Drop (Un) Dead: The Creatures of Retribution

Drop (Un) Dead: The Creatures of Retribution is a special featurette in certain copies of the Resident Evil: Retribution DVD.

Content
The featurette starts with the description of "Majini Undead", first appearing in the previous movie. Anderson explains that they are a zombie mutation, describing them as "evolving". The reason for the Majini Undead was for continued suspense, given that the slow shambling zombies of the first two films can be escaped by running. The Majini Undead are live-action actors who's faces are edited in post-production to include the mandibles, which are themselves a physical prop.

A brief interview with the cast begins. Kevin Durand (Barry Burton) starts, describing his character being attacked by "Red Army Zombies" infected with the "Las Plagas virus". Johann Urb (Leon S. Kennedy) explains that the "Las Plagas parasite" increases a zombie's strength and intelligence. Kevin continues, adding that the zombies are now capable of driving motorcycles and using RPGs. In designing the Majini Zombies, Anderson adds that there were some problems with the zombies' blindness, which was rectified.

Moving to make-up it is explained that make-up varies wildly in how it takes to make and apply, with some make-up being made in a very simple manner and other taking a long tie. Michelle Rodriguez is shown in zombie cosmetics as an example of how the actors have to get used to their cosmetics so they can act the part.

The Lickers return as evolved "Uber-Lickers" as big as a car. A new muscle shading and rendering system was engineered to make their muscles look photo-real during the chase. The Uber-Lickers have been devised to encapsulate people in cocoons made from flesh and bones, and that the bones may close up and crush people reaching in to save the encapsulated.

"Dragon-style creatures" (based on Resident Evil 5's Kipepeo) were introduced to challenge human air superiority, given only the Crows of Extinction have been shown taking to the air. Reflecting on the Tokyo headquarters and Los Angeles prison in Afterlife, human technological superiority is no longer a factor in ensuring survival, since even large walls are now ineffective.