Following on from the hours lost at Christmas to Resident Evil 3: Nemesis (see my last blog post), I’ve continued rekindling my relationship with the Resident Evil series by importing a copy of Biohazard HD (aka Resident Evil HD) for PlayStation 3.
For those unfamiliar with the earlier entries in the series, in 2002 Capcom completely re-engineered the original 1996 Resident Evil by using the then new technology provided by Nintendo’s Gamecube to not only update the graphics, but to subtly expand the original game and storyline so that it encompassed some of the plot elements of the sequels. Capcom did a fantastic job, the game had all the hallmarks of the original in a new package, and the release was met with universal critical acclaim.
In the lead up to the release of Resident Evil: Revelations 2, Capcom have published a HD update of the Gamecube game.
The HD update has been nicely done – graphics are crisp and show great detail, and the lighting has been improved adding further character to the environments. One thing that struck me is actually how well the game has aged visually. The 1996 PlayStation game is coming up for twenty years old now and while the graphics are still palatable, they do date the game. For what is, essentially, a 13 year old Gamecube game, the visuals on the HD remaster are really good! Obviously they do not quite have the depth of detail of a modern video-game, but you could certainly mistake it for a game that was a little more contemporary than 2002.
Outside of the HD enhancement, the game remains identical to the original Gamecube release. Capcom have added a few extra alternate costumes that were not previously available, and have added in trophies to help motivate the completists`amongst you all.
I won’t engage in a full review here, but I will post a full retrospective on the 2002 release soon.
For those who missed the original Resident Evil: REmake when it was first released on the Gamecube then I highly recommend picking this up. The game is still highly entertaining, and will remind many of the great roots this series has, and what Survival Horror really meant before things went slightly awry with Resident Evil 5, and then totally derailed in Resident Evil 6.
Resident Evil HD is available to download now on Xbox Live Arcade and PlayStation Network. Physical copies are available through Japanese import, exclusively, for PlayStation 3 (where the series goes by the (much better) name of Biohazard).
Now, if only Capcom would do a REmaster of Resident Evil 2….
Resident Evil HD
Version tested: PlayStation 3 (NTSC/J)
Also available on: Xbox Live Arcade / PlayStation Network
A Happy New Year to you all, and I thought I would start the New Year with a fresh look at an old favourite of mine, Resident Evil 3: Nemesis. I actually spent a large chunk of my spare time over Christmas playing through the game (again), so that I could finally fully complete it – a feat that has taken me the modest period of a mere fifteen years…
Through the late-1990’s Resident Evil was fast becoming one of the most anticipated series on home-consoles. The zombie and mutant infested tales of Raccoon City’s legendary Special Tactics and Rescue Service’s fight against the corrupt Umbrella Corporation were gripping gamers everywhere. While recent entries from Capcom have divided opinion starkly among fans, between 1996 and 2000 four Resident Evil games were launched, and all were well received, firmly establishing the “survival horror” genre.
RE3 is set around the events of Resident Evil 2, and sees you picking up control of S.T.A.R.S member Jill Valentine as she tries to escape the now zombie infested Raccoon City. The game essentially splits its story into two parts – action set before the events of RE2, and then action set immediately after RE2. However, throughout both segments you will encounter the infamous Nemesis – a bio-engineered assassin from Umbrella who will stop at nothing until all S.T.A.R.S members are eliminated.
Along the way you will meet up with Carlos, a member of Umbrella’s Biohazard Countermeasure Service – a team of ex-mercernaries Umbrella has assembled under the guise of an evacuation force for the remaining human survivors of Raccoon City. Not that you’ll come across many survivors. Zombies are now the primary inhabitants of Raccoon City’s streets; and you’ll also come across the familiar giant spiders, zombie dogs, Hunters, and the occasional new mutant.
