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The 1942 aerial attacks near Brookings, Oregon, sometimes referred to as the lookout air raid, was a series of bombings that occurred in the mountains of Oregon during World War II. On September 9, A Japanese B1 type submarine, the  I-25, surfaced and launched a Yokosuka E14Y floatplane that dropped two incendiary bombs on Wheeler Ridge with the intent to start a massive forest fire. Unusually early rainfall moistened the forest the night before and the bombs only caused minor damage. The attack marked the first time the continental United States had ever been bombed by enemy aircraft.

A second attempt to ignite the forest was made on September 29. Two more bombs were dropped, but like the first, caused little damage. A third attack was called off due to poor weather and the I-25 began attacking shipping vessels elsewhere. The attacks led to an investigation by the FBI and led to public alarm, but no widespread panic ensued. In Japan, the attacks made headlines and the pilot was declared a hero.

Twenty years later, Fujita was invited back to Brookings and served as Grand Marshall for the local Azalea Festival. At the festival, Fujita presented his family's 400-year old samurai sword to the city as a symbol of regret. Fujita made a number of visits to Brookings until the end of the century, serving as an "informal ambassador of peace and friendship". Fujita died in 1997, the same year Brookings made him an honorary citizen. The site where one of the bombs landed has become a historical monument.

Background
The Imperial Japanese Navy (IJN) had been experimenting with submarine aircraft carriers since 1925, of which many were B1 type submarines of the I-15 class. The stored aircraft were Yokosuka E14Y floatplanes, nicknamed "Glen" by the Allies, and were used primarily for reconnaissance. One Warrant Officer stationed aboard the I-25, named Nobuo Fujita, contrived an idea to make bombing runs using the floatplanes. The idea impressed his executive officer, who submitted a detailed letter to naval headquarters.

The I-15 returned to Yokosuka on July 11, 1942, after a patrol that included shelling Fort Stevens in Oregon, and Fujita was summoned to Imperial Naval Headquarters. Commander Prince Takamatsu met Fujita and briefed him on a plan to start a forest fire in the Oregon forest. A large wildfire, he was told, might cause the American Navy to reposition its fleet and draw personnel from the  Pacific theater and spread panic. The I-15 departed for the Oregon coast on August 15, carrying a Yokosuka E14Y and six 168 lb. incendiary bombs.

The first attack (September 9)
The I-25, commanded by Lieutenant Commander Meiji Tagami, arrived off Port Orford, Oregon on September 7, 1942. Due to bad weather, the bombing was delayed for two days; the floatplane had to be launched during calm weather. During this time, the Oregon coast experienced unusually early rainfall, which made the forests moist.

Before dawn on September 9, 1942, the I-25 launched the floatplane flown by Fujita and Petty Officer Shoji Okuda. The plane carried two incendiary bombs. Fujita oriented himself with the Cape Blanco lighthouse and flew over the forest, dropping the two bombs. A Forest Service employee, named Howard Gardner, was stationed in a lookout tower on Mount Emily when he heard something sounding like a  Model A Ford backfiring. He was unable to identify the aircraft and reported it to the Gold Beach Ranger Station at 6:24 a.m. Fujita struggled to find the submarine, but eventually did and landed.

By noon, Gardner could see smoke and flames near Wheeler ridge; he radioed the ranger station again and was advised to proceed to the site. Another lookout, Keith Johnson, was stationed at the Gold Beach station and was sent to join Gardner. Together, the two men discovered a circle of flames encompassing 60 feet with a small crater in the middle. The fire was quickly contained, and over 65 pounds of bomb fragments sporting Japanese markings were recovered.

These remains were delivered to the U.S. Army detachment at Brookings, where Army officers and an  FBI agent examined them. Their diagnosis confirmed the attack could have been devastating had it not rained previously. Fortunately, a U.S. ban on weather broadcasting might have prevented the I-25 from holding off the attack. Government officials tried to keep the incident secret, but the effort failed as newspapers and word-of-mouth spread the story. Along the coast, blackouts became mandatory.

