Research on Biohazard 2 – Final Edition Translation

The Children of the Biohazard…

They once lurked quietly in the shadows. Few dared trespass into their domain, and an unspoken order held firm. But now, with the light of reason blazing brightly into the night, they too have embraced the power of science— emerging from a cradle of mucus and blood, newly reborn. Mutants. Aberrations. Creatures.

Now they roam the streets of Raccoon City— a place transformed into a city of death— each more grotesque than the last. The time has come for their paths to cross with humanity.

And yet, they are not truly alien beings. They were born of the human heart itself— our kin, bound to us by blood. Unloved children. Cursed offspring.

Through the lineage of fear that humanity has carried across generations, we may begin to glimpse the true nature of these “things” we call monsters.

ZOMBIE:

“Memento mori”—remember that you must die. This phrase was widely spoken in medieval Europe, an era when entire cities were wiped out by the Black Death. Even in moments of fleeting peace, people whispered these words in earnest, so as not to forget the senseless wrath of God and the ever-present fear of death. And now, in the modern age, a city once again stands on the brink of being consumed by disease. Its name is Raccoon City. Aside from a pharmaceutical research facility located on its outskirts, it was an otherwise unremarkable town. What exactly happened there? There is no one left who can answer that question.

Organisms infected by the T-virus first experience a decline in intelligence. Their skin begins to itch, their corneas turn cloudy, and their outer skin peels away. Their appetite grows uncontrollably, and eventually, they lose all reason and become violently aggressive. Unable to truly live or die, they exist as walking corpses. Perhaps, in losing their fear of death, they have gained a grim kind of mercy.

Umbrella – Merchants of Death:

Umbrella, the international pharmaceutical company with research facilities on the outskirts of Raccoon City, presents itself as a protector—an “umbrella” shielding humanity from disease. In truth, however, it is a merchant of death, dealing in biological weapons. Its researchers, unafraid to trespass into the domain of creation itself, developed a variety of mutant organisms. Among them was the T-virus, originally intended to enhance cellular regeneration, but possessing the side effect of inducing zombification in its hosts. Its destructive power was first demonstrated in a localized outbreak at an Umbrella facility outside the city. Now, in the devastation of Raccoon City—reduced to a ghost town—it has proven its terrifying potential on a massive scale.

The Process of Zombification:

The spread of the T-virus throughout Raccoon City produced many consequences, but none more devastating than the violent transformation of ordinary citizens into zombies. Compared to the earlier incident in the isolated mountain mansion, this outbreak appears to have engulfed nearly the entire city, resulting in countless casualties. Notably, elderly individuals and children are rarely seen among the infected—for reasons that may be inferred. Likewise, aside from specific cases, there appear to be few Black individuals among the zombies, perhaps reflecting the town’s conservative, small-town demographic. Based on accounts such as the caretaker’s diary discovered in the mansion and the reports of journalist Ben Bertolucci, the process of T-virus infection can be understood as follows. In the initial stage, the infected individual experiences fatigue similar to the onset of a common illness, unaware that the virus has already begun invading their cellular structure.

As the infection progresses, intense itching develops due to accelerated metabolism, accompanied by the shedding of the outer layers of skin. As the virus spreads to the brain, cognitive function deteriorates, and intelligence declines. This stage resembles the regression seen in “Flowers for Algernon,” as language and thought processes begin to break down. As the brain becomes further compromised—particularly the neocortex, which governs emotion and reason—higher functions collapse entirely. The infected loses all rationality, driven only by instinct. Their metabolism continues to surge, resulting in an overwhelming hunger, and they begin attacking nearby humans as prey. This transformation is perhaps best encapsulated by the chilling final words recorded in the caretaker’s diary: “Itchy… tasty…”

By this point, subcutaneous fat begins to decay, producing the characteristic stench associated with zombies. Their movements become sluggish, and nearly all bodily functions cease, except for those controlled by the autonomic nervous system. Pain perception, among other higher functions, is lost entirely. This marks the process of zombification caused by the T-virus—though it is important to note that this represents only a mid-stage condition, with further mutations yet to come.

Zombie Classification:

Viewed this way, the common equation of “T-virus–infected = zombie = living dead” may not be entirely accurate. The infected are not corpses that have decayed and then come back to life, but rather victims of a viral disease—patients whose skin has rotted away and who have fallen into a state of complete mental collapse. In fact, while the term “zombie” often conjures the image of a rotting corpse that attacks the living, there are actually several different interpretations of what a zombie is. The concept originates with voodoo traditions, where a “zombie” refers to a body that has lost its soul—an individual placed into a deathlike state by a sorcerer, then revived and controlled as a mindless servant. This idea was later adapted by early 20th-century American popular culture, particularly in films and pulp magazines, which popularized the image of “a decaying corpse controlled by an evil magician.” That version of the zombie was eventually imported into Japan as well, where it became established as the lowest-tier undead enemy in role-playing games.

A completely new interpretation emerged, however, through the films Night of the Living Dead and Dawn of the Dead, in which George A. Romero redefined the zombie concept. In his works, traits such as “infection” and “cannibalism” became central characteristics. The zombies in the Biohazard (Resident Evil) series largely follow in the tradition of these Romero-style zombies. At the same time, by providing a pseudo-scientific explanation for their behavior, the series arguably takes the concept one step further—moving beyond earlier portrayals and giving the zombie a more grounded, internally consistent framework

LICKER:

The T-virus baptism was inflicted upon every living thing in Raccoon City. Those infected first lose their ability to think. Driven by a grotesquely amplified hunger, they wander aimlessly, seeking the flesh and blood of the living. But this stage is only a mid-level symptom of T-virus infection. Created as a tool for producing biological weapons, the virus does not stop at mere degeneration—once it takes hold, it inevitably transforms its hosts into something far more grotesque. The massive brain, once the defining feature of Homo sapiens, is left exposed and vulnerable. Vision deteriorates, forcing the creature to rely on auditory perception instead; the Licker reacts sharply to footsteps and gunfire. Shedding the lingering traces of sorrow and pitiful humanity that clung to the zombies—along with their decaying skin—the Licker emerges with newly formed muscle tissue, razor-sharp claws, and a whip-like tongue. When confronted with this being—something that may well represent the ultimate endpoint of a biohazard—what are we meant to feel?

