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Veronica’s Darkness was a Capcom staff blog published 12 June 2009. It is the eighth in a series of some twenty-three blogs detailing the development of the game.
Code: Veronica’s music is very distinctive. Especially the song called Alexia’s Lullaby. This song seems to paint the world in Veronica’s colors. Like the word “lullaby” suggests, it’s a very simple song, but you hear it a number of times during the game and it leaves quite a strong impression. Anybody who has played Code: Veronica and hears it will think “Oh yeah, that song.”
Other Resident Evil games are set in America and have a corresponding American feel to them, but Veronica carries more of a European gothic feel. This comes out not only in the rich gothic ornamentation in many of the game’s settings, but also in the story of the fall of an aristocratic family. So many elements, such as the German-style weaponry, the Central European carvings, the lone island and forlorn mansion create a complete backdrop for the gothic horror story of a noble lady who should have died long ago.
The genre of “gothic horror” has a lot of different definitions, but the main themes include a horror story rooted in and accented by the old culture of Europe. It might include old castles, ruins, mansions, and ghosts as well. All of these elements are present in Code: Veronica and tied up in a unique Resident Evil way.
While the first Resident Evil borrowed some of these elements, the Resident Evil games before Code Veronica were more of an American-style horror heavily influenced by the sense of panic imbued in American horror films. The fear in those earlier games was focused on the monsters, zombies, and the cruel organization controlling events from the shadows.
The fear in Code: Veronica focuses on the madness of man, and the fate of a noble bloodline. The story of that madness is told partly through Alexia’s Lullaby. The song holds something akin to an unexplainable dread that even some Mother Goose tales hold. As that music plays, you can hear the European operatic undertones that highlight the gothic story, which underpins the story of a bloodline’s collapse told in the game. That style of gothic horror is original to Code: Veronica.
The music in Darkside Chronicles is all original or else newly arranged, but I think we have been able to capture the essence of Code: Veronica very well. That’s because we are lucky to have Takeshi Miura working as the sound director for the portions of Darkside’s music that have to do with the Veronica story. He was the composer of the original songs in Code: Veronica.
Having the composer of the original music has really helped us keep the spirit of Code: Veronica, and heighten the darkness we are trying to bring out in this title.
■Yasuhiro Seto’s Profile
Lives in Osaka, but doesn't speak the local Osaka dialect.
Has directed titles such as RE: Umbrella Chronicles and Beat Down.
A fan of horror movies, especially the unforgettable masterpiece, "Phenomena."
He enjoyed it so much that he decided to use the band Goblin in the score.
- ↑ RESIDENT EVIL / The Darkside Chronicles TALING EVIL. Archived from the original on 2009-10-31.