Controls are not immediately different to the previous two RE games, save for three exceptions. The first is the introduction of the “quick turn” feature. On the GameCube, simply flick the C-stick and Jill will perform a quick 180 degree turn, a move that is a god-send to improving the “tank” controls of the playable character(s). The second, more minor change, is that you now no longer have to press the action button to climb stairs – you do so automatically on approach. The third feature is a “dodge” manoeuvre, whereby pressing the R button just prior to attack will see you evade your attacker and allow you to ready for a counter attack.
The “quick turn” and climb features make the controls a lot smoother over the previous two games, however, the “dodge” feature can be a bit hit and miss, and I certainly wouldn’t rely on it to survive any given situation.
Another new element to the game is the ability to craft ammunition. Using various gun powders found around the game areas, you can create everything from regular bullets to explosive incendiary grenades and high-powered magnum ammo. Additional weapons do still need to be sought out, and you will only start the game with the standard hand gun. If you’re brave enough to take on Nemesis at the points he attacks you, and you put him down (temporarily though that will be), he will reward you with some pretty helpful weapon upgrades. Whereas ammunition conservation was very much the order of the day in previous outings, RE3 does all it can to insure you’ve got the tools to complete your mission.
Graphically I don’t feel the game has aged too badly considering this title is sixteen years old now. The pre-rendered backgrounds do their job, and the character graphics are pretty good for a game developed for 32-Bit hardware. I’ve certainly experienced worse (I recently took a look back at Tomb Raider 2 on PSN, and the graphics are horrible). The animated cut scenes are showing their age somewhat, but given the original hardware specs the game was designed to run on, they’re still watchable.
The scripting is as cheesy as ever, but it wouldn’t be a proper Resident Evil game without a good dollop of cheese laden dialogue. Music is good, sets the atmosphere well, but is fairly unmemorable, while the sound effects do their job.
Despite its relatively short length, (once you’re familiar with the game, it can be easily completed in under 4 hours), there is stacks of replay value. There are in-game extras to be unlocked when certain criteria are met, a challenging set of Mercenaries campaigns, and the game will rank you on your performance (based on completion time and in-game decisions taken); and there are multiple ways you can tackle in-game decisions and routes to completion. There’s also plenty of stuff hidden around the city to find if you’re inclined to look – it’ll certainly take a few play throughs before you find everything Capcom has thrown in. For fans of the series there are also eight different epilogue endings, each one giving a brief update on individual characters from the Resident Evil series helping to pre-empt the story lines for Code:Veronica and RE4.
I have been a big Resident Evil fan since the launch of the original on the Sony PlayStation, and while the first game and sequel always seem to be fondly remembered, there never seems to be much time given to the third instalment. Perhaps its release was slightly overshadowed by the (then) prospect of Resident Evil: Code: Veronica on Dreamcast, but for me it is a worthy edition to the series and still seriously good fun to play. For those who prefer their zombie action over the puzzle elements and slightly slower pace of the previous games, then Resident Evil 3: Nemesis is a real treat.
Resident Evil 3: Nemesis
Version tested: Nintendo GameCube
Also available on: Sony PlayStation, Sega Dreamcast, Sony PlayStation Network, Microsoft Windows
Well the title will be a give away that I am now a PlayStation 4 owner, but I shall leave that to another post. Right now we are looking at Sega’s latest attempt to gain some credibility with the use of the Aliens franchise licence that it acquired from Twentieth Century Fox.
Many will no doubt remember Sega’s last Aliens release – the much maligned Aliens: Colonial Marines. Released in early 2013 to much anticipation, the game was by and large classed as a “train wreck”. While I personally would not go quite that far in criticising the game, Gearbox certainly did not give the game the justice it deserved and should have got their backsides royally kicked by Sega.
The huge fallout from the release, especially over how it fell drastically short of what had been expected based on promotional material, is well charted across the gaming community, so I’m not going to drag it back up here. Eighteen months on and Sega are publishing Alien: Isolation and in the attempt no doubt try to gain some credibility of their custody of the licence. Programmed by the Creative Assembly, the game is played in first person, but it is not a FPS like Aliens: CM.