The mysterious creature known as the Licker appeared suddenly within the Raccoon City Police Department, which had already fallen into a state of emergency due to the outbreak of zombies and had taken on a full combat posture. Named “Licker” by the officers because of its distinctive long tongue, this unknown lifeform possesses incredible agility and massive, razor-sharp claws—enough to slaughter multiple armed policemen who were desperately trying to hold the line. Though it has lost its eyesight, its hearing has become extraordinarily acute; it detects human footsteps and impales its prey with a tongue hardened like a spike, then uses its abnormally developed musculature to twist and tear through bone. With Lickers now nesting inside the police station, even those who managed to escape the zombie-infested streets are denied any moment of safety.

Licker Attack Patterns:

In terms of behavior, the Licker clings to ceilings and walls like something out of a comic-book superhero, patiently lying in wait for long periods until a victim passes below. Upon detecting footsteps or gunfire, it hunches its back and tenses its entire body, preparing to strike. A second sound will trigger its attack toward the source, but if no further noise is made, it gradually relaxes again, suggesting that its sense of smell has also deteriorated. Its methods of attack include stabbing with its elongated tongue, sweeping strikes with its claws, and leaping assaults. While each individual attack is devastating, its overall attack rhythm tends to be somewhat sluggish—likely a consequence of its blindness. In the deepest recesses of the Umbrella underground laboratory, an enhanced variant also appears, featuring scythe-like forelimbs and a discoloured skin texture.

The Process of Licker Formation:

Put simply, the Licker represents the final stage of T-virus infection: a being that has passed through the zombie phase and undergone a complete transformation into something no longer recognizably human. The skin that once covered the body during the zombie stage has entirely sloughed off under the virus’s influence, replaced by newly formed muscle tissue. The skull, which should protect the brain, appears to have been eroded during the mutation process, leaving the brain fully exposed. With visual input—once critical for brain function—now completely absent, it seems that such higher faculties have become unnecessary to the creature. Compared to the unstable, rapidly deteriorating condition of a zombie, the Licker appears somewhat more stable and even seems to have partially regained sensitivity to pain. However, the grotesque transformation driven by the T-virus likely inflicts catastrophic damage on the brain’s internal functions. Not all zombies can become Lickers, however.

It can be theorized that during the zombie stage—when metabolism is at its peak and hunger is most intense—the body undergoes massive reconstruction in accordance with the virus’s purpose of creating biological weapons. Only those individuals capable of acquiring sufficient energy to sustain this process survive long enough to evolve into Lickers. In that sense, the Licker may be the result of a brutal process of natural selection.

Licker Influences:

Despite its highly original design, the Licker’s influences can be traced back to earlier creatures. In the first Biohazard title, a monster known as the Chimera appears in Umbrella’s laboratory near the end of the game. It clings to ceilings, drops down to attack the player, and bursts into swarms of maggots when shot. As its name suggests, the Chimera is a hybrid of human and insect DNA, and its form and movement bear a striking resemblance to the Licker. Its scythe-like forelimb in particular suggests a possible evolutionary link to the enhanced Licker variant. Seen in this light, the Licker can be viewed as part of a lineage extending from the Chimera—and perhaps even influenced by works like The Fly.

Other possible inspirations include the American cult horror film Fiend Without a Face (1958), which features exposed brains dragging their spinal cords like tails. In Japanese folklore, there is also a yokai known as the “Akaname,” a creature said to lick grime from bathhouses with its long tongue—but that connection is likely coincidental. Another, more direct precursor to the Licker may be found in zombies whose infection has progressed further. In both the original game and its sequel, there appear deeply mutated zombies found in the later stages of the laboratory—often referred to as “flayed zombies,” whose skin has completely peeled away. These may represent transitional forms, caught midway in the transformation from zombie to Licker.

TYRANT:

It all began in a decaying mansion deep within the Arklay Mountains. There, the pharmaceutical company Umbrella had been secretly developing biological weapons. One such weapon, known as the “Tyrant,” went out of control and was ultimately neutralized by a special forces unit of the Raccoon Police Department. However, few are aware that this incident was no accident—it was, in fact, a trap set for that very unit. The Tyrant itself was created by genetically altering physically robust prisoners with the T-virus. Yet its massive size made it difficult to control and deploy effectively.

Using the combat data gathered from that incident, Umbrella succeeded in developing an improved, more compact biological weapon: the “T.” Outwardly, it wears a trench coat as a disguise, intended to blend in and sow confusion among humans. In truth, however, the coat functions as a restraint. Once removed, it unleashes tremendous physical power beyond imagination. Delivered directly into the police station by helicopter, the T advances on its mission. And now, reflected in the eyes of this killing machine… is you.

The Birth of a Tyrant:

The “T” stands for Tyrant—a name that shares its roots with tyrannosaurus, evoking the image of an overwhelming, dominant predator. True to its name, the T is a further modified and miniaturized evolution of the Tyrant, the final boss of the previous game. The original Tyrant was created by surgically enhancing physically robust male prisoners and then infecting them with the T-virus, granting them extremely high metabolic capabilities. According to Umbrella’s internal documents, however, the new organic bio-weapon model, designated “T-103,” boasts even greater regenerative abilities and can now act in accordance with specific commands. It appears to be programmed with the objective of retrieving the G-virus, and it repeatedly stands in the protagonist’s path as they venture deep into Umbrella’s laboratory—a silent, ominous presence that refuses to relent.

