The Rise and Fall of Dino Crisis

[00:27] Capcom published the Shinji Mikami and Tokuro  Fujiwara-created Resident Evil for the original   PlayStation in 1996, lighting the way for  survival horror as a genre and reinvigorating   interest in zombies across popular culture.  Several sequels and spinoffs followed in the  

[00:43] wake of its meteoric success, and though Mikami  produced each one, his hands-on involvement in   of Resident Evil 2 in 1998. Such a pivot gave the  visionary room to lead production on Dino Crisis,  

[00:59] another tension-filled adventure that  shook survival horror to its core.   Mikami set his sights on a sub level of the  horror spectrum, however, conceptualizing the   panic horror sub-genre to differentiate Resident  Evil s fear factor from that of Dino Crisis. Like  

[01:15] its undead enemies, the zombie series induced  terror slowly, evoking tension at a plodding   pace which allowed players time to escape, hide,  and gather their thoughts. Dino Crisis permitted   no such reprieve, its prehistoric antagonists  proving faster, stronger, and smarter than the  

[01:32] average Resident Evil foe. This change in tempo,  along with the introduction of a 3D engine,   begat a winning recipe, one that turned Dino  Crisis into Capcom s next big franchise.   Naturally, sequels were pursued and developed.  Many would contend Dino Crisis 2 stood head and  

[01:48] shoulders above its predecessor. Others were  unconvinced. Reverence for the Dino Crisis   follow-up entries effectively stopped there,  with most fans harboring no love for titles   such as Dino Crisis 3. Worst still, the brand  s dormancy following the third mainline outing  

[02:05] suggested Capcom struggled with how best to bring  its digital dinosaurs back from extinction.   This is the rise and fall of Dino Crisis. Capcom Production  

[02:29] Studio 4 entered development on the project  that later became Dino Crisis in 1996,   reportedly mapping out plans for a jungle-based  experience wherein players would bump heads with   wild animals like apes and reptiles. Production  hit a standstill in early 1997 when Capcom  

[02:46] reassigned much of its would-be Dino Crisis  team to assist with Resident Evil 2 s final   stretch. The sequel, internally dubbed Resident  Evil 1.5, originally bore a May 1997 deadline,  

[02:58] yet even the extra help couldn t salvage the  project in time. As a result, RE2 fell apart,   culminating in a late development reboot defined  by widespread changes and a greater emphasis on  

[03:10] dramatic presentation. To say the zombie sequel  and its predecessor profoundly influenced the   making of Dino Crisis would be an understatement. The publisher placed Shu Takumi in charge as   director on Dino Crisis, though the developer  himself later admitted he knew not what the role  

[03:26] entailed. Unsurprisingly, Takumi s inexperience  often left the crew in a state of disarray. Shinji   Mikami represented the remedy, coming on board  later in development to take over as director   while Capcom demoted Takumi to planner. Mikami  most notably introduced the dinosaur concept,  

[03:43] telling PlayStation Magazine for its May 1999  issue that he believed the extinct creatures made   for compelling opponents in a modern-day setting.  In addition, dinosaurs allowed for the exploration   of humanity s primordial fear since their  minds inner workings remain alien to mankind.  

[03:59] Depicting the ferocity of dinosaurs in Dino  Crisis, thus, became a top priority. The team   accomplished as much by deeply considering how  the creatures and players reacted to one another   in-game. Whereas outrunning or hiding from zombies  in Resident Evil proved a viable gameplay tactic,  

[04:14] Dino Crisis predatory enemies gave chase  and could even bulldoze their way through   locked doors. Enter the panic part of  Shinji Mikami s panic horror conceit,   which revolved around evoking constant  fright thanks to the quickness and  

[04:29] intelligence of enemies. Naturally, these  themes informed the minute-to-minute action,   forcing developers to rethink how  players defended themselves.   For example, since some dinosaurs would  realistically absorb more damage than others,  

[04:41] it made sense that a barrage of gunfire  attacks often did little to whittle away   at their health. But constant roadblocks did  not beget a gratifying gaming experience,   the team found. Mikami figured the smartest  approach resided in giving players the ability to  

[04:56] knock dinosaurs out with tranquilizer darts. This  gameplay mechanic effectively introduced another   layer of panic given uncertainties about how long  subdued beasts would stay out of commission.   Developers intensified the general unease by  implementing injuries as a survival element  

