So the semester is well under way, and although this is my first semester with no coursework, between lesson planning, grading, and reading/prepping for my prospectus (not to mention making time for games/relaxing), I’ve once again fallen behind on posting blogs. I really want to write out my thoughts about Resident Evil 2 before they slip even further from my mind, though, so this is going to be a ramble-y mess of a blog, but here goes.
First off, as I like to do, I should explain my history with the series to contextualize my feelings. I grew up a Nintendo kid, so I loyally bought a Nintendo 64 even though the then-new PlayStation was getting a surprising amount of hype. There were several games that got my attention and made me want to betray my fanboy roots, but ultimately it was the original Resident Evil 2 that pushed me to convince my parents to buy me a PS. Before then, my sister’s boyfriend had one, and we three played the hell out of the first game, Resident Evil. I usually played while they watched, but we turned the lights off and eagerly consumed every classic, b-movie moment.
So of course Resident Evil 2 was the first game I bought for my shiny new PlayStation, along with Resident Evil: Director’s Cut. I wrote about the former on my Top 25 list, saying “Resident Evil 2 was magical in that it retained the same haunted, abandoned feeling that the first game had, but amped it up in every aspect.” I think that sums up my feelings about it pretty nicely, so let’s fast forward 17 years to when Yoshiaki Hirabyashi announced in a 2015 YouTube video that Capcom had approved a remake for RE2, and you can probably guess that I was pretty ecstatic. Over the years I’ve learned to be cautious with my excitement, though, so after my initial freak-out session, I allowed myself to forget about the game until it came out this year. And here we are.
Having said all of that, I might come off as biased, but I objectively think this game is going to make for an interesting conversation piece when the game of the year discussions begin. It’s clearly going to be in the running for some awards, but will gaming sites consider it a new game, thereby eligible for the top spot? Or is the fact that it’s ‘mostly’ a remake disqualifying? I suppose what matters more is the standard it will set for future remakes and reboots. This game didn’t have to be this good. Look at the recently released Spyro Reignited Trilogy. That game’s developers largely left the core game untouched, but they did an excellent job of updating the presentation. Fans were, from what I hear, mostly very happy, but the game(s) didn’t seem to reach a profoundly expanded audience. Resident Evil 2 sold millions of copies and was all over social media for weeks. It seems likely that many of the people who played it had never played the original, meaning that if done well, remakes can actually greatly expand a series’ fanbase and not just appeal to the base that already exists.
I’m waxing philosophical, so let me get a little more specific in what I loved about the game. I’d like to start with the feeling I had when first entering the police station. Although I was more excited to play as Claire, I chose Leon to start with because he was the recommended starting character for the original game, so I wanted to experience this version just as I did its source.
Entering the police station in the original RE2 was like entering the mansion in RE (with the difference being that you are in control of the frantic fleeing that precedes it). It was a safe space, a refuge from the madness outside, but in both cases something seemed… off. In RE2 it’s a combination of the looming, carefully lit statue that dominates your view, and the emptiness and quiet of a seemingly-abandoned police station during a massive emergency. If the police are gone, how bad must things be in this city? This is one of the things the developers nailed: atmosphere.
Atmosphere is one of those nebulous things that is really the result of several elements coming together, though. The original games felt atmospheric in their own ways, but the improvement in graphics allowed the team to make a key change to this iteration: it is dark. Like, almost pitch black where your flashlight isn’t shining. Where the original games used camera angles to obscure your vision and create anxiety about what might be in each new room, this game uses darkness, and it’s super effective. Sound is key in both games, because a common strategy is to pause when you enter a new area, listening for a telltale zombie moan or licker click. It made for an exhilarating back and forth, where one minute you’re lulled by the security of a cleared room, only to exit into an unknown and potentially deadly situation.
But, really, what do you know about anxiety in the first half of the game? You certainly feel like an old, grizzled veteran of it… until you meet Mr. X, when a new kind of terror promises to haunt you at every turn. In the original game you’re treated to a cutscene that shows some kind of pod dropped through the roof of the station – a hint of something menacing to come. There is no such hint in this version, which I think is great because even though I was very familiar with the old game I was still caught off-guard when he popped up in this one.
He was a son of a bitch in the old game, but in this version he is absolutely overbearing. Where you used to be able to duck into a safe room and have him leave you alone for a while, in this one he is relentless in his pursuit. The sound of his heavy stomps triggers a sense of panic, and the use of context-specific controller vibration dependent on his distance from you is a reminder of how effective (and neglected) that technology is. The pulsing music that follows him contributes to the fear, and it reminded me of the use of harsh, grinding music in the old horror movie The Entity, where the music is used as a way to indicate when the invisible spirit is ‘on-screen.’ More impressively, I think, they managed to give Mr. X a personality using posture, head movement, and gestures, without him ever uttering a word, which is something that I don’t think the old game accomplished nearly as well. I’m being too clinical in my description, I think, but it’s difficult to capture his presence without shifting into narrative prose. If I recommend this game to someone who hasn’t heard about it, it will be in part because I’ll want to hear about their response to Mr. X.
