The Evil Within 2 - title

Okay, I said I would give up on Shinji Mikami after the first Evil Within game, but here I am giving that IP a second chance. I had heard that the expansions for Evil Within were actually pretty good, and that they even made the base game better by filling in some of the narrative gaps. But I was so furious with the base game that I sure as hell was not going to shell out more money for DLCs. If they were that integral to the core game, then they should have been included with the core game. Now that my furor over the original has faded a bit, I was hearing that the sequel is also much better than the original game and leans more heavily in the horror camp than the action shooter camp. I was dismissive of the game's announcement, and I was skeptical of the claims that the sequel was actually good, so I picked up a [relatively] cheap used copy off eBay so that I could give it a chance over the Halloween week without necessarily giving any more money to Bethesda.

The Evil Within 2 - Kidman
I feel like I missed something...
Maybe I should've played the DLC?

Besides, Shinji Mikami isn't the director this time around. Instead the sequel is directed by John Johanas, who was the director of the [supposedly] good DLC expansion packs. The first game actually did have some good ideas and set pieces within, so maybe a different directorial approach could bring those ideas out to their full potential?

A more focused package

To Johanas' credit, the game, as a whole, definitely has a more "unified" presentation. The first game felt very scattershot with regard to how it wanted the player to play. It's early chapters (which were also the most enjoyable parts of the game) were focused mostly on stealth, with a few pursuit and escape moments thrown in. It was slow, somewhat atmospheric, and built incredible tension. But those mechanics were quickly dropped in favor of shooting gallery set pieces, constant scripted ambushes, set piece boss encounters, and frantic, funhouse-ish trap / puzzle rooms. The sequel, thankfully, is much more focused. I didn't feel like I was wasting my resources by putting points into Sebastian's stealth skills (a skill tree that was completely absent from the previous game), as you can actually continue to use them over the course of the entire game. Sure, there's still scripted ambushes and puzzle rooms, but the focus is much more firmly planted in sneaking around, exploring the environments, and generally avoiding detection.

Unfortunately, there's still a bit too much of a focus on frenzied action. It detracts significantly from any sort of horror or tension that the game might be trying to build up. The autosaves are fairly generous (even though there are also manual save points in each of the game's safe houses), so enemies come in hordes, hit very hard, and deaths are going to happen. Chapter 3 basically completely desensitized me to death and put me in the habit of just standing up and letting the monsters kill me if I ever screwed up the stealth.

The Evil Within 2 - learning curve
The early combat encounters are not gentle, as they put you up against hordes of enemies.

There's a greater focus on open-ended exploration this time around, and Chapter 3 is the first open map that the player is free to explore. There's basically two main paths through it: the hard one and the easy one. The easy path is basically a straight line due north from where you start, but the game throws some curveball objectives at you that basically encourage you to try the other paths that end up being much harder. You're told about weapon caches and NPCs that you're supposed to try to save. One such weapon is the crossbow, which is actually a pretty necessary tool (because, you know, every game has to have a crossbow). It's right off to the side of where you start, but picking it up can easily lead you down a much harder path to your actual mission objective...

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Battlefield 1 - title

Nobody can make a game about World War I. Trench warfare is too boring. Nothing really happens. There isn't a strong, identifiable villain or good versus evil struggle.

Those are among the many excuses that people made for why all the video games are about World War II, and never about World War I. And then the gaming public and journalists got a glimpse of this:

The teaser trailer for Battlefield 1 was a smash hit.

That teaser trailer was damn good. People were excited. I haven't played a first-person shooter since Call of Duty: World at War, I generally hate online shooters, but even I was excited to try out this game! And other people were hyped about it too.

Now, I never really bought into the idea that World War I was "not video game material". I've long advocated for games to look at all periods of history for inspiration, and World War I is a monumental moment in world history that certainly deserves to be examined by games. The indie market certainly realized this, with games like Valiant Hearts and Verdun. But the big publishers have completely shied away from "The War to End All Wars".

This is a shame. The rapid technological advancements and radically new military tactics that evolved leading up to (and during) the war could be great material to examine in the form of a game. The widescale industrialization of warfare, the complicated politics, and the general fuzziness of the morality of the war are also ripe source material for dramatic storytelling. So it's about time to see this war thrust into the mass market spotlight.

I'd prefer to have seen a strategy game along the lines of Total War; but whatever, I'll give DICE and Battlefield 1 a chance.

The futile indifference of war

First impressions were actually pretty damned good. I was actually really impressed with Battlefield 1's campaign tutorial. It's basically a guided tour of the game's various core mechanics: shooting at enemy soldiers, capturing victory points, piloting vehicles, and so forth. It does a good job of introducing each of these mechanics and systems by jumping the player around between multiple characters in a large-scale battle.

