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.
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.
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... [More]
Not having a GameCube meant that I unfortunately missed out on some pretty high-quality games. Probably the most notable ones were Eternal Darkness and the remake of Resident Evil, neither of which, by itself, was enough to sell me on a console. I've since been able to play through a friend's copy of Eternal Darkness, and I had started on Resident Evil, but never got around to finishing it. When the HD remaster showed up on PSN, I was hesitant to buy it, since I knew that I could just play it on my friend's GameCube eventually.
Best of both worlds at the tip of your thumb
However, something in the previews really intrigued me. And that was the compromise that Capcom found for the never-ending conflict between the tank-style controls of the original PSX game and the analog control of newer games. Since I grew up with Resident Evil, Silent Hill, and other survival horror and similar adventure games, I've never had a problem with tank controls. They tend to be the lesser evil when dealing with static camera angles that change unpredictably (as in Resident Evil), and they are perfectly serviceable for behind-the-back or overhead cameras (as in the outdoor areas of Silent Hill). This ensures that the controls remain consistent during camera angle changes, since they are always relevant to the character rather than the camera.
But apparently, some people hate that control paradigm. They criticize it for making the characters feel too slow and lumbering, and that it lacks precision. The controls have oft been cited as one of the reasons for Resident Evil's declining popularity after Resident Evil 2, and supposedly ditching them was a major factor in the "renaissance" that was [supposedly] Resident Evil 4. But let me remind you that Resident Evil 4 had the exact same controls, and the character was just as slow and lumbering (if not moreso). The only difference was that the camera was moved to behind-the-back, and the gameplay switched to an action shooter rather than a more adventure-puzzle kind of game. So really, your problem was never with the controls...
The original Resident Evil was criticized for how its controls and camera lead to frequent blind corners,
wasted ammunition, and cheap kills. The critics were right, but it wasn't game-breaking...
Regardless, analog control has its own baggage train of problems. Pressing the stick in one direction can cause the character to make sudden changes of direction if the camera suddenly changes. This can be mostly avoided by locking the character's movement as long as the player doesn't release or rotate the stick - and the HD Remaster does implement this. But this still leads to sudden turn-arounds when the player needs to move the character around a corner, since you sometimes have to move the stick to the exact opposite direction that you were pressing. And in cases in which the camera angle changes at the point where a change of direction is required to go around a corner or navigate an obstacle (which happens often), then the character can easily get lost in a cycle of spinning around between the two camera zones.
So there is no perfect solution to the problem of static cameras, but I tend to prefer the tank method due to its guarantee of consistency - even at the cost of some slow turning speeds. In any case, advocates of either paradigm should find exactly what they want in this remaster, since both configurations are implemented in the remastered game's default control scheme! Capcom's clever (and elegant) solution was to simply map the tank controls to the directional pad, while leaving the free analog movement on the analog stick. Players are, thus, free to alternate between whichever control they prefer without even having to go into a menu to change it. You can even alternate between them, on the fly, in the heat of the action if the situation warrants it, because I can definitely see how the analog movement could work well in some of the [rare] larger, open areas of the map (particularly for boss fights).
It's OK to hate these red-headed step-zombies
Most of the changes introduced in the GameCube remake serve to add further challenge. The most prominent display of this is the new "Crimson Head" zombie mechanic. If you kill a zombie and didn't manage to get lucky enough to blow its head off, you must burn its body in order to prevent it from resurrecting later in the game as a more dangerous "Crimson Head". These red-headed zombies are faster and more damaging than their precursor form. They can rapidly run across a room and grab you before you even realize they are there. They are also very well-tutorialized, since most players will probably encounter their first Crimson Head while attempting to retrieve the Armor Key from the hallway trapped with suits of armor on rails. The previous hallway includes a dead body that (if you didn't go out of your way to burn previously) will resurrect at this time. This hall has a system of mirrors in place that allow a tremendous degree of visibility from virtually every camera angle, meaning that whichever door you enter from, you'll have an opportunity to see the Crimson Head coming after you. It's a frantic and frightening moment!
Bodies that you don't burn will resurrect as faster, more deadly "Crimson Heads"
that are difficult to avoid and require a second investment in resources to defeat.
Almost any zombie in the game can potentially turn into this more dangerous form. Destroying their head with a lucky shot or burning their bodies are the only ways to permanently ensure that they can't attack you... [More]
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.
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... [More]
Well, it's finally time for me to buy a PS4. I avoided it for a year and a half because there weren't any games that I cared to play that weren't also available on PC or PS3. But, since Bloodborne is a PS4 exclusive, and I'm a huge Demon's Souls and Dark Souls fan, I had to cave and buy the new console in order to play this game. Luckily for me, this game is good enough to be a console-seller, and I don't regret my purchase one bit!
Bloodborne is finally here! Praise the moon!
Soaking yourself in the blood of your prey
Mechanically, Bloodborne does not deviate significantly from its Souls predecessors. Most of the controls are the same, and the game was immediately comfortable for me, being that I'm an experienced Souls player.
But the way that the game is played deviates significantly from the previous games - much moreso than Dark Souls deviated from Demon's Souls. The three Souls games strongly favored defensive gameplay tactics and a more cautious, patient style of combat. Dark Souls II tried to encourage faster, more aggressive gameplay by further developing two-handed melee combat, but that only applied to specific character builds and was only moderately effective. Bloodborne enforces an aggressive model as practically the only viable one.