[05:11] in addition to the ammo scarcity feature from  Resident Evil. Dinosaur bites and other physical   ailments could cause a bleeding effect that,  if untreated, steadily diminished protagonist   Regina s health over time. Any blood that  soaked the floor attracted nearby enemies,  

[05:25] too, turning Regina into easy prey if users  found themselves unable to manage her health.   Speaking with EDGE Magazine ahead of release,  Mikami pondered the possibility of the bleeding   status killing players should they fail to  heal before the health meter hit zero. Yet,  

[05:40] he wasn t convinced of the feature s practicality,  evidenced by its absence in the final product. As   opposed to killing Regina, then, the untreated  bleeding effect depleted her health to one HP.   Plenty of other proposed ideas fell by the wayside  during production, quite a few of them due to  

[05:55] hardware limitations. Resident Evil   s earliest installments famously operated with a  fixed-camera and 2-Dimensional backgrounds. These  

[06:12] design decisions worked in the franchise s favor  considering the relatively primitive hardware of   the day, but Shinji Mikami and Co. had little  interest in simply retreading old ground. Thus,   the team built a custom 3D engine for Dino  Crisis, making way for a fully polygonal,  

[06:27] Dino Crisis with seamless camera  transitions, higher-quality action,   and a cinematic presentation arguably  absent from Resident Evil at the time.  

[06:40] Production Studio 4 developers even managed  to push the envelope in terms of graphical   fidelity and animation. Lacking a genuine  frame of reference for dinosaur behavior,   the crew studied animals like lions and tigers to  craft enemy movements in-game, especially homing  

[06:54] in on their innate tendency to attack whatever  they deemed as prey. In particular, animations   showing Dino Crisis s raptor-esque dinosaur  mauling the protagonist were influenced by what   Mikami described as the biting actions of dogs  and crocodiles. Creature AI behaviors similarly  

[07:10] took inspiration from everyday animals, yet the  deficiencies of the PlayStation 1 s hardware   forced Mikami to make concessions regarding his  plans for smarter artificial intelligence.   The director spoke briefly of his hopes for the  Dino Crisis beasts in an EDGE interview, waxing  

[07:25] poetic about initial plans to ensure each dinosaur  possessed unique AI code. Had things gone Mikami   s way, instead of preset actions, the deadly  creatures would have read into player behavior   enough to choose alternate paths and perform  ambush maneuvers. Hardware limitations hampered  

[07:40] sound and visual design, as well. Mikami noted  in a sit-down with GamePro that the PS1 s inner   workings made his ambitious vision for Dino Crisis  difficult to attain, specifically with respect to   the player character, dinosaurs, and backgrounds.  He argued that while the console still had enough  

[07:56] juice left to produce truly great experiences, the  Sony-branded technology was showing its age in a   way that adversely impacted game development.  A jungle scene fell to the cutting room floor   during production because of unspecified  technological shortcomings, for instance.  

[08:11] Ultimately, hardware-induced restrictions proved  more of a blessing than a curse. Shu Takumi,   who served as director before Mikami, told  ResetEra moderator Jawmuncher that technological   impediments informed much of Dino Crisis survival  horror design because the entirely 3D world  

[08:26] negated the use of some action-oriented gameplay  mechanics. According to Takumi, cutting corners   on the technical front also explained why only  a select number of dinosaurs appeared on-screen,   which developers rectified by amplifying  the overall challenge. Mikami echoed this  

[08:41] sentiment in a PlayStation Magazine interview,  divulging the studio s goal of implementing   only key dinosaurs to emphasize the quality of  design over adding a menagerie of the Mesozoic   era reptiles. The game s critical and commercial  success validated these decisions tenfold.  

[08:57] Mikami purposefully avoided sharing too many  details about Dino Crisis during the pre-release   period, wary of ruining the experience for  players. Prospective buyers were, thus, told   the bare minimum about the narrative that Special  Forces members tasked with finding scientist  

[09:12] Dr. Kirk at a secret island research facility  would come face-to-face with the unlikeliest of   creatures. While the survival horror title  s Jurassic Park and Alien influences drew   players in, along with its obvious Resident Evil  trappings, what kept them invested was distinctly  

[09:27] Dino Crisis. From the cinematic camera perspective  and gameplay controls to the eerie setting and   dinosaur encounters, Capcom s panic horror  adventure constantly proved itself worthy of   high praise, which it received in spades. And the  captivating red-haired protagonist, designed as  

