Resident Evil 3 Review

Developed and Published by: Capcom
Platforms: PlayStation 4 (Reviewed), Xbox One, PC
Release Date: Out Now


Jill Valentine (Nicole Tompkins) is improvising. After the monstrous Nemesis (David Cockman) spontaneously smashes into her Raccoon City apartment amid the beginnings of the T-Virus outbreak, she has seconds, if that, to make choices that keep her alive. Instinctive dodges, reflexive decisions to block the path behind her, and a fiery determination to avoid the clutches of the closing tentacles leads her outside, where she discovers the extent to which the situation has escalated. Infected residents are all over the streets, amid survivors running desperately for safety. Fellow Special Tactics And Rescue Service member Brad Vickers (Darren O’hare) appears and informs her about the creature she just narrowly avoided; it is set upon hunting down those in the S.T.A.R.S. group with relentless tenacity. In the following sequence, Jill makes her way through more infected, meeting Nemesis again in a brutal face-off with another narrow escape before the first moment where you can catch your breath.


Know Your Enemy

This is the brilliant, heart-racing opening to Resident Evil 3, the remake of Resident Evil 3: Nemesis that was initially released in 1999 on the first PlayStation. It’s been revamped with the same RE Engine introduced for the recent remake of Resident Evil 2, switching the fixed perspectives up for a contemporary third-person over-the-shoulder viewpoint of 3D environments. Just before the sequence described above (and after a delightfully stylised opening roll), you spend a few first-person moments as Jill in her Raccoon City apartment that immediately makes clear not only the production value, but the intricacy of the visual upgrade. The character-informing posters, the detailed notes of her investigation into Umbrella Corporation, the food left on the table; it’s all-encompassing. From there, you go to the bathroom window, switch to third-person, and away you go, soon into that first meeting with Nemesis.

If I was making a list of the top ten video game openings, Resident Evil 3 would be in there (that’s actually a fun idea, may do that!). It grips you with immediate effect and does not let go, even after the credits roll! On my journey through the Resident Evil series this year, this has undoubtedly been the high point, combining the tense survival horror and incredible, dramatic action of the series into one cinematic package. Pacing is exceptional, never lingering too long in a tone or setting; the balance makes the game very malleable to differing play styles and speeds. My first run took around 4-5 hours, similar when on thorough collectible searches, but you can also feasibly finish the game in under two hours if you know how to operate. Put it this way: I have played through this game 5 times so far, and am enthusiastic to go again!

Yeah, stay away from Nemesis

The majority of Resident Evil 3 is spent playing as Jill Valentine; the game is set post the Mansion Incident she was caught up in from the original Resident Evil, which is part of why she is now investigating Umbrella. In the Resident Evil series, Jill Valentine is my favourite character, and she is awesome in the protagonist role here, self-confident and evidently skilled but also clearly fighting internal issues. This very human strength and solidarity drew so much empathy from me – I would say that further insight into those images troubling her could have added even more of an emotional edge to Resident Evil 3. We follow her attempts to save and escape from Raccoon City whilst being hounded by Nemesis; the events happen concurrently to those of the Resident Evil 2 remake, with clever crossovers here and there, but 3 is structured quite differently. Whilst 2 had two campaigns, one each for Claire Redfield and Leon Kennedy, 3 is focused on Jill, though there are admittedly sporadic sequences playing as Carlos Oliveira (Jeff Schine) that hint at inspiration from the previous remake.

Hold on, I hear you say, who is Carlos Oliveira? Jill meets him after one of the encounters with Nemesis, and discovers Carlos is part of U.B.C.S. (Umbrella Biohazard Countermeasure Service), trying to get survivors onto a train and out of the city. Despite friction due to their Umbrella origin, Jill agrees to help them out, as there are innocent lives at stake. Other members of U.B.C.S. we meet around his point are the directing voice of Mikhail Victor (William Hope), the efficient and supportive Tyrell Patrick (Sterling Suliman), and the suspicious Nicholai Ginovaef (Neil Newbon). These scenes of the characters conversing are another example of the remarkable visuals of Resident Evil 3; the character models are detailed and expressive, moving with wonderful fluidity, and the voice acting is on-point as well, suitably serious, charismatic, and just that slight bit melodramatic!

From left: Jill, Mikhail, Carlos, early on in the game

Inevitably, going back to the surface of Raccoon City escalates into many tense instances – I mean, this is Resident Evil, after all! A variety of threats arise to hamper progress as Jill tries to get the train back up and running, from the expected – y’know, zombies – to the not-so-much of a particularly gruesome nest of spider creatures. Though the game is much more linear than the Resident Evil 2 remake, there is satisfying depth to each locale; alternate routes are there to discover, and as you acquire equipment such as the Lock Pick, you can access hidden items previously out of reach. The RE Engine makes inventory management streamlined, snappy, and smooth, letting you put your focus on surviving and getting to know area layouts. This is especially important in 3 as Nemesis can suddenly land in front of you and throw your carefully-considered plan out of the window!

