Um dos melhores remakes da história dos videogames sem sombra de dúvidas, mas também uma excelente porta de entrada para novos visitantes ao gênero e à franquia.
Por não ter nenhum tipo de conexão com Resident Evil e suas raízes, absolutamente tudo acabou sendo novidade para mim, e foi fantástico.
Minha única experiência com a franquia havia sido o Resident Evil 6, onde jogamos com um Leon completamente diferente, praticamente uma máquina de matar, um exército de um homem só, e ter finalmente terminado o segundo jogo da franquia, onde jogamos com um Leon em seu início de carreira, inexperiente e ingênuo, foi muito interessante.
Posso dizer que agora compreendo o que de fato é a "essência" de um Resident Evil, e gostei muito do que me foi apresentado, o conjunto da obra funciona muito bem, em perfeita harmonia. Gameplay, trilha sonora, exploração, e principalmente ambientação, absolutamente incrível.
Talvez seja cedo para dizer que um novo fã da franquia acaba de surgir, mas também devo dizer que nunca é tarde demais. Com certeza procurarei jogar o restante dos jogos em algum momento.
Por não ter nenhum tipo de conexão com Resident Evil e suas raízes, absolutamente tudo acabou sendo novidade para mim, e foi fantástico.
Minha única experiência com a franquia havia sido o Resident Evil 6, onde jogamos com um Leon completamente diferente, praticamente uma máquina de matar, um exército de um homem só, e ter finalmente terminado o segundo jogo da franquia, onde jogamos com um Leon em seu início de carreira, inexperiente e ingênuo, foi muito interessante.
Posso dizer que agora compreendo o que de fato é a "essência" de um Resident Evil, e gostei muito do que me foi apresentado, o conjunto da obra funciona muito bem, em perfeita harmonia. Gameplay, trilha sonora, exploração, e principalmente ambientação, absolutamente incrível.
Talvez seja cedo para dizer que um novo fã da franquia acaba de surgir, mas também devo dizer que nunca é tarde demais. Com certeza procurarei jogar o restante dos jogos em algum momento.
Nightmare logic and 'nightmarish' are often reserved for works that evoke forces of total disorder that are malicious and occult and cosmic in scope. But these kinds of nightmares are thrilling, immediate, and easy to recognise as phantasms on waking up. I love these nightmares: they turn you into the happy audience of your subconscious' greatest horror film. There is always great catharsis to a descent into hell! The worst nightmares are the ones that are so ordinary that they are basically indistinguishable from daily life, that because they feel like a bad day rob you of the feeling of having slept. These nightmares sometimes recall situations and settings from your ordinary life, and even when they don't they capture its mundane processes and anxieties. If the former nightmares amplify these things to an extravagant scale, these ones cut through and distil the essence of life's exhaustion. Resident Evil 2 is this nightmare of ordinary life. It follows nightmare logic because it is deeply paranoid, and it is nightmarish because it is both very boring and very stressful.
Anyone who has ever worked in hospitality or customer service might think fast paced first person games distinctly nightmarish in their evocation of the horror of daily life. There is a universal alienation to moving through a crowd and realising that nobody sees anyone else, but what's worse is thousands of faces rushing directly toward you and you specifically and wanting something from you. Resident Evil 2 though is working as a teacher or administrator, performing as best you can with all eyes on you, putting out fires when they come up, and knowing that however well you resolve an issue in the moment you will never be on top of things. You are employed to make disorder manageable for minutes at a time from within the eternal disorder of human affairs. If things could ever be permanently ordered not only would you be out of a job, but humanity would cease to be human. The horror of daily disorder is also the beauty of ordinary life. I have nightmares about students challenging me in front of the class, but that's only because this can and should happen. If my lesson plans could be uploaded into the heads of a passive class-body, this would eliminate the need for interaction as well as thought. Teaching and learning is not about the absorption of information, but about thinking as a creative and disruptive process. If nothing is changing, then no thought is occurring. I have also had nightmares about online systems crashing, and databases dying with them. But the absence of interruption in an online system means that either the system is not being used, or that its uses have been exhausted. And if these databases could not be corrupted, they could also not be read. It is not a metaphor but a fact that disorder is at the essence of any working system, and noise is the essence of all transmission.
Both administration and pedagogy conduct disorder to maintain or further productive ends. Games are the same: disorder and precarity are the essence of the videogame's interplay of human and machinic agencies that test and collide and alter one another toward new and unforeseen outcomes. When outcomes are totally predictable, when disorder is under control, this means a victory to either the human or the game system, and this is when the game ceases to be a game. The system stops producing novelty when it is under control, and this happens when its heterogeneous components do not participate but dominate one another. Resident Evil 2 can be mastered by those players deeply committed to imposing order on systems, but as a game it works hard to maintain nightmarish precarity. The only thing inevitable about it is things, however under control they might appear, inevitably going the other way. It never makes the player feel entirely helpless like other survival horror games, and it never gives them a sense of triumph like other games with an atmosphere so dire. It is not about defeat or triumph or anything where things can be dominated or overcome. It is instead about just temporarily managing disorder before the cards are redrawn and disorder must once again be negotiated. The machine reads the player and the player reads the machine, and they both continue to adapt to and challenge one another.
This ongoing mind-game might sound strange because zombies are stupid, and the zombies in Resident Evil 2 are exceptionally zombie-ish, which means exceptionally stupid. But again Resident Evil 2's brand of nightmare is not always about the specifics of its settings or entities but instead life's quotidian processes and anxieties. Its horror is one of the failures of administration. The player can never be entirely on top of things, and the only way to progress is to memorise things and forget things and plan for things and when it inevitably happens, adapt to it all going wrong. It is to try and remember and account for all your mistakes and failures, and to manage as best you can the sinking ship of your best intentions. The introduction of Mr X and Lickers is not so much about introducing more mechanically powerful foes, but undoing your meagre efforts to put things into order. No one thing is scary or even difficult, but the game dynamically works obstacles, enemies, and affordances into a series of ad hoc recipes where the goal is always player frustration. Having Mr X walk into a room where you have things basically under control (one zombie with its legs blown off, another in the corner, another stunned, you're on low health but you know where you're going) is like having a supervisor watching you work. And sneaking past a Licker, then past a distracted zombie, and having Mr X walk in is like having a car backfire outside and wake up the baby you swear to god you almost, finally, had to sleep. Because you can never directly respond to Mr X, so continues an eternal chase through the same god damn corridors where hands are once again played with the hope of a new outcome. Because we memorise certain routes and blindspots and dangers, Resident Evil 2 makes the case that repetition in systems might lead to a sense of familiarity, but it also always leads to difference.
Resident Evil 2 is also the scariest game for how it so beautifully handles slow-moving frustration within a space that a single stray bullet can throw everything into disarray. Zombies are not intrinsically scary but they are always uncanny; Romero's zombies move slow to mimic the world of humans undone by capitalism and Fulci's present the ultimate desecration of human life and the divine order of our belief systems. Both inhabit films that feel zombie-like: sluggish, falling apart, and singularly focussed on devouring the future. Resident Evil 2 is smooth, albeit circular and obsessive. Here the zombies are obstacles for management, and the horror of managing the impossible makes them scary. It is a game made for fans of the series, and fans of the series are big fans. It's a cult franchise that's also enormously popular; it's a cult on the scale of a supermarket or mall chain. Like the zombie it returns from the dead and moves with obsessive purpose. As such it is made to be played twice 'officially', four times 'thoroughly', and a hundred times 'realistically'. It gets less scary the more it is repeated, because repetition gives the space to experiment with new ideas and outcomes. The second play is more laborious than anything else because it involves re-seeing what once scared you, this time as blank obstacles. The third however unlocks a new kind of obsession in the player's brain, where the pain and joy of managing disorder comes back stronger than ever before. It takes about fifteen hours to complete, but like the zombie it cannot die an ordinary death and is never really over.
Resident Evil 2's gore is not affecting, but the lighting and always obscured sight-lines return the player to this infantile state where they are afraid of the dark. We play as the detached adult, dealing with problems systematically, playing Tetris with keys and herbs, but we are also aways the irrational child hiding under the blankets from the boogeyman. Both are always at play: one does not contradict the other. Resident Evil Biohazard plays this up well by swapping out Mr X for Jack Baker, the lunatic father looking for you, his 'son' who won't stop slamming doors and ruining dinner and staying out past curfew. X is interesting because when you can only hear him he functions as a Michael Myers-esque 'shape', or abstraction as persistent as the shadows at your feet. But then when you see him he looks like a fucking idiot. He is frightening because of how he upsets your plans, because of how he reminds you that no amount of trying will ever allow you to control your surroundings, but he is also terrifying because he looks like such a fucking idiot. Commonsense would suggest he'd be more ominous the more abstract his appearance, but the idiot physicality of his bozo suit and hat and weirdly serene face is actually chilling because it's also funny.
The screwball comedy of this game is also one of its greatest strengths because it keeps things terrifying, and rubs your mistakes in your face as if to say how this whole thing's your fault. I had to laugh out loud when I returned to this room to pick something up that I had not been into in a week, and there were like five zombies I had not dealt with and had forgotten about and it scared the shit out of me, then Mr X entered from the other side with perfect comic timing like Honey I'm home what's with all this mess!. It was like getting ready to go on holiday and at the last minute remembering that final little job you had to get out of the way but it was sent to that other inbox you're not really checking any more because you've tapped out and you just want to see the water and sit in the grass for a bit but now there's like a hundred emails in there that get progressively less polite as they add up.
Life is shit because it's boring and hard and unpredictable all at the same time but it's also really beautiful for the same reasons and is worth doing forever. This is Resident Evil 2's philosophy, and also what makes it such a brilliant game.
Anyone who has ever worked in hospitality or customer service might think fast paced first person games distinctly nightmarish in their evocation of the horror of daily life. There is a universal alienation to moving through a crowd and realising that nobody sees anyone else, but what's worse is thousands of faces rushing directly toward you and you specifically and wanting something from you. Resident Evil 2 though is working as a teacher or administrator, performing as best you can with all eyes on you, putting out fires when they come up, and knowing that however well you resolve an issue in the moment you will never be on top of things. You are employed to make disorder manageable for minutes at a time from within the eternal disorder of human affairs. If things could ever be permanently ordered not only would you be out of a job, but humanity would cease to be human. The horror of daily disorder is also the beauty of ordinary life. I have nightmares about students challenging me in front of the class, but that's only because this can and should happen. If my lesson plans could be uploaded into the heads of a passive class-body, this would eliminate the need for interaction as well as thought. Teaching and learning is not about the absorption of information, but about thinking as a creative and disruptive process. If nothing is changing, then no thought is occurring. I have also had nightmares about online systems crashing, and databases dying with them. But the absence of interruption in an online system means that either the system is not being used, or that its uses have been exhausted. And if these databases could not be corrupted, they could also not be read. It is not a metaphor but a fact that disorder is at the essence of any working system, and noise is the essence of all transmission.
