Developed and Published by: Capcom
Platforms: Switch (Reviewed), PlayStation 4, PlayStation 3, PlayStation Vita, Xbox One, Xbox 360, PC
Release Date: Out Now
After the successes of Revelations, a sequel is a welcome addition to the Resident Evil series, informing us further about the events that transpire in the gaps between the numbered entries. Whilst the initial Revelations game focused on Jill Valentine (in particular) and Chris Redfield in the gap from Resident Evil 4 to 5, Revelations 2 has a story set during the days from 5 to 6. It is built around returning characters Claire Redfield (Yûko Kaida/James Baker) and Barry Burton (Yûsaku Yara/Geoffrey Chalmers), giving them new backstory and development that is really intriguing to experience. Other than some familiar locations and names, there isn’t that much direct connection to that first Revelations game, but the episodic format, effort at introducing new gameplay ideas, and atmospheric vibe are carried across, even if it isn’t quite as neatly packaged. I am reviewing the 2017 Switch release here, with the original roll-out on other consoles in 2015.
Been Here Before
The game kicks off with a cinematic depicting a Terra Save work event where Claire Redfield and Moira Burton (Ayumi Fujimura/Marcella Mazde) are ambushed and taken away by a mysterious group. Next they know, they find themselves in a gruesome and enclosed facility where they have to work together to find their way out past the monstrosities known as the Afflicted – only to discover that they are on an unknown island and very much not out of trouble yet. Immediately, the environment design is of a different tone to that of the Queen Zenobia cruise ship of Revelations; whilst the cramped feel is present, Revelations 2 is much more grimy and evidently unclean, with spiked traps, prison cells of enemies, and dirty, blood-splattered floors to unsettle you. This goes some way to masking the rough edges in the visuals as they blend into that look, but is unrefined in places with quite frequent flat textures and blurriness. It reminded me a lot of Saw and that style of horror, and that continues on with the way the plot plays out.
Each episode of the story has both a section playing as Claire/Moira and also one as Barry with a new character, a child named Natalia Korda (Aoi Yûki/Gabrielle Pastore). They sync up to a degree, being in slightly different times but connecting as each duo makes their journey through Sejm Island. Barry Burton is going there in search of Moira – his missing daughter – and when he gets there discovers the lost Natalia, who seems to have some link to events that she herself is not yet aware of. It’s very much an even split of game time, in contrast to how the Jill sections were clearly most prominent in Revelations; there is a nice balance struck of making both sides of the narrative feel sufficiently developed. Whilst the environments can leave improvement to be desired visually, the characters models are proficient; furthermore, the cutscenes are fantastic, brimming with a self-aware, slightly over-the-top drama similar to Resident Evil 5.
Switching from one pair to the other also changes the way you approach scenarios; each has one character that is more orientated towards direct damage, and another who can help with that but is more focused on exploration. Claire and Barry are the ones best at dishing out the firepower through the solid and satisfying gunplay of shotguns, machine guns, and more, whilst Moira and Natalia are able to spot hidden items in the environment. This method of finding items essentially replaces the Genesis scanner device in the prior game – personally I found the Genesis more satisfying, as in that case I didn’t have to switch characters in solo in order to find items; yes, you have the choice to either play the campaign solo or with a friend! It must be noted that this is only for local multiplayer, as online play is not supported. That is a slightly disappointing drawback, but considering Revelations had no campaign multiplayer at all, it’s tough to complain, and I’m glad this was added in.
Keeping inventories stocked is crucial, so it isn’t an area of the game to ignore – whether they’re ranged weapons, or the medical items for healing, stopping bleeding, or wiping off gunk. These latter two both decrease your vision on-screen, with visual effects that up the tension dramatically; the other character is able to help you out with those items, encouraging that teamwork. This is the case when playing either solo or co-op, as you can manage both inventories when solo. I spent most of my playtime as Claire/Barry, but the different skillsets led to each duo feeling as though they were a team, instead of one being dragged around by the other.
Additionally, Moira has a crowbar to attack and open new routes, and Natalia can throw bricks to compromise enemies. Natalia has the ability to see enemies that others cannot whilst crouching; she can locate enemies through walls, and there are even some that Barry just cannot see, but Natalia can point out for him. This in particular is a thought-provoking inclusion, as it stops you running in and makes you be more considered in your approach if you don’t want to accidentally run into a fatal encounter. On the other hand, there are a bunch of other concepts that aren’t that original or even used much – for example, finding drills to take down the occasional blocked path, or as aforementioned, needing Moira to open certain doors. There are quite a lot of new ideas here, and it may have served the game better to cut some of them and better flesh out others.
As the story progresses, Claire and Moira meet up with a bunch of other survivors who have been fitted with bracelets similar to theirs, that change colour depending on the level of fear they are experiencing and allow the enigmatic Overseer to contact them. This is what is producing the Afflicted; people are being overtaken by the fear experiments. At this point it’s got that slasher movie vibe, especially as some characters are picked off one by one – the game didn’t do much to invest me in most of this new group, though, which limits the impact felt. After this sequence, the game quite quickly reverts back to a more expected Resident Evil approach of corridors and monsters – this is fine, but after the initial set-up it seemed to be going for a very different approach akin to torturous horror. For my nerves it may be helpful that it didn’t go that way, but it is also disappointing that they didn’t follow through.