The Tyrant in the Game:

Within the game, the Tyrant first appears in a cinematic sequence at the beginning of the “B scenario,” emerging from a pod dropped from a helicopter—a mysterious figure clad in a long coat. This man, seemingly human at a distance, resembles something like the Phantom of the Opera. In truth, however, he is a Tyrant in disguise. While all are products of the T-virus, zombies and Lickers exist at the opposite extreme from the Tyrant: where those creatures merely perceive the protagonist as food passing before them, the Tyrant relentlessly pursues its target, even smashing through walls to continue the hunt. No matter how many times it is defeated, it rises again, its extraordinary regenerative abilities—presumably derived from the T-virus—restoring it to life. And when it finally reaches the limits of its biological endurance, it removes its coat—both protective gear and a power limiter—and challenges the protagonist to a final confrontation. Engulfed in flames, raising its massive claw, its form embodies the very meaning of its name: a true “Tyrant.”

Analysis of the T-Virus:

Humans infected by the T-virus typically pass through a zombie stage before eventually transforming into Lickers. However, the Tyrant—despite being created through the effects of the same T-virus—exists as something entirely different from either zombies or Lickers. The reason for this likely lies in Umbrella’s advanced scientific capabilities and vast financial resources. By administering the T-virus to a healthy human subject and placing them into a specialized pod where appropriate procedures are carried out, the T-virus carrier appears to develop into a Tyrant. It is possible that within these pods is a solution designed to regulate and promote the controlled growth of T-virus–infected cells, guiding the transformation into a stable and highly functional bio-weapon.

The Tyrant’s Conceptual Origins:

As a monster born through the power of science, the Tyrant inevitably evokes the image of Frankenstein. In Europe, there has long existed a heretical lineage of ideas—tinged with taboo—centered on the notion of humans creating life. During the height of alchemy, the renowned alchemist Paracelsus even wrote about methods for creating an artificial human known as a homunculus. Yet among all such concepts, none has had a greater and more lasting influence than Frankenstein.

Nearly fifty films have been made about Frankenstein, but the now-iconic visual image—stitched skin, a scarred face, and bolts protruding from the neck—owes much to the makeup design used on Boris Karloff in the 1931 film Frankenstein. However, this film also helped spread several misconceptions about the original story. “Frankenstein” is actually the name of the scientist who created the monster—not the creature itself—and the monster’s appearance in the film differs significantly from its description in the original novel.

The novel Frankenstein was first published in 1818 by Mary Shelley, then the partner (later wife) of the poet Percy Shelley. According to the original text, the creature is assembled from pieces of corpses, stands approximately eight feet tall (around 2.4 meters), and is even described as possessing a certain beauty. At the same time, the immense strength produced by its massive body gives it an overwhelmingly inhuman presence. In many ways, this original depiction bears a closer resemblance to the Tyrant than the version popularized by film.

The enduring power of the novel lies in the fact that, in the early 19th century, an eighteen-year-old woman crafted a story incorporating themes that remain central to science fiction and horror today: the mad scientist who dares to trespass into the domain of God, the created being that rebels against its creator (a symbolic revolt against paternal authority), and the resurrection of the dead. By weaving these motifs together, Shelley reinterpreted age-old mythological themes within a modern framework. In that sense, Biohazard 2 can also be seen as part of this same lineage—carrying forward the legacy of Frankenstein and its exploration of humanity’s dangerous ambition to create life

THE G-VIRUS:

“G”—the seventh letter of the alphabet. It is said that the Creator forbade mankind from committing the seven deadly sins. In that sense, was the act of developing this virus itself a form of human guilt? This microscopic particle, visible only under an electron microscope, possesses the astonishing ability to fundamentally mutate living organisms at the very core of their genetic structure. The melancholy of its creator, Dr. William Birkin, lay in the fact that he could never witness its final perfection with his own eyes. And yet, in a sense, that very inability may have been for the best. Once infected by the G-virus, cells begin to consume and overwrite the identity of their host. The brilliant researcher he once was is gradually rewritten into something inhuman, stripped of personality and reason. The multi-stage transformation induced by G can be seen as the process by which a scientist who sought to create the ultimate lifeform casts aside rational restraint, descending instead into a pursuit of raw, unrestrained power itself.

The question remains: where does this runaway surge of force ultimately lead? No-one knows.

Descent into the Domain of God:

A terrifying artificial virus was born, capable of transforming infected organisms at the genetic level. Its codename: “G.” By interfering with DNA, it drives further evolution—some even say it can resurrect the dead. A power beyond common sense. Umbrella Corporation, the creator, surely anticipated its completion. And yet, approaching the domain of creation proved too heavy a burden for humanity. William Birkin, the virus’s developer, refused to hand it over. When a special Umbrella unit came to seize it, he committed an act of desperation—injecting the G-virus into his own body. The resulting G-creature is no longer human. It possesses near-immortal vitality, immense strength, and astonishing regenerative ability, but Birkin’s consciousness is completely lost. The virus spreads through his body, gradually consuming his arm first, transforming him step by step.

Transformation Patterns of G

G appears in five main forms (six if including the G-larva), each undergoing drastic and violent physical change.

First Form: At a glance, the left side still resembles a decaying zombie, but a grotesque eye embedded in the right shoulder and arm reveals the virus’s presence. This eye retains vision and functions as an additional sensory organ for the G organism.

Second Form: Here, human resemblance is rapidly fading. Due to explosive growth on the right side, parts of the face and scalp are displaced onto the left chest. The right arm has become monstrously developed, featuring a massive claw. Beneath the face, a second arm begins to form. Swellings appear on the left thigh as well—early signs of additional eyes forming.

Third Form: This is the peak of human-like G evolution. The original arms extend outward like wings, and the secondary arm fully develops. Traces of clothing—evidence of former humanity—are torn away, and the remnants of the face almost completely disappear. This is likely the closest representation of what was encoded in Birkin’s original genetic design.

Fourth Form and beyond: After sustaining damage in the third form, G transforms again. From this stage onward, the creature rapidly deviates from human structure and regresses toward something more bestial, likely as a backlash of unstable regeneration.

Fifth Form: At this stage it becomes almost amoeba-like. Arms have turned into tentacles, and the body surface contains partially digested limbs of zombies and Lickers. It is the tragic endpoint of runaway biological ambition—a form consumed entirely by uncontrolled power.