Both administration and pedagogy conduct disorder to maintain or further productive ends. Games are the same: disorder and precarity are the essence of the videogame's interplay of human and machinic agencies that test and collide and alter one another toward new and unforeseen outcomes. When outcomes are totally predictable, when disorder is under control, this means a victory to either the human or the game system, and this is when the game ceases to be a game. The system stops producing novelty when it is under control, and this happens when its heterogeneous components do not participate but dominate one another. Resident Evil 2 can be mastered by those players deeply committed to imposing order on systems, but as a game it works hard to maintain nightmarish precarity. The only thing inevitable about it is things, however under control they might appear, inevitably going the other way. It never makes the player feel entirely helpless like other survival horror games, and it never gives them a sense of triumph like other games with an atmosphere so dire. It is not about defeat or triumph or anything where things can be dominated or overcome. It is instead about just temporarily managing disorder before the cards are redrawn and disorder must once again be negotiated. The machine reads the player and the player reads the machine, and they both continue to adapt to and challenge one another.
This ongoing mind-game might sound strange because zombies are stupid, and the zombies in Resident Evil 2 are exceptionally zombie-ish, which means exceptionally stupid. But again Resident Evil 2's brand of nightmare is not always about the specifics of its settings or entities but instead life's quotidian processes and anxieties. Its horror is one of the failures of administration. The player can never be entirely on top of things, and the only way to progress is to memorise things and forget things and plan for things and when it inevitably happens, adapt to it all going wrong. It is to try and remember and account for all your mistakes and failures, and to manage as best you can the sinking ship of your best intentions. The introduction of Mr X and Lickers is not so much about introducing more mechanically powerful foes, but undoing your meagre efforts to put things into order. No one thing is scary or even difficult, but the game dynamically works obstacles, enemies, and affordances into a series of ad hoc recipes where the goal is always player frustration. Having Mr X walk into a room where you have things basically under control (one zombie with its legs blown off, another in the corner, another stunned, you're on low health but you know where you're going) is like having a supervisor watching you work. And sneaking past a Licker, then past a distracted zombie, and having Mr X walk in is like having a car backfire outside and wake up the baby you swear to god you almost, finally, had to sleep. Because you can never directly respond to Mr X, so continues an eternal chase through the same god damn corridors where hands are once again played with the hope of a new outcome. Because we memorise certain routes and blindspots and dangers, Resident Evil 2 makes the case that repetition in systems might lead to a sense of familiarity, but it also always leads to difference.
Resident Evil 2 is also the scariest game for how it so beautifully handles slow-moving frustration within a space that a single stray bullet can throw everything into disarray. Zombies are not intrinsically scary but they are always uncanny; Romero's zombies move slow to mimic the world of humans undone by capitalism and Fulci's present the ultimate desecration of human life and the divine order of our belief systems. Both inhabit films that feel zombie-like: sluggish, falling apart, and singularly focussed on devouring the future. Resident Evil 2 is smooth, albeit circular and obsessive. Here the zombies are obstacles for management, and the horror of managing the impossible makes them scary. It is a game made for fans of the series, and fans of the series are big fans. It's a cult franchise that's also enormously popular; it's a cult on the scale of a supermarket or mall chain. Like the zombie it returns from the dead and moves with obsessive purpose. As such it is made to be played twice 'officially', four times 'thoroughly', and a hundred times 'realistically'. It gets less scary the more it is repeated, because repetition gives the space to experiment with new ideas and outcomes. The second play is more laborious than anything else because it involves re-seeing what once scared you, this time as blank obstacles. The third however unlocks a new kind of obsession in the player's brain, where the pain and joy of managing disorder comes back stronger than ever before. It takes about fifteen hours to complete, but like the zombie it cannot die an ordinary death and is never really over.
Resident Evil 2's gore is not affecting, but the lighting and always obscured sight-lines return the player to this infantile state where they are afraid of the dark. We play as the detached adult, dealing with problems systematically, playing Tetris with keys and herbs, but we are also aways the irrational child hiding under the blankets from the boogeyman. Both are always at play: one does not contradict the other. Resident Evil Biohazard plays this up well by swapping out Mr X for Jack Baker, the lunatic father looking for you, his 'son' who won't stop slamming doors and ruining dinner and staying out past curfew. X is interesting because when you can only hear him he functions as a Michael Myers-esque 'shape', or abstraction as persistent as the shadows at your feet. But then when you see him he looks like a fucking idiot. He is frightening because of how he upsets your plans, because of how he reminds you that no amount of trying will ever allow you to control your surroundings, but he is also terrifying because he looks like such a fucking idiot. Commonsense would suggest he'd be more ominous the more abstract his appearance, but the idiot physicality of his bozo suit and hat and weirdly serene face is actually chilling because it's also funny.
The screwball comedy of this game is also one of its greatest strengths because it keeps things terrifying, and rubs your mistakes in your face as if to say how this whole thing's your fault. I had to laugh out loud when I returned to this room to pick something up that I had not been into in a week, and there were like five zombies I had not dealt with and had forgotten about and it scared the shit out of me, then Mr X entered from the other side with perfect comic timing like Honey I'm home what's with all this mess!. It was like getting ready to go on holiday and at the last minute remembering that final little job you had to get out of the way but it was sent to that other inbox you're not really checking any more because you've tapped out and you just want to see the water and sit in the grass for a bit but now there's like a hundred emails in there that get progressively less polite as they add up.
Life is shit because it's boring and hard and unpredictable all at the same time but it's also really beautiful for the same reasons and is worth doing forever. This is Resident Evil 2's philosophy, and also what makes it such a brilliant game.
This game made me realize a few things.
1. I am a massive pussy
2. I am a dumbass
3. I am a simp
Overall good game
1. I am a massive pussy
2. I am a dumbass
3. I am a simp
Overall good game
Taking a star off just because you need to beat the game twice to see the true ending.
+re5/re6 are already pretty comfy to play, but this next-iteration of RE third-person shooter mechanics has really refined all the best parts of the prior entries. running is smooth (though understandably not that fast), turning around isn't a nuisance in instances where the quick-turn isn't optimal, and the handling for the guns nails the tense wobble of prior games without the same seemingly inconsistent shots.
+indeed, much of the fear in zombie confrontations comes from their erratic movements. zombies take many bullets to permanently dispatch, and lining up headshots isn't child's play. the undead will seize up, crane their noggins over lopsided, and stumble back and forth; all the while evading your fire.
+the whole police station section from the clock tower above to the dog pound below rules. perfect balance of planning your runs/routes + working out the various puzzles around the station.
+love the concept of the locker room. finding one of the blank keys lit my brain up with thoughts of what goodies I would get next. would have been interested in seeing this expanded.
+the usual resident evil cheese is much appreciated in the notes and emails and such over the course of the game. the cutscenes feel suitably more serious than the truly B-movie ones from the psx games, but the supplementary text belies the schlock under the hood.
+inventory system is cramped enough to not make smart loadout choices pointless, but also far less annoying to manage from when I played REmake. the hip pouches are also perfectly timed as you build out your weapon selection, great addition.
+best jumpscares and overall terror out of any of the REs I've played up to this point. when tyrant burst out of that wall in the east hall first floor my heart skipped a beat.
+ada...
-tyrant was honestly underused compared to what I expected from hearing others talk. he's present for a bit of the police station, but is unfortunately absent from the rest of the game other than a couple obviously scripted appearances. he's not really much of a threat either given that his punches don't deal much damage.
-the sewer and the lab arent't bad but don't have the great design web of the station. the sewer really just requires making like two loops through to get everything, and the lab has one small five-minute area + another area that just takes two loops through. puzzles are stlil fun, but it didn't quite hit the same for me.
-enemies also feel less threatening during these sections than the zombie windows and lickers of the station. the giant water monsters in the sewer are freaky but really only show up in two main locations, while the plant monsters of the lab go down quickly with the flamethrower regardless of their regeneration and their potentially to insta-kill leon.
-given the engine I actually wouldn't have minded an action focus later on in the game. missed opportunity imo, again given that the latter half is missing that je ne sais quoi of the first half.
-the section where you actually play as ada isn't that great. tracing the electrical systems made me feel like I was playing some obnoxious insomniac spider-man mission.
hit the spot as a "no thoughts" game while I recovered from marathoning so many games in the last two months. in terms of pacing I would have preferred a bit more bulk (I came in just shy of 8 hours IGT) or at the very least some way to just mow down zombies for a bit towards the end. the setpieces are good and the bosses passable for RE, but the bar is low, is it not? I absolutely could not put it down in the station though; playing this and onimusha sort of close to each other reminded me how much my brain gets tickled by RE-style puzzles.
+indeed, much of the fear in zombie confrontations comes from their erratic movements. zombies take many bullets to permanently dispatch, and lining up headshots isn't child's play. the undead will seize up, crane their noggins over lopsided, and stumble back and forth; all the while evading your fire.
+the whole police station section from the clock tower above to the dog pound below rules. perfect balance of planning your runs/routes + working out the various puzzles around the station.
+love the concept of the locker room. finding one of the blank keys lit my brain up with thoughts of what goodies I would get next. would have been interested in seeing this expanded.
+the usual resident evil cheese is much appreciated in the notes and emails and such over the course of the game. the cutscenes feel suitably more serious than the truly B-movie ones from the psx games, but the supplementary text belies the schlock under the hood.
+inventory system is cramped enough to not make smart loadout choices pointless, but also far less annoying to manage from when I played REmake. the hip pouches are also perfectly timed as you build out your weapon selection, great addition.
+best jumpscares and overall terror out of any of the REs I've played up to this point. when tyrant burst out of that wall in the east hall first floor my heart skipped a beat.
+ada...
-tyrant was honestly underused compared to what I expected from hearing others talk. he's present for a bit of the police station, but is unfortunately absent from the rest of the game other than a couple obviously scripted appearances. he's not really much of a threat either given that his punches don't deal much damage.
-the sewer and the lab arent't bad but don't have the great design web of the station. the sewer really just requires making like two loops through to get everything, and the lab has one small five-minute area + another area that just takes two loops through. puzzles are stlil fun, but it didn't quite hit the same for me.
-enemies also feel less threatening during these sections than the zombie windows and lickers of the station. the giant water monsters in the sewer are freaky but really only show up in two main locations, while the plant monsters of the lab go down quickly with the flamethrower regardless of their regeneration and their potentially to insta-kill leon.
-given the engine I actually wouldn't have minded an action focus later on in the game. missed opportunity imo, again given that the latter half is missing that je ne sais quoi of the first half.
-the section where you actually play as ada isn't that great. tracing the electrical systems made me feel like I was playing some obnoxious insomniac spider-man mission.
hit the spot as a "no thoughts" game while I recovered from marathoning so many games in the last two months. in terms of pacing I would have preferred a bit more bulk (I came in just shy of 8 hours IGT) or at the very least some way to just mow down zombies for a bit towards the end. the setpieces are good and the bosses passable for RE, but the bar is low, is it not? I absolutely could not put it down in the station though; playing this and onimusha sort of close to each other reminded me how much my brain gets tickled by RE-style puzzles.