Nemesis completely changes the situation. In addition to the imposing build, hard-hitting close combat attacks, and tentacles to grab Jill, it also has frightening speed when running, meaning for much of the game – and especially on harder difficulties – dodging is your main form of defence. A tap of the mapped trigger causes Jill to take a cautionary step or roll which, if you time it just right, causes a slowdown effect with more opportunity for retaliation. It’s so gratifying, requiring exquisite timing to successfully perform. Otherwise, intense damage can lead to Nemesis temporarily pausing the chase, but do note the word temporary – when in pursuit, Nemesis is tough to shake off. Furthermore, the presence of Nemesis adds complications to other infected – there is not the same leeway to line up a headshot when you can hear thundering footsteps close behind. The instinct of fight or flight vividly kicks in as your priority becomes the next point of relative safety. Not that save rooms necessarily stop Nemesis…

Well, this seems safe

I’ve really got to emphasise the feat of achieving this gameplay feeling. It isn’t common; there are plenty of hard games, plenty of scary games, but to strike the balance of the thrill of the chase, the suspense of the intermissions, and the energy of knowing you have a way to retaliate – it’s incredible, leaving you scrambling to react from moment to moment, without any sense of unfairness. After the Resident Evil 2 remake, the return to Raccoon City could have been samey, but that is not the case; as the game continues you move to intriguing and occasionally vibrant new settings, whether that be a waterside confrontation, a creepy hospital, or a clinical but blood-tainted facility. This contributes to maintaining the air of surprise – the opposition also responds to the change of location.


On the Same Side?

With so many threats all around, making use of the firepower available to Jill is crucial; as well as her iconic Samurai Edge, Jill gets access to a shotgun, grenade launcher, and more. When playing as Carlos, this differs. He has more of a military vibe, with the rifle and how he lunges forward instead of dodging. It is refreshing in that it encourages a slightly different approach, less reflexive and more about raw damage. There are other subtle differences – for example, Carlos does not have the option of using a Lock Pick, so in one location later on, only when you go through as Jill are certain locks made available to open. It’s a fun form of Metroidvania puzzle design mixed in as Jill and Carlos make their way through the story and continue to have their paths meet.

Carlos quickly shows his endearing side

In just a few scenes, a respect is built that Jill and Carlos have for each other based on their individual qualities, not the affiliations they have, which I really appreciated. They help each other out in the game, but it’s a friendly and proactive sense of camaraderie that drives it more than an antiquated romance story. Tyrell Patrick is a great foil to the two as well, bouncing off each well and stopping it being just the Jill and Carlos show. There are enough moments of downtime interspersed in Resident Evil 3 to allow the characters to have those important quieter moments – and for you to catch your breath! – but also not so many that Nemesis, and other threats, lose impetus. Agh, just writing this makes me excited to jump back in yet again! OK, William, finish the review first…

At first impression, Resident Evil 3 being around 2-5 hours could be an issue, but I really disagree. In my eyes, a game is not valued on the factual hours of the length of the narrative; it is the potential in that for enjoyment, for affecting moments, and for longevity and replayability, and in that regard Resident Evil 3 is exceptional. No one scenario is lingered on to the point of getting too comfortable, and even the types of infected you meet aren’t repeated much, and when they are, they’re in a new scenario where a new approach may be needed on the player side. It keeps you on your toes, as you’re never quite sure on that awaiting you around the next corner, Nemesis or otherwise.

There’s opportunity to find your own distinct approach

I’d say that in the Resident Evil series, the entry that Resident Evil 3 is closest to is – despite the shared engine – not the Resident Evil 2 remake, but actually Resident Evil 4. The more linear path and fusion of horror with action are similarities, though Resident Evil 3 also has the intense Nemesis chases. To go back to the game length again; I found myself really connecting to Resident Evil 3. The idea of a story that knows where it is headed with a laser-focus on the narrative and gameplay is one I am very much here for. It may not be to the taste of everyone, but for me it clicked into place as the pinnacle of interactive storytelling within the Resident Evil series.


All Over Again

The question is, then, quite why have I played through Resident Evil 3 so many times? For starters, it is because I garner such joy from the experience. As well as this, there are plenty of rewards to further push you in this direction. First I did my initial playthrough, then on the second occasion I paid especially close attention to trying to find as many collectibles as I could. Next, I started the harder difficulties, and woah-oah. Wow. The easy option would have been just to up the damage you take and lower your health; but no, depending on which difficulty you play on, Resident Evil 3 becomes a very different type of game.

Cinematics are so well-produced!

Enemy placements change. Different enemies spawn in different areas. Items are moved around. Traits of enemies themselves markedly deviate. It’s as though the puzzle has been shaken up, and all your knowledge is put to the test as the early encounters immediately become incredibly challenging. Infected react much more violently and appear in places you might not have even considered before, cutting you off in Nemesis meetings and literally falling from the air over your head. Again, though, it never feels unfair, it’s just as though you’re being asked to demonstrate your proficiency at the game.

The final fight in particular turns into an utter test of gaming skill as you dance around the attacks flying in, using every trick you have learned from playing Resident Evil 3 to that point. Seriously, that sequence on the hardest difficulty is so tough, so brutal, but oh-so-satisfying. Helping out is the Shop which – wait, hold on! – is to my delight completely transaction-free! You earn points from completing challenges in the Records menu, such as defeating a set amount of enemies, finding collectibles, and completing the game in certain ways. Several of these, such as completing the game using one or less of the healing items, are also requirements for the Trophy list.