[09:43] such to stand out from the rest of the cast, came  across as plenty intriguing in her own right.   Despite Mikami s misgivings, critics and players  generally felt the enemy AI and sound design   rose to the occasion, too. The sound effects  especially worked their magic whenever the fixed  

[09:58] camera managed to disappoint, compensating for  instances where foes were only heard instead of   seen. And while the threadbare story left much to  be desired, the unique qualities of Dino Crisis,   namely the dinosaur antagonists, guaranteed  Capcom had an instant hit on its hands upon  

[10:13] the game s July 1999 release on PlayStation.  As such, the storied Japanese publisher didn   t waste any time capitalizing on the  success of the new horror classic.  

[10:28] Dino Crisis surpassed 800,000 units sold in Japan  alone by December 1999. With Resident Evil 3:   Nemesis and Resident Evil Code: Veronica  launching in September 1999 and February 2000,  

[10:41] respectively, it became abundantly  clear that Capcom had cornered the   survival horror market and bore no intention  of ceding ground to its competitors. However,   as opposed to doubling down on the already tried  and true Resident Evil formula for Dino Crisis 2,  

[10:56] Capcom developers used the sequel to shift  direction and raise the bar even further.   They did so with Shu Takumi returning to  take another stab at captaining the ship.   Takumi spearheaded much of the original  entry before his demotion to planner,  

[11:10] once disclosing that Shinji Mikami came  in as a Mr. Fix It-type figure later in   production. But even as a planner, Takumi played  an integral role in the fabric of the experience,   notably designing all of its puzzles and  leading the charge on stages in the first half.  

[11:25] Still, well over a decade after the sequel s  release, Takumi admitted he couldn t pinpoint   why Capcom named him director on Dino Crisis 2.  He took the assignment in stride nonetheless,   reflecting on past mistakes to improve upon his  way of working and thinking; it also helped that  

[11:41] he was tasked with directing a follow-up to  a previously established IP. Yet, that didn   t mean Takumi and the crew at Capcom Production  Studio 4 had any intention of playing it safe.   Although the switch to a fully 3D game world  benefitted Dino Crisis on many fronts, Dino Crisis  

[11:58] 2 revisited the static 2D backgrounds that shaped  the haunted halls of Resident Evil. The production   crew deemed the inclusion of pre-rendered graphics  necessary to accomplish certain technical feats,   such as increasing the number of dinosaurs  that could appear on-screen. Expanding the  

[12:13] enemy count enabled more action-oriented  fare, further bolstered by a faster,   combo-based combat system. Consequently, ammo  conservation and other crucial survival-focused   mechanics from the first installment received  the axe. Puzzles lost favor heading into the  

[12:28] sequel as well, due to Dino Crisis feedback  that labeled them too challenging. In short,   Capcom left behind touchstones that  slowed the pace of progression.   Where Dino Crisis s survival elements encouraged  a methodical approach to dinosaur encounters  

[12:42] because of scant supplies, the second game  s reward-fueled combo system enticed players   to charge in guns blazing. The title awarded  points for every dinosaur kill, with successive   victories in a short span of time equating to  more points earned. As combo points stacked,  

[12:57] offending dinosaurs grew increasingly hostile,  the chaos heightened by sizable groups of the   prehistoric beasts all attacking at once. Most  significantly, players could spend their accrued   points at terminals replete with ammunition,  weapons, and medical supplies. This inventive  

[13:12] gameplay loop both challenged and rewarded  those who played aggressively. And though   the combo chain concept served as a precursor to  similar mechanics in Capcom s Devil May Cry and   Resident Evil 4 ventures, Shu Takumi lamented  that it largely went underappreciated.  

[13:28] Several other odds and ends complemented  the action-oriented additions to Dino Crisis   2. The ability to simultaneously run and shoot  constituted one example, as did the inclusion of   backpedaling animations game-changing advancements  which came in handy for dealing with larger groups  

[13:43] of enemies. Dual-wielding weapons entered the  mix, too, introducing yet another intricate   layer to the revised combat mechanics. However, one of the most transformative   changes manifested in the form of a  second playable hero named Dylan Morton,  

[13:56] a Tactical Reconnoitering and Acquisition Team  operative possessing gear similar to returning   heroine Regina. A fair few differences separated  each character s gameplay style for instance,   only Regina could access electronic locks  thanks to a stun gun; meanwhile, Dylan s machete  

[14:12] represented the only tool capable of tearing  through vine-covered walls. And given the threat   the pair faced throughout Dino Crisis 2, special  tools felt like a necessity more often than not.  