Understanding the G-Virus:

The reason G was able to transform so dramatically lies in the extraordinary properties of the G-Virus. It aggressively accelerates somatic cell division and can spontaneously generate entirely new, foreign types of cells. Normally, all living organisms follow species-specific “blueprints” that have been refined over hundreds of millions of years, which makes the emergence of extremely abnormal individuals highly unlikely under natural conditions. That said, there have been many real-world cases where powerful external factors—such as biological and chemical weapons (so-called BC weapons) or endocrine-disrupting chemicals—have distorted genetic programming during development. From this perspective, while the G-Virus goes far beyond conventional biology by enabling the formation of new body parts after birth, the idea itself isn’t completely implausible.

The Obsession of a Mad Scientist:

Ultimately, this biohazard disaster was the result of William’s overwhelming obsession with his research. As mentioned earlier, the archetype of the “mad scientist” is famously explored in Frankenstein. Another work that echoes William’s reckless ambition and the theme of humans turning into beasts is The Island of Doctor Moreau by H.G. Wells, written about a century ago. It was later adapted into a film in 1996. The story takes place on an island ruled by the brilliant but unhinged Dr. Moreau, who creates intelligent beast-like creatures through his experiments. The fragile order he maintains collapses after his death, and the creatures gradually revert to their original animal state. While the novel is often read as a critique of civilization, it also reflects a deeper unease about the dangers of excessive rationalism and the unsettling possibility that human nature itself may be inherently beast-like—an idea that resonates strongly with modern horror. As a successor to figures like Frankenstein and Moreau, William clung too tightly to rationality. In doing so, he became both physically and mentally consumed by the very G-Virus he created, ultimately choosing a path that led him to descend into something monstrous. In that sense, William—who devoted his life to his research—can be seen as both determined and tragically fragile: a quintessential mad scientist.

IVY:

Biological Classification:

Plants are generally defined as organisms that lack mobility, contain chlorophyll, and produce nutrients through photosynthesis. However, carnivorous plants—because they capture and digest insects and other small animals to supplement their nutrition—are often used as motifs for monsters due to their seemingly aggressive nature. In reality, carnivorous plants have evolved this behavior because their native soils are poor in nutrients. They compensate for deficiencies in nitrogen and phosphorus by capturing prey. From a botanical standpoint, “carnivorous plants” are not a single formal classification group. Naturally, they employ a variety of trapping mechanisms, but these are broadly divided into three types: pitfall traps, snap traps, and adhesive (flypaper-like) traps.

In-Game Setting:

In the previous game, a giant plant known as “Plant 42” appeared as a mid-boss in the mansion residence. While that organism was large enough to spread its roots throughout an entire building, the “Ivy” is a genetically modified plant created based on research conducted at the Umbrella Arklay Laboratory, designed to be capable of independent movement.

Ivy appears in large numbers during the final stages in the Umbrella laboratory. Although it moves slowly and is weak to fire-based weapons, its long reach makes it difficult to slip past, making it a particularly troublesome enemy. The name “Ivy” comes from its ability to freely manipulate its two vine-like appendages to capture prey. While “Ivy” is typically a charming name often given to women, its pronunciation may also be a play on the word “evil.”

Another variation that fully utilizes the adaptive capabilities of plants is the “Poison Ivy.” This monster appears only in the alternate (B scenario) playthrough, after “P-E Gas” is released in the laboratory during the main (A scenario). This gas—possibly an improved version of the herbicide “V-JOLT” used to defeat Plant 42 in the previous game—weakens other monsters but gives rise to this variant. In this subspecies of Ivy, the head and the tips of its appendages turn red, and it expels the absorbed toxic gas as a green poisonous mist. There’s no doubt it will prove to be a formidable and frustrating opponent.

Related Works:

When it comes to autonomous, walking plant monsters, the classic example is the “Triffids” from The Day of the Triffids by John Wyndham, along with their appearance in the 1962 film adaptation The Day of the Triffids (released in Japan as Humanity SOS). In the story, the Triffids are carnivorous plants developed by the Soviet Union. While they produce high-quality vegetable oil, they also possess a dangerous side: they can move independently using their roots and strike down prey with venomous tentacles. After killing their victims, they are said to patiently wait beside the corpse for it to decompose.

Another notable example appears in the musical-style (!) horror film Little Shop of Horrors, which features a charmingly named but deadly, bloodsucking man-eating plant called Audrey II. Unlike the Triffids, Audrey II cannot move on its own because it remains in a flowerpot. However, as it grows to an enormous size, it extends its vines throughout the flower shop—the “little shop” of the film’s title.

Encounter with Carnivorous Plants:

Even as we approach the 21st century, there have been no reports of plants that can move about of their own will. However, carnivorous plants that capture and consume insects by various means do exist. And despite their name, they shouldn’t be underestimated.

There is an interesting report: on the Philippine island of Mindanao, a species of carnivorous plant called Nepenthes merrilliana can be found. It is one of the largest members of the pitcher plant family. Its trapping pitchers can reach about 40 cm in height, with openings around 15 cm in diameter. Observations have found not only insects inside, but also the remains of mice, frogs, and even birds. If you ever had trouble disposing of a severed wrist… you might consider dropping it in.

ZOMBIE DOG:

Biological Classification:

Dogs are said to be humanity’s oldest domesticated animal. Whether because of this or not, they have long been regarded as humanity’s most loyal companions, with hundreds of breeds developed over the course of history. Inevitably, dogs came to symbolize loyalty—but that same trait, when viewed from another angle, has also made them symbols of servility or blind obedience.

In Cerberus from Greek mythology, there appears a watchdog that guards the entrance to the underworld. It is described as a monster with three heads and a serpent-like tail. A similar role is played by Garmr in Norse mythology.

In-Game Setting:

It is the pharmaceutical company Umbrella Corporation that brought Cerberus into reality as a biological weapon. The zombie dogs bursting through the glass windows into the hallway at the beginning of Resident Evil is one of the most iconic scenes that helped define the game’s reputation.

