Editorials
The Enduring Legacy of ‘Resident Evil 1.5’
Ideas go through many iterations. That can simply be the first draft of a book, a demo phase of a song, a test screening for a film, or a vertical slice of a video game. It can also extend to offshoots, spinoffs, and entirely new creations. Experimentation brings freshness and means some tantalizing ideas can get left behind.
Resident Evil has a history of its games having multiple iterations or spawning other games entirely. Resident Evil 4, for example, went through three different incarnations until it changed into the final incarnation we’ve all played today, while also spawning Devil May Cry. Onimusha was a test of how the Resident Evil engine could work in an earlier time period, but further ideas and the team’s enthusiasm helped spawn it into its own series. But no other game’s history has been a topic of discussion for as long as that of Resident Evil 2 and the version that almost was.
From magazine clippings and videos sent from Capcom themselves in 1997, the fascination with what has been dubbed Resident Evil 1.5 has endured all the way up to the upcoming Resident Evil 2 remake, 21 years after the original’s release. To try and simplify what happened and why it continues to be a talking point amongst Resident Evil fans, I’ve written up a story of just what happened, and what the alternate history of Resident Evil 2 could have been.

We start in March of 1996, when the original Resident Evil was released to great acclaim and success around the world. The term ‘Survival Horror’ had been coined, and it’s a term that still lives on today. The producer of the series, Shinji Mikami, had begun work on a sequel only a month after its Japanese release, with an aim to release the game the following year.
The plot loosely followed what remains in the final version today, of the T-Virus spreading to Racoon City, and putting you in control of one of two characters. But the big-bad of the series, the ‘Umbrella Corporation’, had been shut down prior to the events of this game, so it was a story of finding ex-employees of the corporation.
Leon Kennedy is still there as the new recruit to the Raccoon City Police Department, virtually identical to the Leon we get in the final game, but with regards to the second character, instead of playing as Chris Redfield’s sister Claire, it was first set to be a college student and motorcycle racer, ‘Elza Walker’, vacationing in the city when the outbreak occurs. From the screenshots, Elza was a blonde college student, where she would eventually receive the help of Sherry Birkin and ‘John’, who would later be retconned as the gun-shop owner, Robert Kendo in the final version.
Unlike the scenarios and the crossing of paths that you would encounter with Leon and Claire in the final game, here they would each have their own self-contained story, but you would both start at the roof of the Police Department, near the Helipad.
With regards to the Police Department, it was totally different, with a ‘futuristic’ look which would have fit well into a film like Robocop, with metal, light blue and silver being a constant theme across the department’s rooms and halls.

Leon would be aided by two characters, both rejigged for the final release. Marvin would aid you across the game, eventually meeting you in the sewers, while Linda was an ex-Umbrella scientist, aiding you against certain bosses. If these sound familiar, that’s because they are. Marvin, a wounded cop, was reduced to a cameo appearance at the beginning of Resident Evil 2 (though he appears to get a little more screentime in the remake) and, when certain conditions were met in Resident Evil 3, you would encounter him again.
Linda was retconned into Ada Wong, the agent that would appear in Leon’s story, and become a favorite that went on to feature in Resident Evil games for years to come.
Even the enemies underwent an overhaul, from their effect on Leon and Elza, to their appearance. First of all, the developers wanted claustrophobia to be a constant theme throughout the game, and so the decision was made to reduce the number of polygons on the enemies so that more of them could appear at the same point. They would also have the ability to damage the players’ clothing and to have the effects be permanent as the game progressed, a constant reminder of the battles the player had faced along the way.
Two particular enemies were implemented, then later scrapped and have yet to appear in any subsequent game since. One highlight for me, was a zombified ape would have jumped through a window of an Umbrella truck in the RPD Parking Lot, and through the vents of the laboratory towards the end of the game.
Another which would have been a certain entry in a previous article of mine, was to be a man-spider. Not a Spider-Man inspired inclusion, but the reverse of where a man and a tarantula would have mutated, culminating into it roaming the laboratory as well, and even fighting this version’s Birkin monster, as seen in a trailer from early 1997.
Production was going full-speed ahead, but in the background, doubts had started to seep into the team. Namely to Shinji Mikami and director Hideki Kamiya. They felt that, even with 70% of the game complete, it didn’t feel fun, and hardly a worthy sequel to what came the year before.
In an interview a few years later, Shinji Mikami, mentioned that development had reached a point where it could be played from start to finish, and at this 70% completed rate, it felt boring to play, and they would have regretted the entry if it came to be released. With that, development was restarted and it resulted in two releases.
One was Resident Evil: The Directors Cut, which was Mikami’s way of ‘apologising’ for the game not meeting a 1997 release. The second was the final Resident Evil 2 we received in January of 1998, which happily resulted in critical acclaim and a legion of adoring fans, which certainly led to the upcoming remake being such a hot commodity.
Ever since the development story occurred, fans have been curious as to what could have been, and in 2013, fifteen years after the release of Resident Evil 2, a build was leaked to the community, showing a 40% complete version of what was now dubbed, ‘Resident Evil 1.5’. This build has the name of ‘Magic Zombie Door’, which was regarded as a holy grail of leaked games. Some famous game leaks had occurred before, such as a beta of Sonic 2, which had been in fact, stolen at a toy fair in 1992, and leaked to sites in 1998. Or Starfox 2, a game which was eventually released onto the SNES Classic in 2017.