[14:25] Independent developer Flagship, whose  employees joined Capcom s main studio   in 2007, penned the script for Dino Crisis 2,  building upon the original as the government s   continued tinkering with third-energy experiments  engendered time ruptures transporting a research  

[14:39] facility to another historical period. Capcom  announced the new adventure in December 1999,   not six months after the original hit  store shelves. The action-packed follow-up   launched in September 2000 to higher  critical praise than its predecessor,  

[14:53] with reviewers and players alike deeming it  among the most satisfying third-person shooters   available. Dino Crisis 2 s visual presentation  garnered much acclaim, the animation for human   characters and dinosaurs having improved since  the first installment. A stunning number of  

[15:08] graphical details stood out as well, including  blood trails and visible dinosaur wounds.   The quality of the franchise s already  incredible audio design had also increased,   evident in subtle differences between the sounds  emitted by footsteps on various surfaces.  

[15:23] Few would challenge the belief that Dino Crisis  2 raised the bar for third-person action;   fewer still truly appreciated it. Capcom  deployed the title exclusively on PlayStation   1 in September 2000, seven months after the  PS2 launched in Japan and only weeks ahead  

[15:39] of the new console s North American debut.  Thus, while Dino Crisis s sophomore effort   warranted consideration as the most graphically  impressive PS1 experience, its proximity to the   game-changing sixth console generation meant it  quickly slipped from the memory of the masses.  

[15:56] Dino Crisis 2 sold about as half as  many worldwide units as the original   Mikami-led title. As of December 31, 2008,  the first game had moved 2.4 million copies,   whereas the sequel s sales milestone topped off  at 1.19 million. Capcom evidently believed in  

[16:13] the franchise enough to green light a third  mainline entry, which it unveiled as an Xbox   exclusive during Microsoft s E3 2001 conference.  Scant details shared in a press release promised   Dino Crisis 3 would take full advantage of  the Xbox s processing power. Neither hide  

[16:28] nor hair of the project would surface for the  next year and change, though. In its absence,   the Japanese publisher revealed and  shipped another prehistoric-era adventure.   The tacit link between Dino Crisis and Resident  Evil came full circle with the light-gun game  

[16:42] Dino Stalker, the third effort in Resident  Evil s Gun Survivor offshoot series. While   the first-person shooter bore the title  of Gun Survivor 3: Dino Crisis in Japan,   Capcom s preeminent survival horror franchises  still lacked any real connection. Thus, many were  

[16:57] perplexed by Dino Stalker s surprise March 2002  announcement and subsequent PS2 launch in Japan,   North America, and Europe that same year. Capcom Production Studio 3 helmed the light-gun   adventure, the core narrative following that  of the primary Dino Crisis story. After a  

[17:13] dimensional rift in the Boldinia Republic  devastated the Cretaceous Period s ecosystem,   the United States Senate enacted the Noah s  Ark Plan to circumvent a disaster capable of   threatening humankind s creation. The mission  itself involved bringing creatures from the  

[17:27] Cretaceous Era to modernity and holding them  captive until their time s ecological catastrophe   subsided. With series protagonist Regina sitting  on the sidelines, Dino Stalker players assumed   the role of United States Air Force pilot Mike  Wired, a World War II soldier who suddenly found  

[17:42] himself transported to the age of dinosaurs. Beyond the new camera perspective and lead   character, Dino Stalker also introduced  the franchise to light-gun peripherals,   specifically Namco s GunCon 2 controller.  Reviewers asserted, however, the shooter played  

[17:57] best with the DualShock 2, given the GunCon's  frustrating control scheme. Dismal visuals   additionally tainted the overall appeal, as did  its timed missions and unrefined storytelling.   As the lowest-rated Dino Crisis outing, it should  come as no surprise that Dino Stalker launched to  

[18:13] minimal fanfare. A handful of outlets played  preview builds, but Capcom s limited marketing   denoted the title s low-effort production. And  since development-related details remain vague,   fans and pundits have surmised that Dino  Stalker constituted a fast-tracked side  

[18:28] project to compensate for Dino Crisis  3 s protracted gestation period.   Shinji Mikami served as executive producer when  Dino Crisis 3 production began around 2001. The  

