近年來的遊戲產業，冷飯熱炒的重製風潮可以說是方興未艾，而《惡靈古堡》系列更是這潮流中最具代表性的經典作品。從《惡靈古堡2 重製版》到《惡靈古堡4 重製版》，每一次推出都能引起全球玩家的關注。
然而，打造一款重製作品不僅僅只是畫質提升或是換個引擎製作這麼簡單！近期在紀念《惡靈古堡》系列迎來 30 週年的特刊訪談中，主導多款重製版開發的知名製作人平林良章分享了團隊在開發過程中遭遇的最大瓶頸。
😎 Resident Evil producer Yoshiaki Hirabayashi says a major challenge when making Resident Evil remakes is dealing with players’ memories of the original games. “I’ve experienced memories becoming idealized myself, and since those memories are of things from long ago, there are also times when we remember them incorrectly. But we have to honestly face the expectations that users are likely to have based on those memories. With RE:2, we had Takeuchi (Executive Corporate Officer, Head of Consumer Games Development Division 1 and Head of Technical Research) and other senior staff members who had been involved in the development of 2 nearby, so being able to hear directly about things such as what the development team was thinking at the time was significant in determining our stance toward the remake.” 💭 “A remake exists because there is an original, and I think the first thing expected of a remake is whether what made the original enjoyable has been properly carried over. With a completely new game, you can promote it along the lines of, “Experience an unknown horror experience,” but in the case of a remake, it needs to be something that stays close to people’s memories while also providing an experience that feels fresh.” 🗣️ “In addition to those approaches, with remakes we also place importance on not making people feel uneasy. This also relates to what we were saying earlier about memories, but there are probably cases where people worry, “Is this a remake that properly includes what I remember?” We first want to reassure those people, and then have them feel a sense of anticipation for the newly remade work. It is important to communicate that the good parts of the original are properly included. However, if it offers the same experience as the original, then people could simply play the original, so in order to avoid making them feel that way, we also have to communicate the appeal that is unique to the remake series. Every time, we face the challenge of having to do both of those things at once.” (via: BIOHAZARD 30th Special mook)
— RENEWS (@RENews_X) October 6, 2026
平林良章指出，重製經典遊戲最棘手挑戰就是在與玩家腦海中的美好回憶打交道。他坦言自己也是一名資深玩家，也切身體會過這種記憶理想化的現象。當玩家開始回憶早期熱愛的遊戲時，記憶通常會自動過濾掉當年的技術限制，僅留下各種最美好最刺激的體驗。
這就表示老玩家們懷念的其實不是原版遊戲客觀上的真實樣貌，而是被情感昇華後的主觀記憶。也因此，如果開發團隊只是單純按照原版一比一的高解析度復刻，玩家在實際遊玩時反而會感到枯燥，甚至會產生當年原版比較好玩的失落感。
面對記憶濾鏡開發團隊不能逃避，而是誠實地面對玩家基於回憶所建立的期待。平林良章表示：團隊的目標從不是單純複製品質，而是要讓玩家在進入遊戲時發出「這就是我記憶中那個《惡靈古堡》，而且變得更精采了」的讚嘆。
就拿《惡靈古堡2 重製版》來說，製作團隊幸運地受到曾參與 1998 年原版開發的資深前輩——包括現任高層竹內潤等人共同參與。在開發過程中，團隊反覆推敲：身為原版的粉絲，大家究竟記住了什麼？經典橋段、壓迫到爆的走廊、各種生化怪物的登場，要如何在維持這些精隨的前提下，透過現代技術才能喚起原汁原味的情懷又能帶來超出預期的震撼感。