In this instalment, however, the zombie dogs are not engineered bioweapons but rather police Dobermans infected with the T-Virus and driven into a frenzy. Their cellular structure is already beginning to break down. Since their attack pattern is limited to lunging at their target, experienced players can avoid them by slipping underneath their jumping trajectory.

Related Works:

In films and novels, dogs are often portrayed as victims of—or possessed by—supernatural forces. A standout example comes from Stephen King, who frequently features monstrous dogs in his works. From a zombie perspective, Pet Sematary depicts pets buried in a former Native American burial ground returning as violent undead creatures. However, in terms of infection-driven behavior, Cujo—which tells the story of a Saint Bernard driven into a murderous frenzy by rabies—may be a closer parallel. Naturally, both works have also been adapted into films.

GIANT SPIDER:

Biological Classification:

In Greek mythology, there is a story that explains the origin of spiders. Long ago, there was a young woman named Arachne who was renowned for weaving beautiful cloth. Arrogantly believing she could surpass even the goddess Athena, she challenged her to a weaving contest—and in doing so, insulted her. Enraged, Athena drove Arachne to despair, and she hanged herself. Taking pity on her, Athena transformed her into a spider, forever hanging by a thread. This story is also the origin of the English word “arachnid,” meaning spider. It reflects the eerie, unsettling impression that spiders have held for people since ancient times.

In-Game Setting:

In the game, spiders appear at a massive size of 2 to 3 meters, returning from the first instalment as a recurring element that adds to the series’ atmosphere. Their design is likely inspired by tarantulas, venomous spiders often used as props in films. They appear in classic adventure movies such as Dr. No, the first entry in the James Bond film series, and Raiders of the Lost Ark, the first film in the Indiana Jones film series. Tarantulas are sometimes called “dancing spiders” due to the belief that their bite causes victims to writhe or dance in pain. However, despite their fearsome appearance, their venom is said to be relatively mild.

Speaking of truly frightening spiders, a more recent example is the panic horror film Arachnophobia, executive produced by Steven Spielberg. As the title suggests, it tells the story of a man with a fear of spiders who must confront a deadly species capable of killing a human with a single bite.

At first glance, it appears to be a subspecies of tarantula, but it has no official codename and its details remain unknown. It was originally bred for the purpose of studying venom—both its production mechanisms and properties—but seems to have escaped during the chaos and taken up residence in the sewers. Its primary diet consists of rats and cockroaches, placing it at the top of the sewer ecosystem’s food chain.

GIANT MOTH:

Biological Classification:

Moths form a large group within the order Lepidoptera, contrasted with butterflies. Their wings tend to be more subdued in colour, and since they are primarily nocturnal, many languages refer to them as “night butterflies.” However, the distinction between moths and butterflies is not strictly defined. In ancient Greece, both moths and butterflies were collectively called psyche (“soul”). This likely stems from their transformation from pupae into adults. Over time, however, the way people have viewed them has diverged significantly. Butterflies, often brightly coloured, are admired around the world and symbolize fleeting beauty. Moths, on the other hand—some of which have poisonous larvae or eerie patterns—are more likely to be regarded as pests. That said, the belief that their wing scales are poisonous appears to be a misconception.

In-Game Setting:

The “Giant Moth” is the result of a moth that was once an experimental subject at Umbrella’s Arklay facility in the previous game, having escaped and undergone abnormal growth. As it repeatedly reproduced, its body became enlarged, but its wings failed to keep up with this growth and have become tattered. Its larvae seem to prefer warm environments. It may have originally been based on a silk moth species, as suggested by the distinctive eyespot patterns on its wings. However, as generations passed, the effects of mutation may have taken their toll—adult specimens appear less frequently, making its presence in this instalment relatively minor.

A moth that was once an experimental subject of the Umbrella Corporation escaped and went on to reproduce. Its enormous size suggests that it likely developed over several generations.

Its wings are badly tattered, and it no longer possesses the tail-like extensions characteristic of its original species, the Japanese silk moth.

Related Works:

When it comes to giant moths, the standout example is the tokusatsu film Mothra. Like the Giant Moth, it features large, eye-like patterns on its wings, suggesting it may also have been inspired by silk moths. In its larval stage, it spins silk, and as an adult, it attacks using scales from its wings. While it operates on a massive scale—famously spinning a cocoon around Tokyo Tower—it notably does not prey on humans.

ALLIGATOR:

Biological Classification:

In general, “crocodiles” refer to members of the order Crocodylia within the class Reptilia. Living species are divided into three subfamilies: alligators, crocodiles, and gharials. Traditionally, crocodiles were considered native to the Old World (such as Africa), while alligators were associated with the New World. However, in modern zoology, classification based purely on geographic origin is no longer considered valid. Still, in common understanding, an alligator is typically thought of as a crocodilian from the Americas. The alligator that appears in the game was likely captured in Florida, one of the most well-known habitats for these animals in the United States. Because of their unusual appearance, crocodiles have been known far beyond their native regions since ancient times.

In Histories by Herodotus, crocodiles are mentioned in the section on Egypt, described as animals that can see even with their eyes closed and that lack a tongue. It is also said that some Egyptians tamed crocodiles and, upon their death, mummified and buried them with great care. From such embellished images came the phrase “crocodile tears,” based on the belief that crocodiles shed fake tears to deceive their prey—or weep after devouring their victims—eventually becoming a symbol of hypocrisy.

In-Game Setting:

An alligator whose entire skeletal structure has grown to enormous proportions because of the T-Virus and the polluted wastewater flowing through the sewers. Its original form was most likely a freshwater crocodilian native to the southeastern region of North America, typically measuring around 5–6 meters in length. Its temperament has also become far more aggressive.

As these exaggerated images evolved further, crocodiles even became the subject of urban legends. A few years ago, there was a rumour that a crocodile had been spotted in a pond at a park in Tokyo, reportedly prompting a police response. This likely stems from the modern folklore of “alligators living in the sewers of New York.”