Sempre fui muito cagão pra jogos de terror, e ter dado chance para Signalis e Amnesia: The Bunker me fez perceber que talvez parte desse medo tenha ido embora. Percebi também que esse tipo de puzzle são os meus favoritos, navegar por esses mapas, explorar, é tudo muito prazeroso.
Resident Evil 2: Remake, é perfeito em tudo, a história é bem legal, a progressão é muito clara, amei cada detalhe dessa experiência.
Resident Evil 2: Remake, é perfeito em tudo, a história é bem legal, a progressão é muito clara, amei cada detalhe dessa experiência.
minus one half star for making Leon less of a bishounen hottie than he is in RE4
Nunca superei a tensão sexual entre Ada e Leon.
This is how you make a modernized version of an old game. The gameplay is PHENOMENAL, it has never been so fun to blow the brains out of zombies. Every weapon is balanced in its own regard with ammo availability, weapon strength, time to kill etc. The graphics are stunning and the environment of an apocalyptic Raccoon City is mesmerizing to look at. The map is intricate and serves as a great adaptation of the original. I love how even though it is more action orientated, you still aren't invincible and need to use your resources with care otherwise you will struggle in the later parts of the game. Mr. X is an absolute nightmare with how his AI works, you will never feel safe as he is constantly lurking around in hopes to surprise you. Simply brilliant design by Capcom. The boss fights are really enjoyable which is something that I cannot say for every TPS. I hope Resident Evil 3 (the original not the remake cause it sucks) will be able to live up to the bar set by the Resident Evil 1 and 2 remakes.
After coming away from Resident Evil (2002) with the firm belief that the ink ribbon save economy is a genius-tier game mechanic, I couldn't resist starting my first playthrough of Resident Evil 2 (2019) as Claire in hardcore mode. Having done so, I can say with confidence: I was absolutely correct. The mechanical soul of these games is in the risk/reward calculus of limited resources and carefully planned runs. When you're running on the long end of a save and you choose to push a little further, that's the truest terror. When you first set foot in a new room with unknown horrors and everything to lose, that's when the zombies start to feel real.
Even aside from the impeccable mechanics, the vibe of this game is excellent. I lost track of how many times I legitimately jumped at a scare, or started shouting "OH NO OH FUCK" when a zombie came at me unexpectedly. Mr. X is a particularly inspired design element, destroying what scant comfort you can take in routes you thought were safe and violating the sanctity of the central atrium (the first time this happened I fully screamed). Claire is charming and Leon's stupidity plays perfectly into Ada's no-nonsense demeanor.
When I first started playing, a friend told me this was her favorite of all the RE games and remakes. I was skeptical: Resident Evil (2002) has a degree of mechanical purity that seemed impossible to match. But now I think I kind of agree: Hardcore mode brings the same mechanical genius (although part of me misses the compositional artistry of fixed camera and tank controls), while the rest of the game delivers excitement and frights well beyond what I got from the first game. This one is really magnificent.
Even aside from the impeccable mechanics, the vibe of this game is excellent. I lost track of how many times I legitimately jumped at a scare, or started shouting "OH NO OH FUCK" when a zombie came at me unexpectedly. Mr. X is a particularly inspired design element, destroying what scant comfort you can take in routes you thought were safe and violating the sanctity of the central atrium (the first time this happened I fully screamed). Claire is charming and Leon's stupidity plays perfectly into Ada's no-nonsense demeanor.
When I first started playing, a friend told me this was her favorite of all the RE games and remakes. I was skeptical: Resident Evil (2002) has a degree of mechanical purity that seemed impossible to match. But now I think I kind of agree: Hardcore mode brings the same mechanical genius (although part of me misses the compositional artistry of fixed camera and tank controls), while the rest of the game delivers excitement and frights well beyond what I got from the first game. This one is really magnificent.
Claire's story is pretty crappy and sherry is definitely bottom tier in the zombie apocalypse child follower list. Maybe I guess you're never really supposed to take the story serious cause its supposed to be a 1980s action horror movie, bad acting and all, But man, mr x chasing u has to be my fav aspect of this game, its seriously awesome. Makes it a lot more tense despite the cutscenes being so cheesy. Combine that with hardcore mode no autosaves and ink ribbons required? NOW im scared. I dont get scared no matter how much blood and guts you throw at me but if you threaten me with lost progress it's gonna be shit shit pants city reaaal soon. The boss battles kind of suck but this game is atmospheric, fun, replayable, and there's a lot of fun mods too. I just wish they did more to make the police station feel like one place that you and the other character is exploring at the same time. Like finding an object as leon on my b run knowing that i took that as claire on my a run is kinda lame. But whatevs. The graphics are really nice too i forgot to say that. But yea despite the flaws this is a really really fun tense game just make sure u play Leon a cus his run is better IMO even though they're pretty similar... peace out
It's worth bearing in mind how much the Resident Evil 2 remake was aiming to achieve. It was a remake of a widely beloved 1998 survival horror game that many saw as the genre's defining title, it was the long-awaited sequel to the best videogame remake ever made, it was a back-to-basics step backwards for a huge franchise that had spiralled out of control, it was a new attempt at recapturing the critical success of Resident Evil 4, and it was a massive tentpole release for one of the giants of Japanese videogame development. Capcom had struggled since the glory days of the PS2, with the rapid departure of major talent, and a dwindling market for console games in Japan. Taking on a project like a new Resi 2 would be a major show of renewed confidence, and they pretty much stuck the landing.
The "remake" branding is a little misleading, here. This is more of an adaptation. A shift in format, much like Steamforged's "Resident Evil 2: The Board Game". Capturing much of the iconography and ideas of Hideki Kamiya's original PlayStation title, and reappropriating them for a modern big budget action game. It's a game for those who like the idea of Resident Evil 2 more than they actively enjoy playing it. The folk who constantly pester developers on Twitter for remakes of everything because they can't be arsed working with memory cards.
What's admirable is how much they manage to cater to each strain of the playerbase. There's old Resi 2 ideas in here that only work because of how much Resi 2 surrounds it. Barricading windows, optional puzzles for more equipment, weapon upgrades you might miss, and rooms with multiple entrances. It's easy to see how any of these elements might have been completely fucked in a more linear design, or rendered irrelevant if the player was given too much freedom in any moment, but the balance has been maintained. Resi 2 still feels punchy, tense and suffocating.
The newfound freedom in the controls does lighten the atmosphere considerably, though. You're not locked into aiming spots, as you have access to a full range of movement with your gun drawn, but it's an aspect of the game that the developers saw value in. Standing still while aiming will steady your shot and make attacks more effective. For the player, it's a nervous balance of how much you want to hurt the monsters and how scared you are that they'll come lunging for you. Controls are far more intricate here too, allowing for a whole range of considerations when targeting an enemy. It builds on the old risk/reward Resi dynamic of the safe body shot or tricky headshot, allowing for players to strategically target limbs to stumble or effectively nullify approaching zombies. The greater range in movement would make it easier to avoid enemies altogether, if only it didn't apply to them as well. There's a lot of variables that Capcom had to manage to make this new approach work, and I'd argue they achieved it.
There's also the perspective of how well this works as a follow-up to the 2002 GameCube Resident Evil. That game's biggest success is in how it played with player expectations to turn a familiar, and increasingly comforting environment into a devious and terrifying one. From the moment the dogs didn't smash through the window, old fans knew the game was fucking with them, and they could never be too comfortable with what lay ahead. It's a moment the 2019 Resi 2 attempts to repeat with the first Licker, though its biggest achievement is in how it handles "Mr X" - a constant roaming presence in moments where the player would otherwise have a little too much to find safety in. Watching how much noise you're making, and actively listening for recognisable footsteps in nearby rooms really works well, adding light stealth elements to the tension. It's a brilliant use of the playing pieces laid out by the original game, keeping it fresh while never feeling out of step with the design.
What's crucial to my affection is the game's tone. If Claire or Leon seemed too smart, too confident or too frightened, it would have completely fucked it for me. They aren't. They're nice kids. Wholesome, and very assured of their own coolness. The pair meeting outside the east wing of the RCPD, and sharing a breezy conversation as zombies emerged from the apocalyptic chaos of the city, reassured me that Capcom had totally nailed the characterisation. They're very lovable, and I was grateful to play as them.
Then there's the stuff that doesn't work quite so well for me. The voice in my head that screams "THE ALLIGATOR" whenever I see the keyart. They totally fucked the alligator. The gameplay of the original sequence was always more of a setpiece than an intricate bossfight, but it was memorable, exciting and fun. A whimsical progression of Resi 1's use of giant evil animal bosses, and my own fondness for snapping crocodilians made the moment one of the major highlights of the game. In the remake, it's a fleeting Crash Bandicoot run towards the camera as a monster, obscured by piles of sewer refuse, takes three bites at you and dies. Fuck off. I'd have welcomed a QTE sequence that really played up the dynamics of the escape, but Capcom cowered away from wrongheaded criticism of Resi 4 and replaced it with something so insubstantial they might as well have skipped it entirely. It takes a lot for me not to write off the game entirely for that alone. It's indicative of much of the approach the remake takes towards big action sequences and setpieces, too. There's very little in here that captures the weight, foundational excitement and charm of those original moments. The freedom of camera movement, expansive environments and dynamic character models often places these moments somewhere on the scale between TV ad and Advent Children.
I forgive that, though. It's because the love for Resi 2, and the respect for those who love it, is so clear here. They saw how broad an audience they wanted to appeal to, and made sure what they delivered was still Resi 2. I'm of the opinion that it's even more critical to determine whether you're talking about this game or the original when you declare that you like Resident Evil 2, but I don't think it's a subject that the oldguard fans have the right to get snobby about. I can keep coming back to my Dreamcast copy, but there's a lot to draw me back to the remake too.
The "remake" branding is a little misleading, here. This is more of an adaptation. A shift in format, much like Steamforged's "Resident Evil 2: The Board Game". Capturing much of the iconography and ideas of Hideki Kamiya's original PlayStation title, and reappropriating them for a modern big budget action game. It's a game for those who like the idea of Resident Evil 2 more than they actively enjoy playing it. The folk who constantly pester developers on Twitter for remakes of everything because they can't be arsed working with memory cards.
What's admirable is how much they manage to cater to each strain of the playerbase. There's old Resi 2 ideas in here that only work because of how much Resi 2 surrounds it. Barricading windows, optional puzzles for more equipment, weapon upgrades you might miss, and rooms with multiple entrances. It's easy to see how any of these elements might have been completely fucked in a more linear design, or rendered irrelevant if the player was given too much freedom in any moment, but the balance has been maintained. Resi 2 still feels punchy, tense and suffocating.