This, however, had the unique recognition of being a game that was on a very different path compared to its final incarnation. The theme and story were similar to the final version, but the game itself was largely different to what we received, from Elza Walker, the more futuristic Police Station, and much, much more.
Playing through the leaked build was, of course, fraught with problems. It could crash at random if you enter a door or trigger a path that hasn’t been programmed as yet, leaving a bit of a broken mess, which is naturally expected for a build so early in its development cycle. What makes it unique and exciting, is that you’re playing something that could have been. An alternate path of what you could have been playing on your original PlayStation in 1998 (well, 1997 if all had gone right). That causes it to be immensely alluring and only makes you want to see what else the build could have contained.
The team that leaked it also have been attempting to rebuild what the game was leading to for its finished product, and to do this, they have been scouring magazines, trailers, and even asking Mr. Kiyama on Twitter for advice on where certain enemies were supposed to spawn from.
‘MartinBioHazard’ is known for updating the original Resident Evil 1.5 leaks with new connectors to other rooms. In this thread, he has has been able to combine the work of other teams’ efforts with restoring certain content to some rooms, while also adding dialogue to the characters.
For example, this video tries to remake what was originally intended for the final version, of the ape jumping out of the Umbrella van, while the character of ‘Linda’ is now renamed Ada, to better reflect who the character would later become.
A casual search on YouTube will show many videos of Resident Evil 1.5 uploaded, such as the one below from ‘BlackFox2240’ that features a ‘full playthrough’ of the build.
The build has become something of a touchstone for what the game could have been, and how the struggle of one game’s development led the next entry to become one that is still well-loved today. The developers are still asked about Resident Evil 1.5 of course, with interviews still being unearthed today (such as this one).
Curiosity is a human nature that defines many. It can drive individuals to seek out the truth of certain topics, while also working on certain passions to see what any further outcome could be. With Resident Evil 2, the story of its beginnings and what could have been, seems to be concluding with the coming remake.
A DLC costume of Elza’s uniform from Resident Evil 1.5 is going to be available to download for Claire, and it’s a great touch that acknowledges just what could have been. In an alternate history, perhaps we could have been downloading a DLC costume of Claire Redfield for Elza Walker, and reminiscing of stories of when we had to fight a giant ape.
Editorials
‘The Mandela Catalogue’ Explained: Inside Alex Kister’s Viral Analog Horror Phenomenon
I first heard about The Mandela Catalogue through a couple of nephews who were obsessed with the ARG’s sinister mythology. It was only after watching Wendigoon’s in-depth analysis of the series that I realized just how deep this rabbit hole goes.
In fact, I’d already been exposed to the nightmarish visuals of Alex Kister’s YouTube creation for years at that point without even realizing that it was the origin of several viral “cursed images” and spooky memes that had leaked into the wider internet – with this viral element actually being a part of the Catalogue’s overarching narrative.
Flash-forward to 2026 and the unprecedented success of Kane Parsons’ Backrooms has led to Hollywood betting on horrific internet properties with existing fanbases, which means that Kister’s unique hybrid of both religious and analog horror is finally headed to the big screen with a script written by Kister himself alongside Tyler Clifton.
While this news shouldn’t be too surprising if you’ve been keeping up with the ongoing success of The Mandela Catalogue (both myself and Wendigoon having previously predicted that the series would inevitably make the jump to theaters one day), plenty of horror fans are likely confused as to why so many folks are excited for what appears to be a Hollywood adaptation of a series of creepy .jpeg images under a VHS filter.
With that in mind, today I’d like to invite fellow readers to accompany me as I explore the origins of Alex Kister’s viral hit and attempt to explain exactly why we should all be excited about the Mandela Catalogue adaptation!
From High School Writing Project to Internet Horror Phenomenon