In keeping with that trope, the game features a giant crocodilian lurking in the sewers—measuring around 10 meters in length. Like the shark in Jaws, directed by Steven Spielberg, this creature ultimately meets a spectacular end at the hands of the player.

CROWS:

Biological Classification:

Crows belong to the order Passeriformes and the family Corvidae. Most species are entirely black and are widely distributed across the world, with the exception of South America and New Zealand.

In-Game Setting:

Crows return from the previous game. The ones that appeared in areas like the mansion’s art room were likely caught in the explosion, but those inhabiting the forests surrounding the city became aggressive after feeding on the flesh of zombies. They attack in flocks, making it nearly impossible to eliminate them all. If you hear their cawing, your best option is to run. Whilst their physical appearance hasn’t really changed, they are much more aggressive, and their irises have turned red.

Related Works:

When it comes to flocks of crows, the classic example is The Birds, directed by Alfred Hitchcock, which depicts a town overwhelmed by attacking birds. Another example is The Dark Half, directed by George A. Romero and based on a novel by Stephen King. Near the end, it features a painful-looking scene reminiscent of The Birds, in which a flock of sparrows’ bursts into a house and attacks people.

LARGE ROACH:

Biological Classification:

The scientific name for cockroaches, Blattaria, comes from a term meaning “those that avoid light.” The Japanese word gokiburi refers to “something that gnaws on containers.” Cockroaches first appeared on Earth around 300 million years ago and flourished during the Carboniferous period of the Palaeozoic era. Because their modern form has changed very little from their fossilized ancestors, they are often considered one of the most familiar “living fossils.”

They possess remarkable resilience, with lifespans of up to four years. They also reproduce rapidly—females can lay over a thousand eggs in their lifetime.

In-Game Setting:

The “Large Roach” that appears in the game is a cockroach that has grown to enormous size due to the effects of the T-Virus, inhabiting the sewers. The virus was originally brought into the sewer system by rats, but after intense competition for survival, these mutated cockroaches appear to have driven out the now-monstrous rodents.

Among the mutants in Resident Evil 2, the Large Roach may be the creature that has undergone the most dramatic increase in size—growing to roughly seven to eight times that of its original species. Its diet has shifted from omnivorous to primarily carnivorous, but its incredible vitality remains unchanged.

Related Works:

The film Mimic features a genetically engineered giant insect known as the “Judas Breed,” which is based on cockroaches. When standing upright, it can resemble a man wearing a coat—an image that somewhat overlaps with creatures like the Tyrant.

CHARACTERS:

Leon S. Kennedy:

A rookie police officer brimming with a strong sense of justice, he still retains a boyish look despite everything. His sharp eyes and long bangs give off an air of natural naivety. He carries a rather niche handgun—the VP70 made by Heckler & Koch—which is unlikely to be standard issue for the Raccoon City Police Department, suggesting it’s his personal weapon.

He performed well at the police academy. While he may not be very skilled with heavier weapons like shotguns, he is generally proficient with firearms and rarely misses his target. Even amid the chaos of the catastrophe that struck Raccoon City, he relies on his marksmanship to carve out a path to survival.

However, when it comes to dealing with women, he’s completely out of his depth. Despite being a police officer, he struggles to take charge of situations involving the people he meets during the incident—such as the biker girl Claire Redfield and the mysterious woman of Chinese descent Ada Wong—both of whom tend to ignore his instructions and act on their own. To make matters worse, he even fails to properly protect a young girl fleeing in terror. Still young and hot-blooded, he carries a certain immaturity, which may explain why he struggles to earn the trust of the women around him. With his jeep and survival knife, he sometimes comes across less like a police officer and more like a Boy Scout.

He’s also something of a romantic. While working alongside Ada, he quickly falls seriously in love with her. A romance forged under extreme circumstances—perhaps that, too, is part of his youth. Even though he separates from Claire to search for survivors, he insists on personally ensuring her safety. He becomes so infatuated with Ada that he fails to question her suspicious behavior, even shielding her from gunfire at great personal risk. In the end, he cannot save her, and their relationship ends abruptly with her apparent death. Still, he seems to come to terms with her loss in his own way, carrying something unresolved deep within his heart.

After escaping Raccoon City, he expresses a desire to bring down Umbrella. The look on his face is no longer just that of a passionate young man—it carries a strength that wasn’t there the night before. He is now someone who has glimpsed the depths of hell and returned.

According to character designer Isao Ohnishi Baba, Leon’s image was inspired by River Phoenix. The idea was that a somewhat unreliable protagonist would make players feel more anxious, which led to his youthful, inexperienced appearance. Initially, following the relatively cheerful and easy-going personality of Chris Redfield from the previous game, Leon was intended to be a calmer and more reserved character. However, he doesn’t come across that way as strongly, thanks to the passionate performance of his voice actor. As director Hideki Kamiya put it, “During the voice recording, the actor really raised the energy, and we thought that kind of vibe worked well.”

Leon’s Item – Lighter:

In the previous game, Chris Redfield was a smoker—and the habit suited him well. In the live-action opening sequence, the actor playing Chris even made a point of lighting his cigarette with a Zippo lighter. Leon, on the other hand, has no such smoking scenes, and smoking doesn’t really seem to fit his character. If you examine the item in-game, you can see that it bears the emblem of the Raccoon City Police Department. It was most likely issued to him when he joined the force. If he doesn’t actually smoke, the fact that he still carried it with him into the field suggests that he’s a pretty serious and dutiful guy after all.

S.T.A.R.S. and SWAT:

Unlike the S.T.A.R.S. members in the previous game, Leon is just an ordinary rookie police officer. As you can tell from the fact that their headquarters is located within the police station, S.T.A.R.S. is technically part of the police organization—but how exactly are they distinguished internally? S.T.A.R.S. stands for Special Tactics And Rescue Service. It is a special operations unit established to handle crimes and incidents that are too difficult for regular police forces to manage. Because it is still part of the police, however, it differs from military special forces in that it does not casually resort to lethal force against suspects. This concept was likely inspired by the real-life SWAT (Special Weapons and Tactics). That said, the feats Leon accomplishes in this game rival those of such elite units and are certainly worthy of praise.