Set 15 years after the events of the first film, Amanda Ripley, daughter of Nostromo survivor Ellen Ripley, is looking for closure after the disappearance of her mother. Amanda is told a report has been received stating the flight recorder for the Nostromo has been recovered and is being held at a remote space station – the Sevastopol. Accompanied by two Weyland-Yutani employees, Amanda sets out for Sevastopol and upon arrival quickly finds things have very much gone awry. And so the game begins, first with trying to establish what has gone wrong, and then trying to escape Sevastopol itself.
Ammunition is in short supply, but the game is very much about stealth and avoiding combat, than any outright action. This is more of a first person Metal Gear Solid than Resident Evil. The Alien itself cannot be killed, but androids and hostile humans can all be dispatched if required. Missions are task based affairs requiring you to either collect something from a certain area or to just survive from point A to point B. Weapons can be complimented with some homemade devices intended to distract or disorientate which are “crafted” from parts found lying around Sevastopol.
If I were to give Alien: Isolation only one note of praise, then it would have to be for the environments that make up Sevastopol. Should you have ever only shown some interest in Ridley Scott’s original Alien film, you cannot fail to be impressed by how well Sevastopol mimics the environments of that film. Apparently the programmers studied original Alien set designs by the legendary Ron Cobb, and the faithfulness to this is evident throughout thus creating a strong bond to the original material the game is trying to lead on from.
There are some issues with the game, however. When looking down at the floor, Amanda’s feet are not very well integrated with the environment and it looks like you’re walking on air – very odd. It’s a minor gripe, but it really should not be there. Another occasional problem is clipping. In one area I defended myself by attacking a woman who was about to shoot me, clubbing her around the head with my wrench, I expected her to fall down dead. Instead I must have hit her that hard that her body vaporised, because it just disappeared!!
Another minor irritation is the inventory management system, which is fine early on in the game when you only have, literally, a few items, but later on as your choice of weapons and aids has expanded, choosing the item you want can be cumbersome with getting the appropriate icon highlighted for selection. I actually found many of the crafted items redundant, but I guess it depends on your own strategies to survive.
The Alien’s dogged persistence in staying in your area, even though it has not seen you (but knows you’re there), can be hugely annoying. Some times you feel as if you are stuck in your bolt hole for far too long before you feel confident enough to move off to a safer area… and if you do stay in the same spot for too long the Alien will find and kill you. The game is tough enough as it is, and I felt that a little more breathing space should have been granted if the Alien decides its prey has evaded it and moved on. I felt this also hindered my desire to explore Sevastopol further. Once you know the Alien is nearby, it immediately puts you on edge (which is a good thing for the game), and deters you from exploring rooms you’ve not yet accessed. Sevastopol is huge, and there is so much to explore, but with the Alien on to you half the time, you just want to make it from A – B as quickly as possible… or to the next nearest save point!
Indeed saving is an important part in progressing. I had read several reviews underscoring the requirement to save, save, save! Personally, if I could give any tactical advice on getting through the game, it would be to follow the mantra of “save, save, save” as much as possible. Especially after any encounters with the Alien have been passed.
The sound is excellent, and very much forms part of the game. Creative Assembly have been allowed the use of many musical cues from the Alien film, and they use these to create atmosphere, build tension and to warn of impending danger. Being a big aficionado of the first film, I was very impressed with the way the cues are implemented while you explore, it felt like I was in the film at times. Sound also plays a big part through noise. Very rarely will you walk through a section of Sevastopol without some kind of clanging going on, a klaxon going off, or rattling of some kind emanating from the corridors. This of course puts you very much on edge as you try to keep composed. I really do not recall playing a game where the sound has played such an integral part in building the game’s atmosphere since the original Silent Hill.
Overall the game is very well put together. The graphics are brilliant, the lighting top notch, the sound is fantastic and the game is a good length; making this by far the best Alien game of recent years, and arguably the best game to use the main film franchise to date. The game will not be everyone’s cup of tea. Some will lament the lack of any full blown action, the slow narrative pace, and no doubt the tension / suspense created by encounters with the creature will not be to all tastes. Yet, I feel that it fulfils the brief Creative Assembly set out very well and they are to be commended for their efforts in bringing the Alien world so effectively into our homes. Alien: Isolation is not perfect, but it is very, very good.