During the investigation, the I-25 came under attack by an A-29 Hudson, a Maritime patrol aircraft who spotted the crew while surfaced. Commander Tagami crash-dove the submarine to 230 feet, attempting to escape. The A-29 dropped three 300 lb. depth charges, damaging an antenna and causing a radio room leak. The A-29 dropped seven more charges, but the I-25 escaped without further damage.

The second attack (September 29)
Commander Tagami advised waiting until midnight to attack again, believing America would be expecting another at dawn. At midnight on September 29, the I-25 surfaced 50 miles west of Cape Blanco and launched the floatplane again. Because of the blackout, almost the entire Oregon coast was dark, except for the Cape Blanco lighthouse. Fujita flew towards the lighthouse and then past it. After flying for half an hour over the forest, Fujita released the bombs and turned around, believing they had ignited this time. Again, Fujita struggled to find the submarine, but found it after following an oil leak.

Seven miles east of Port Orford, forest workers were remodeling the Grassy Knob lookout station when they reported an unidentified aircraft, sounding like a Ford Model-T with a rod out. A fire fighting crew was sent out the next day, and after a two-day search, neither a fire or bomb fragments had been found. Rough weather and heavy mist returned to the coast, and Tagami decided to abort a third attack.

Aftermath
A full investigation was launched by the FBI, which resulted in locating several bomb fragments. The story was reported in several newspapers on September 10, 1942.

Lieut. Gen. John L. DeWitt, the area commander announced, "The Western Defense Command is investigating the circumstances surrounding the discovery on Sept. 9 of fragments of what appears to have been an incendiary bomb. These fragments were found by personnel of the United States Forestry Service near Mt. Emily nine miles northeast of Brookings, Or. Markings of the bomb fragments indicated that the missile was of Japanese origin."

The floatplane carried had two bombs. Both were dropped, according to the Japanese records, but no trace has yet been found of the second bomb.

Fujita and his observer made a second attack on September 29, again causing only negligible damage.

Postwar aftermath
Nobuo Fujita was invited back to Brookings in 1962, after the Japanese government was assured he would not be tried as a war criminal. He gave the City of Brookings his family's 400-year-old samurai sword in friendship. Impressed by his welcome in the United States, Fujita invited three female students from Brookings to Japan in 1985. During the visit of the Brookings-Harbor High School students to Japan, Fujita received a dedicatory letter from an aide of President Ronald Reagan "with admiration for your kindness and generosity." Fujita returned to Brookings in 1990, 1992, and 1995. In 1992 he planted a tree at the bomb site as a gesture of peace. In 1995, he moved the samurai sword from the Brookings City Hall into the new library's display case. He was made an honorary citizen of Brookings several days before his death on September 30, 1997, at the age of 85. In October 1998, his daughter, Yoriko Asakura, buried some of Fujita's ashes at the bomb site.

Gameplay
The player controls a 3D character through  2D prerendered backgrounds that represent mansion locations. Each background utilizes pre-determined camera angles and are static; they do not scroll when the character moves. The background changes when the character moves to the edge of the screen or enters a door. By solving puzzles, the player opens new areas of the building to explore. Backstory is divulged through files and paperwork that is discovered.

Enemies will attempt to inhibit the player's progress. The most common are shuffling undead humans, called zombies, but mutant animals are also encountered, such as dogs, snakes, and sharks. Many weapons lay scattered in the mansion, including pistols, shotguns, and grenade launchers. Procured weapons can be equipped in the inventory screen. The character is stationary when aiming, but can still look up, down, and turn side to side. Firearms must be used in moderation as ammo is scarce. If wounded, health can be restored by using first-aid spray or consuming herbs. The game ends if the player dies.

Inventory space is limited, necessitating the use of item boxes. These special containers allow the player to store items for later use. They are also networked; an item placed in one box can be retrieved from any other. Progress is saved by using an ink ribbon at a typewriter. Ribbons are available in limited quantity.

When the game starts, the player chooses a character to control from the fictional Special Tactics And Rescue Service (S.T.A.R.S), a local law enforcement agency. Each character is slightly different. Chris Redfield is more resilient to damage, but has less inventory space. Chris also encounters Rebecca Chambers throughout his campaign. Jill Valentine encounters Barry Burton in her story and possesses attributes opposite of Chris. She carries a lockpick that opens certain doors, while Chris must locate the keys.