The newfound freedom in the controls does lighten the atmosphere considerably, though. You're not locked into aiming spots, as you have access to a full range of movement with your gun drawn, but it's an aspect of the game that the developers saw value in. Standing still while aiming will steady your shot and make attacks more effective. For the player, it's a nervous balance of how much you want to hurt the monsters and how scared you are that they'll come lunging for you. Controls are far more intricate here too, allowing for a whole range of considerations when targeting an enemy. It builds on the old risk/reward Resi dynamic of the safe body shot or tricky headshot, allowing for players to strategically target limbs to stumble or effectively nullify approaching zombies. The greater range in movement would make it easier to avoid enemies altogether, if only it didn't apply to them as well. There's a lot of variables that Capcom had to manage to make this new approach work, and I'd argue they achieved it.
There's also the perspective of how well this works as a follow-up to the 2002 GameCube Resident Evil. That game's biggest success is in how it played with player expectations to turn a familiar, and increasingly comforting environment into a devious and terrifying one. From the moment the dogs didn't smash through the window, old fans knew the game was fucking with them, and they could never be too comfortable with what lay ahead. It's a moment the 2019 Resi 2 attempts to repeat with the first Licker, though its biggest achievement is in how it handles "Mr X" - a constant roaming presence in moments where the player would otherwise have a little too much to find safety in. Watching how much noise you're making, and actively listening for recognisable footsteps in nearby rooms really works well, adding light stealth elements to the tension. It's a brilliant use of the playing pieces laid out by the original game, keeping it fresh while never feeling out of step with the design.
What's crucial to my affection is the game's tone. If Claire or Leon seemed too smart, too confident or too frightened, it would have completely fucked it for me. They aren't. They're nice kids. Wholesome, and very assured of their own coolness. The pair meeting outside the east wing of the RCPD, and sharing a breezy conversation as zombies emerged from the apocalyptic chaos of the city, reassured me that Capcom had totally nailed the characterisation. They're very lovable, and I was grateful to play as them.
Then there's the stuff that doesn't work quite so well for me. The voice in my head that screams "THE ALLIGATOR" whenever I see the keyart. They totally fucked the alligator. The gameplay of the original sequence was always more of a setpiece than an intricate bossfight, but it was memorable, exciting and fun. A whimsical progression of Resi 1's use of giant evil animal bosses, and my own fondness for snapping crocodilians made the moment one of the major highlights of the game. In the remake, it's a fleeting Crash Bandicoot run towards the camera as a monster, obscured by piles of sewer refuse, takes three bites at you and dies. Fuck off. I'd have welcomed a QTE sequence that really played up the dynamics of the escape, but Capcom cowered away from wrongheaded criticism of Resi 4 and replaced it with something so insubstantial they might as well have skipped it entirely. It takes a lot for me not to write off the game entirely for that alone. It's indicative of much of the approach the remake takes towards big action sequences and setpieces, too. There's very little in here that captures the weight, foundational excitement and charm of those original moments. The freedom of camera movement, expansive environments and dynamic character models often places these moments somewhere on the scale between TV ad and Advent Children.
I forgive that, though. It's because the love for Resi 2, and the respect for those who love it, is so clear here. They saw how broad an audience they wanted to appeal to, and made sure what they delivered was still Resi 2. I'm of the opinion that it's even more critical to determine whether you're talking about this game or the original when you declare that you like Resident Evil 2, but I don't think it's a subject that the oldguard fans have the right to get snobby about. I can keep coming back to my Dreamcast copy, but there's a lot to draw me back to the remake too.
putting dan brown davinci code puzzles in the local police station is a serious waste of public funding
Hoo boi really want to say that if you haven’t witnessed RE2 in some way shape or form actually play this version its really one of these gems that you have to play and witness what makes the game so good
good
Resident Evil 2 remake was not my first Resident Evil game, but it was the first 3rd person Resident Evil game that I have extensively played and I wish I played this sooner. The first thing worth mentioning is that the graphics are absolutely stunning and really utilize the capabilities of the consoles they were on. I'm usually not wowed by a game's visuals but this was an exception. The level of detail present adds to the fear factor of the survival horror elements present in the game.
The gameplay is fantastic. Leon and Claire both feel great to control and some of the different weapons they use help them feel somewhat unique from each other. Leon and Claire both have scenarios where you briefly play as a character present in their respective version of the story. While I didn't appreciate them as much as I did other parts of the game, they were still neat additions and a small breath of fresh air away from the main gameplay.
The survival horror elements that the original Resident Evil captured perfectly are still here. I still felt that feeling of dread running around the police station hoping I didn't run into any lickers or a bunch of zombies that I would not be able to handle all the while managing my health and inventory throughout my adventure. That feeling of tension adds a level of immersion and enjoyment that make Resident Evil 2 and really Resident Evil as a whole great.
The only thing that bothered me was that Leon's and Claire's stories outside of playing as Ada or Sherry for a short time depending on who you choose and the A & B scenarios both don't have enough changes to really make it worth playing again. Most of the same things still happen which makes the B scenario feel redundant. There is the true ending, but even that only just adds a small boss that's pretty easy to beat. I still enjoyed playing through the game with both characters, but really just wanted to see a few more differences to make each playthrough stand out.
Overall, Resident Evil 2 remake is a superb remake and game.
The gameplay is fantastic. Leon and Claire both feel great to control and some of the different weapons they use help them feel somewhat unique from each other. Leon and Claire both have scenarios where you briefly play as a character present in their respective version of the story. While I didn't appreciate them as much as I did other parts of the game, they were still neat additions and a small breath of fresh air away from the main gameplay.
The survival horror elements that the original Resident Evil captured perfectly are still here. I still felt that feeling of dread running around the police station hoping I didn't run into any lickers or a bunch of zombies that I would not be able to handle all the while managing my health and inventory throughout my adventure. That feeling of tension adds a level of immersion and enjoyment that make Resident Evil 2 and really Resident Evil as a whole great.
The only thing that bothered me was that Leon's and Claire's stories outside of playing as Ada or Sherry for a short time depending on who you choose and the A & B scenarios both don't have enough changes to really make it worth playing again. Most of the same things still happen which makes the B scenario feel redundant. There is the true ending, but even that only just adds a small boss that's pretty easy to beat. I still enjoyed playing through the game with both characters, but really just wanted to see a few more differences to make each playthrough stand out.
Overall, Resident Evil 2 remake is a superb remake and game.
"𝚃𝚑𝚎 𝚄𝚖𝚋𝚛𝚎𝚕𝚕𝚊 𝙲𝚘𝚛𝚙𝚘𝚛𝚊𝚝𝚒𝚘𝚗'𝚜 𝚜𝚎𝚌𝚛𝚎𝚝 𝚕𝚊𝚋𝚘𝚛𝚊𝚝𝚘𝚛𝚢, "𝙽𝙴𝚂𝚃" — 𝚝𝚑𝚎 𝚜𝚘𝚞𝚛𝚌𝚎 𝚘𝚏 𝚁𝚊𝚌𝚌𝚘𝚘𝚗 𝙲𝚒𝚝𝚢'𝚜 𝚗𝚒𝚐𝚑𝚝𝚖𝚊𝚛𝚎.
𝙷𝚊𝚟𝚒𝚗𝚐 𝚖𝚊𝚍𝚎 𝚒𝚝 𝚍𝚘𝚠𝚗 𝚝𝚘 𝙽𝙴𝚂𝚃, 𝙻𝚎𝚘𝚗 𝚖𝚞𝚜𝚝 𝚗𝚘𝚠 𝚏𝚒𝚗𝚍 𝚝𝚑𝚎 𝚖𝚘𝚜𝚝 𝚍𝚊𝚗𝚐𝚎𝚛𝚘𝚞𝚜 𝚋𝚒𝚘𝚠𝚎𝚊𝚙𝚘𝚗 𝚒𝚗 𝚑𝚒𝚜𝚝𝚘𝚛𝚢, 𝚝𝚑𝚎 𝙶-𝚅𝚒𝚛𝚞𝚜.
𝙻𝚎𝚘𝚗 𝚋𝚎𝚕𝚒𝚎𝚟𝚎𝚜 𝚝𝚑𝚊𝚝 𝚒𝚏 𝚑𝚎 𝚐𝚎𝚝𝚜 𝚑𝚒𝚜 𝚑𝚊𝚗𝚍𝚜 𝚘𝚗 𝚒𝚝, 𝚑𝚎 𝚌𝚊𝚗 𝚖𝚊𝚔𝚎 𝚜𝚞𝚛𝚎 𝚓𝚞𝚜𝚝𝚒𝚌𝚎 𝚒𝚜 𝚜𝚎𝚛𝚟𝚎𝚍."
I had the pleasure of watching Speed for the first time earlier this year, and I enjoyed it very much. My favourite thing about the film was Keanu Reeves, who played the role of the hero, Jack Traven. Jack is a naively good-spirited cop who talks down crazed gunmen via the appeal of "c'mon, we're just dudes... chillin' out together...", an honest babyfaced fella who is more concerned with saving old ladies in wheelchairs at the side of the road than he is with blowing off the heads of terrorists from lands far away. While deification of the great Keanu is obviously one of the most overplayed bits in the history of the internet, every cliche has to come from somewhere - and it's easy to see why we worship a guy who has the talent to make a cop so damn likable.
It goes without saying that no police officer is innocent, but I don't think that means mean every person behind a badge is irredeemable. Perhaps a contentious statement, but I find it too hard to believe - too hard to reckon with, even - that there isn't a naive subset of the force who got into the job because they genuinely wanted to protect goodness in this world. This is a theme that Resident Evil 2 deals with in surprising nuance for a game about a big zombie in a fedora who can walk through walls. Coming hot off a replay of the Stallonesque Resident Evil 4, the most fascinating thing about Resident Evil 2 to me now is how the game puts discernible effort into its First Blood, (re)building Leon S. Kennedy as a person who begins adult life as nothing more than a Saved By The Bell extra in a windbreaker, a cherubic little have-a-go himbo hero who is transposed through capitalist-realist circumstance into a vengeful terminator who ends up clenching his kevlar-gloved fists in the R.P.D.'s suit of armour as he comes to realise that even a global viral outbreak won't change the system.
𝙻𝚎𝚘𝚗: 𝙸𝚝’𝚜 𝚐𝚘𝚒𝚗𝚐 𝚝𝚘 𝚝𝚑𝚎 𝙵𝙱𝙸.
𝙰𝚗𝚗𝚎𝚝𝚝𝚎: ...𝚈𝚘𝚞 𝚝𝚛𝚞𝚜𝚝 𝚝𝚑𝚊𝚝 𝚋𝚒𝚝𝚌𝚑?
As Shinji Mikami alluded to in an interview, Capcom has gradually tightened the bolts that govern how the goofiness and scariness of these games interact and intermingle with each new entry in the franchise. In this installment, I think that's best exemplified in Leon's relationship with Ada. She begins the story in distant sunglasses that eye-roll deadpan disbelief at some of Leon's worst witticisms and navietes, but is ultimately charmed by his earnest nature, granting him the status of co-conspirator (at least in some matters) in a way that kinda reminds me how the uptight local antiheroes of One Piece arcs often end up dancing to the beat of Monkey D. Luffy's revolutionary drum once they come to appreciate just how stupidly heroic he really is. Ada is a New Game++ life-player who's seen the world's garbage at its most toxic, but even the most cynical of gaming veterans can't resist pumping their fists when Leon tries an unconvincing "Chew on that, you overgrown son of a bitch!" after stuffing an alligator's mouth full of explosive gas canisters. It's a relatively small thing in the grand scheme of a Resident Evil's world, but I think it goes a long way towards making the player feel like a character's protector and guide - which is important in a game that is explicitly about the horror of survival.