Yes, Nemesis does at one point wield a flamethrower. Yep.

With these points, you can purchase item that have in-game effects. Increasing stats, having access to a new weapon, crafting more ammo at once; the shop is very helpful to ever-so-slightly soften the harder difficulties. The means of getting those points to spend also bring with them extra unlockables, in the form of Concept Art and Models that are fascinating to view. There is a coherent sense of longevity in Resident Evil 3.


From All Sides

Now, I am going to put aside space to mention more on the audio. As aforementioned, the voice acting is superb at capturing the essence of the characters and the tone of the game, with Nicole Tompkins as Jill Valentine the standout, but no weak points in the cast either. David Cockman is the supplier of the intimidating roars and growls of Nemesis; the sound design for the roster of enemies is, as is often the case for Resident Evil, effectively ambient, often signalling their arrival before you see them!

Jill Valentine is awesome.

The audio design is so key to the suspenseful exhilaration sustained in Resident Evil 3. With the way that this game carries itself and constantly pushes you, the sounds resonate through you and contribute to that energetic flow that fluctuates depending on the situation. The reloading of a gun, the groans of zombies, the sounds of Jill short on breath when injured – it all goes together, signposting you through sound of where your attention should be going next. It is masterful, and matched with the beautifully extravagant camerawork and polished visuals, makes for a breathtaking presentation.

Before I get to my Final Thoughts for Resident Evil 3, a note on Resident Evil Resistance, which is only playable through purchase of Resident Evil 3 but is intentionally split from it as a separate game. It was worked on by a different developer, namely NeoBards Entertainment, and centres on a group of new characters taken by Umbrella who try to escape in 4-against-1 multiplayer gameplay; the RE Engine is again in action, and since launch there has been the addition of Jill Valentine as a playable character. Going by how the two games have been released, I have decided to keep my reviews apart. Yet, as the acquisition of Resident Evil Resistance is so tied to Resident Evil 3, I have put a link to that review below:



Resident Evil Resistance Review

To make it clear, Resident Evil Resistance is not being included in the consideration of my verdict for Resident Evil 3. You can sense that the development teams of the two games were not the same, as Resident Evil 3 is considerably more cohesive and successful than Resistance. There is fun within Resistance though, so if you’re intrigued by that game, my review is there for more detail.


Final Thoughts

Resident Evil 3 is a showcase of how it isn’t the extent of a game, but the content within, that counts. Jill Valentine leads an engaging cast of characters caught up in a compelling scenario; this is a game that is keenly aware of the style of story it is telling, and leans into it with phenomenal effect. It never gets complacent, constantly challenging you with new enemies and situations that are all heightened by the Nemesis factor. In addition, the impressive longevity of difficulty modes and unlockables opens up such enthusiasm for repeat playthroughs. For me, Resident Evil 3 is my Game of the Year so far, a seamless, stunning combination of narrative and gameplay, classic and contemporary, horror and action. Right, time to start that 6th playthrough…

9.5/10

Rating: 9.5 out of 10.

Resident Evil Resistance Review

Developed by: NeoBards Entertainment
Published by: Capcom
Platforms: PlayStation 4 (Reviewed), Xbox One, PC
Release Date: Out Now


Via purchase of the phenomenal Resident Evil 3, you additionally gain access to Resident Evil Resistance, a 4-against-1 multiplayer game. In this, a group of Survivors attempt to escape from an Umbrella Corporation experiment – meanwhile, a villainous Mastermind sets up all manner of monstrosities and traps to run down the clock and stop them. I debated whether or not to integrate my thoughts on Resistance solely within my review for Resident Evil 3, but as Capcom saw fit to split them into two games, it does define them as separate entities that should be discussed likewise with separate verdicts. However, because Resistance is simultaneously intrinsically tied to Resident Evil 3, with the same engine and how you need that game to even play it, I am publishing my two reviews at the same time and linking to this one with a fancy new WordPress block in my review for Resident Evil 3. How exciting! New features! Be impressed?!


Do I Know You?

Whilst developed by a different team – NeoBards Entertainment – to that of Resident Evil 3, Resistance uses the same RE Engine, which originated for the remake of Resident Evil 2 and was then utilised for Resident Evil 3. So, it does have a similar feel, especially when playing as a Survivor; the refined inventory and third-person over-the-shoulder movement are present here and remain a delight to control. Motion is fluid, direction change is responsive, and aiming is precise. Resistance has new ideas too, and introduces characters with their own traits and gameplay quirks to shake the situation up, which I shall get onto more in a moment.

Where Resistance really deviates is in the role of the 5th player, the Mastermind. In this position, you control many aspects of the map, starting with the initial set-up of where enemies and items are placed; from there, using cameras around the map as your viewpoints, you can select which infected and traps to add in, and where they are positioned. If you have ever played the multiplayer of ZombiU – or another dual perspective tower defense game – it is very reminiscent of that.