Plot
The game opens on the evening of July 24, 1998 near the outskirts of a fictional Midwestern United States town named Raccoon City, where several grisly murders have occurred. Victims were attacked in their homes and then cannibalized. Local law enforcement sends Bravo team of the fictional Special Tactics And Rescue Service (S.T.A.R.S) to investigate. When contact is lost, Alpha team acquires a helicopter and searches for the missing squad. Bravo's helicopter is eventually located, but there are no survivors. Alpha team is suddenly attacked by ferocious dogs; squad member Joseph Frost is killed while pilot  Brad Vickers flees in the aircraft. The dogs pursue the remaining Alpha members who seek refuge in a nearby mansion.

Because the dogs roam outside, the last four S.T.A.R.S. members (Albert Wesker, Chris Redfield, Barry Burton and Jill Valentine) are trapped within. Exploration of the mansion reveals scattered documents and files suggesting a series of illegal experiments were being undertaken by a clandestine science team. All research was supervised by the fictional Umbrella Corporation, a pharmaceutical conglomerate. The horrific creatures roaming the mansion and surrounding region are the results of being exposed to a fictional mutagenic biological agent called the T-Virus.

The player discovers a secret underground laboratory containing Umbrella's experiments. In the lab, Wesker reveals himself to be a double agent employed by Umbrella and releases the Tyrant T-002, a giant humanoid monster created through prolonged exposure to the T-Virus. Upon release, the Tyrant impales Wesker and attacks the player. The creature is apparently killed by the player, who flees to the lab's helipad. The player radios Vickers as the Tyrant bursts through the helicopter pad. After Vickers drops a rocket launcher, the player finally destroys the creature and escapes in the helicopter. The ending varies depending on choices made by the player.

Development
Production of Resident Evil followed the 1993 release of  Goof Troop, an SNES game designed by Shinji Mikami. He had grown tired of "lighter" projects and longed to develop a mature title. Makimi spoke with his mentor Tokuro Fujiwara, creator of the Mega Man series, and was told to make a horror game similar to  Sweet Home. Like the aforementioned game, Resident Evil is primarily set in a mansion and uses animated doors to mask loading screens. Mikami designed the game's events using a flowchart and notes; he believed a "haunted house" setting was a concept that did not necessitate a plot or script. Management at Capcom felt otherwise and constantly chided him to finish the story.

Horror films were influential, particularly George Romero's  Living Dead series,  Ridley Scott's Alien, and  Steven Spielberg's  Jaws. Mikami had originally decided ghosts would be the primary antagonists. He later changed his mind, stating "I wanted to do a really scary game, not ghosts or crap like that, but real monsters that you could see that would come and attack." Zombies were believed to offer more tension by exciting the player's fight-or-flight response. Puzzles and mysteries were designed to break up combat and balance gameplay. The game's use of 3D characters superimposed over pre-rendered backgrounds was inspired by Alone in the Dark. Makimi was also inspired by Alfred Hitchcock's  Psycho to write scenes that stimulated the player's imagination. One example is the game's introduction where the player hears a gunshot and is ordered to investigate alone.

A live-action introduction was shot near the Tama River and starred actors Mikami had personally chosen. Because time and money were factors, he culled them based on appearance. In retrospect, Mikami regrets the decision and wishes he had based his selections on performance instead. The movie featured a scene where a man is violently ripped apart with grotesque results. The introduction was deemed too graphic for western audiences and was subsequently censored.

Release and ports
Near the time of release, The development team composed nearly 40 people and Resident Evil was being prepped as Capcom's flagship title for the Playstation. The staff were very worried about people's reactions to the game. In an interview, producer Hiroyuki Kobayashi described their anxiety, "...it was basically a band of creators...believing in an idea, putting together a game, but not knowing if people would like it, not knowing if it would sell..." Contrary to their perceptions, the game was enthusiastically received by gamers and lauded by critics when released for the Sony Playstation and Sega Saturn in 1996. A port for the personal computer was published by Virgin Interactive on September 17, 1997.