Mechanically I don't have a whole lot to say about how Resident Evil 2 plays because minusforever already wrote the book on this game in 2021, so lemme just call out a small detail I really appreciated here in comparison to Silent Hill 2, which I was playing at the exact same time - it's called the "triple trip". Like a foolhardy teenager trying to carry all his mother's shopping back from the car in one journey, one of my favourite things about the way this game's puzzle box unfolds is the constant opportunities to score three or more objectives in a single movement, executing on a well-laid plan like a chess master strapped with a desert eagle. For years I've abhorred survival horror and adventure games that force the player to go Point A<->Point B<->Point A<->Point B with individual key items, and it seems the designers of Resident Evil 2 have too. Almost every pairing of item and item-hole can be compressed into discrete sequences that call to mind the simplification of an algebra equation (if algebra was intermittently disrupted by a cancerous demon wrapping its tendrils around your neck), and the way the game enables these condensements - by showing you as much of the map as possible before handing over the first piece that will enable you to master a series of unlockings - is nothing short of masterful. Gonna be replaying this game for a while to come.
𝙷𝚊𝚟𝚒𝚗𝚐 𝚖𝚊𝚍𝚎 𝚒𝚝 𝚍𝚘𝚠𝚗 𝚝𝚘 𝙽𝙴𝚂𝚃, 𝙻𝚎𝚘𝚗 𝚖𝚞𝚜𝚝 𝚗𝚘𝚠 𝚏𝚒𝚗𝚍 𝚝𝚑𝚎 𝚖𝚘𝚜𝚝 𝚍𝚊𝚗𝚐𝚎𝚛𝚘𝚞𝚜 𝚋𝚒𝚘𝚠𝚎𝚊𝚙𝚘𝚗 𝚒𝚗 𝚑𝚒𝚜𝚝𝚘𝚛𝚢, 𝚝𝚑𝚎 𝙶-𝚅𝚒𝚛𝚞𝚜.
𝙻𝚎𝚘𝚗 𝚋𝚎𝚕𝚒𝚎𝚟𝚎𝚜 𝚝𝚑𝚊𝚝 𝚒𝚏 𝚑𝚎 𝚐𝚎𝚝𝚜 𝚑𝚒𝚜 𝚑𝚊𝚗𝚍𝚜 𝚘𝚗 𝚒𝚝, 𝚑𝚎 𝚌𝚊𝚗 𝚖𝚊𝚔𝚎 𝚜𝚞𝚛𝚎 𝚓𝚞𝚜𝚝𝚒𝚌𝚎 𝚒𝚜 𝚜𝚎𝚛𝚟𝚎𝚍."
I had the pleasure of watching Speed for the first time earlier this year, and I enjoyed it very much. My favourite thing about the film was Keanu Reeves, who played the role of the hero, Jack Traven. Jack is a naively good-spirited cop who talks down crazed gunmen via the appeal of "c'mon, we're just dudes... chillin' out together...", an honest babyfaced fella who is more concerned with saving old ladies in wheelchairs at the side of the road than he is with blowing off the heads of terrorists from lands far away. While deification of the great Keanu is obviously one of the most overplayed bits in the history of the internet, every cliche has to come from somewhere - and it's easy to see why we worship a guy who has the talent to make a cop so damn likable.
It goes without saying that no police officer is innocent, but I don't think that means mean every person behind a badge is irredeemable. Perhaps a contentious statement, but I find it too hard to believe - too hard to reckon with, even - that there isn't a naive subset of the force who got into the job because they genuinely wanted to protect goodness in this world. This is a theme that Resident Evil 2 deals with in surprising nuance for a game about a big zombie in a fedora who can walk through walls. Coming hot off a replay of the Stallonesque Resident Evil 4, the most fascinating thing about Resident Evil 2 to me now is how the game puts discernible effort into its First Blood, (re)building Leon S. Kennedy as a person who begins adult life as nothing more than a Saved By The Bell extra in a windbreaker, a cherubic little have-a-go himbo hero who is transposed through capitalist-realist circumstance into a vengeful terminator who ends up clenching his kevlar-gloved fists in the R.P.D.'s suit of armour as he comes to realise that even a global viral outbreak won't change the system.
𝙻𝚎𝚘𝚗: 𝙸𝚝’𝚜 𝚐𝚘𝚒𝚗𝚐 𝚝𝚘 𝚝𝚑𝚎 𝙵𝙱𝙸.
𝙰𝚗𝚗𝚎𝚝𝚝𝚎: ...𝚈𝚘𝚞 𝚝𝚛𝚞𝚜𝚝 𝚝𝚑𝚊𝚝 𝚋𝚒𝚝𝚌𝚑?
As Shinji Mikami alluded to in an interview, Capcom has gradually tightened the bolts that govern how the goofiness and scariness of these games interact and intermingle with each new entry in the franchise. In this installment, I think that's best exemplified in Leon's relationship with Ada. She begins the story in distant sunglasses that eye-roll deadpan disbelief at some of Leon's worst witticisms and navietes, but is ultimately charmed by his earnest nature, granting him the status of co-conspirator (at least in some matters) in a way that kinda reminds me how the uptight local antiheroes of One Piece arcs often end up dancing to the beat of Monkey D. Luffy's revolutionary drum once they come to appreciate just how stupidly heroic he really is. Ada is a New Game++ life-player who's seen the world's garbage at its most toxic, but even the most cynical of gaming veterans can't resist pumping their fists when Leon tries an unconvincing "Chew on that, you overgrown son of a bitch!" after stuffing an alligator's mouth full of explosive gas canisters. It's a relatively small thing in the grand scheme of a Resident Evil's world, but I think it goes a long way towards making the player feel like a character's protector and guide - which is important in a game that is explicitly about the horror of survival.
Mechanically I don't have a whole lot to say about how Resident Evil 2 plays because minusforever already wrote the book on this game in 2021, so lemme just call out a small detail I really appreciated here in comparison to Silent Hill 2, which I was playing at the exact same time - it's called the "triple trip". Like a foolhardy teenager trying to carry all his mother's shopping back from the car in one journey, one of my favourite things about the way this game's puzzle box unfolds is the constant opportunities to score three or more objectives in a single movement, executing on a well-laid plan like a chess master strapped with a desert eagle. For years I've abhorred survival horror and adventure games that force the player to go Point A<->Point B<->Point A<->Point B with individual key items, and it seems the designers of Resident Evil 2 have too. Almost every pairing of item and item-hole can be compressed into discrete sequences that call to mind the simplification of an algebra equation (if algebra was intermittently disrupted by a cancerous demon wrapping its tendrils around your neck), and the way the game enables these condensements - by showing you as much of the map as possible before handing over the first piece that will enable you to master a series of unlockings - is nothing short of masterful. Gonna be replaying this game for a while to come.
Resident Evil 2 for the PS1 is a deserved regular in the upper echelons of survival horror. By the late 2010s, a remake was long overdue. Capcom finally obliged, and boy did it do them a world of good. 2017 onwards has been a second golden age for Capcom: the once wayward developer, infamous for on-disk DLC and treating Mega Man like a bastard child, now releases hit after hit, games that are both critical and commercial juggernauts. Resident Evil 2, I feel, is what solidified this success.
A good remake is one that modernizes a classic yet preserves its spirit (something the House of the Dead Remake was emphatically not). Resident Evil 2 passes this test with flying colours. For someone who first played the original shortly after learning to tie his shoelaces, this game looks like what my child mind - unbothered by how pixelated and polygonal things were - imagined the PS1 version to be. Great care has been taken to breathe new life into the original's visuals; however, this game looks great even on its own terms. If you shoot a zombie, he'll lose a chunk of flesh at the exact point of impact. If its raining outside, your character will get realistically drenched. If a character smiles, you can count their individual teeth (which was at first almost uncanny to me, not being used to realistic teeth in games).
While RE2 could easily have dwelt in the past, its gameplay also looks ahead. This game blends old and new survival horror conventions: resource management, puzzle-solving and exploration are combined with hide, seek, or flat-out flight from an indestructible monster as in Amnesia: The Dark Descent. It makes for a thrilling and at times unpredictable game that kept even an RE veteran like me on his toes. The combat is solid, and in all honesty, this game feels better to play than the original. There, I said it.
The first third of this game is a masterstroke. It feels oppressive and stressful, yet so compelling, and its gameplay is so well-designed that you'll get 'organic' jumpscares. There is rarely a time where you feel completely safe.
That said, this game does peak early. The police station is far more fulfilling to explore than the later sewer section and the underground lab. (Spoilers for anyone who's been under a rock for 26 years - RE2 has an underground lab). While they're still fun, a great deal of tension is removed from the game once you've gotten past the iconic locations.
First impressions last, but after 19 hours with RE2, I can see that it's not the flawless game I thought it was in the honeymoon phase. Most egregiously, unlike the original, there aren't four scenarios in this remake. To be completely honest, there aren't even two. Oh, you can choose between Leon and Claire - you have to play both, to get the real ending. But apart from about ten minutes' worth of differences, depending on your character, there is really only one scenario in this game. The original RE2's scenarios melded into each other perfectly, with the characters even meeting each other at various points. In the remake, almost the whole campaign - including puzzles, boss fights and rooms visited - is the exact same, and while it may be good enough to warrant playing twice with different characters, it's still recycling.
Not only do Leon and Sherry never interact till the end, but there are scenes regarding Annette Birkin that make it impossible for the two scenarios to be set in the same continuity - and it's up to you to decide what's canon. I'm not a fan of that, really - it means there's less content than the original. A few extra modes - including a nail-bitingly tense special mission as beloved characters Hunk and Tofu - round out the offering.
Regardless of these nitpicks, RE2 is an excellent game that's accessible to new players and familiar to series veterans. This is a triumph whose high Capcom still rides five years later. Now do Dino Crisis.
A good remake is one that modernizes a classic yet preserves its spirit (something the House of the Dead Remake was emphatically not). Resident Evil 2 passes this test with flying colours. For someone who first played the original shortly after learning to tie his shoelaces, this game looks like what my child mind - unbothered by how pixelated and polygonal things were - imagined the PS1 version to be. Great care has been taken to breathe new life into the original's visuals; however, this game looks great even on its own terms. If you shoot a zombie, he'll lose a chunk of flesh at the exact point of impact. If its raining outside, your character will get realistically drenched. If a character smiles, you can count their individual teeth (which was at first almost uncanny to me, not being used to realistic teeth in games).