Incidentally, it has recently come to light that Japan also has its own police special forces. Known as the Special Assault Team (SAT), this unit had long operated in secrecy, handling situations such as terrorism and hijackings, including hostage rescue missions. In April 1998, it was officially established across seven prefectural police departments, including the Tokyo Metropolitan Police and Osaka Prefectural Police. The unit consists of around 200 members, and due to the dangerous nature of their work, candidates are selected with careful consideration given even to factors such as their family background.

Claire Redfield:

Worried about her older brother Chris Redfield, who had gone missing two months earlier, this college student rides her motorcycle alone into Raccoon City. Despite being caught up in a massive disaster, she overcomes countless dangers with her natural courage and skilful gun handling, ultimately escaping while protecting a young girl named Sherry Birkin.

The “Made in Heaven” design on the back of her vest matches her brother’s. At one point in the game, she gives the vest to Sherry as a “good luck charm,” suggesting that she herself has relied on it as a source of emotional support. Having grown up alongside Chris, it’s possible that other men seem somewhat unreliable to her by comparison. She’s strong-willed and tough, preferring to act on her own judgment rather than depend on others. Her above-average skill with firearms likely comes from insisting that her brother—a top member of S.T.A.R.S.—teach her personally. While gun education is relatively widespread in parts of the United States, it’s still quite rare for a young woman to receive direct training from someone in a special forces unit.

That said, it’s uncertain whether she was always such a tomboy, the type to kick boys around as a child. It may be that she originally had a more fragile personality, admired her strong brother, and worked hard in her own way to become more like him. Seen in that light, even the survival knife she wears on her left shoulder—modelled after Chris’s—takes on a slightly endearing quality.

Her fashion sense comes across as a bit unpolished, perhaps because she has little interest in impressing others or conforming to conventional femininity. She probably never imagined that her rugged biker boots would one day come in handy for kicking the heads off zombies.

After meeting Sherry, she begins to show a more maternal strength. Even in a situation where her own survival is uncertain, she desperately tries to protect the girl. Covered in wounds, yet still pressing forward while holding Sherry’s small hand, she no longer seems like someone merely trying to emulate her brother’s strength—she has truly found her own.

Claire’s weapon choices also differ from Leon’s more realism-oriented arsenal. Hers lean more toward “game-style” weapons, prioritizing visual flair—such as the bowgun and the Spark Shot. Incidentally, it was motion designer Hayashi (a woman) who suggested the bowgun, saying she thought it looked cool when used by Juliette Lewis in From Dusk Till Dawn. There was even an early idea to attach explosives to the arrows—like in Rambo—so they would detonate on impact. A bold concept… fitting, perhaps, for an American biker.

Claire’s Item – Lockpick Set:

A set consisting of a safety pin and a piece of wire. There must be some kind of trick to it, because with these simple tools she can easily open basic locks. Since she regularly maintains her motorcycle, she’s probably quite handy with mechanical work—but even so, why would she carry something like this? Maybe she occasionally “borrows” bikes she finds on the street and keeps it around for that purpose? A common method for stealing a motorcycle is to connect the wires, but that alone won’t unlock the steering, making it impossible to ride. For that, forcing the lock open is the quickest solution.

…On second thought, maybe not.

About Claire’s Motorcycle:

Claire Redfield owns two motorcycles. In addition to the white bike she rode into Raccoon City, she also has a black one with flame-painted detailing on the tank. Both are Harley-style bikes—but remarkably, aside from the engines, they are custom-built machines assembled from one-off parts she made herself. Customization, in essence, is the act of transforming a mass-produced motorcycle into something uniquely personal. It can begin with something as simple as applying stickers, then progress to swapping out the cowl, seat, or fuel tank, upgrading bolts to higher-quality ones, or adding custom paint—gradually setting the bike apart visually from others. Taken to its extreme, customization can involve replacing nearly every component except the engine—what’s known as a “complete custom.” In the world of Harley-style bikes, this isn’t particularly unusual. In fact, especially in the United States, there are many manufacturers that produce original frames specifically for such builds. And yet, Claire goes even further—constructing her bikes entirely from handmade parts without relying on even those aftermarket frames. These two machines truly deserve to be called “Claire customs,” built exactly to match her personal vision. One question remains: was she ever able to recover the bike she abandoned during the events of the incident?

Ada Wong:

A female spy sent into Umbrella’s research facility to recover the G-Virus. She has deep ties to the incident—in the past, she approached a researcher named John, one of the developers of the T-Virus, and carried out espionage activities while posing as his lover. She is believed to be affiliated with Umbrella’s headquarters, though this has never been definitively confirmed.

What is certain, however, is that she is highly skilled. Her movements and her distinctive shooting style clearly mark her as a professional. She also appears to possess exceptional mental discipline, calmly carrying out her mission without the slightest change in expression even amid the chaos of the outbreak. Yet there is always a shadow hanging over her. People often describe a woman’s inner strength as having a “strong” or “weak core.” By that measure, her core was undoubtedly strong—but also extremely fine, like a tightly drawn wire. The kind that could snap in an instant with even the slightest nick. It seems that the rookie police officer she meets during the incident—Leon S. Kennedy—may have been the one to create that crack. More than the grotesque monsters like the Lickers or G itself, it was likely Leon’s sincerity and purity that shook her to the core.

(Note)
Ada’s distinctive shooting stance—holding the gun sideways—is particularly striking. The advantage of this posture lies in increasing the rate of fire, allowing her to spray bullets more rapidly. Normally, however, this would greatly reduce accuracy. The reason she can still aim so precisely likely comes down to her left-hand technique as seen in firing scenes, she hooks her thumb near the hammer, helping to control the recoil, or “kick,” of the gun.