But what really stuck out to me was how the tutorial transitioned between these different set pieces, and how it handled player death. This tutorial is actually surprisingly merciless and difficult. As you complete one set piece, the game gradually (and subtly) increases the threat until it becomes overwhelming and your character dies (or they just kill you after a timer expires), which allows the game to teleport you to the point of view of another character for the next set piece. The dying character's name and birth / death years are shown on screen during the transition, granting that character with a certain degree of humanization.

Battlefield 1: tutorial death
The excellent tutorial emphasizes the indifference and futility of "The War to End All Wars".

Depending on how good you are at the game, you'll go through between half a dozen to a dozen different characters, each with a name and an age. And they all die. The tutorial makes this war look brutal and futile. It even has an almost Dark Souls-like indifference to the player character, killing you without a second thought and forcing you to respawn as another poor, dumb bastard who's about to die for his country, rather than restarting you at a checkpoint until you get it right.

I even wish DICE had gone a bit further by also displaying the character's birth place and maybe even a snippet or two of other biographical trivia. Maybe listing some hobbies, or saying that he was on his high school's varsity football team, or some other little detail like that. DICE settled for just the name and birth / death year, but it's still effective and establishes a very strong running theme throughout the tutorial. The point is a bit undercut by the rapid pacing and by how conventional the actual running and shooting feels. But I still walked out of this tutorial excited by what the rest of the campaign had to offer.

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Resident Evil 7: Biohazard - title

It's been a long time since I've given a crap about Resident Evil. I loved the classic Resident Evil games. The Play Station original is a foundational game for me, and jump-started my interest in horror and the macabre. I felt like the series jumped the shark with Resident Evil 4, however, and my interest in the series tanked with its abandonment of horror in favor of schlockey action-shooter gameplay. I played through Resident Evil 5's co-op with a friend, but didn't really enjoy myself, and after playing the abysmal demo for RE6, I skipped that one entirely.

So I was genuinely excited by Resident Evil VII: Biohazard. The popularity of first-person horror games, and the phenomenon that was P.T. / Silent Hills (not to mention the success of Resident Evil REmastered on Steam) obviously seems to have kicked Capcom in the butt and reminded them that there is still an audience for genuine horror games - an audience that mainstream gaming has neglected for most of the last decade. I'm not sure if development of REVII started as a response to P.T., or if it was already in the works following the success of games like Amnesia, Outlast, and Alien: Isolation. Either way, it's good to see major publishers embracing the genre again.

The family's new - but familiar - mansion

This new Resident Evil really does go back to the franchise's roots. The early hours of the game actually feel a lot like a combination of the original Resident Evil and Resident Evil 3: Nemesis, but updated with a first-person camera and a lot of modern horror contrivances. Long-time fans of the series will recognize the safe rooms and item-boxes. The classic health status indicator is now part of a watch on the character's wrist that you can see whenever you pull up your inventory. There's a foyer with a balcony. Doors are locked by silly, esoteric puzzle mechanisms that require themed keys, crests or various other stand-ins for keys. There's even a booby-trapped shotgun to tease you at the start of the game. Some of these elements of design feel appropriate, while other ham-fisted call-backs admittedly feel like the developers were trying too hard.

Resident Evil 7 - main hall
The mansion is new, but has many call-backs to the first game.

The map is well-designed, with its claustrophobic hallways, shortcuts, and lots of visual detail. Lighting is excellent, though the game is a bit too dark at the recommended brightness level (at least without a flashlight), and it becomes washed-out at higher brightness settings. Sound design is also quite exceptional, with the game giving great audio feedback (especially for the pursing stalkers). I also like a lot of the little details, particularly how using a key to unlock a door takes a small amount of time, during which you are vulnerable.

The family also makes for some excellent antagonists, especially compared to the likes of stupid, campy villains like Albert Wesker and Salazar. These villains have a lot of character, and there's enough detail in the mansion to give a sense of who these people might have been before they went off the deep end: the collectible football bobbleheads, for example. And on top of that, they are genuinely disturbing and threatening, and the whole game would probably be scary enough if you just spent the whole time avoiding them and trying to escape their murder house.

Resident Evil 7 - the family
The family makes for genuinely disturbing villains that put RE's earlier villains to shame.

The save system is kind of an odd hybrid of the classic save system and more modern checkpoint systems. The logistics of the classic system have been scaled back, as you no longer require a consumable item (ink ribbon) to manually save (at least not on the default difficulty). But the game will also checkpoint you at certain points, and it maintains a single autosave slot with your checkpointed progress. So if you die to one of the obnoxiously-hard bosses, you don't have to go back a whole hour to your last manual save; instead, you get to restart at the most recent checkpoint.

However, the manual saves still have value, because Biohazard is structurally very similar to the original Resident Evil - both superficially and in terms of gameplay...

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The Evil Within - game title

I had some really high hopes for The Evil Within. It looked like Shinji Mikami was trying to bridge a gap between the survival horror trappings of the original Resident Evil and the more action-oriented shooter gameplay style of Resident Evil 4. The former was a slower-paced game that emphasized open-ended exploration, puzzle-solving, and resource management in a horror setting. The latter game dropped most of its horror ambitions in favor of totally campy action shooter schlock. Early trailers for Evil Within looked it would hit a good balance between the two styles.