[18:42] legendary game developer even took part in the E3  announcement, noting in a press release that Xbox   s powerful hardware would allow his team to create  interesting software. Naturally, Capcom had next  

[18:54] to nothing to show out of the gate, given Dino  Crisis 3 then remained in the embryonic stages   of development. But the company outlined a  few baseline goals in those early days.   For one, the third major installment would  stake its claim on a dilapidated city overrun  

[19:08] by dinosaurs, with players leading a rescue  mission to save trapped humans from a facility   under siege. Secondly, Mikami and Co. planned  on devising a system whereby users could team   up with multiple AI-controlled partners. It  all sounded rather ambitious on paper. And  

[19:24] the only visible touchstone for said plans, the  sole bit of proof that such ideas even existed,   subsisted in a single piece of imagery shared  by Capcom Senior Managing Director Yoshiki   Okamoto during the May 2001 reveal. The  promotional art in question depicted humans  

[19:40] on the street of a crumbling metropolis  duking it out with hulking dinosaurs.   Other particulars unearthed by Reddit user  Forerunner49 hinted the original vision for Dino   Crisis 3 involved a modern-day storyline set after  the events of the second game. This version also  

[19:56] featured time rifts from the sequel that would ve  transported displaced dinosaurs to various periods   throughout human history. These uncorroborated  details seemed to follow the natural course   of progression when taking Dino Crisis 2 s  cliffhanger ending into account. To the chagrin of  

[20:10] franchise faithful, the originally teased project  was not the Dino Crisis 3 that made it to market.   Capcom never divulged specifics, but the consensus  posits the Mikami-produced iteration fell out of  

[20:22] favor after the 9/11 terrorist attacks. The  publisher may have considered it distasteful   to ship a game set in a ruined city, regardless  of context, and thus instructed developers to   shift gears. Speculative though it may be,  this widely accepted theory could explain  

[20:37] Dino Stalker s connection to the first two  games. Perhaps Capcom wanted the light-gun   shooter to explore some of the narrative threads  left dangling by the reworking of the original   Dino Crisis 3? The company s presumed concerns  about optics post-9/11 may have also been why  

[20:51] the final version of Dino Crisis 3 looked so  radically different from previous entries.   After a lengthy stretch of silence, Dino  Crisis 3 reentered the spotlight at Xbox s  

[21:04] summer conference in June 2002. Capcom only  peeled back the curtain ever so slightly,   transforming spacecraft. Instead of Regina  or Dylan, the title starred Patrick Tyler,  

[21:17] a space marine equipped with a jetpack  to provide a range of movement across 3D   play spaces. Several more months passed before  Capcom finally began sharing firmer details.   By early 2003, Dino Crisis 3 had morphed into  a futuristic, sci-fi romp set in the year 2548,  

[21:34] centuries removed from the events of the  originals. The narrative revolved around space   agency Special Operations and Reconnaissance,  or S.O.A.R., tasking Patrick with investigating   a six-mile-long vessel, the Ozymandias, that  appeared to materialize from thin air. While the  

[21:51] space agency thought the ship housed colonists  who vanished without a trace 300 years prior,   Patrick s inspection revealed dinosaurs and  the twisted truth about their origins.   The premise bore an interesting enough hook, even  if it lacked deeper connections to Dino Crisis 1  

[22:06] and 2. Some would contend it most notably  came up short in terms of creative leads,   as previous stewards of the brand Shinji  Mikami and Shu Takumi were too busy to oversee   production. Thus, Tetsuro Oyama and Hiroyuki  Maruhama took over joint-directing duties,  

[22:21] despite the latter being the only director  with somewhat comparable experience.   Capcom filled out the development crew with  noteworthy talent from different disciplines,   though. Shinji Higuchi, who later directed the  Attack on Titan and Shin Godzilla movies, joined  

[22:35] Dino Crisis 3 as CGI storyboarder. And Makoto  Kamiya, the filmmaker behind Resident Evil s CG   films, assumed the role of CGI and Narrative Event  Director. Higuchi s influence, in particular,   proved instrumental; according to the Dino  Crisis 3 Premium Fact File, the Ozymandias ship s  

[22:52] transforming design drew inspiration from the 1984  film Sayonara Jupiter, which Higuchi worked on as   Production Assistant. But awe-inspiring mechanical  designs did not a visually appealing game make.  