While RE2 could easily have dwelt in the past, its gameplay also looks ahead. This game blends old and new survival horror conventions: resource management, puzzle-solving and exploration are combined with hide, seek, or flat-out flight from an indestructible monster as in Amnesia: The Dark Descent. It makes for a thrilling and at times unpredictable game that kept even an RE veteran like me on his toes. The combat is solid, and in all honesty, this game feels better to play than the original. There, I said it.
The first third of this game is a masterstroke. It feels oppressive and stressful, yet so compelling, and its gameplay is so well-designed that you'll get 'organic' jumpscares. There is rarely a time where you feel completely safe.
That said, this game does peak early. The police station is far more fulfilling to explore than the later sewer section and the underground lab. (Spoilers for anyone who's been under a rock for 26 years - RE2 has an underground lab). While they're still fun, a great deal of tension is removed from the game once you've gotten past the iconic locations.
First impressions last, but after 19 hours with RE2, I can see that it's not the flawless game I thought it was in the honeymoon phase. Most egregiously, unlike the original, there aren't four scenarios in this remake. To be completely honest, there aren't even two. Oh, you can choose between Leon and Claire - you have to play both, to get the real ending. But apart from about ten minutes' worth of differences, depending on your character, there is really only one scenario in this game. The original RE2's scenarios melded into each other perfectly, with the characters even meeting each other at various points. In the remake, almost the whole campaign - including puzzles, boss fights and rooms visited - is the exact same, and while it may be good enough to warrant playing twice with different characters, it's still recycling.
Not only do Leon and Sherry never interact till the end, but there are scenes regarding Annette Birkin that make it impossible for the two scenarios to be set in the same continuity - and it's up to you to decide what's canon. I'm not a fan of that, really - it means there's less content than the original. A few extra modes - including a nail-bitingly tense special mission as beloved characters Hunk and Tofu - round out the offering.
Regardless of these nitpicks, RE2 is an excellent game that's accessible to new players and familiar to series veterans. This is a triumph whose high Capcom still rides five years later. Now do Dino Crisis.
When I played this way back when, I found myself getting lost and turned around, forgetting where I was going, and getting in a panic so often that I'd end up rushing or charging into something and getting myself eaten-on a lot more than I should've. Honestly I found it pretty frustrating at times, but the overall experience when carefully preparing and planning and all that was so good I still gave it a 4/5.
I had done Leon A/Claire B on Standard blind, then Claire A/Leon B Assisted with guides to get all the misc trophies and left it there. Too scared to play on Hardcore or bother trying for S rank (my standard playthroughs were 6+ and 5+ hours..)
Recently I've gotten back into Resident Evil in a big way, replaying 3 Remake to give that a fair shot after many requests from my partner, and after loving that game alot more I came back to this one, deciding to do a Claire A standard route. About halfway through the run, I was once again sent a helpful guide by the missus to provide a tip on getting past some lickers. The creator of this guide - Darkness - was so darn charming and comforting that I immediately wanted him to help me get that S rank I'd been so afraid of.
I finished my Claire run (mostly) un-aided, got myself an A Rank and decided my next play would be Leon B on Hardcore, guide at my side and gf cheering me on.
Whole new experience honestly. Just as stressful at times but much, much more calculated. I made more than a few mistakes but was able to accommodate or make up for them, and every milestone came with a wave of pride in my success. It was so much fun! I completed Leon B with a final time of 01:54:26 (albeit it took me over double that in real time lol) but I bagged myself an S+ rank!!
This "review" ended up being me rambling for days about my life-story with this title, but I guess the point is that even after 3 playthroughs with each character I'm finding new ways to have fun, learning new tricks, what once felt like unbalanced, arbitrary bullshit now feels like sneaky but effective challenges.
I really like this shit man, this is how survival horror zombie games should feel. I'm upping my rating a full star to 5/5 idgaf. I'm so hyped to get back in tomorrow with a Claire A Hardcore run, infinite launcher in hand for the wackiest, slackiest playthrough yet :p I don't need that S+, a regular S will get me the platinum and playing in a new style is exactly why I'm so excited. Lesfuckingoo >:)
If you read this far, hi lmao. It's 4:40am and I am high on RE2 :)
I had done Leon A/Claire B on Standard blind, then Claire A/Leon B Assisted with guides to get all the misc trophies and left it there. Too scared to play on Hardcore or bother trying for S rank (my standard playthroughs were 6+ and 5+ hours..)
Recently I've gotten back into Resident Evil in a big way, replaying 3 Remake to give that a fair shot after many requests from my partner, and after loving that game alot more I came back to this one, deciding to do a Claire A standard route. About halfway through the run, I was once again sent a helpful guide by the missus to provide a tip on getting past some lickers. The creator of this guide - Darkness - was so darn charming and comforting that I immediately wanted him to help me get that S rank I'd been so afraid of.
I finished my Claire run (mostly) un-aided, got myself an A Rank and decided my next play would be Leon B on Hardcore, guide at my side and gf cheering me on.
Whole new experience honestly. Just as stressful at times but much, much more calculated. I made more than a few mistakes but was able to accommodate or make up for them, and every milestone came with a wave of pride in my success. It was so much fun! I completed Leon B with a final time of 01:54:26 (albeit it took me over double that in real time lol) but I bagged myself an S+ rank!!
This "review" ended up being me rambling for days about my life-story with this title, but I guess the point is that even after 3 playthroughs with each character I'm finding new ways to have fun, learning new tricks, what once felt like unbalanced, arbitrary bullshit now feels like sneaky but effective challenges.
I really like this shit man, this is how survival horror zombie games should feel. I'm upping my rating a full star to 5/5 idgaf. I'm so hyped to get back in tomorrow with a Claire A Hardcore run, infinite launcher in hand for the wackiest, slackiest playthrough yet :p I don't need that S+, a regular S will get me the platinum and playing in a new style is exactly why I'm so excited. Lesfuckingoo >:)
If you read this far, hi lmao. It's 4:40am and I am high on RE2 :)
Atmospheric, suspenseful, a map that becomes more intimate and familiar the more you traverse it, an ammo economy that forces you to pick and choose what to fight and what to run from while still giving you enough to deal with the mandatory threats. Then there’s Mr X, who throws a wrench into your rhythm once you start feeling comfortable, and raises the suspense up to 11 with the knowledge that he can smash through the wall like the Kool-Aid man at any given moment and corner you in a tight space full of enemies that you tried to avoid. The only thing I didn’t much care for was the bosses, but otherwise this game is excellent.
já fui
bloqueADA
desbloqueADA
deletADA
adicionADA
odiADA
amADA
mas nunca esquecida.
bloqueADA
desbloqueADA
deletADA
adicionADA
odiADA
amADA
mas nunca esquecida.
“Be careful Leon, the residents in this police station are evil now”
“Even that one?”
“Yeah, that’s a Resident Evil 2”
Bravo.
“Even that one?”
“Yeah, that’s a Resident Evil 2”
Bravo.
Umbrella would've gotten away with it if Himbo Cop Leon S. Kennedy didn't show up to work late in the middle of a zombie outbreak, and was too pure of heart and simple of mind for Ada to be able to kill without feeling immense guilt. It's been a while since I played the original Resident Evil 2, but I swear they actually made him dumber here, which is really just one of many excellent choices on Capcom's part that help REmake 2 excel over the original.
This game is great. On paper it's essentially a fusion of Resident Evil 4's more combat-focused control scheme and the original trilogy's puzzle-heavy progression. Obviously tank controls are out the window, but Capcom smartly redesigns the RPD building to be full of obstructed, narrow hallways that keep the tension high. Movement is sluggish both when attempting to evade or aim at zombies, which move around with an unnatural rhythm that further complicates shooting them in critical areas. You're given just the right amount of control that none of this feels annoying, while maintaining a sense of anxiety in every encounter.
Similar to REmake, many of Resident Evil 2's puzzles have some connection to the original, though how they progress and interconnect has been completely overhauled. This provides a similar sense of satisfaction when you route your way through the game that REmake does, and the manner in which locations slowly open up to you feels natural and well paced. It's just a very smooth experience all around. I also enjoy how much REmake 2 plays around with the player's expectations, introducing Mr.X far earlier than he would appear in the first game.
Likewise, jumping to your second run of the game immediately after the first (as intended) doesn't feel stale given how different the two campaigns are. While you'll solve many of the same puzzles, the route through the RPD and other locations are so radically altered that you can't rely upon the same sequence for an easier run. That said, the 2nd run can get kind of annoying as enemies seem to be placed in blind spots more frequently, which at times feels like a cheap substitute for difficulty.
There's some additional side modes if you want even more RE2, but I found most of them to be kinda just so-so. I think I prefer REmake's approach to focusing solely on the core game mode and introducing variables to augment future runs. I'm sure someone out there loves No Time to Mourn. Like, that's the one mode they've come to play, getting through the campaign is just a formality. Freak behavior. Personally, I'm fine playing through the two campaigns and calling it.
Things were real rough for the Resident Evil franchise for a while, but I'm glad Capcom is back in the business of making good games. It's impressive that they could release a remake of Resident Evil 2, a game that was critically acclaimed for the Playstation and remains one of the finer pieces of software in its library, and have it outshine the original at nearly every turn.
This game is great. On paper it's essentially a fusion of Resident Evil 4's more combat-focused control scheme and the original trilogy's puzzle-heavy progression. Obviously tank controls are out the window, but Capcom smartly redesigns the RPD building to be full of obstructed, narrow hallways that keep the tension high. Movement is sluggish both when attempting to evade or aim at zombies, which move around with an unnatural rhythm that further complicates shooting them in critical areas. You're given just the right amount of control that none of this feels annoying, while maintaining a sense of anxiety in every encounter.
Similar to REmake, many of Resident Evil 2's puzzles have some connection to the original, though how they progress and interconnect has been completely overhauled. This provides a similar sense of satisfaction when you route your way through the game that REmake does, and the manner in which locations slowly open up to you feels natural and well paced. It's just a very smooth experience all around. I also enjoy how much REmake 2 plays around with the player's expectations, introducing Mr.X far earlier than he would appear in the first game.
Likewise, jumping to your second run of the game immediately after the first (as intended) doesn't feel stale given how different the two campaigns are. While you'll solve many of the same puzzles, the route through the RPD and other locations are so radically altered that you can't rely upon the same sequence for an easier run. That said, the 2nd run can get kind of annoying as enemies seem to be placed in blind spots more frequently, which at times feels like a cheap substitute for difficulty.
There's some additional side modes if you want even more RE2, but I found most of them to be kinda just so-so. I think I prefer REmake's approach to focusing solely on the core game mode and introducing variables to augment future runs. I'm sure someone out there loves No Time to Mourn. Like, that's the one mode they've come to play, getting through the campaign is just a formality. Freak behavior. Personally, I'm fine playing through the two campaigns and calling it.
Things were real rough for the Resident Evil franchise for a while, but I'm glad Capcom is back in the business of making good games. It's impressive that they could release a remake of Resident Evil 2, a game that was critically acclaimed for the Playstation and remains one of the finer pieces of software in its library, and have it outshine the original at nearly every turn.