Bloodborne removes the comfort and security of a shield and replaces it with a steampunk gun. The gun's range is limited by the ability to acquire a target lock-on, and there's no manual aim that I'm aware of, so you can't sit back and snipe enemies from a safe distance. Some of the functionality of the shield does carry-over to the gun though. For example, shooting an enemy as they attempt to attack you will stun them, and you can follow-up the "parry" with a critical "visceral attack". But since this is a gun and not a shield, you can perform this parry at range, which opens up some new tactical possibilities.
Bloodborne adds guns to the familiar Demon/Dark Souls formula, but still encourages aggressive, in-your-face combat.
And since you don't have a shield, you're going to take a lot more direct hits than you would in the previous games. In order to offset this, you can regain some of your lost HP by attacking an opponent immediately after taking damage and infusing yourself with their blood. Literally. There is a lot of blood in this game, and it will stick to your character and soak you from head to toe if you survive long enough.
These features strongly encourage more active and technical play, since you're more likely to survive by counter-attacking than by running away and hiding. You can't get away with just holding up your shield and tanking through levels with the basic 3 or 4-hit sword combos. You need to learn the more advanced maneuvers and techniques that the game offers, and you need to use them. This keeps the player in the thick of the action and the pace of the game on overdrive. It also adds a lot of apprehension, since you can't run around the level with a shield up in case an enemy jumps out at you. You constantly feel exposed and vulnerable. These changes don't necessarily make the game "better" than the Souls games, but they do encourage and reward better play. Both models are valid and fun, but Bloodborne does get the adrenaline pumping in ways that Dark Souls just couldn't [outside of PvP]. In fact, after playing Bloodborne, you may go back to Dark Souls (or Demon's Souls) and find that you're suddenly better at those games too!
Similarities to Devil May Cry abound.
In fact, Bloodborne's combination of guns, swords, trenchcoats, gothic horror, and brutal difficulty remind me a lot of the first and third Devil May Cry. While Devil May Cry encouraged melee combat by rewarding "style" points that converted directly to currency to pay for character upgrades, Bloodborne forces you into melee by making it a way to keep yourself alive! So it's more fundamental. It's doesn't get quite as fast and fantastical as Devil May Cry because the character doesn't have all of Dante's powers, and you have to deal with ammo restrictions. You can only carry a finite amount of bullets, so you can't go over-the-top with your gun or stay too far away from the action... [More]
With a new generation of consoles coming into their own, the lifespan of the PS3 and XBox360 is rapidly coming to an end. It's not quite as monumental as the end of the PS2's lifecycle, which is arguably the single best gaming console ever made! With the PS3 and XBox360, our console games started to have consistent online functionality, and with online functionality comes a sad side-effect: a game's life-span is finite. I can always go back and play my favorite PS2 games (like Silent Hill 2, Metal Gear Solid 3, Ace Combat 4, Ico, Shadow of the Colossus, Gran Turismo 3, and Devil May Cry) and have pretty much the same experience that I had the first time I played. But I won't be able to do that with some of my favorite PS3 games, because some of them have online features that won't remain active forever.
As long as my PS2 is functional, I can always go back and re-play my favorite PS2 games.
PC gamers have been dealing with this problem since the dawn of the internet, but they have work-arounds. PC Games can be modded to support direct TCP / IP connections in order for their online communities to stay online. Hypothetically, you could keep your favorite MMO alive for yourself and your circle of friends in this fashion. But with console games, there are much more significant technical hurdles to overcome, and when the producer shuts down the servers, that is basically the end of that game.
And that is exactly what is going to happen some day with my favorite PS3-exclusive: Demon's Souls.
Every console has its defining games - those games that are reasons for owning the consoles. The original PlayStation had Final Fantasy VII and Metal Gear Solid, the Nintendo 64 had Goldeneye, the Dreamcast had Shenmue and Soul Calibur, the XBox had Halo, GameCube had Resident Evil 4 and Eternal Darkness, the PS2 had Shadow of the Colossus. For me, Demon's Souls is that game for the PS3: the game that makes owning a PS3 worthwhile.
Demon's Souls is a game that completely redefined the way that I think about gaming. My ideas about how a player can interact with a game world and with other players were completely turned on their head with this game. So I want to take a moment to pay tribute to this masterpiece of interactive art with a full review while its servers are still up and running. And maybe - just maybe - I can sell a copy or two to some new players.
The gameplay is based on a simple control configuration in which weapons are mapped to the left and right hand and controlled with the left and right shoulder buttons (respectively). The design is reminiscent of a simplified version of FROM's other major game franchise: the mech-combat sim Armored Core. Weapons equipped in the right hand have a basic attack and a heavy attack, and weapons or shields in the left hand have a block and heavy attack (sorry, lefties, no left-handed characters for you!). These basic controls are very simple, and any player can start hacking and blocking away as soon as they pick up the controller. But more advanced controls and variations in weapon functionality make this seemingly-simple combat system very deep.
Each weapon class has different movesets, ranging from the slashing of a sword to the thrusting of a spear, to smashing of a giant hammer. And shields (and some off-hand weapons) have an advanced parry feature that allows you to stun and counter an attacking foe to land a critical hit. You can also attack while running or out of dodges in order to keep a foe guessing. Mastering these various features takes a little bit of time, but it is immensely rewarding when you finally have the skills to go toe to toe with a giant, butcher-knife wielding skeleton with confidence. But don't get overconfident, because this game will punish you for every mistake!
With patience and practice, you'll soon stand confidently before the Vanguard that killed you in the tutorial.
If you die, you lose all your accumulated souls (i.e. "experience"), and must restart the level from the beginning! But there is a shining glimmer of hope: you have one chance to reach the spot where you died in order to recover your lost souls. If you get there... [More]
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