Mr. X makes a return from Resident Evil 2

There is a story of sorts, though don’t expect much narrative progression past the initial set-up. A group of six characters – Valerie Harmon (Alex Ryan), January Van Sant (Melanie Minichino), Tyrone Henry (John Eric Bentley), Samuel Jordan (Clayton Froning), Martin Sandwich (Nicolas Roye), and Becca Woollett (Tara Sands) – have all in one way or another been taken away from their lives by Umbrella, and are now being subjected to horrors in order to gain data on the infection the villainous Corporation is manufacturing. Jill Valentine (Nicole Tompkins) has also become available as a playable character since launch, a welcome addition bringing gravitas of a well-known Resident Evil series regular to the roster.

Now, the new characters are very much the classic horror movie tropes; Natalie is the more studied and reserved girl, January is the rebellious spirit, Tyrone is the respectable friendly type, Samuel is the sporty guy, Martin is the less confident yet smart one, and Becca is the country girl who knows her around a gun after all those days at the ranch! After initially being worried about how hollow the group might be – and don’t get me wrong, they’re not masterworks of character development – they’re actually a really fun set of personas who each have their own personalities, evident through expressive voice lines as they embody that B-movie charm. Side note: if you are after a subversion on this, go watch Cabin in the Woods!

Don’t mess with a country girl!

The stereotypical nature of this group extends to their unique Personal and Passive Skills; the former is a mapped action you can choose when to use, and the latter is always active in the background. You also have a Fever Skill that is powerful but takes a while to recharge, similar to the Ultimate move in games such as Overwatch. To focus on one character as an example: January has Passive Skills to use Disruptor Rounds that are especially damaging to cameras and to hack the prices of Armory items; a Personal Skill to put specific cameras out of action; and then a Fever Skill to impair all cameras and interfere opposition Skills. Fret not, Mastermind players, you get customisation as well; the five playable characters even have their own specific Bioweapon. This ranges from Resident Evil 3 villain Nicholai Ginovaef (Neil Newbon/Mark Hill) bringing in Nemesis (David Cockman), to nostalgic returns such as Alex Wesker (Mary Elizabeth McGlynn) and the botanical Yateveo she can set upon the Survivors.


One Way Out

Similar variety cannot be praised upon the selection of game modes. After the initial tutorial, you are left with either Practice or jumping into online. As the former doesn’t grant progression, there is little reason to play, outside of getting a hint of the potential a PvE version of Resistance has. Seriously, with these vibrant characters and the way the remakes of Resident Evil 2 and 3 have improved the gameplay mechanics to impressive degrees, a version of, say, the Raid Mode from the Revelations games could have been very successful. Alas, we’re left with only an online PvP. After choosing to play with randoms in Quick Match or with friends in Custom, you select to either be a Survivor, the Mastermind, or alternatively let the game figure that out for you. As far as modes go, that’s it. It is really disappointing that the game feels so empty – even if this was a multiplayer mode within Resident Evil 3, you’d hope for more spins on the base formula, so as a standalone game, it’s even more pressing an issue.

Maps are new designs, not exact replicas from Resident Evil 3

In my time with Resistance, I personally gravitated towards the Survivor portion, and is where I found most of my enjoyment. From this viewpoint, you start out in the safety of the Armory area where you can purchase supplies with Umbrella Points, before entering the first Mastermind-controlled space. To get past this, you must successfully retrieve three puzzle parts placed and defended around the map before gathering at the gateway to the second portion; the more players that are there when progressing, the more time added on to the impending timer. Then there is another Armory for you to kit yourself out, before searching for a Security Guard zombie holding a key to access three terminals that open up the way to the third and final part. After another opportunity to make purchases, you then try to destroy three bio-cores and make your final dash for the finish line.

You may find that an unusually specific description; there is a reason. It’s because that is essentially always the set-up. There is no mix-up of even the puzzle task going at the end and vice-versa – there are subtle differences depending on how the Mastermind operates and organises placements, but mostly the structure stays static. As with the lack of modes, it makes the game feel very restrictive, and frankly, that it needed more development time. It’s almost as though it is a fleshed-out tech demo instead of a full, finished product. After a few games, this can create a stale impression as you resign yourself to how each instance might play out.

A familiar Mastermind character for players of Resident Evil 2 is an optional choice

Even so, there is fun to find here, though it is very case-specific. Each character has a separate Rank that is increased through gameplay, and this has a key effect on how the subsequent game shall play out – especially for the Mastermind. See, the Skills unlocked on the Mastermind side have noticeably more impact on how tough a scenario they can provide. When in a group with 3 other Survivors, those with more experience can help those with less, but as the Mastermind is alone, the options available to them completely tilt how proficient they may be. For example, if there are a team of Survivors against a Mastermind who is playing for the first time, it is very likely that it is going to be hard for the Mastermind to significantly halt progress with the initial spawns and abilities available to them.

It works (or rather doesn’t) the other way too; if the Survivors are all quite new to the game and are set against a Mastermind of – to throw a number out there – Rank 100+, it might be almost impossible for them to make it far. There is the whole “get good” opinion, but it doesn’t cut it – it shouldn’t take multiple 5-15ish minute games to arrive at a point where you have more of a reliable expectation of enjoying the game. It’s especially daunting when in your first games as the Mastermind; in the Ready Up screen, your Rank 1 against higher levels of the Survivors can immediately set out a sense of how easy escape may or may not be.