My first completed Resident Evil game, and I must say what a treat. The atmosphere, the tension, the sound design all fantastic.
I love how menacing the Tyrant with his loud footsteps and how the music gross stronger as he approaches. I also appreciate some of the imperfections from the guns, personally it makes hitting those critical headshots more of a challenge and the combat more interesting.
However on my second playthrough the story with the child was a little average compare to Leon's. I also think it was unfortunate that 2 playthroughs are required to see the full ending. Otherwise I had a great time and I'm especially excited to play RE4.
I love how menacing the Tyrant with his loud footsteps and how the music gross stronger as he approaches. I also appreciate some of the imperfections from the guns, personally it makes hitting those critical headshots more of a challenge and the combat more interesting.
However on my second playthrough the story with the child was a little average compare to Leon's. I also think it was unfortunate that 2 playthroughs are required to see the full ending. Otherwise I had a great time and I'm especially excited to play RE4.
Tense and fun the whole way through, a hell of a time
I never played the original but this remake is really good. I wouldn't call it a masterpiece but it definitely does more things right than wrong. The creepy atmosphere is done so well, same with the enemies, especially Mr. X . However, the story and the enviroments can feel kind of stale sometimes. It has great replay value but I'll be honest, I don't feel like playing it again.
This game is basically Luigi's Mansion, but you have guns instead of a vacuum cleaner.
next up on this boring wednesday, is a song to get your blood pumping
Barely misses the mark on true five star status- at least for now- if only for how the Leon run slightly drags towards the end (climaxing with the final Mr. X battle which might be the game's only real misstep). By this point it especially hurts after having experienced the superior Claire run and believing the game to be utterly perfect. Beyond that though, this is a genuine AAA horror masterpiece in every way. Skating on narrative (and almost meta) surrealism and packed to the brim with iconic moments of fright and gruesome delight, Resident Evil II's greatest strength is its sheer efficiency in crafting pulpy thrills and placing the naive player in constant states of panicked laughter and sweat-filled anxiety. Simply put, it is just so scary and yet so fun and swings violently between those two modes with immense confidence in itself. In ways this might be the most successful of the franchise on how it balances that dynamic even if it stumbles at times in a way REmake and IV don't. Even still, the extended Sherry and Ada segments, exploring the nonsensical police station and its labyrinths beneath, the bastardized nuclear family illustrated by the Birkins, the abominations lurking in the sewer, the corny expletives shouted by the protagonists when confronting the ass end of biological existence.. and of course the marvel that is Mr. X- a creation so ingeniously straightforward as to suggest inertia but is rather a stroke of mastery by the developers in constantly turning the tables against the player. These and more are all elements that display an insane level of prowess so rarely found in horror games. It is one thing for something to feel bluntly oppressive in its atmosphere (the easy path I'd say) but it's another challenge entirely to structure your overall design in empowering the player yet engulfing them in sterilized environments that instigate vulnerability at every turn. Down that hallway, turn a corner, up a flight of stairs, something's following from behind (or not?), hear a sound from the other side of the room.. perhaps through the walls. It is three dimensional terror that transcends logic and in effect reality itself. The game is its own consuming nightmare and Claire and Leon are themselves manipulated pawns in a manufactured world of ever shifting spaces. I have faith in whatever they're cooking in the next remake.
Barely misses the mark on true five star status- at least for now- if only for how the Leon run slightly drags towards the end (climaxing with the final Mr. X battle which might be the game's only real misstep). By this point it especially hurts after having experienced the superior Claire run and believing the game to be utterly perfect. Beyond that though, this is a genuine AAA horror masterpiece in every way. Skating on narrative (and almost meta) surrealism and packed to the brim with iconic moments of fright and gruesome delight, Resident Evil II's greatest strength is its sheer efficiency in crafting pulpy thrills and placing the naive player in constant states of panicked laughter and sweat-filled anxiety. Simply put, it is just so scary and yet so fun and swings violently between those two modes with immense confidence in itself. In ways this might be the most successful of the franchise on how it balances that dynamic even if it stumbles at times in a way REmake and IV don't. Even still, the extended Sherry and Ada segments, exploring the nonsensical police station and its labyrinths beneath, the bastardized nuclear family illustrated by the Birkins, the abominations lurking in the sewer, the corny expletives shouted by the protagonists when confronting the ass end of biological existence.. and of course the marvel that is Mr. X- a creation so ingeniously straightforward as to suggest inertia but is rather a stroke of mastery by the developers in constantly turning the tables against the player. These and more are all elements that display an insane level of prowess so rarely found in horror games. It is one thing for something to feel bluntly oppressive in its atmosphere (the easy path I'd say) but it's another challenge entirely to structure your overall design in empowering the player yet engulfing them in sterilized environments that instigate vulnerability at every turn. Down that hallway, turn a corner, up a flight of stairs, something's following from behind (or not?), hear a sound from the other side of the room.. perhaps through the walls. It is three dimensional terror that transcends logic and in effect reality itself. The game is its own consuming nightmare and Claire and Leon are themselves manipulated pawns in a manufactured world of ever shifting spaces. I have faith in whatever they're cooking in the next remake.
the game that got me into the resident evil series <3 i love it with everything in me it will always hold a special place in my heart and to this day it is still one of my favorite games to exist! an amazing remake
Biohazard RE:2 is a game that prefers to forget its legacy in favour of mass marketability. It is the ultimate embodiment of the futility of remaking a piece of media, and comes off more as a sigh of frustrated contempt for its origins rather than anything truly celebratory or appreciative.
Obviously, that opening statement is incredibly hyperbolic and opinionated. Not every remake needs to feel like it owes everything to its predecessor, nor does every remake need to respect that origin in its adaptation. But, every remake will inevitably find itself compared to that original and inevitably it will expose the tendencies and desires of those most intimately working on it.
To discuss RE:2, we first must discuss the issues, cultures, and ultimate success of the original, as well as the state of the franchise leading up to the release of its remake. The development timeline of the original Biohazard 2 and the games that followed has always been obscured and hard to follow, but over the years many fans have been able to sketch out a rough developmental period, placing 2 at the start of a mass franchising of the series. Towards the end of its development, several projects were greenlit, in discussions, or already being developed, including its own sequel (Then titled BIO3, later named BIO4), three spin-offs (Gun Survivor, Last Escape (then called Gaiden), and a GBC title), as well as a pseudo-sequel side story (Code: Veronica), and a full fledged prequel (Zero). The impetus for all of this was the explosive success of BIO HAZARD earlier in 1996, and a lot of faith was placed in Biohazard 2 to recapture that success and expand upon it, to not just save Capcom from any potential turmoil, but to lift the company up to its highest highs and create something beyond just a simple duology of games.
Shockingly, such a gamble proved successful. While not every game in development succeeded, the success of 2 in spite of its rough development period spurred the franchise to blossom into what it is today, or rather, what it was in the 2000s. The state of Biohazard in the "FLAGSHIP" era of 1998 to 2005 is quite unlike the current "RE Engine" era of 2017 to now, and the issues leading up to both of them were drastically different.
Capcom in 1998 wanted a franchise, something that could have longtime fans who would be all over a complete media mix. Video games, sound dramas, novels (both a 'Perryverse' in the west, and canonical side stories in the east), films, amusement park attractions, even an early stage production. Echoes of this still exist today with the recent Death Island and the many stage productions the franchise saw in the 2010s.
But, we arrive at the early days of the RE Engine era divorced from the successes of Biohazard. After the series' lead writing team was dissolved, and its narrative guru in Noboru Sugimura passed away, the franchise briefly spiraled until reaching a pseudo conclusion with Biohazard 5. The idea then was a similar gamble to the one made in 1998, by putting several titles into development and resurrecting the franchise once more, only for it to fail completely. Biohazard 6 ended up being too massive to ever realistically succeed, Revelations was briefly looked upon as a serviceable title, but was ultimately forgotten when time came to port it, and Operation Raccoon City was a dismal affair that, while moderately successful, saw Slant Six closing its doors due to the game not meeting expectations.
Biohazard had effectively died, and was in dire need of rebooting, otherwise Capcom would have to close the casket on their most successful and iconic IPs at the time. So, they looked towards the past. Ports of Biohazard (2002) and Zero were released, alongside an episodic sequel to Revelations, all testing the waters of what appealed most to fans, and fans desired a return to the Flagship era of the franchise. This led to the once upon a time infamous "We do it!" video, where a Biohazard 2 remake was announced.
But, an issue arises when developing such a remake in what was the current state of Capcom. Biohazard 7 wouldn't release and receive unanimous praise until the remake was already well underway, so it too was another entry point, a way to welcome in new fans despite the original title being an explosive way to take fans of the surprisingly popular BIO HAZARD, and make them dedicated to a franchise.
What results is a game that exudes an air of contempt for what the original game accomplishes, intentional or not. Character motivations and narratives extending outside this title are effectively neutered, unfortunately reducing the narrative roles of Claire and Ada to side character territory (despite the former being the playable other half of the game), and leaving key plays like William Birkin or Brian Irons as mere footnotes in the grand scheme of things. It has no interest in pursuing the grander tale that was once constructed, and would rather focus all of its attention on the masculine, as if in an attempt to broaden its appeal further.
In the original Biohazard 2, it was often joked that Claire was the true main character. While Leon was often pushed around by his contemporaries, and was ultimately uninvolved with the machinations of the antagonists, Claire confronts both Brian Irons and Annette Birkin, having full dialogue scenes with them. Claire's scenario shines the most light on Sherry and the G-Virus, along with being the only character able to develop a vaccine for it. This isn't to undermine Leon's narrative, which is a far more personal scenario, focused on the slow character development of Ada and how Leon causes her to grow, but it is to state that Claire was a strong female character.
The Claire of the remake is not that. The scene that makes this clear is her meeting with Brian Irons, and it goes from a scene where she slowly wrestles some control her way, to one where she is tied up and forced to watch a rapist and a murderer drag away a little girl. Her second confrontation with the man only makes this worse, as she doesn't even speak to him, he only dies in a way not unlike how Kenshiro from Hokuto no Ken would deal with the scum of the wastelands. Her agency and control is robbed in these scenes, and beyond them her attachment to the narrative of the game is tenuous at best, with her role being truly reduced to the babysitter type, not even getting to wield the rocket launcher in her final boss fight.
Much of the focus for this remake seems to have been placed on Leon, in a desperate attempt at marketability if I were to be cynical. He is the character with two completely distinct costumes he wears throughout the game, he is the character who has the more emotional connection to Marvin, he is the character that the true final boss, Mr. X, is after in the labs. It is made clear time and again that he is the main character, and that Claire's role is secondary, or even tertiary, by comparison.
But, this doesn't mean his role in the narrative is well constructed. He may have the greater focus, but he loses so much in this title that it is almost unbearable. In the original and subsequent games, his greatest desire is to protect and save people, and that is why he became a police officer. In the remake, it is often shown that his desire to be a police officer supersedes his desire to protect people, best shown through how his interactions with Ben have changed, going from wanting to get him out of his cell and get him out of the city, to being dismissive of his concerns and just watching as he dies. It's such a stark contrast in scenes that it is shocking the remake version was included, but it shines a light on the shallowness of the remake, how little it wants to do with the original game.