Despite this, as you’d expect from a game with the Revelations name, there are many dramatic moments interspersed through the episodes to hold your attention. The father/daughter dynamic between Barry and Moira sets this game apart in the series too, and is a developing bond that – whilst not a masterpiece of storytelling – certainly got me invested in hoping they would not only survive but also be able to resolve their differences. At first it seemed that Natalia may be the child you have to look after and slow down for, but actually she has a fascinating plot of her own and contributes to their survival. Natalia helps Barry realise aspects about the way he has handled being a father – again, this isn’t superbly layered stuff, but it is there.
The island setting has a decent amount of variety too, which prevents encounters from becoming too samey. People definitively used to live here, and the mix of rural and urban areas shows this, as well as some documents you find along the way that explain more about the downhill path that led to this. An eye-catching tower in the centre of the island signifies an action-packed ending, too! Without spoiling it, there are links to other Resident Evil games here that are welcome moments of continuity referencing. The game gathers momentum as it progresses and motivated me to see how it would play out in the ultimately cinematic finale. As with the first Revelations, the episodes are presented in a TV-style way, with recaps of previous events at the start of each and teases of the next episode at the end. This is such a great structure that lends itself to the way this series, and the Revelations games especially, use gameplay to build up to story beats.
Around Every Corner
That build-up inevitably means making your way past many infected opposition, and it’s praiseworthy that the new vein of enemy design is quite distinctive to this game. The underground style incorporates unsettling combinations of metal and organic elements; you will also go up against monsters made up of multiple parts of bodies that move in creepy, alternate ways. Having a variety prevents the fights from becoming samey – from insect creatures to infected that fire off ranged bomb attacks (seriously), you’re kept on your toes. Emphasising this is the previously mentioned way different characters tackle different situations. Furthermore, the boss fights are frenetic fun; even when not on the hardest difficulty, they’re a challenge, and supply that desperate sense of survival as you work out how to take them down.
It’s a shame that the puzzle design isn’t quite as inspired. It’s okay, but straightforward in comparison to some of the new combat ideas. I’d describe it as serviceable; not bad, but it felt as if I was just working through those areas in order to get to the thrills elsewhere. When the puzzles were combined with that aesthetic of being in a labyrinthine set of traps, there was at least that suspenseful setting to make them stand out more. Further hurting them, though, was that occasionally the solutions were not always clear, which breaks the flow of the game. It isn’t fun to fail and not really know why or how you were supposed to act in the situation. In a way, the best puzzles are in that combat – finding the enemies, deciding whether to sneak past or take them out, discovering their weak points.
Contributing to the quieter stealth approach is being able to hear Afflicted wandering around, and there are plenty of groans and shuffles to prick up your ears. The Revelations games are great at ambient sound, informing you through audio at which type of area you are in through the way surrounding noises are reverberating. They’re often combined with neat visual effects, such as the way that the screen and sound distorts when you go near an enemy you cannot see, letting you know to get out of there and find another way to judge the way forward. If this game had just had a bit more polish, particularly in the environment design, it could’ve reached another level of presentation and made the whole experience feel more cohesive.
One area of presentation where Revelations 2 does excel, though, is in the amount of extras on offer. The Switch release includes the two DLC episodes that focus on Moira and Natalia respectively, and they’re a mixed experience. Firstly, The Struggle has an intriguing premise where there is permadeath depending on the items you collect, and provides more details on a character from the campaign. However, it relies a lot on areas from said campaign and has an uninspired feeling as a result. After this, the Little Miss episode gives more backstory to Natalia and delves into her psyche; it’s short and isn’t the most refined example of stealth, but I much preferred this DLC as the gameplay better matches the story being told, and the soft mist applied to the spaces separates them from other parts of Revelations 2.
Beyond this, there is a vast quantity of game modifiers, figurines, pieces of concept art, costumes, and more to unlock that provide incentive to continue on after finishing the campaign. The points you earn from playing the game can go towards either these, or to new skills and then improving those skills. Additionally, there is a selection of collectibles in the campaign that go towards the unlock progression. Resident Evil games are great at giving this plethora of challenges, and this is a substantial example of that!
The most substantial of all may be the Raid Mode, a returning feature from the first Revelations. If you are not aware, this is where you compete in specific stages to complete the objective (often defeating all the enemies) in as efficient a way as possible. You can customise your character, choosing from a roster including returning faces not seen in the campaign, and then kit yourself out from a selection of skills, weapons, and more. This mode has the option of co-op, but differing from the campaign, it can be either local or online! With a really generous selection of stages that can be played in multiple difficulty modes, as well as Daily Missions, there is a fun experience to have here.
Intriguingly, quite a few of the levels I played through in Raid Mode had settings from Resident Evil 6 (which I am currently playing through!), reflecting how 6 chronologically is after Revelations 2 in the continuity. After Revelations used areas from the campaign in that Raid Mode, this is actually a refreshing change, providing a markedly different set of places to fight through. I find myself returning to these two games to play their Raid Modes as they’re such robust offerings with great characters to play as!
If I had to pick my preferred Revelations game, I would go for the first as it has a slightly more focused feel, and, well, I’m a Jill Valentine fan! Yet, Revelations 2 continues the interstitial series’ penchant for satisfying gameplay and thoroughly enjoyable storytelling. The ambition to incorporate different characters and several new gameplay ideas is to be praised, flaws and all; however, it may have been better to practice restraint on certain game mechanics and side characters. Backing it up is the fantastic Raid Mode and superb longevity, an emerging trait of the Revelations games. I really hope there are more Revelations games in the future, as it is awesome to discover more about where these characters go when we aren’t with them in the numbered series entries.
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