Healing items apply to fellow Survivors too

This isn’t to say there isn’t a sweet spot though, and when the experience of the 5 players coincides, Resistance can find a momentum where it captures some of the thrilling tension that makes Resident Evil 3 such a masterpiece. Playing as the Survivors, fighting through enemies as the timer ticks down, reviving teammates, avoiding sudden spawns of zombies… it can work to enthralling effect; and there can be an excitement to keeping them pushed back just enough as the Mastermind, too. Resistance has the ingredients required to strike that tension, but it just does not happen at a frequent enough rate to sustain a one-more-go appeal.


Escaping in Style

That inconsistency opens up opportunity for the surrounding framework of Resistance to be rewarding enough to encourage bearing with it – but again, it is lacking here and only exacerbates the issue. Every time you Rank up you get additional Result Points added on to those you earn in-game; I found myself getting roughly 1000-10000 on each go. Compare that to the expensive pricing of the Shop, where Equipment Chests start at 3000, but Cosmetic Chests are 50000! Let’s be serious, the Cosmetic Chests and the awesome outfits that you can get from them are the main appeal. Not only that, but you only get one item from a Cosmetic Chest, which could be an outfit, sure, but also could be a much less impressive weapon skin or dialogue line. When it can take around an hour to organically earn a Chest, the satisfaction isn’t where it could be.

You’ll find yourself in tight spots

Therefore, I found that the imbalance that is so prevalent in gameplay was reflected in the Shop! It’s actually counter-productive, as being more generous with in-game rewards would provide driving motivation to keep playing through the matches that aren’t clicking as much. Instead, Resistance just makes the idea of earning enough to purchase a Cosmetic Chest seem overly time-consuming. Further to this, it causes cynical thoughts too, when the option to purchase RP Boosters – which increase how many Reward Points you get – with real money is there. For me personally, I am not going to go that route, so the end result is that I am turned off from playing Resistance at all. There are Daily and Weekly Missions that earn you Reward Points and Cosmetic Chests, but they’re not enough to fix the problem. It’s such a contrast to the store in Resident Evil 3, where you earn currency solely through gameplay to unlock items that are specifically listed, not hidden in Chests.


Final Thoughts

By being so intentionally separate from Resident Evil 3, Resistance invites more expectation upon itself. As an idea, the central dual perspective is one with potential, a potential that every now and then is sparked into fulfillment; all too often, though, a lack of balance in multiple areas prevents this from happening. The presentation is there – the RE Engine is again impressive, and the new characters surprised me with how endearing they were, but the core of the game just is not there to back it all up. Taken as a bonus multiplayer mode to Resident Evil 3, it’s a fun experiment that can pass the time, but as a game itself, it needed more work. Can I go back to Resident Evil 3 now?

6/10

Rating: 6 out of 10.

My Ever-Changing Opinion on Trophies

I like collecting; both in reality, and in games, it gives me satisfaction, whether it be my physical library of games or my vinyl collection. So, platform-spanning systems such as Achievements or Trophies very much play into that; yet, it’s always a fascinating balance of whether I feel as though I’m going after them for fun, or for the acquisition of them itself – in which case, though, is the acquisition the fun? It’s a debate I continue to have internally, and a subject that has been discussed in a variety of ways elsewhere since their introduction approximately two generations ago, starting in the Xbox ecosystem. In this article, I am going to run through why my opinion on the topic is in such regular flux. At points the journey for them is incredibly rewarding, however at others it can be hollow and make me consider my priorities while gaming.

Why am I writing this now? Well, my recent ventures through the Resident Evil series – across both Switch and PlayStation 4 – have made me approach this with a new comparative perspective. Because of how Switch has no platform-cohesive Achievement-style system, but PS4 does, in the form of Trophies, I’ve inadvertently created a side-by-side test of how my play is affected in the series in those two different circumstances. On Switch, I made my way through the two Revelations games, focused on completing the campaigns, and where there were additional challenges to complete that I felt compelled to tackle, I went for them – for example, the awesome arcade-y, score-based Raid Modes. On the other hand, on PS4 I have had a great experience with Resident Evil 2 and 3 (the remakes), Resident Evil 4, Resident Evil 5, and Resident Evil 6 (I have also started Resident Evil 0), with the awareness of Trophies always being there in the back of my mind. I’m not here to directly criticise either of the set-ups or platforms, but more to run through my thoughts on the two ways of going about it.


The Case For

Perhaps a significant reason why I am so into Trophies (I’m going to refer to Trophies in the service of conciseness, but be aware that I mean the overall concept of platform-spanning reward systems) is that they can act as a flag in the ground signifying the games you yourself personally really connect to. It’s tempting, but I soon realised that trying to go for all the Trophies in every game just isn’t a reasonable expectation; so, instead, I identify the games that I form a strong affinity for, and then set about getting that 100% and/or Platinum Trophy as an extension of my enjoyment of the game. Then, when other players scroll through my Trophy list, they can see those games and identify them as ones I regard very highly. It’s a way of giving back to the game, too.

