace Attorney – Spirit of Justice is out RIGHT NOW on the Nintendo 3DS eShop! I hope you’re all enjoying it so far!

I’m back today with some commentary from two of the people whose very vital work often goes unnoticed: Ms. Hirata and Mr. Onishi. They’re in charge of the actual scripting of this game. If you don’t know what scripting is, or would like to know what their work consisted of specifically on this game, you’ve come to the (W)right place! So come on in and gather round!

When you first turn on the game, the very first thing you see is the title screen, but did you ever wonder how we create and design each game’s logo? Well, for Spirit of Justice, we asked Mr. Naoyuki Tsuchiya, a designer who specializes in logos and packaging. These are just a few of his initial ideas.

All of us on the dev team liked option D, but with the narrow diamonds on the ends of the subtitle’s bar, it looked more like a double-headed arrow and didn’t quite have that Khura’inese feel to it. So our UI designer, Ms. Nakano, came up with a few suggestions.

Mr. Tsuchiya took these ideas and gave us a few more variations and after a few rounds of discussion back and forth, well, I think you can see which one became the basis of the final logo.

So now that you’ve gotten past the title screen, just how are all the parts that make up a single Ace Attorney experience put together? Well, Ms. Hirata and Mr. Onishi are here to shed a little light into how Ace Attorney games are programmed and scripted.

And now, I present the excitably energetic Ms. Hirata! (By the way, she writes all of her daily reports with extreme gusto, too, which makes them extra fun to read!)

———————————————–

It’s All About Scripting!

Hi, I’m Momoko Hirata, one of the programmers on Spirit of Justice!! It’s nice to meet everyone!!

My role on this title was to support those on the dev team responsible for scripting and localizing the game by creating and maintaining the programming tools necessary for them to do their jobs!! I was also tasked with managing how screens outside of the main portion of the game display!! I wasn’t responsible for a lot of things at the beginning, but bit by bit, I was put in charge of more and more things. That’s because I’m actually the youngest and least-experienced one on the whole programming team!! But since I’ve been given this opportunity to write an entry, please allow me to talk with all of my youthful vigor and excitement about Spirit of Justice !!!!!!!!!!!!!!!!!!!!!

Now then!!

Let’s get talking about scripting!!

Now, I’m sure there are a few of you out there wondering what a “script” is, and if they’re delicious, but I’m here to… give you a pop quiz!!

In every Ace Attorney game, there are all manner of things that appear onscreen with the characters’ lines including character models, backgrounds, UI*, and sound effects and music, but do you know how we get all of those elements to appear and do their thing?

*UI – User Interface. These are onscreen elements that make a game easier to play or understand such as the message windows where the characters’ dialogues are displayed or the “Present” button.

This screen shows everyone’s beloved Phoenix Wright as the lawyer he is!! Those of you who’ve been playing the game will, no doubt, have seen this scene, right?!

Everything like the character model, background, and UI shows up on the game screen at once, but each part is actually its own separate set of data!! How do you suppose we put all those parts together into one screen? Actually, we use something called programming scripts!!

 “But how do they know how to construct these scenes?” you might be wondering. Well, using the scenario script the writers wrote as a base, we write programming scripts that control things like:

• when which character will appear on the screen and what kind of movement they will perform

• what a character will say

• which background will display

• which piece of background music will play

It’s almost like a magical spell that allows us to take the amazing things the artists and sound designers worked so hard to create, and freely arrange them as we wish!! But since we base all of our programming scripts on the scenario, whenever the story gets changed, we have to reflect those changes in the programming scripts as well.

As with the previous games, there was a lot of trial and error on the part of our writers as they kept writing and re-writing in search of a fun and interesting story. This meant that they changed the scenario script a ton of times… And each time, we had to fix the scripts, and then playtest that section of the game, and…

“What? Another change? How many times have I edited this script now? And when will they stop changing the scenario!!!!!!!!!!!!!!!!!!!!!!!!!”

