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A thorough analysis of the first survival-horror game, Resident Evil. Every passionate gamer knows about the Resident Evil saga. Born in 1996, the series count at least 10 major episodes mainly inspired by the work of George A. Romero. The games take place in the United States infested with zombies. The first episode was so terrifying that it inspired the birth of a new genre: the survival-horror games. As in every Third Éditions’ book, a video game saga is analyzed and decrypted. More than 200 pages to know everything about Resident Evil: the behind-the-scenes development, the gameplay, the story, the universe. Go back to the heart of this great saga, dive into the mysteries of Raccoon City to meet the heroes who fought the evil corporation Umbrella. The figure of the undead never ceases to fascinate. ABOUT THE AUTHORS Nicolas Courcier launched his first magazine, Console Syndrome, with Mehdi El Kanafi in 2004. Nicolas has since published more than twenty books devoted to flagship series, many of which he himself co-authored: Zelda. Chronicles of a legendary saga, Metal Gear Solid. A cult work by Hideo Kojima and The Legend of Final Fantasy VII and IX. Since 2015, he has developed his editorial approach based on the analysis of the great video game sagas within the new publishing house co-founded with Mehdi: Third. Bruno Provezza has been a fan of video games and fantasy films since he was a child. He was editor-in-chief of the official website of Mad Movies magazine, before joining the editorial team of the monthly magazine. He directed their special issue devoted to video games. He co-wrote Resident Evil. Des Zombies et des hommes, Bienvenue à Silent Hill. Journey to the Heart of Hell, Uncharted. Diary of an Explorer and Professor Polymathus in a brief history of video games for Third.

The diary of Anton Reiff Jr. (c. 1830–1916) is one of only a handful of primary sources to offer a firsthand account of antebellum riverboat travel in the American South. The Pyne and Harrison Opera Troupe, a company run by English sisters Susan and Louisa Pyne and their business partner, tenor William Harrison, hired Reiff, then freelancing in New York, to serve as musical director and conductor for the company’s American itinerary. The grueling tour began in November 1855 in Boston and then proceeded to New York, Philadelphia, Baltimore, Pittsburgh, and Cincinnati, where, after a three-week engagement, the company boarded a paddle steamer bound for New Orleans. It was at that point that Reiff started to keep his diary. Diligently transcribed and annotated by Michael Burden, Reiff’s diary presents an extraordinarily rare view of life with a foreign opera company as it traveled the country by river and rail. Surprisingly, Reiff comments little on the Pyne-Harrison performances themselves, although he does visit the theaters in the river towns, including New Orleans, where he spends evenings both at the French Opera and at the Gaiety. Instead, Reiff focuses his attention on other passengers, on the mechanics of the journey, on the landscape, and on events he encounters, including the 1856 Mardi Gras and the unveiling of the statue of Andrew Jackson in New Orleans's Jackson Square. Reiff is clearly captivated by the river towns and their residents, including the enslaved, whom he encountered whenever the boat tied up. Running throughout the journal is a thread of anxiety, for, apart from the typical dangers of a river trip, the winter of 1855–1856 was one of the coldest of the century, and the steamer had difficulties with river ice. Historians have used Reiff’s journal as source material, but until now the entire text, which is archived in Louisiana State University’s Special Collections in Hill Memorial Library, has only been available in its original state. As a primary source, the published journal will have broad appeal to historians and other readers interested in antebellum riverboat travel, highbrow entertainment, and the people and places of the South.