Rise of the Tomb Raider: 20th Anniversary Celebration on PS4 has a comprehensive Trophy list

An example is the modern Tomb Raider trilogy, amazing games with a wondrous sense of exploration that very much cater to my tastes. It takes considerable time to achieve the Platinum in those three entries; I have got the Platinum for the second and third games so far. Those games reward you for revisiting areas and taking your time finding all the secrets, which pairs so, so well with the nature of Trophies – there are specific ones for the story, collectibles, play styles, additional modes, and more. The Platinum for Rise of the Tomb Raider: 20th Anniversary Celebration is one I decided to go for in the run-up to Shadow of the Tomb Raider, and I am really proud of achieving that. In this case, my motivation and subsequent prize for taking Trophies into account was intrinsically linked to how the game itself was suited to that process.

Along that vein, the way Trophies act as a barometer for you to compare and compete against your friends is great, and it is fun to scroll through the profiles of my friends and see which games they have played, and which they have the most Trophies in, as well as seeing how I stack up against them. It’s a friendly sort of competition that actively encourages you to try more games, encouraging discussion on the subject and getting more word out there about more games. Multiple times in PS4 party voice chat I have had fun conversations about our Trophy progress, the different games we have progression on and how we went about them. Fall Guys: Ultimate Knockout is a recent example, and adds an extra competitive element to a game without much depth of modes; Trophies are a feature in themselves. Furthermore, Resident Evil 3, my current Game of the Year, has a fantastic Trophy list which did this, and had a friend and I talking about the different tactics we were using.

That latter game is a brilliant example of how Trophy lists provide alternate challenges, leading to you finding joy from playing the game in different ways. Beyond the Trophies for completing the game on different difficulty settings, there are also ones for finishing the game without using the item box, in a certain amount of time, and more, altering my play style in repeat playthroughs and giving me new insights into details of the game. As a series, I have found that Resident Evil is consistently creative with the Trophy lists, often supplying these unique challenges for the player; completing the games without healing items, for example, is a frequent one that appears and makes you be more cautious.

Encouraging exploration and experimentation of gameplay works well when there are many possibilities, too, such as in scenarios with multiple different endings. Then, Trophies can act as additional incentive to see them all. I mean, Catherine: Full Body, which I have been playing – I’m now onto my second run – literally has a Trophy named “I’ve Seen It All” for viewing all the differing resolutions. Combined with the absorbing characters, I am very invested in following the various routes. Games that manage to smartly interweave Trophies into already-engrossing gameplay can give themselves more longevity, actively improving them as an overall package.

In that sense, after experiencing Trophies done so well in games such as Resident Evil 3, it does cause me to imagine the positive influence they could have on games on consoles that at this point do not have them. Let’s use Animal Crossing: New Horizons as an example: there could be rewards for various approaches to island design and the successful realisation of them, perhaps nudging people into trying styles they otherwise may not. There are already in-game trackers that reward you with Nook Miles, so how about if these were developed further within the framework of a Switch Achievement-style system? Or, is it maybe better as it is, not having them?


The Case Against

It’s a delicate task to achieve a harmony of game and Trophy list that compliment each other. My experience is that it can easily go the other way, where the additional routes opened up by Trophies can be a distracting aspect; I have previously fallen into the trap of spending more time with a game than I maybe should have. I’ll be clear: my personal traits affect this, as my collector side can veer into a habit of unlocking more and more in a game once I have started it. Despite perhaps not particularly enjoying a game, the idea of leaving it at a low percentage on my profile does affect me and puts me off the idea of immediately going towards a different game I may have a better time with. This isn’t really the fault of the concept of Trophies, but a documentation of how my mind can react to them. Due to this overplaying, there have been cases where Trophies have been an unwelcome distraction. I have evolved my mindset on this though, with my aforementioned renewed focus on going for Trophies in the games I find myself really connecting to.

Firewatch entices exploration with a rural park setting, but has no Platinum?!

Another way Trophies can actively harm my time with a game is when the lists aren’t well designed. For starters, games that don’t have Platinum Trophies, such as Firewatch and What Remains of Edith Finch, lack that glorious, resounding moment when the Platinum is unlocked. I don’t really understand why they are omitted in cases such as these – it seems a missed opportunity, and these are games that justify having that final reward. Further to this, on occasion a Trophy list can be over-designed and make playing more of the game seem more daunting than it may otherwise have. The Uncharted series is one that does this; after my first playthroughs, I tended to be around the 20-25% completion mark, and it left me with an underwhelming emotion. It’s far enough away that it puts me off working on collecting the rest, instead of making me feel as though I could press on and go for the Platinum. In contrast, when I play on Switch, much of this consideration fades away, leaving me to form an opinion on the game for the game itself, without an eye on the way it integrates into the platform.

That can be very freeing, taking away that layer of integration that crosses from the game to the console and/or platform. I’m not saying that Trophies have been a make or break feature for me when reviewing a game, but them not being there does – in a refreshing fashion – leave it solely up to the game to provide the entertainment, from which I decide how much of the game I play. So on Switch, for Resident Evil: Revelations and the sequel, Revelations 2, there is a separate sort of clarity about my continued playing that feels distinctly different to when I played other entries on PS4; in a slightly changed way, I am acutely aware of my investment in the characters, the story, and the gameplay. In addition, it is at the fore when I finish the campaigns and try, say, those Raid Modes present in each where, again, it is clear I am not playing them for the requirements of a Trophy list, but because I am having a brilliant time and the in-game rewards are there.

