By S. D. Perry
Novelization of the sport Resident Evil 2.
Leon Kennedy, a rookie cop on a brand new task, and Claire Redfield, sister of the still-missing S.T.A.R.S. member Chris, arrive at Raccoon urban to find a necropolis.
A botched try out via the Umbrella company to retrieve a devastating mutagenic weapon has ended in a frightening viral outbreak, remodeling the city's inhabitants into the residing useless. And them all are hungry.
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Extra resources for City of the Dead (Resident Evil, Book 3)
It could therefore boast not only such 16-bit features as high-deﬁnition graphics and animation, a full spectrum of colors  . . ’’ The Genesis produced many games ported from successful Sega arcade titles like Space Harrier (1985), After Burner (1987), and Ghouls ’N Ghosts (1988). The system originally came packaged with the arcade hit Altered Beast (1988), but soon took on Nintendo’s popular Mario character head-to-head with their Sonic the Hedgehog (1991). The Genesis also had superior sound to the 8-bit NES.
It wasn’t planned, it was just accidental . . So a lot of these features that really made the Apple II stand out in its day came from a game, and the fun features that were built in were only to do one pet project, which was to program a BASIC version of Breakout and show it off at the club. (Cited in Connick 1986, p. 24) The original Apple II series had similar sound capabilities to those of the early PCs—a one channel bipper for warnings and errors. As with the PC, later versions of the Apple II improved sound capabilities, and third-party sound expansion boards were made available.
Even more advanced randomization was developed at LucasFilm Games, in a soccer game called Ballblazer (1984), which incorporated fractal-based algorithmic music during gameplay. Programmer-musician Peter Langston designed a series of jazz sequences and a standard bass line. The lead was improvised on (algorithmically varied) by the computer. Another interesting approach was seen also in Lazy Jones (Terminal Software, 1984), which had twenty-one songs, one of which was selected when the character entered or left one of the ‘‘room’’ levels of gameplay.
City of the Dead (Resident Evil, Book 3) by S. D. Perry