The problem with Resident Evil isn’t that everybody dies, it’s that nobody ever stays dead. The series has never treated mortality with any kind of permanence. In the first few games, which were fairly traditional zombie stories, that was fine. It was mostly the point. But throughout many, often ill-advised sequels, Capcom started to apply the same logic to their major characters and plot beats. Albert Wesker has been the recurring series villain for 20 years, and he was killed in the first game.
The reason for Wesker’s implausible resilience is the T-Virus – a zombie-brewing superweapon that is also responsible for all of Resident Evil’s other unanswerable narrative quandaries. Sometimes they call it the G-Virus, or the C-Virus, and sometimes it’s a parasite called Las Plagas, but functionally it’s always the same thing: Bottled contrivance. Whatever you need, story-wise, the T/G/C-Virus Parasite can provide it. Monster outbreaks in Midwestern America, rural Spain, Africa? Done. Games set on luxury cruise liners and multicar locomotives? No problem. Villains and supporting characters dying grisly but ultimately unimportant deaths? Easy. Everything that has ever happened in a Resident Evil game can be explained by this, insofar as anything that has ever happened in a Resident Evil game can be explained at all.
Continue reading Review – Resident Evil VII
It’s hard to explain the appeal of the Sniper Elite series. It’s one of those gaming guilty pleasures that sounds faintly perverse written down, and utterly ludicrous spoken out loud. Not that there’s anything particularly unusual about sniping in games; almost all shooters have at least one rifle, and many have whole stretches of gameplay that are dedicated to nothing but long-range marksmanship. The sniping in and of itself, though, isn’t the appeal of Sniper Elite. Things would be so much easier if it were. But, no, there’s something else that differentiates this series from other sneaky-stabby-shooty third-person games, and it’s that psychotic slow-motion X-Ray view that lets you see all the catastrophic internal trauma you’re inflicting on your victims.
Seems an odd thing to be into, doesn’t it? Certainly wouldn’t sit well around the office water cooler or the in-law’s dinner table, and you get the sense that Rebellion, the game’s developers, probably recognise this. Which, I assume, is why they continue to set the series in World War II, despite having exhausted every major theatre of the conflict. You need Nazis for this kind of thing. These games have such a throbbing stiffy for lovingly-detailed exploding organs that it would be uncomfortable if your bullets were tunnelling through the brainpans of anyone else. But killing Nazis is always guilt-free. In the context of taking on a xenophobic imperialist war-machine, it’s actually pretty satisfying to watch precisely how much irreparable damage each bullet is inflicting on the Third Reich. That’s what I keep telling myself, anyway.
Continue reading Review – Sniper Elite 4