An enhanced version of the game was released as Resident Evil: Director's Cut. It was released in the United States on September 30, 1997 and contained a demo for Resident Evil 2. The live-action introduction was slated to be replaced with the uncensored Japanese version. However, a mix up regarding copyright information occurred between Capcom US and Capcom Japan, leaving the introduction unchanged. The original US version was retained alongside a new beginner difficulty. "Arrange" mode increased enemy difficulty, changed certain camera angles, and included new costumes. A similar release, entitled Resident Evil: Director's Cut (Dual Shock), allowed vibration-feedback via the Playstations's DualShock controller.

A Game Boy Color port was originally scheduled for release in Fall 1999. UK developer HotGen handled the project, which would retain the pre-rendered backgrounds and camera angles. An innovative save feature was planned to allow players to pause/save the game when the console shut down. The title suffered several delays, and on March 22, 2000 an announcement stated the game had been canceled. Capcom of Japan reported they were dissatisfied with the quality of the project.

The Nintendo DS handheld console received a remake, entitled Resident Evil: Deadly Silence. It was released on February 7, 2006 to commemorate the tenth anniversary of the series. The gameplay was tweaked to enhance combat, resulting in an abundance of ammunition and enemies. Deadly Silence utilizes DS features, such as the stylus to knife enemies and the microphone to solve puzzles. Simultaneous display of gameplay and a map is achieved using the peripheral's dual screens. The game also featured a multiplayer mode, allowing cooperative and competitive gameplay via Wi-Fi.

GameCube remake
This section is linked from List of best-selling video games thumb | 200px | right | The opening scene from the GameCube version. In 2001, Capcom revealed plans to release a remake of Resident Evil for the Nintendo GameCube, directed by Shinji Mikami. The game was released as the first in a series of titles developed exclusively for Nintendo. While the game retained the original's core gameplay and plot, it also featured significant changes, including a new CG introduction and a redesigned mansion. Capcom later stated that 70% of the original game's content had been changed. Resident Evil was released on May 1, 2002 and became the first M-rated title for the GameCube. The remake saw improvements to graphics and sound design. Several people were auditioned to motion-capture for Chris and Jill's character models. Around 60% of the motion-capture data was used to construct the characters' animations, and the rest was handmade. The game still utilized pre-rendered backgrounds, but Capcom merged them with full-motion animations to create animated backgrounds. Real-time lighting was included and allowed light sources, such as lightning, to illuminate dark rooms and cast shadows. Capcom also employed Soundelux Design Music Group&mdash;who had previously worked on films, such as Braveheart&mdash;to oversee sound design.

Several new features were added to gameplay. A new defense maneuver allowed the player to escape grasping enemies by attacking with a secondary weapon, such as a dagger. The player may also perform 180-degree turns, a feature that originated in Resident Evil 3. Previously, zombies could not traverse the mansion; in the remake, they can ambush passing players by opening doors. Dispatched zombies will resurrect as more powerful zombies called "crimson-heads". The player prevents this by shooting the zombie's head off or burning the body.

In 2008, IGN reported the Resident Evil remake was being ported to the Nintendo Wii in Japan for a December 25 release date. Japan had previously received a Wii edition of Resident Evil Zero. Similarly, Resident Evil will see minimal changes in the transfer to the Wii. The player will now have the choice of using the Wii remote and nunchuck, or the GameCube and  classic controller. Plans for an international release have not been reported.

Reception
The GameCube version of Resident Evil sold over 1.35 million copies.

The PlayStation game was a best seller in North America. The game received mixed reviews from critics. For example, GameSpot praised the game while Computer Gaming World gave a more mixed review for the PC version (in which the violence was unedited, see below) in explaining that they "tried to hate it with its graphic violence, rampant sexism, poor voice acting and use of every horror cliché however...it's actually fun." In total, according to Capcom's Investor Relations website, the original Resident Evil has sold 2,750,000 units.

The GameCube remake of Resident Evil has managed to sell 1,350,000 units in total. GameSpot said about the remake: "Capcom has nearly perfected its craft and created the best Resident Evil ever". IGN mentioned at the time that the remake was "The prettiest, most atmospheric and all-around scariest game we've ever played".

The critical response to the remake was almost universally positive. One example is Famitsu who gave the original 38/40 and the remake 39/40, making it the highest ranking Resident Evil game and one of only 17 games to achieve such a high score.