I didn't jump right on this game at release because I saw some mediocre reviews and heard that it failed to deliver on its promises. After booting up the game, waiting for an hour-and-a-half for the 4.7 GB update file to install (what did this update do? Tack on a whole new game?!), navigating the slick title menu, and then proceeding through the first few chapters, I verified that the game does indeed fail considerably as a horror game.

But it is worth noting that The Evil Within (unlike Resident Evil 4 and Shadows of the Damned) does seem to be making a legitimate attempt at being a horror game, rather than just an action shooter with zombies. It just doesn't really succeed at this goal.

Early levels in particular are full of exceptional lighting and ambient effects that really help to build an ominous atmosphere. The addition of stealth mechanics does put a greater emphasis on avoiding direct conflict and encouraging a more cautious approach (compared to RE4's guns-a-blazing attitude).

I've heard a lot of complaints that this game's story doesn't make sense and is stupid. I think most of these people didn't finish the game (or at least get to the point around chapter 10 where the story is explained). The story makes sense. The problem is that the game is very disjoint and never really builds on these foundations.

The game's narrative causes the character to jump (seemingly at random) from place to place - even within a single chapter. Each new place quickly starts to feel like a narrow-scope set-piece for an action scene rather than any kind of terrifying world. The game and individual chapters lack narrative cohesion and unifying design. There's very little opportunity for the game to allow open exploration or atmosphere-building, since the whole game feels like a collection of randomly-thrown-together set pieces and battle puzzles. So even though the overall story makes sense (in retrospect), the individual scene and level-progression doesn't.

The Evil Within - reality warping
Reality is being warped, resulting in some trippy effects, but a very disjoint sense of progression.

The designers seem to be trying to mimic the Otherworld of Silent Hill, but the transition is so jarring, and the places feel so completely unrelated to one another, that it just doesn't work. You get through a pain in the ass, trap-infested maze while dodging monsters, only to be teleported to another maze area when you reach the exit! "OK, we're done with this area, let's just go to some other random challenge room." There's no sense of ever achieving anything because you're rarely ever allowed to actually go to the places that you are trying so hard to get to. And once that sense of futility sets in, any fear starts to dissipate. You're no longer concerned with getting out or saving yourself or even progressing the story because you realize that you can't achieve anything without the game giving it to you.

It's a real shame too, because some of these reality-warping mind tricks might be very effective if they were organically integrated into the flow of the game. I especially liked one bit in which a character falls down a bottomless pit, only to have the whole world re-orient itself so that the walls become the floor. So instead of falling to his death, he harmlessly rolls to a stop. Unfortunately, these effects lack subtly and feel random...

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Grand Theft Auto V - title

Grand Theft Auto V is a game that does not get off on the right foot at all. The intro tutorial is a complete mess.

Remember how in Grand Theft Auto IV, the protagonist was introduced in a cutscene during the opening credits? We learn about his personality and motivations, and why he is coming to America. Then you get off the boat, gameplay begins, and you are immediately given a simple driving tutorial in which you taxi your drunk cousin two blocks to his shithole apartment, all the while learning more about the characters and the game world itself. Then you do some simple taxi missions that let you practice driving while simultaneously letting you learn the layout of the city and soak in the environment. Then you start getting asked to beat people up and throw bricks through store windows and get tutorialized on how to fight, shoot, and do other advanced mechanics. And during all this time, the game slowly builds up a hatred and distrust for the criminals that you are working for while simultaneously laying the foundations of the game's depressing-but-exceptionally-introspective plot.

Remember all that? Remember how well that game was paced? Remember how the tutorials always showed up at appropriate times, explained a mechanic during non-interactive cutscenes so that you can pay attention to the instructions, then lets you practice the mechanic while it's fresh in your memory? Remember how well it slowly built up the important mechanics one at a time - as they became relevant - while also immersing you in the game world and building up its story to a climactic closing of the first act? Yeah, that was great game design, wasn't it?

Well, GTA V has none of that.

Grand Theft Auto V - intro bank robbery
An almost unbearable tutorial.

The intro tutorial literally throws the player into the middle of a bank robbery in progress. You have no idea who your character is, why he's robbing a bank, who your companions are, or what the "plan" that everybody keeps telling you to "stick to" is. Then it puts an assault rifle in your hands, and a tiny little box pops up in the corner of the screen with 6-point font telling you what to do while you're trying to do the thing that it's telling you to do - and hopefully not doing the wrong thing. And then they stick you in the middle of a gunfight with an entire small army of police, and these barely-visible text popups try to tell you how to use the cover mechanics, switch weapons, and trigger super powers - all while you're being shot at. Then you go for hours before using many of these mechanics again, so you forget them all because you had zero time to practice and remember them, and they were all thrown at you at once.

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A gamer's life...

Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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