The game also gets a lot of the little things right. One of my favorite little things about the older games was the brief notes and journal entries you’d find. You didn’t need to read them to understand the main story, but they made the world so much more real and rich. In this iteration, when I came across Chief Irons’ notes on his taxidermy subjects, I excitedly flipped through each macabre page. And then I came across this:
The tone was definitely different than the previous pages, and the measurements didn’t seem to make sense. It was pretty clear that he was talking about a woman, but… did he kill her? It says “captured,” but also “forever.” Did he kill a woman and stuff her, like an animal? I didn’t think much about it beyond that, but later, when I was playing as Sherry and sneaking through Irons’ secret office, I found answers.
It’s the little things. Another one: the gore. Of course a game where you’re killing zombies will have some gore, but there were a few particularly noteworthy scenes where they really turned it up a notch. I’ll just let the screenshots speak for themselves.
After beating the game with both characters and thus getting the “true” ending, I still felt like I wasn’t quite done with it, so I decided to get the platinum trophy, which would require at least a few more playthroughs. On one such playthrough I decided to try Claire’s alternate noir costume. The game flashed a prompt asking me if I wanted to use the included filter, but I honestly didn’t read it or think about what that meant. I was happily surprised, then, to see that the game was in black and white once I was dropped into the world.
Having studied film in grad school, I was a little embarrassed to realize only as I made my way through the game just how noir it was the entire time, even without the filter. Gumshoe with a heart of gold, femme fatale, rainy urban setting, symbolic use of light and shadow, Mr. X’s trench coat and fedora (plus the fedoras strewn all over the police station)… how did it take me so long to see it? It’s something I’ll probably write more about later, but things like that are really exciting to me, because if we read video games as texts with ‘authors,’ like we do with film, we have a Japanese team making a game set in the west and very clearly influenced by western texts (themselves influenced by German texts). And how does a Japanese player read it? Super fascinating stuff.
Okay, I have a million more things I could gush about (performances, story tweaks, enemies, gameplay, etc.) but I’ve already spent more time than I should have writing this, and there is something that really stood out to me but that I haven’t seen anyone talking about on social media or in the press. I mentioned the lighting earlier, and while that’s great on its own, in some cases it highlights how excellent the textures in this game are. The textures in Resident Evil 7 were great, but Capcom really seems to be mastering the RE Engine.
Okay, these screenshots aren’t big enough to do them justice, but check out the shot of Leon in his alternate Arklay Sheriff’s costume. There’s lots of impressive stuff here, like the fact that everything on his uniform bobs and sways realistically with his movement, but let’s just focus on textures. The braided belt actually looks braided, not like a pattern overlayed on a flat surface. His handcuffs have a realistic metallic gleam. His pants are a heavier weave fabric than his shirt. You can see that the display and buttons on his walkie-talkie are actually depressed and the light creates appropriate shadow on them. Most impressively, I think, are the textures of the different leathers on his belt segments. Look at the walkie-talkie holster closely. You can not only see a realistic imperfection on the surface, a bubbling where the leather may be separating, but it too casts a very minor shadow of its own. Crazy.
Look at Leon’s uniform in this next shot. You can not only see that his shoulder pad is a different material than his shirt, but it’s saturated from the rain that he just came in from in a different way, too, and in a different way than his neck, which is shiny as opposed to soaked. You can also see the stitching at the seam of his shirt in great detail. Ada’s dress is another feat, as it looks like real, slightly bunched (there must be a word for that) fabric, even when she moves.
You can see several textures in this shot of Claire, too, like the lighter leather of her knife sheath, the metal of the gun, the fabric of her fannie pack, and more, but what I really want to draw attention to is the design sewn into the back of her vest. It might be a little difficult to make out because I made this image smaller (to save muh tables), but you can see that it truly looks sewn in, as the stitching is very detailed, follows realistic patterns, and actually casts a shadow as if it were really imprinted on the vest. Plus you can see the little wrinkle/bunching of fabric just below the pattern, which is also realistic, because stitchwork like that is often more stiff than the surrounding fabric, so it doesn’t bend as easily as that same fabric.
I could talk extensively about William Birkin’s mutated design, but I just wanted to specifically draw attention to the way the bones in his ribs protrude from his side (it looks cooler in motion) and his main eye (below). His eyes are especially impressive, because they look realistically gelatinous, including the ability for us to see through the cornea when it’s angled to the side. These are things that developers could only sort of achieve in cutscenes in the past, but now this is all in real time.
Lastly, just check out this zombie. The most basic and common of enemies. The filminess of the eyes, the gloss of the teeth, the hair matted with filth, the wounds… the level of detail and the ability of this engine to render even the most mundane of enemies as interesting and exciting to look at just blows me away.
So, yeah, I don’t have an elegant conclusion to this unwieldy beast of a blog, so I’ll just end by saying that this is one of my favorite games of all time. I loved the original, but Capcom improved on and added to virtually everything that made that game so great. It makes me so happy to see the near-universal love and praise the game’s been getting, so I hope when the end of the year does come it gets the accolades it deserves. And as much as everyone seemed to hate Resident Evil 3: Nemesis, I really liked it, so I would be so beyond excited if they brought the same level of refinement and innovation to remaking that entry next (can you imagine if Nemesis could break through almost any barrier!?). But, hey, I’ll be happy with a Resident Evil 8 announcement at E3 2019, too.