Resident Evil 2 | The Game That Defines Hundstrasse

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One of the best things about this game is how it uses sound design to develop great atmosphere. Add +10 creepy points to this piece. 




The Games That Define Us features carefully chosen music and remixes from the franchise of the game represented. Music is a key component of sharing the emotions one feels about a game, so we hope you will press the play button if you’re in a position to do so. 


Things are about to get a little spooky. Don’t panic, but stay on your toes.

Just a brief summary if this is your first time here: This collaboration is a 34-day long adventure through video games. Each piece is its own unique audiovisual experience, complete with artwork, designs, music, and (most importantly) amazing works of prose by brilliant bloggers around the world. This adventure will take you through nostalgia, joy, ambition, self-discovery, regret, anxiety, frustration, mourning, and every human experience in between. Video games exist as fragments on the timeline of our lives, and each one of us have chosen the adventure we feel most defines us.

The era of 3D gaming brought with it a wave of creepy, suspenseful horror games. Today’s game is considered an early high-water mark for the genre, and here to talk about it is the always-awesome Luke from Hundstrasse! This guy does so many cool things, and is well-respected by myself and the rest of our blogging community! He also has a thing for creepy games. So, once you get done, sneak over to Hundstrasse for more awesomeness!

No need to fear, the next chapter of The Games That Define Us is here!

– Matthew, Normal Happenings




Luke @ Hundstrasse

Twitter: @Hundstrasse

For survival…


Game: Resident Evil 2
System: Playstation 1
Release Date: January 21, 1998

1P Start

By today’s standards the emotional content of Resident Evil 2 is clunky and melodramatic, but at the time I had never experienced anything like it in a game; even the word ‘game’ didn’t seem sufficient to describe such an immersive experience.

Spring Yard Zone, Act 2; Sonic runs forward, slows, and at the last moment turns backwards to gracefully freefall into the first halfpipe. As the ground gently curves under him those distinctive red sneakers glide over the polished Spring Yard floor, his legs moving forward whilst momentum drags him backward, up the vertical wall and then into the cool night air. His feet still moving, stare set in grim determination, a true athlete at the peak of his game… game… my favourite moment from that well worn game cartridge, a moment I’d watched countless times play out in the demo cycle through store windows and one where I still feel my own stomach tense slightly as our quilled buddy steps over the precipice. This moment I’d fleshed out in my mind, transposed the 2D graphics in to 3D architecture, an Escher-esque metropolis of bright lights, marble walkways, and gently creaking moving platforms.

… but nonetheless a game; a reality made up of bloops and dings. Get from the start of the level to the end, destroy the enemies, hit the bumpers, watch the score tick up in the top corner of the screen, make a mistake, loose a life, continue? Three acts in a zone, seven zone in the game. Best time, high score… game…

Up until I was thirteen or fourteen this experience defined games for me; levels, score, bosses, get from the left hand side of the level to the right hand side. This all changed one idle weekend when I borrowed my Uncle’s Playstation for the weekend along with a copy of Resident Evil 2.

The were parted by an inescapable destiny. This is just the beginning of their worst nightmare.

The opening cinematic plays; for our two protagonists, Leon and Claire, the slow realisation that the city is all wrong crystallises far too late. They’re already deep in the urban sprawl, the inhabitants merely walking shells of their former occupants, emotionless, unthinking, and, like a hidden current, ready to drag them into oblivion. The car crashes, the tanker explodes and they have been parted.

… and then the player is alone, standing next to the flaming wreckage, the first of the monsters staggering toward them. No points, no power-ups, no health bar, just a character thrown in to a scenario. A world presented for exploration without the interruption of stages and levels, just a seamless story with the player firmly immersed and invested. My young mind’s concept of what a game was had suddenly been shattered; it didn’t fit what I knew a game to be. There was only one goal; keep moving, survive, and escape.

As I ventured further into the city I discovered the famous Raccoon City Police Station but also that this was an experience that made me ‘feel’. Fear and apprehension upon opening every door, sadness as the cinematic loss of Ada, and relief in those first few piano notes of the simple sanctuary theme. By today’s standards the emotional content of Resident Evil 2 is clunky and melodramatic, but at the time I had never experienced anything like it in a game; even the word ‘game’ didn’t seem sufficient to describe what I felt was an immersive Romero inspired experience.

A few months later, that Christmas, I was gifted my own Playstation and copy of Resident Evil 2 – the same copy that still sits in the game drawer under my TV ready to be played at a moment’s notice.

I played it relentlessly, beginning a new scenario as soon as I finished the last, intent on exploring corner of this experience, of Leon & Claire’s story of survival. I discovered that it was a story with more shades than ‘Sonic is good’ and ‘Robotnik is bad’. I found Ada Wong who falls in love with Leon despite her ulterior mission; The blinkered determination of Annette Birkin, a scientist, a mother, and a wife; William Birkin’s genius and insanity; Claire’s quest to find her brother coupled with her compassionate care of Sherry; and of course Brian Irons’ depraved mind. Different characters with different drives interwoven to create an overall plot more complicated than kill bad guys, score points, reach the finish line.

It wasn’t just the plot that was engrossing. Visually the pre-rendered backgrounds provided an unprecedented level of detail to the surroundings and brought the world of Raccoon City to life in a way that I had never experienced before. I spent my time carefully studying these scenes looking for interesting details or clues to the events that had transpired. Even now I have certain areas in this fictitious world that are special to me: The sanctuary of quiet reflection that is the darkroom with glass cabinets of photography equipment and warm red-light glow from the developing area; The secret view out of the RPD front gate with its sense of the abandoned city outside and highlighting the perceived safety of the police station; The fingerprint room, only accessible in the B-scenario, filled with half finished monstrosities.

Despite the obvious horror, this world was surprisingly attractive and full of mystery. At the time I joked that given vast sums of money I would commission the building of a detailed recreation of the Raccoon City Police Station. The joke stemmed from a truth that I often day-dreamed about being in that world and walking the halls of the police station. I had a folder where I collected magazine cuttings about Resident Evil 2, kept my treasured Prima strategy guide, and stored painstakingly transcribed copies of in-game documents. It’s difficult to describe any of this without it sounding like a borderline unhealthy obsession, but this is a piece about the ‘Games that Define Us’, and Resident Evil 2 changed my outlook on interactive media.

I’ll always have time for fast paced, high score racking, power-up guzzling gaming, but it was Leon and Claire that showed me a way to step into another world and I revel in any game that manages to recreate the sense of wonder that I first felt in Raccoon City.

adventure map

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This collaboration took an overwhelming amount of time and dedication from 34 exceptionally creative, incredible makers! Help us with the resources to make more, even better, collaborations in the future! We also have aspirations of developing a podcast called Normal Talks about optimistically appreciating everyday life! Please consider becoming a patron of Normal Happenings and help us try to make the world a better, more positive place!

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  1. Ahh this is a great read. I find what Luke says about the games’ use of emotional story telling, and how by modern standards it seems clunky, really interesting. I first played RE2 last year and although obviously it looks and feels old, because I knew that, I was able to play it disregarding modern games, and in that sense it has held up stunningly well.

    Liked by 1 person

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