[23:04] Apart from striking creature designs  models from compelling narrative twists,   Dino Crisis 3 looked rather dull by most accounts.  Sure, the high-tech, futuristic setting allowed   the series to explore uncharted territory, yet  the metallic sheen coating nearly every surface  

[23:19] of the Ozymandias turned an explorable space that  should ve radiated with wonder and awe into bland   environments absent any personality. And this  was despite Capcom producers insisting Dino  

[23:31] Crisis 3 s Xbox exclusivity would facilitate  a profound visual experience that PlayStation   2 hardware couldn t possibly deliver. A hybrid camera system and return to 3D   backgrounds ensured navigating the unimaginative  environments would prove as equally exhausting  

[23:46] as looking at them. As Producer Hiroyuki  Kobayashi explained in an IGN interview,   the updated camera harbored situation-based  automatic and player-controlled functions.   The static camera perspectives compounded the  already janky jetpack controls above all else,  

[24:01] and often felt at odds with Dino Crisis 3  s action-based gameplay mechanics. As such,   on top of pursuing an adventure that journeyed far  off the beaten path, Capcom Production Studio 4   had also developed in-game systems that rendered  the third game unplayable in some respects.  

[24:17] Capcom s attempt to do something wildly different  from the first two titles, as Kobayashi put it in   a post-launch sit-down with GameSpy, ultimately  culminated in Dino Crisis s second worst-rated   entry. And if the critical bombing and poor  user reception wasn t disastrous enough,  

[24:32] Dino Crisis 3 even failed to meet the publisher  s modest sales expectations of 580,000   copies sold across Japan, Europe,  and the United States. Notably,   estimates indicate the title reached  a milestone of approximately 400,000  

[24:47] units sold by the end of Fiscal Year 2003.  The franchise once perceived as Capcom s next   golden goose had fallen from grace with just a  handful of mainline adventures under its belt.  

[25:03] One month ahead of Dino Crisis 3 s June 2003  rollout on Xbox, Capcom unveiled Dino Crisis:   Dungeon in Chaos for the 505i series of  cellphones. The Mobile Capcom-developed  

[25:16] action game launched in winter 2003, inviting  players to explore a first-person shooter   as soldiers tasked with investigating another  third-energy experiment at a military facility.   Unfortunately, Dungeon in Chaos marked the  Dino Crisis franchise s final new release.  

[25:32] The IP has laid dormant for some 20 years, with  Capcom occasionally shining a beacon of hope,   only for it to blink out of  existence soon thereafter.   While admitting the brand went off the rails  in Dino Crisis 3, VP of Strategic Planning and  

[25:46] Business Development Christian Svensson told IGN  in a 2010 interview that Capcom hadn t ruled out   the possibility of resurrecting the property. Yet,  he mentioned that though Dino Crisis discussions   internally cropped up every so often, neither the  R&D nor business side of the company knew how to  

[26:02] reignite the flame. Svensson himself argued  pre-rendered backgrounds and tank-controlled   dinos were unlikely to sell well enough on  modern platforms to justify a AAA budget.   Apparently, the publisher maintained this mindset  for several more years. Dead Rising developers who  

[26:18] spoke to Did You Know Gaming about the collapse  of Capcom Vancouver claimed that amid concerns   over a potential studio closure throughout 2013  and 2014, the team pitched multiple reimaginings  

[26:30] of classic IP. Resident Evil X represented the  first of such proposals, its action-oriented bent   causing Capcom to reject the idea because of fan  fatigue following RE6. The Vancouver outfit then  

[26:42] advocated for Dino Crisis return, putting forward  a modern take that reportedly never developed   beyond the pitching phase. Developers assumed  the disinterest stemmed from an unwillingness   to invest in the costly technology necessary to  bring the digital dinos back from extinction.  

[26:57] The reveal of dinosaur battling game Exoprimal  during a March 2022 PlayStation State of Play   suggests Capcom at least understands the market  s longing for a Dino Crisis revival. Franchise   veteran Hiroyuki Kobayashi s confirmed involvement  with Exoprimal further insinuates the spirit of  

[27:14] Dino Crisis will live on in a brand-new IP,  one boasting mechs and over-the-top action   instead of an emphasis on survival horror. But  perhaps Resident Evil s lucrative return to its   survival horror roots will embolden Capcom to  revisit the panic horror sub-genre that secured  

[27:30] the original Dino Crisis a place among gaming  s most beloved yet underappreciated gems.