I wonder how many times I actually asked myself these questions in the course of the game’s development…

The writers wanted all sorts of things like different dialogue branches depending on the piece of evidence presented, and sometimes, just when we were pretty much done making the scripts for a section, they would ask me to add another multiple choice question…

All joking aside, I worked super hard to make sure that the scripters were able to truly bring out the very best in the game’s story!!!!! With everything we put into Spirit of Justice, I just want to say that this game features both a lighthearted yet deep story, and extravagant and gorgeous dramatic presentation!!!!!!!!! I really, really hope you’ll enjoy this latest, ace installment of the Ace Attorney series!!!!!!!!!

And that about does it for me!! See you in Spirit of Justice !!!!

Next up is Mr. Onishi, the leader of the dramatic presentation scripting team!! He’ll be talking about the charming and appealing presentation style that makes Ace Attorney as fun and entertaining as it is. Plus, he’ll talk about the history and evolution of scripting as the games themselves evolved. Stay tuned!!!!!!!!!!!

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Scripting the Game – Dramatically!

Hi, everyone. I’m Yoshimi Onishi, and I’m the presentation lead of Spirit of Justice, and I’d like to take this opportunity to share a little about this game from a “dramatic presentation” viewpoint.

But before that, perhaps I should explain what it is the presentation team does.

Imagine, if you will… a courtroom where everyone stands ramrod straight, and the only movements are the characters’ mouths when they speak. You’d probably grow drowsy and even fall asleep just looking at that scene, wouldn’t you? Well! That’s where good presentation comes into play!

Broadly speaking, the presentation team’s work is to match each piece of dialogue with the appropriate character and their animation while adding just the right background music and/or sound effect to complete the scene.

“Objection!”

When and how this famous pose is used is also decided by the presentation team.

Those of us who use simple mini-programs called “scripts” to put these scenes together are called “scripters” on the Ace Attorney team.

And actually, before we scripters can even begin our work, there are a lot of other people who, through hard work and personal battles of their own, pave the way for us by preparing and programming the actual scripts. In fact, Ms. Hirata outlined some of her struggles a little earlier, as you’ll recall.

Now then, returning to the topic of scripters, what I’m about to tell you only applies to this series, but scripting work requires a great deal of empathy and attention to detail. For example, take Ahlbi, the young boy you meet at the beginning of your Khura’inese journey.

A young Khura’inese lad, Ahlbi Ur’gaid

Ahlbi may be an expressive young boy, but you can’t say, “Just make him all cheery and energetic with over-exaggerated animations” and expect that to fly.

A carefree smile… but it wouldn’t do to have him smiling all the time!

“Don’t make him look like an airhead! But make him lovable!” Mr. Yamazaki had ordered. Fulfilling such an order required a little extra attention from us in how Ahlbi expresses himself. We scripters had to pay attention to not only how Ahlbi responds to Phoenix in terms of his reaction animations or even the occasional serious facial expression, but also in terms of his emotional response to Phoenix. We express those nuances through the addition of sound effects like *smack!* *slap!* *thud!* and screen effects like flashing and screen shaking to his dialogue, though it took a fair bit of trial and error to make sure we were conveying exactly what we wanted to each time.

When presented like this, Ahlbi becomes quite the salesperson, and a surprisingly clever boy to boot!

I hope that gives you a better idea of the type of work and the kinds of struggles scripters face every day. Now I’d like to go into the history of scripting for this series, and also a little bit of the very beginning of Spirit of Justice .

Scripting has been a part of the series from the very beginning with the first Ace Attorney game, but as the number of characters and their many expressions increased, so did the scope and complexity of the work itself. The basic elements of the series’ presentation such as character animations, sound effects, flashing, and text speed variations haven’t changed since the series’ 2D days, but the transition to 3D has greatly changed how we deal with things like camera work and bridging animations that help different motions flow into one another for a smoother, more natural look.

Furthermore, compared with 2D sprites, it takes longer to load 3D models, which would sometimes results in the screen appearing to freeze for a second when a character appears onscreen. That’s why we’ve had to find and implement workarounds behind the scenes, such as preloading character model data before they make their appearance. You should see all of the things we’ve implemented behind the scenes as a result of some very passionate discussions among those scripters who are virtually walking encyclopedias of Ace Attorney scripting.