Legacy
Resident Evil: The Umbrella Conspiracy is the 1998 novelization of the 1996 video game, written by author S. D. Perry as the first book in her series of Resident Evil novels. The novel combines Jill and Chris' scenarios into one narrative and features all five of the main characters (including Barry Burton and Rebecca Chambers).

The book was written a few years before the Nintendo GameCube remake, and so omits the presence of Lisa Trevor in the mansion. However, the book does allude to the original version of George Trevor's journal from The True Story Behind Biohazard, as well as the short story it contained Biohazard: The Beginning, which involved the disappearance of Chris Redfield's friend, Billy Rabbitson. Another notable difference in the novels is moving the location of Raccoon City from the Midwest to Pennsylvania.

Formation & Silver: 1993-1995
Starflyer 59 was signed to Tooth & Nail Records, their original and current label, after Jason Martin gave a demo to Brandon Ebel when the two met at a music festival in 1993. Shortly afterwards, Ebel contacted Martin and offered him a record contract. By the end of the year, Starflyer 59's debut album, Silver, was recorded and released.

In mid-1994, Starflyer 59 released a follow-up EP to Silver entitled She's The Queen. Fans who had purchased Silver and new listeners who were beginning to hear more about the band had begun to say that they "liked the second album more than the first." Interestingly, this somewhat angered Jason Martin, as he did not intend for the EP to be considered any sort of album whatsoever. He felt there was no reason to compare the two pieces of work to each other. Either way, the fanbase for Starflyer 59 was beginning to grow.

In 1995, Starflyer 59 released their second album, Gold. The sound was similar to their first release, while Jason Martin continued to add layers of guitar riffs to each song. Original response to the album was generally negative. Many who had enjoyed the band's debut were disappointed with the release, partly because the songs had a somewhat depressive tone and continued on for minutes and minutes on end. Eventually, people began viewing Gold positively. Sales of the album suddenly jumped and it nearly tripled the sales of Silver.

For Starflyer 59's next album which was released in 1997, Americana, several changes to the band were made. Bass player Andrew Larson departed, being replaced by Eric Campuzano (The Prayer Chain). In addition, Wayne Everett, also of The Prayer Chain became the band's studio drummer, a role that had previously been held by Jason Martin himself. High tensions in the studio during the recoding of the album led Campuzano to leave the band before it began touring to support the new album. Replacing him was Jeff Cloud, who had been Starflyer's touring manager.

The release of The Fashion Focus in 1998 signaled a significant change in the direction of the band's sound, largely due to the influence of producer Gene Eugene. Where previous albums had emphasized guitars and loud rock and roll, The Fashion Focus was a significantly softer album. This album featured the introduction of keyboards in the music, which replaced layered guitars. The new sound was more pop-friendly than earlier albums, while not abandoning the signature Starflyer sound. Everybody Makes Mistakes, released the next year, continued in the same direction as The Fashion Focus.

On November 21, 2000, Starflyer 59 released Easy Come Easy Go, a two-disc "best-of" set. The first disc containing some popular greatest hits, while the second disc was a collection of rarities, B-sides, and a number of live performances. 2001 saw the release of Leave Here A Stranger, Starflyer's next full length album. The band's sound continued to evolve, as Leave Here A Stranger would come to be lauded and praised by many music critics as Starflyer 59's best release to date. After the untimely death of Gene Eugene, Martin called on long-time musical hero Terry Scott Taylor to take over production of the new album. In a tribute to the Beach Boys' monumental album Pet Sounds, Leave Here a Stranger was recorded in mono.

From 2003 to 2006 Starflyer 59 released one full-length album a year; all of them self-produced. The first of these albums was Old. Old maintained a more pop-oriented sound that had begun with The Fashion Focus, but was also more guitar-oriented than Leave Here A Stranger. However, the music of Old was still significantly softer than the band's early work. In 2004, I Am the Portuguese Blues was released. With this album, Starflyer 59 returned to the heavy guitar format that was so prominent on their early albums Silver, Gold, and Americana, as well as the monochromatic album covers that had characterized these albums. I Am the Portuguese Blues was not a true follow-up to Old, but instead was a set of older songs that Jason Martin had written for a follow-up album to Americana. The material was originally shelved when the band shifted gears and instead recorded The Fashion Focus. This was a treat for fans of Starflyer 59's older material, but confused many newer fans and critics who were familiar with Starflyer 59's more recent pop-friendly work.