The character of Ada Wong actually first appeared in the experimental version often referred to as Biohazard 1.5. She was created largely due to strong insistence from one of the development staff, who felt that an Asian female character should be included. He personally modelled Ada and even painted her textures himself. In particular, special attention was given to the detailed rendering around her bust, reflecting a somewhat fetishist level of care. Among the development team, she was quite popular for her attractive figure. Her soft, mature body lines—evoking the presence of an adult woman—were very much a showcase of the designer’s skill.

Annette Birkin:

The wife of William Birkin and, like him, a researcher for Umbrella Corporation. Determined not to let her beloved husband’s research be taken away, she frantically searches the laboratory for the missing G-Virus. Shaken by the sudden outbreak of violence, she becomes deeply distrustful, even going so far as to aim a gun at the protagonists. In the end, her fate may, in a sense, have been a kind of “happiness” befitting the wife of a scientist.

William Birkin:

A researcher for Umbrella Corporation who developed the G-Virus. A brilliant, almost genius-level scientist, he may have felt a kind of transcendence—or even a sense of godlike power—through manipulating the very genetic foundations of life with his own hands. At the same time, he reveals a more worldly side. In secret communications with the police chief, with whom he was conspiring, he expresses a desire to rise to an executive position within Umbrella.

Sherry Birkin:

A young girl born to the genius scientist William Birkin and researcher Annette Birkin. She is found wandering the police station and taken in by Claire Redfield. At times, she shows remarkable initiative—helping the protagonists in ways that rival even adults. At the same time, however, when she fears being left behind, she can become overwhelmed, crouching down in fear and uncertainty. Because of her parents’ demanding work, she likely grew up without receiving enough affection. Now that she has finally met someone who stays by her side—Claire—the thought of being abandoned again may be what frightens her most.

Sherry Birkin shows a number of endearing gestures throughout the game—reaching out to hold the protagonist’s hand or occasionally missing her footing when trying to climb up ledges.

Interestingly, unlike her in-game illustrations, she is given a more defined chest in the 3D model. This was apparently because long skirts and long hair were difficult to depict clearly in the game’s CG at the time, and without such distinguishing features, she might have been mistaken for a boy.

Hunk:

One of Umbrella’s special operatives. During the mission to recover the G-Virus, he is attacked by G but survives and continues carrying out his assignment. His appearance is obscured by a gas mask—worn out of concern over possible airborne infection—but he appears to be a middle-aged man. His movements suggest a high level of experience and professionalism.

Incidentally, the radio communication heard at the start of the scenario is said to reuse scrapped lines originally intended for the laboratory assault cutscene.

Tofu:

He’s supposedly one of Umbrella’s special operatives—but in reality, he was a test character used during development to check background rendering priorities. The small indentations on his body were added simply to make it easier to tell front from back. The label “Tofu Form” that appears on the save screen was actually the result of a font bug—the original text was meant to read “Tofu Scenario.” The developers found it amusing, so they decided to leave it in.

Ben Bertolucci:

A freelance journalist, he’s an Italian-looking charmer with his hair tied back in a ponytail. In reality, though, he’s extremely sharp, the kind of person who won’t hesitate to dive head first into even the most dangerous stories. This time, he tries to ride out the crisis by barricading himself inside a jail cell—arguably a sensible decision, given the severity and abnormality of the situation. It reflects his pragmatic, rational mindset. Still, the circumstances he’s up against are simply too overwhelming.

In his final moments, as he desperately entrusts the information he’s gathered to Leon S. Kennedy, it becomes clear that he was, at heart, a true journalist.

Robert Kendo:

Robert Kendo is the 40-year-old Japanese-American owner of the Kendo Gun Shop. The kanji for his surname, “兼人,” can be seen on the right door of the car parked in front of his store—briefly visible when zombies smash through the windows and flood inside. He was close friends with Barry Burton, who shares his enthusiasm for collecting handguns. The reason there’s little of value left in the shop when the protagonist takes refuge there is likely because he generously distributed supplies to surviving citizens during the crisis. Even so, he must have cared deeply for his store—so much so that he chose to remain there alone, holding out even as the situation worsened.

Brian Irons:

The chief of the Raccoon City Police Department, and a man with a deeply disturbing past—having committed rape on two separate occasions. His background is as contradictory as a thief hosting a public safety meeting, and he is one of the central figures behind the events of this incident. He has an intense obsession with power. His habit of referring to Raccoon City as “my beautiful city” reveals how he views his position—not as a duty, but as a means of control and ownership. What he truly desires is domination. His hobbies, such as hunting and taxidermy, are clear reflections of this mindset. As for his favourite movie… it might just be Bambi—though that would be a darkly ironic choice.

The Mayor’s Daughter:

The daughter of the mayor of Raccoon City. She fled to the police station in an attempt to escape the disaster, only to meet a tragic fate—taken by the chief and grotesquely turned into a taxidermy specimen amid the chaos. Even in death, she seems to retain an air of elegance, something that undoubtedly drew his attention in the worst possible way. From a technical standpoint, she also holds a small distinction: at a time when rendering hair was particularly difficult in CG, she became the first long-haired character in the Biohazard series—made possible precisely because she appears as a motionless corpse.

Mysterious Individual:

During the climactic battle with the Tyrant, a mysterious woman appears and tosses the protagonist a rocket launcher. Backlit, her identity is impossible to make out clearly. However, based on her husky voice, graceful posture, and—most notably—the pendant that briefly glints at her chest, many believe she is actually Ada Wong, somehow still alive. That said, it’s almost better not to dwell on that possibility. Another theory suggests she could be Rebecca Chambers. After all, Rebecca is not seen alongside Chris, Jill, or Barry during this incident, and her whereabouts are unknown. It’s also plausible that she would know where a rocket launcher was stored within the station. So which is it? Perhaps the truth would be revealed in the next instalment…

The Truck Driver Who Got Bitten:

An unlucky truck driver who stopped at a gas station near Raccoon City to refuel, only to be attacked by zombies. Sensing something was off, he got out of his truck to take a look—only to be bitten. His truck was decorated with flame decals, but after turning into a zombie, he ended up driving it out of control and quite literally setting it ablaze in a massive fire.

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