I mean, there are more pressing issues than Trophies

Again, I shall put emphasis on how this isn’t a criticism of Trophies, but a commentary of how my mind interacts with the presence of them. There are occasions where I wonder about how great they could be on other platforms; you could imagine that Nintendo would find an ingenious spin on them, too. Would I have played even more of The Legend of Zelda: Breath of the Wild if there were profile awards for, say, completing all the Shrines? Similarly, would I be more compelled to try all the different routes of Fire Emblem: Three Houses, or to go back and get all the collectibles in Paper Mario: The Origami King? It is possible. Nintendo has been superb at in-game progression – take the plethora of unlockables in Super Smash Bros. Ultimate – but so far have not rolled out a system across a platform, and I am not sure if they ever will.


Right then, to wrap this up (it sorta became an accidental essay, didn’t it?), I am going to try and summarise my thoughts. This article has been a way of me putting the thoughts that run through my mind on the subject of Trophies down into words, and I appreciate you spending the time to follow them. Writing this has emphasised to me that it isn’t an incorrect avenue to either include Trophies or not – when they are there, though, the way different games go about implementing them makes a considerable difference to whether their implementation has a positive or negative effect. I have put down some examples for this in the article, but to go back to the Resident Evil case study, it is a series that excels at having plentiful challenges to give the games longevity, both in the game and in the Trophy lists. It is a series that other developers could do well to examine when going about their own lists.

As a person with the collecting spirit, Trophies have inherent appeal to me and shall continue to do so. However, it is crucial to not let them override the reason for playing the games in the first place; it shouldn’t become a compromise, where you are going for them at the expense of the game or vice versa. They certainly can improve the experience, and in that sense, maybe those who have resisted the addition of them, most notably Nintendo, should create their own system as there is potential. Either way, I am okay with the two differing directions, as the game is the priority. At the end of the day, it’s important to not let false perceptions of the reason you are doing an activity – be it gaming, or another part of your life – to get in the way of the reason you are there in the first place. In this case, that’s because games are, well, really awesome, aren’t they? That gratification of a Trophy being unlocked is the cherry on top.

Resident Evil: Revelations 2 Review

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.

Natalia and Barry on Sejm Island

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.

It’s fine, Claire has this covered

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.


Family Matters

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.

Please don’t touch me

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.

Moira and Claire form a great partnership

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.


Avid Collectors

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.

Two Natalias? What could be happening here…

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.

Oh hi there

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!


Final Thoughts

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.

7.5/10

Rating: 7.5 out of 10.

Resident Evil: Revelations Review

Developed and Published by: Capcom
Platforms: 3DS, Wii U, Switch (Reviewed), PlayStation 4, PlayStation 3, Xbox One, Xbox 360, PC
Release Date: Out Now


There have been gaming series that have been a noticeable hole in my gaming knowledge over the years. Resident Evil had long been one such gap, and so, especially with COVID-19 leading to more time spent at home, this has been a series I have dedicated a lot of time to playing through in 2020. Just, y’know, without trying to see too many parallels with recent events… I am going to write up reviews for multiple games I have played in the series, starting with the one I began with: Resident Evil: Revelations!


All Aboard

This may seem an odd place for me to start the series, considering it is set after Resident Evil 4 and before Resident Evil 5. Hear me out, though! The digital versions of Revelations and the sequel Revelations 2 are often discounted on the Nintendo eShop, and they were very appealing impulse purchases for me; purchases that led to me playing many other games in the series too, as Revelations got me hook, line, and sinker (yes, ship puns are very much going to be present in this review). This is a game that was originally released on the Nintendo 3DS back in 2012. I still have clear memories of Official Nintendo Magazine having the exclusive reveal… as if this game was EIGHT years ago?! Time flies. There were then HD versions released in 2013, and next-gen versions in 2017; the 2017 Switch release is the one I am reviewing here.

Revelations is mostly set on board the Queen Zenobia, a cruise ship in the Mediterranean Sea. BSAA (Bioterrorism Security Assessment Alliance) agents Chris Redfield (Hiroki Touchi/Roger Craig Smith) and Jessica Sherawat (Nana Mizuki/Ali Hillis) have gone quiet after going there on a lead about bioterrorist organisation Veltro, so Jill Valentine (Atsuko Yuya/Michelle Ruff) – who you play as for most of the game – and Parker Luciani (Mitsuru Miyamoto/Kirk Thornton) are sent after them. Veltro are attempting to infect 1/5th of the water of the planet by contaminating it with the T-Abyss virus, which, well, isn’t ideal. The Queen Zenobia is a brilliant location for the survival horror qualities of Resident Evil, having plenty of cramped spaces and narrow corridors to keep you in a constant feeling of suspense. It’s an ingenious setting; the idea of being stuck on an enclosed ship full of monstrosities in the middle of an ocean works so well at escalating the stakes of every encounter. The creepy, mostly empty spaces of a luxurious cruise ship supply that classic horror vibe that the series went away from – for better or worse – in Resident Evil 5.