If only Aliens: Colonial Marines could have had production values like these…
Version tested: PlayStation 4
Also available on: PC, Xbox One, Xbox 360, PlayStation 3.
PlayStation developer Naughty Dog was once best known for its part in foisting the PSX’s answer to Sonic The Hedgehog upon us with the Crash Bandicoot series of games. While not being my thing, the Crash games were well produced, sold well, and generally received favourable reviews from critics back in the day. However, in the last 5 or 6 years Naughty Dog has somewhat reinvented itself as a developer of high quality cinematic action adventure games with the critically and commercially successful Uncharted series on PS3.
The Uncharted games certainly provided a very good reason to consider buying a PS3 over the Xbox 360 at retail with their exclusivity to Sony’s console, and to my mind, while there are some good 360 exclusives out there, Microsoft’s console never really came up with a serious rebuttal to Nathan Drake’s modern-day take on Indiana Jones. Nevertheless, I do not think that Uncharted alone would have been the tipping point in most gamer’s decisions over which console to pick up, assuming one was initially ambivalent over which of the seventh generation consoles to buy. I had already long bought a 360 by the time Uncharted: Drake’s Fortune was released in late 2007, and while I admit that it looked quite good, and sounded promising from the coverage I caught in Edge at the time, I wasn’t tempted to break out my old flexible friend and pick up a PS3 for this alone. However, you cannot deny the quality of production values that Naughty Dog have been injecting into their PS3 releases and the impressive way they have moved away from pseudo-“kiddies” games like Crash Bandicoot and Jak and Daxter to the mature content of the releases we’ve seen since (and including) Uncharted.
In the Spring of 2013, with the next generation of consoles only months away from launch, Naughty Dog delivered what could be rightly described as the PlayStation 3’s swan song – The Last of Us.
The back drop to the game is nothing that we haven’t seen before.
A global pandemic has all but wiped out modern civilisation, and those that have survived are living in heavily fortified zones protected by the military. Outside of these zones are other remains of humanity, pocketed in small areas of once thriving towns and cities surviving to live amongst the decay and detritus, but away from the order laid down by the military. The virus that has wrecked humanity starts life as spores getting into the brain and then developing into a fungus that turns the host into violent zombie. Over time the fungus grows deforming the head and other parts of the body, and there is no cure. These poor souls are referred to as the “Infected“, and there are a lot of them still out there looking for fresh victims as the virus can also be spread by being bitten.
After a short prologue to the main game, which sees the last hours of our world before the virus begins to spread, you take control of one of the survivors, Joel. Set twenty years later, Joel has become a smuggler of guns and pharmaceuticals with his partner, Tess, and through a twist of events get involved with a resistance movement called the Firefly’s, whereby they are entrusted to escort a young girl, Ellie, across country to a Firefly stronghold. As the game progress a strong relationship between Joel and Ellie forms which helps them drive forward, against the odds, to their ultimate destination.
The action elements are formulated of confrontations either with hostile human opponents, or the Infected. Weapons are not available in abundance, so fortunately Joel can look after himself, and many enemies can be dispatched by hand in ways not entirely dissimilar to what you would expect in Uncharted. Weapons that are available come in the form of small arms and cruder weapons such as shiv’s or baseball bats. To make matters more interesting not only are bullets in short supply, but non-ballistic weapons can only be used a few times before they will break and become useless. Therefore scavenging becomes a key part of the game process when not engaging in combat or avoiding enemies. You will find yourself searching high and low for the parts to make a shiv or Molotov cocktail, if you’re lucky you may find some bullets, but you’ll search everywhere for items so that you can survive.