The first seeds of The Mandela Catalogue were sown when Kister was still in high school and developed a writing project subverting religious tropes in a world where biblical history had been altered by demonic forces. A little while later, Kister came across an analog horror contest on Reddit and decided to adapt his ideas into a standalone video where he would edit a religious kids’ cartoon –The Beginner’s Bible: The Nativity, to be specific- into something far creepier. This is how the iconic Overthrone video was born, with this viral short film taking on a life of its own as fans demanded more eerie content from Kister.
Though the video was originally meant to be a one-and-done sort of affair, with Kister actually regretting some of its primitive visuals and considering the editing amateurish and “YouTube-Poop-like” when compared to his current standards, fan reaction and free time during the COVID-19 pandemic encouraged the (then) seventeen-year-old filmmaker to continue producing content set in this same world. The Mandela Catalogue name was inspired by the Mandela Effect conspiracy theory, as the series would slowly begin to explore the subtle horror of alternate histories.
Inspired by existential dread brought on by extended periods of quarantine as well as a personal crisis of faith, Kister continued to expand his alternate timeline where the rise of Christianity had been prevented by what was presumably the Devil disguised as the Archangel Gabriel. This alternate course of fictional events led to the existence of certain paranormal anomalies that had come to be accepted as “normal” by the 1990s, which is why most of the series’ supernatural horror is presented in such a matter-of-fact manner.
Most of this background information and religious lore is delivered by increasingly cryptic broadcasts and in-universe PSAs, as well as the occasional found footage video, that often have to be decoded by clever viewers. Of course, it’s the consistently disturbing imagery that made the series so popular – much of which was originally created by Kister on a smartphone!
The Alternates: Horror’s Most Unsettling Modern Monsters

The show’s early episodes mostly take place within the fictional Mandela County in Wisconsin and depict life in a world where demonic entities are capable of using media to enter our reality. This process usually involves scaring victims into killing themselves and then repurposing their bodies as horrific doppelgangers referred to as “Alternates”. This terrifying phenomenon has become so common that local police already have specialized procedures in place to deal with the issue, though this usually consists of simply ignoring calls for help so as to avoid spreading so-called “Metaphysical Awareness Disorder” any further.
Over time, Kister would expand this mythology and incorporate different kinds of Alternates into the mix, though the story never stopped deconstructing religious concepts. The series’ second volume exponentially increased both video quality and the overall narrative scope as we began to follow the lives of characters who had already grown up in this dystopian hellscape where the government is forced to prohibit religion, television, and even mirrors in the hopes of mitigating the damage done by the ongoing invasion of otherworldly entities.
The really interesting part comes into play when you realize exactly how the Alternates make use of scary media in order to spread their demonic influence, with the analog horror of it all being a diegetic part of the story and something of a memetic trap orchestrated by the false Gabriel.
I particularly appreciate how some characters begin to suspect that there’s something wrong with their version of reality and that things weren’t meant to play out this way, especially when Mark utters the haunting line “who have I been praying to all this time?” That’s why I think The Mandela Catalogue is an effective piece of religious horror even if you don’t subscribe to the Christian worldview, as the mere idea of a world where evil has already won is a universally terrifying concept in and of itself. Not only that, but the series’ uncanny analog imagery alone is already worth the price of admission, as you’ve likely already noticed by looking at the pictures accompanying this article.
Why The Feature Adaptation Could Be Horror’s Next Big Success

It’s actually been a whole year since Kister first announced that he had been working on a feature-length screenplay for a Mandela Catalogue movie since 2022, with his proposed story following an ensemble of high-school graduates who uncover a supernatural conspiracy after the mysterious disappearance of a fellow student. This premise sounds similar to narrative elements present in the series’ second volume, but I’m pretty sure that Kister is going to go the Kane Parsons route and make the movie more of a spin-off than a re-imagining of its source material.
While notable Hollywood producers like Aaron B. Koontz, Scott Stuber, and Steven Spielberg himself are backing the upcoming project, I feel like there’s no one better to adapt this deeply personal exploration of faith and the dark side of communication than the person who first came up with it. That’s why I can’t wait to see Kister’s work on the big screen, as I have a feeling that this young filmmaker is the next one on the list about to make cinematic history – especially since this is clearly a passion project that has been in the works for years at this point!
That being said, there’s always a chance that the film could end up unleashing a fresh wave of Alternate incursions, but I guess that’s just a risk we’ll have to take.
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