2005's Talking Voice vs. Singing Voice saw the band change their sound yet again, to a style that seemed a more natural follow-up to Old than I Am the Portuguese Blues had been. For this album, Starflyer 59 was cut down to two members: Jason Martin and drummer Frank Lenz. It would be the first studio album since Americana to be recorded without bassist Jeff Cloud. Despite having only two band members, the songs on Talking Voice vs. Singing Voice have a full sound. This is largely due to the inclusion of guest string players on many of the albums tracks. Also in 2005, Starflyer 59 re-issued digitally re-mastered versions of Silver and Gold with bonus tracks. The re-issue of Silver came with the tracks of the band's follow-up EP, She's The Queen. Gold was reissued with the Goodbyes Are Sad 7 inch single and three of the four tracks from the Le Vainqueur EP. Many of these extra tracks, however, had been included on the 2-disc set Easy Come, Easy Go.

The band released their follow up to Talking Voice vs. Singing Voice titled My Island September 12, 2006 along with a music video for the song "I Win" off the album soon after. As the years go by, Starflyer 59 continue to release albums that seem to be a natural progression of the previous album, with the exception of I Am the Portuguese Blues. In 2007, Starflyer 59 had a special promotion among the most devoted fans, where they would release a total of 10 7-inch vinyl records over a period of months. Each 7" would contain a song from the forthcoming record, as well as a B-side that would be released only for the promotion. The 10 vinyl records, known as Ghosts of the Future, came with a custom wooden record box, and early buyers were rewarded with inserts signed by Jason Martin and Scott Hatch. Jason Martin has recorded his 11th full length album, Dial M, and it was released on October 28, 2008. Dial M consisted of the first track of each vinyl record from Ghosts of the Future, remixed and cleaned up.

Jason Martin's side projects include Bon Voyage, Pony Express, Starflyer 2000 (with Leigh Nash of Sixpence None The Richer) Enemy Ships (formerly known as The Emergency), Neon Horse, and The Brothers Martin. He has also produced albums for Fine China and MAP and performed work as a studio musician and guest musician on several albums.

Discography
Studio albums
 * 1994:  Silver
 * 1995:  Gold
 * 1997:  Americana
 * 1998: The Fashion Focus
 * 1991: Everybody Makes Mistakes
 * 2001: Leave Here a Stranger
 * 2003: Old
 * 2004: I Am the Portuguese Blues
 * 2005: Talking Voice vs. Singing Voice
 * 2006: My Island
 * 2008: Dial M

Compilations
 * 2000:  Easy Come Easy Go
 * 2009: Ghosts of the Past

EPs
 * 1994: She's the Queen
 * 1995: Le Vainqueur
 * 1999: Fell in Love at 22
 * 2002:  Can't Stop Eating
 * 2003: ''Old Demos
 * 2004: The Last Laurel
 * 2006: I Win
 * 2009: Minor Keys EP

Live Albums
 * 1996:  Plugged EP
 * 2002: Live at the Paradox EP)
 * 2005: Never Play Covers
 * 2006: Live at Schubas II

Members
Current members
 * Jason Martin - Guitar, Vocals
 * Trey Many - Drums (Velour 100 & His Name is Alive)
 * Steven Dail - Bass (Project 86 and Crash Rickshaw)

Former Members
 * Andrew Larson - Bass (Silver - Gold)
 * Eric Campuzano - Bass (Americana)
 * Jeff Cloud - Bass (The Fashion Focus
 * Dan Reid - Drums (Silver)
 * Ed Giles Benrock - Drums (Gold)
 * Wayne Everett - Drums (Gold -
 * Joey Esquibel - Drums (Leave Here A Stranger)
 * Richard Swift - Keyboards (Old)
 * Frank Lenz - Drums (Old - Talking Voice vs. Singing Voice)
 * Gene Eugene - Keys, Mixing and Production (Gold -