What is that man doing to that giraffe!?
13 September 2012 | By Nick Akerman
How do you judge a survival horror game? Is it by the amount of times you scream? The dampness of your pants? For me, it's all about how involved I get. Plenty of 'scary' games leave me cold. I don't cry out for my mummy or have to rush upstairs to change my underwear. After Resident Evil 5, I presumed the series was heading down a path I no longer wanted to shuffle down. I presumed wrong. If we're judging survival horror games, there's one thing I'll do if I'm enjoying it: draw the curtains.
I've sat in eternal darkness during my preview run of Resident Evil 6. Daylight has barely flitted through the window as my pupils continue to lap up the final embers of that thing called 'the sun'. With three campaigns on offer, this isn't the standard triple-A production we've become accustomed to seeing over the past few years. Even before release, Capcom has provided plenty of reasons to work through every inch of content.
I'm a huge fan of Leon, so starting with his campaign was only natural. Immediately, it's clear his part of the story aims to replicate the franchise's traditional formula with a modern twist. The streets are overrun with zombie-like figures and you must escape. It's reminiscent of Resident Evil 2's opening where you must head to the police station. This time, a cathedral is your target. Fighting across the devastated tarmac, the action is intense, fast-paced, and brutal.
Inside the holy building, memories of games gone by continue to crop up. Silence fills huge rooms, leaving you exposed and vulnerable. Threats lurk around every corner, galvanised by a crippling darkness that surrounds each step you make. Leon is backed up by Helena, another cop who is sent to aid his trek. Her footsteps provide a welcome distraction from the sheer nothingness, until of course, they attack.
As ever, dismantling your opposition is a game of precision. Ammo is scarce so each shot must hit. Targets wince with each impact, giving you an extra second to breathe. Your foes are more responsive than ever and can be slowed down with tactical shooting. Shots to the head remain the best method of execution, but when this isn't possible, a clip to the shoulder or leg unravels an extra moment of comfort.
In the other two campaigns, the action is far more in-your-face. Chris Redfield has gone all Max Payne, hitting the bars instead of ridding the world of evil. He is forced back into a squad and sent on a mission to clean up another deteriorating city. Redfield uses a machine gun which can easily shred through foes. Like Leon's pistol, ammo will run out quickly. Hand-to-hand combat must be utilised when the odds are in your favour, saving precious bullets for those that need it. Jake, who appears to be immune to the C-Virus, provides another interesting deviation the Resident Evil style. The early moments paint him as a drug lord, someone who provides the deadly chemicals to others. He is something of an enigma. Jake also uses a pistol, but he is also used to running. Certain foes during his campaign will have you sprinting across locations looking for cover. His ability to get caught in difficult situations underlines a title that will force you to survive when necessary. There's no hiding, no point trying to stand up to enemies that cannot be overcome. A good old fashioned jog is the only way to maintain any level of sanity.
With a month until release, most of Capcom's hard work can be enjoyed. Every campaign has an AI character joining you for the fight (which can be used for co-op play), and this often leads to slightly jarring occurrences. While their aim is effective, getting through doors and across scenery often amounts to a frustrating process. They might get stuck or fail to respond, but this is often put right within a few seconds.
The camera is often far too hectic to understand what's going on. A cinematic approach is all well and good, but it overwhelms at times. When the action gets frantic the camera has a tendency to disrupt the flow of the game. After running out of bullets with Jake I often found myself getting confused as I ran away. The camera twists and turns so loosely it becomes a little difficult to keep up with. These minor complaints should be ironed out before launch, as the developer strives to tighten everything up before the game goes gold.
Right now, I couldn't be more excited about Resident Evil 6. After the previous instalment and the shambles that was Operation Racoon City, this feels like the return of the king. A diverse, thoroughly-engulfing trio of campaigns is just the beginning for a title that intends to wrap you within its web for some time. Survival horror is back, so you better pull those curtains.
I've sat in eternal darkness during my preview run of Resident Evil 6. Daylight has barely flitted through the window as my pupils continue to lap up the final embers of that thing called 'the sun'. With three campaigns on offer, this isn't the standard triple-A production we've become accustomed to seeing over the past few years. Even before release, Capcom has provided plenty of reasons to work through every inch of content.
 |
| Atmosphere is key. You should be thankful for any smidgen of light |
I'm a huge fan of Leon, so starting with his campaign was only natural. Immediately, it's clear his part of the story aims to replicate the franchise's traditional formula with a modern twist. The streets are overrun with zombie-like figures and you must escape. It's reminiscent of Resident Evil 2's opening where you must head to the police station. This time, a cathedral is your target. Fighting across the devastated tarmac, the action is intense, fast-paced, and brutal.
Inside the holy building, memories of games gone by continue to crop up. Silence fills huge rooms, leaving you exposed and vulnerable. Threats lurk around every corner, galvanised by a crippling darkness that surrounds each step you make. Leon is backed up by Helena, another cop who is sent to aid his trek. Her footsteps provide a welcome distraction from the sheer nothingness, until of course, they attack.
As ever, dismantling your opposition is a game of precision. Ammo is scarce so each shot must hit. Targets wince with each impact, giving you an extra second to breathe. Your foes are more responsive than ever and can be slowed down with tactical shooting. Shots to the head remain the best method of execution, but when this isn't possible, a clip to the shoulder or leg unravels an extra moment of comfort.
 |
| All characters cross paths at some point in the story |
In the other two campaigns, the action is far more in-your-face. Chris Redfield has gone all Max Payne, hitting the bars instead of ridding the world of evil. He is forced back into a squad and sent on a mission to clean up another deteriorating city. Redfield uses a machine gun which can easily shred through foes. Like Leon's pistol, ammo will run out quickly. Hand-to-hand combat must be utilised when the odds are in your favour, saving precious bullets for those that need it. Jake, who appears to be immune to the C-Virus, provides another interesting deviation the Resident Evil style. The early moments paint him as a drug lord, someone who provides the deadly chemicals to others. He is something of an enigma. Jake also uses a pistol, but he is also used to running. Certain foes during his campaign will have you sprinting across locations looking for cover. His ability to get caught in difficult situations underlines a title that will force you to survive when necessary. There's no hiding, no point trying to stand up to enemies that cannot be overcome. A good old fashioned jog is the only way to maintain any level of sanity.
With a month until release, most of Capcom's hard work can be enjoyed. Every campaign has an AI character joining you for the fight (which can be used for co-op play), and this often leads to slightly jarring occurrences. While their aim is effective, getting through doors and across scenery often amounts to a frustrating process. They might get stuck or fail to respond, but this is often put right within a few seconds.
 |
| Run? No seriously, RUN! |
The camera is often far too hectic to understand what's going on. A cinematic approach is all well and good, but it overwhelms at times. When the action gets frantic the camera has a tendency to disrupt the flow of the game. After running out of bullets with Jake I often found myself getting confused as I ran away. The camera twists and turns so loosely it becomes a little difficult to keep up with. These minor complaints should be ironed out before launch, as the developer strives to tighten everything up before the game goes gold.
Right now, I couldn't be more excited about Resident Evil 6. After the previous instalment and the shambles that was Operation Racoon City, this feels like the return of the king. A diverse, thoroughly-engulfing trio of campaigns is just the beginning for a title that intends to wrap you within its web for some time. Survival horror is back, so you better pull those curtains.