It is almost a complete inversion of it. From four completely unique scenarios, to one scenario with three slight variations. From a man who wants to save people so he becomes a cop, to a guy who becomes a cop and doesn't really save anyone. From a strong female character, to a female character that is literally saved by the grotesque monster of a man. From a spy that learns how to open up and feel compassion for everyone (this is why she appears no matter what to give the rocket launcher in the original), to a spy that only gives into a more carnal lust for our protagonist. From actually well written antagonists, to one note caricatures in Annette and Irons.
Annette Birkin is by far the character that receives the worst treatment among the side cast come this remake. She goes from a woman who loves her daughter more than anything, despite being an absent mother, to a woman who barely knows her daughter exists. Someone whose last scene is more clearly meant to be the spiteful "Got you" in Leon's scenario, rather than the one of her daughter grieving over her corpse. A character so shallow and worthless that the narrative tries its best to forget she exists the moment she dies, her own daughter talking about playing happy families in the conclusion.
The ending is one of the worst offenders narratively as well. The original concludes on a promise of more, that these characters haven't lost hope- if anything, this has only emboldened them to go further. In Claire's case, this is revealed to be a negative trait, but it is a strong note to end on, our main cast knowing they could be out of the woods, and deciding to continue fighting. The remake chooses to end on a confused note, a shallowly happy ending where the characters act out the most vapid casual dialogue possible (an issue that persists in any scenes that feature both leads), and all that happened is forgotten.
"1998... I'll never forget it" rings hollow in the face of this ending, as it has been forgotten already. Both narratively, and in a meta sense- we have forgotten 1998. We have forgotten the struggles of Kamiya, Sugimura, and the rest of the staff. The passion that went into the original work, as well as the hope that they could continue striving forward.
Ultimately, Biohazard RE:2 has no interest in any of this, wishing to merely be another product bearing the name Biohazard, rather than anything truly meaningful under the hood. I don't discuss the themes in depth all that much because they aren't present, or are so reduced in scope as to be flaccid and not worth mentioning, unlike the original title. This is less a game, and more a product of the general ethos of Biohazard. Clean, sterile labs from the films, a Raccoon City of wide streets and traffic jams, music that is rarely present so that the scare noises are all the more noticeable, character and environment designs that do more to blend in than actually be something. Looking at the poster on this page, the game is trying to evoke the time tested blue-orange, a set of innately appealing colours to a viewer's eyes. It lacks distinction or class, leaving only a product to be consumed.
I can feel nothing other than contempt for this game, deigning itself to be more 'product' than 'art'.
Obviously, that opening statement is incredibly hyperbolic and opinionated. Not every remake needs to feel like it owes everything to its predecessor, nor does every remake need to respect that origin in its adaptation. But, every remake will inevitably find itself compared to that original and inevitably it will expose the tendencies and desires of those most intimately working on it.
To discuss RE:2, we first must discuss the issues, cultures, and ultimate success of the original, as well as the state of the franchise leading up to the release of its remake. The development timeline of the original Biohazard 2 and the games that followed has always been obscured and hard to follow, but over the years many fans have been able to sketch out a rough developmental period, placing 2 at the start of a mass franchising of the series. Towards the end of its development, several projects were greenlit, in discussions, or already being developed, including its own sequel (Then titled BIO3, later named BIO4), three spin-offs (Gun Survivor, Last Escape (then called Gaiden), and a GBC title), as well as a pseudo-sequel side story (Code: Veronica), and a full fledged prequel (Zero). The impetus for all of this was the explosive success of BIO HAZARD earlier in 1996, and a lot of faith was placed in Biohazard 2 to recapture that success and expand upon it, to not just save Capcom from any potential turmoil, but to lift the company up to its highest highs and create something beyond just a simple duology of games.
Shockingly, such a gamble proved successful. While not every game in development succeeded, the success of 2 in spite of its rough development period spurred the franchise to blossom into what it is today, or rather, what it was in the 2000s. The state of Biohazard in the "FLAGSHIP" era of 1998 to 2005 is quite unlike the current "RE Engine" era of 2017 to now, and the issues leading up to both of them were drastically different.
Capcom in 1998 wanted a franchise, something that could have longtime fans who would be all over a complete media mix. Video games, sound dramas, novels (both a 'Perryverse' in the west, and canonical side stories in the east), films, amusement park attractions, even an early stage production. Echoes of this still exist today with the recent Death Island and the many stage productions the franchise saw in the 2010s.
But, we arrive at the early days of the RE Engine era divorced from the successes of Biohazard. After the series' lead writing team was dissolved, and its narrative guru in Noboru Sugimura passed away, the franchise briefly spiraled until reaching a pseudo conclusion with Biohazard 5. The idea then was a similar gamble to the one made in 1998, by putting several titles into development and resurrecting the franchise once more, only for it to fail completely. Biohazard 6 ended up being too massive to ever realistically succeed, Revelations was briefly looked upon as a serviceable title, but was ultimately forgotten when time came to port it, and Operation Raccoon City was a dismal affair that, while moderately successful, saw Slant Six closing its doors due to the game not meeting expectations.
Biohazard had effectively died, and was in dire need of rebooting, otherwise Capcom would have to close the casket on their most successful and iconic IPs at the time. So, they looked towards the past. Ports of Biohazard (2002) and Zero were released, alongside an episodic sequel to Revelations, all testing the waters of what appealed most to fans, and fans desired a return to the Flagship era of the franchise. This led to the once upon a time infamous "We do it!" video, where a Biohazard 2 remake was announced.
But, an issue arises when developing such a remake in what was the current state of Capcom. Biohazard 7 wouldn't release and receive unanimous praise until the remake was already well underway, so it too was another entry point, a way to welcome in new fans despite the original title being an explosive way to take fans of the surprisingly popular BIO HAZARD, and make them dedicated to a franchise.
What results is a game that exudes an air of contempt for what the original game accomplishes, intentional or not. Character motivations and narratives extending outside this title are effectively neutered, unfortunately reducing the narrative roles of Claire and Ada to side character territory (despite the former being the playable other half of the game), and leaving key plays like William Birkin or Brian Irons as mere footnotes in the grand scheme of things. It has no interest in pursuing the grander tale that was once constructed, and would rather focus all of its attention on the masculine, as if in an attempt to broaden its appeal further.
In the original Biohazard 2, it was often joked that Claire was the true main character. While Leon was often pushed around by his contemporaries, and was ultimately uninvolved with the machinations of the antagonists, Claire confronts both Brian Irons and Annette Birkin, having full dialogue scenes with them. Claire's scenario shines the most light on Sherry and the G-Virus, along with being the only character able to develop a vaccine for it. This isn't to undermine Leon's narrative, which is a far more personal scenario, focused on the slow character development of Ada and how Leon causes her to grow, but it is to state that Claire was a strong female character.
The Claire of the remake is not that. The scene that makes this clear is her meeting with Brian Irons, and it goes from a scene where she slowly wrestles some control her way, to one where she is tied up and forced to watch a rapist and a murderer drag away a little girl. Her second confrontation with the man only makes this worse, as she doesn't even speak to him, he only dies in a way not unlike how Kenshiro from Hokuto no Ken would deal with the scum of the wastelands. Her agency and control is robbed in these scenes, and beyond them her attachment to the narrative of the game is tenuous at best, with her role being truly reduced to the babysitter type, not even getting to wield the rocket launcher in her final boss fight.
Much of the focus for this remake seems to have been placed on Leon, in a desperate attempt at marketability if I were to be cynical. He is the character with two completely distinct costumes he wears throughout the game, he is the character who has the more emotional connection to Marvin, he is the character that the true final boss, Mr. X, is after in the labs. It is made clear time and again that he is the main character, and that Claire's role is secondary, or even tertiary, by comparison.
But, this doesn't mean his role in the narrative is well constructed. He may have the greater focus, but he loses so much in this title that it is almost unbearable. In the original and subsequent games, his greatest desire is to protect and save people, and that is why he became a police officer. In the remake, it is often shown that his desire to be a police officer supersedes his desire to protect people, best shown through how his interactions with Ben have changed, going from wanting to get him out of his cell and get him out of the city, to being dismissive of his concerns and just watching as he dies. It's such a stark contrast in scenes that it is shocking the remake version was included, but it shines a light on the shallowness of the remake, how little it wants to do with the original game.
It is almost a complete inversion of it. From four completely unique scenarios, to one scenario with three slight variations. From a man who wants to save people so he becomes a cop, to a guy who becomes a cop and doesn't really save anyone. From a strong female character, to a female character that is literally saved by the grotesque monster of a man. From a spy that learns how to open up and feel compassion for everyone (this is why she appears no matter what to give the rocket launcher in the original), to a spy that only gives into a more carnal lust for our protagonist. From actually well written antagonists, to one note caricatures in Annette and Irons.
Annette Birkin is by far the character that receives the worst treatment among the side cast come this remake. She goes from a woman who loves her daughter more than anything, despite being an absent mother, to a woman who barely knows her daughter exists. Someone whose last scene is more clearly meant to be the spiteful "Got you" in Leon's scenario, rather than the one of her daughter grieving over her corpse. A character so shallow and worthless that the narrative tries its best to forget she exists the moment she dies, her own daughter talking about playing happy families in the conclusion.
The ending is one of the worst offenders narratively as well. The original concludes on a promise of more, that these characters haven't lost hope- if anything, this has only emboldened them to go further. In Claire's case, this is revealed to be a negative trait, but it is a strong note to end on, our main cast knowing they could be out of the woods, and deciding to continue fighting. The remake chooses to end on a confused note, a shallowly happy ending where the characters act out the most vapid casual dialogue possible (an issue that persists in any scenes that feature both leads), and all that happened is forgotten.
"1998... I'll never forget it" rings hollow in the face of this ending, as it has been forgotten already. Both narratively, and in a meta sense- we have forgotten 1998. We have forgotten the struggles of Kamiya, Sugimura, and the rest of the staff. The passion that went into the original work, as well as the hope that they could continue striving forward.
Ultimately, Biohazard RE:2 has no interest in any of this, wishing to merely be another product bearing the name Biohazard, rather than anything truly meaningful under the hood. I don't discuss the themes in depth all that much because they aren't present, or are so reduced in scope as to be flaccid and not worth mentioning, unlike the original title. This is less a game, and more a product of the general ethos of Biohazard. Clean, sterile labs from the films, a Raccoon City of wide streets and traffic jams, music that is rarely present so that the scare noises are all the more noticeable, character and environment designs that do more to blend in than actually be something. Looking at the poster on this page, the game is trying to evoke the time tested blue-orange, a set of innately appealing colours to a viewer's eyes. It lacks distinction or class, leaving only a product to be consumed.
I can feel nothing other than contempt for this game, deigning itself to be more 'product' than 'art'.