Phoenix was the only lawyer at first, but now there are two more.

…And that’s why, with the transition to 3D, we have been able to do and show more complicated things, thus making our own work as scripters that much more complicated as a result.

Each successive game is more intricate than its predecessor, and with the appearance of a certain person in Spirit of Justice that sings and plays his testimony, this strong – no, knock-out punch really threw us for a loop.

A singer-songwriter of testimonies? Who would’ve thought!

In order to make his dialogue display in time with what he was singing, we had to set markers in the audio file and then work with the programmers to create a new system that would make the right text appear at each audio marker… The creation of whole new implementation systems just to make this one insane thing in the story a reality is also a part of a scripter’s job.

Truly, nothing would make me happier than if you could feel the suffering the art designers, sound engineers, programmers, and, of course, the scripters all went through during your playthrough of this game.

I know it was just a peek, but I hope you’ve enjoyed this look into the history of AA scripting, and specifically, some of the scripting for the beginning of Spirit of Justice .

Finally, I’d like to share Rayfa Padma Khura’in’s angry face with you.

I hope you’ll envision and enjoy the sound of her beautiful voice insulting you like this with your imagination.

…And that brings me to the end of my entry. Thank you for reading to the end.

I wonder what kind of impression you’ll have of Ahlbi and the rest of the Khura’inese cast. I really hope you’ll enjoy looking through the lens of “dramatic presentation” at the unprecedented richness of Phoenix, Rayfa, and all of the other characters’ expressions and animations in this game.

I’ll see you all in Phoenix Wright: Ace Attorney – Spirit of Justice !

——————————————–

Thank you so much, Ms. Hirata and Mr. Onishi! If nothing else, I definitely noticed all of your hard work when I had to script the English version, har har. But really, without such a great Japanese version, the English version definitely wouldn’t have the same charm either.

So! I actually have one last treat for you, dear readers: The logos for the two short stories that were announced yesterday!

While these designs may seem like an obvious choice, we still tried out one other layout.

Poor Apollo can’t catch a break in option B, what with the being stabbed by his own bracelet’s sparkle and all…

Needless to say, the terrible balance between each character’s name and “Asinine Attorney” wasn’t all that great in option A, so the original Phoenix Wright: Ace Attorney logo style it was! Now, in Apollo Justice flavor!

Well, that about does it for me this week. Join me next week as I delve into a discussion about sound design and 2D illustrations, and the process of localizing them.

And be sure to keep a look out for the launch of the first of the Asinine Attorney parody episodes next Thursday!

Until then!

Catch up on previous blog entries here!

Starting next week, we’ll be kicking off our Resident Evil 20 ^th Anniversary Tour in San Francisco, California before it hits the road with stops across the country. Come join us to celebrate the Resident Evil franchise and get a peek at what the future of the series has in store with a scream-inducing Resident Evil 7 demo, playable in VR! This will be the first chance for fans in North America to play the new super special, super scary RE7 “Lantern” demo utilizing PlayStation VR, so if you’re in San Francisco on September 15, swing by The Yard across from AT&T Park. We’ve got more info right after the jump!

The series’ most recent numbered entries, Resident Evil 4, 5, and 6 , were released on PlayStation 4 and Xbox One over the past few months, and they’re all available now as both physical discs and digital downloads. We’ll also have them playable as part of the tour, with challenges spanning all three games for the competitive types! In addition, we’ll have some cool swag on sale, too, including t-shirts, hoodies, and other goodies, such as a plush toy version of the infamous Licker enemy from RE2 , complete with extra-long tongue. If you’re in the San Francisco area on the 15th, be sure to come by between 11am to 3pm and check it out! After that, the truck will be making its way across the country. We’ll have more info on tour stops soon!

Can’t attend? Be sure to pre-order Resident Evil 7 on PlayStation 4, Xbox One, and PC to make sure you get your hands on it as soon as it’s released on January 24, 2017.