The game requires you to think, and in many cases will allow you the opportunity to squirrel yourself away to one side while you consider what the best plan of attack will be, if indeed attack is a genuine option. Early on in the game, when ammunition and weapons are probably at their most scant, if you decide to become a one-man zombie-Terminator you are going to come unstuck very quickly indeed. As in real life, you use your intelligence to pick and choose your battles. Do it wisely and you’ll progress; the alternative usually results in death or making the next encounter ever the more tricky. The computer AI is excellent, and you will be quickly hunted down should you even accidentally give your position away. There are a few battles where a direct approach is required, but they are few and far between, and thus generally the action is of a cerebral variety as you eliminate those that block your path. The game is not easy, and there will be plenty of deaths before you pass certain areas. Indeed, some encounters really crank up the tension as you potentially face being overwhelmed if you do not enact a suitable strategy or respond quickly enough.
Of course the action is not entirely the primary driver of the game; it is the narrative and the relationship that forms between Joel and Ellie, and the action constantly plays second fiddle to the story being told. This cannot be highlighted more than in the dying minutes of the game where you would be rightly expecting one thing to happen, and your resilience is rewarded with something else entirely. In fact the game’s concluding minutes are very clever and I applaud Naughty Dog for taking the route they took to bring the story to a close.
The graphics are of the highest quality, well drawn, everything has character, and the lighting effects are just beautiful. The animation is some of the best I have seen, with lots of detail in facial expressions bringing the characters more to life and further enhancing the relationship building that goes on between them and between you and them. Sound, both music and audio, is first rate as you would expect if you’ve ever played any of the Uncharted games. Technically this must be pushing the PS3 to its limits, and it’s doubtful we’ll see anything of this quality launched on the system again now that the PS4 is centre of Sony’s attention.
The Last of Us is not perfect (criticisms I do have are all very minor), but within the genre that it sits in, it comes as close as one can get to gaming perfection in my opinion, and it will be interesting to see which developers try to copy or surpass the game, within its kind, as time moves on.
One developer who should take note of The Last of Us gameplay and narrative is Capcom. In many ways Capcom have spear headed the zombie genre’s rise to prominence in modern media with the Biohazard (aka Resident Evil) series, but they have lost their way considerably since the brilliant Biohazard 4, and perhaps ever more so since Biohazard 5 as Biohazard 6 is just a complete mess. Biohazard 5 has many redeeming qualities for me, even if it is not as good as its predecessor. I cannot say the same for the abomination that is Biohazard 6. If Capcom can extract just some of the essence of The Last of Us, combine that with the characters and story strands of Biohazard, and refocus on the one player element instead of fixating on the need to pander to multi-player, then they may be able to inject some credibility back into the franchise. After all, Naughty Dog have gone on record as saying that Biohazard 4 was a big inspiration to them during the development of The Last of Us.
With the cost of PS3 hardware now plummeting as retailers look to clear their shelves for additional space for PS4, there has never been a better time to pick up a brand new PS3 on the cheap so that one can play this game. While it may seem a bit extreme, the investment will be worth the experience that will unfold and you can then of course take in many of the other PS3 exclusives like the aforementioned Uncharted, plus Gran Turismo and others. I have no idea how many individual video games I have played since I was born, but there aren’t that many I really wanted to sit down and play through again immediately after completing them for the first time. With The Last of Us I did not get that feeling. The feeling I got was sadness, I was actual sad that I had completed the game, that my journey with Joel and Ellie had come to an end and there was no more story left to tell. I do not think I can say that about any game I have ever played or completed before; and I think that, more than anything else, that sums up the emotional impact of the thoroughly good story told by The Last of Us.
I shall, of course, be returning shortly to experience this epic once more, and I look forward to the forth coming single player DLC. I can only hope that if Naughty Dog decide to continue Joel & Ellie’s adventure, that the game is every bit as good as this; they have left themselves a mighty high mountain to climb… indeed a part of me would like to see the game as a stand alone title. Alas, I am sure commercial pressures will dictate otherwise. Still if any developer can trump their previous lofty achievements, on their record so far, it would be Naughty Dog.