Jill Valentine and Parker Luciani, the pairing at the beginning of the game

A focus on series regulars Jill Valentine and Chris Redfield really anchors the story and provides a solid base from which to then learn about the new characters that accompany them. There are plenty of Resident Evil-style twists and reveals in the game that keep the story cruising along nicely. This game has a really cool narrative approach, splitting the story into 12 parts that are presented as TV-style episodes, with a recap of previous events at the start of each. Not only does this add a neat cinematic edge to proceedings and an opportunity for exciting cliffhangers, but it really suits the handheld nature of the original game and, subsequently, the Switch version. Being able to play an episode or two at a time – perhaps even in bed with the lights off – in the way you might view a TV show has a satisfying pace to it.


Ship-shape

Speaking of which, the visual upgrades this game has had since the 3DS original are impressive, to the point where it would be hard to tell it was a 3DS game without knowing. On that console there was understandable constraints on the visuals that could be achieved, but the updates bring the game to a comparable level with the latest version of Resident Evil 5, the game next in the timeline of the series – though, note that the 3D visuals of the original are lost. The character models are impressively detailed and have engaging voice acting, a key element in the genuinely dramatic moments in the game. On the point of audio, there is a noticeable effort at spooking you out with ambient sounds as the stranded ship creaks and shudders whilst you explore it. Then there are the noises made by the enemies infected by the T-Abyss virus…

Revelations isn’t all on the Queen Zenobia; for example here with Jessica Sherawat and Chris Redfield

Said enemies have a different appearance in Revelations. Instead of the more traditional zombies of earlier Resident Evil games or the much more human opposition of Resident Evil 4 and 5, here you are facing pale, shambling creatures that appear as though they are melting away after being infected. You face off against several different types of these gloopy attackers – some are dangerous at close range, some can fire at you from afar… oh, and of course, one has developed a chainsaw-like aspect, because, of course. It is a nice touch to be able to hear enemies before you see them – the sound of that chainsaw one still sorta haunts me.

When analysing the presentation, though, the game isn’t without rough edges, and some parts of the cruise ship can get samey in terms of the murky, damp colour palette; even if arguably that also contributes to the claustrophobic atmosphere of the game. To be fair, there are sections of the game where we cut away from the cruise ship and get some different environments, such as a flashback to Jessica and Parker in Terragrigia when Veltro attacked it, or when fellow BSAA agents Quint Cetcham (Naoki Bando) and Keith Lumley (Daisuke Ono) follow in the footsteps of Jessica and Chris to a snowy, mountainous area. That latter environment in particular is a nice contrast to the cruise ship, a much more open space that gives you a short moment to breathe before being plunged back into the tension of the Queen Zenobia. In terms of the story I found the sections playing as Jill the most engaging, but those cutaways help add a bit of variety to Revelations.


Swimming? In Resident Evil?

In terms of actually surviving these locations and the horrors they throw at you, the gameplay is in the vein of Resident Evil 4 and 5 – which makes sense – with a third-person over-the-shoulder perspective. Maneuvering around in the tight spaces can be – intentionally, it seems – quite clunky, and contributes to the threat of enemies around you. Conversely, though, you can move and shoot at the same time (not always the case in this series!) and there are some other neat tricks available to you, too. You can quick-turn on the spot, run, and use melee attacks when enemies are compromised by your gunfire (Jill has a particularly awesome spin-kick). You can even swim! For a series that often restricts your options, it is pleasing that Revelations removes some of those barriers whilst maintaining an air of threat.

You can play as a variety of different characters in the Raid Mode

A vast range of weapons are available, from pistols and submachine guns to a selection of grenade types, and this gives a fun amount of options to try. Furthermore, you can modify the traits of weapons to suit your own playstyle. There is also a scanner, named the Genesis, which allows you to seek out hidden items in the environment. This is actually really helpful, as Revelations severely limits the amount of ammo and health you have at any one point. Giving you more movement options but limiting the amount of supplies is balanced well; it makes me feel as though you can really make a difference through player skill and utilising those supplies efficiently.

Your repertoire can also be put to the test in the separate Raid Mode, where you can play sections of the game in different ways and go for high scores. This is also a way to get access to different weapons and unlock new outfits for the characters. It’s a comprehensive offering, and the progression system encourages you to keep playing – it adds a lot of longevity to the game beyond the main story, and also provides the option of playing with a friend over local or online co-op. There is a distinct sense of attention to detail, with a lot of customisation choices for the player – other examples of that are the retro-style game that can be played when loading up the game, and the functionality that allows you to scan amiibo to get more BP to spend in the Raid mode. So… Jill Valentine amiibo? Jill Valentine in Smash? Okay, William, I am sensing it is time to wrap up now…


Final Thoughts

Resident Evil: Revelations has been my entry point into the franchise, and my thorough enjoyment of the game paved my way to playing others in the series. The way the game has been adapted to newer consoles is impressive, and the episodic story holds up well with a welcome emphasis on survival horror. Some of the scenes away from playing as Jill Valentine lack a bit of identity, especially when with only new characters, but these aren’t the focus and there is admittedly merit to be found in how they help break up the game. With intense gameplay and a rich, atmospheric vibe, Resident Evil: Revelations, is, well, a revelation.

8.5/10

Rating: 8.5 out of 10.