Resident Evil’s eighth game, Village, offers unrivaled horror variety


2017 resident Evil Biological hazard changed Resident Evil with its first-person exchange. He made a new series of video games, which got out of hand in his last third-person entry, again. This year Resident Evil Village, the eighth Resident Evil, builds on Biological hazard, but without the benefit of a new look. Instead of, Town builds on the series formula while using a new setting and structure to give players a guided tour of horror greatest hits.

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Town begins with an opening that is just as linear as its predecessor, but with a beautiful, animated version of a children’s gothic story that precedes player control. Ethan Winters, the hero of Biological hazard, now lives in a vague European country with his wife, Mia, and their new daughter, Rose. Because it’s Resident Evil, things go horribly wrong in the first 10 minutes. Mia is killed, Rose is kidnapped by the usual good guy Chris Redfield, and Ethan is placed in the back of a mysterious van.

After a crash, Ethan wakes up on the outskirts of the titular town and the game begins to take shape. The village becomes an ever-changing hub that Ethan must travel through several times during his adventure to save his daughter. Rose is hidden around the village in four square pots – labeled “legs,” “head”, “arms” and “torso” – and thus begins the most disgusting Zelda game ever created, as Ethan attempts to collect the pots of four dungeons so that he can face the final boss. It is in these unique dungeons that Capcom revel in the vagueness of Townwithin the European framework of, connecting five unique areas to a single hub in a way that ensures that everyone can find an area they like.

A werewolf-like beast roams a wooded area at sunset in Resident Evil Village

Image: Capcom

The castle of Lady Dimitrescu, the great female vampire who kept the internet running for much of this year, is the classic Resident Evil 2 police station has become gothic. He trades an armory of weapons for a literal dungeon filled with rotting corpses and medieval torture devices; a heavy man in a trench coat for a tall lady. Stomping around the castle and finding special keys to unlock mysterious doors should be familiar to any Resident Evil fan, but the new setting and its giant matriarch transform their familiarities.

Resident Evil Village don’t shoot twice on the same round, and as soon as you take down Lady D, you move on to the next dungeon. But instead of another castle with keys to collect, Town takes the players’ weapons and throws them into a puzzle box full of dolls. If Castle Dimitrescu was the horror of adventure, TownThe Dollhouse is an atmospheric horror, playing with the lighting and changing the scenery when the lights go out, all the while forcing you to flee from a disgusting baby monster you can’t damage.

After spending a few hours killing gargoyles and killing vampires, Town slows down and completely removes optional combat. I much prefer Lady D’s Castle to the horror baby show, but I know other actors who felt otherwise. Which makes Town remarkable is that these gender changes never seem shocking. It’s a cohesive vision – a weird, disturbing vision as Resident Evil games always are – that satisfies every player’s horror appetites without ever isolating those who prefer a different approach. Which areas speak to you is a matter of taste, and the game moves fast enough that I never get bored trying something new.

In its second half, Town turns more into an action game, with platform sections through a flooded area of ​​the city and a chase with a giant fish monster. The next area sends waves and waves of werewolf villagers into an elaborate fortress – testing how disciplined I have been with conserving my ammo. It all ends with a more action-oriented dungeon set in a giant factory, filled with weird, mechanized enemies.

A giant villager holding a hammer faces the player in a screenshot from Resident Evil Village

Image: Capcom

A less confident game would crumble under such a rolodex of horror experiences, but Town browses them easily. It’s always a monster-filled game where you shoot disgusting creatures until they form and fly away in the breeze. But for such a big game in a legendary series, Town is agile. It’s quick to be weird and funny, really horrible and silly. A normal game couldn’t tell a touching story about a man trying to fight off hordes of monsters to find his daughter and show this same man putting his whole forearm back together, his jacket and everything. But Resident Evil is not normal, and it never has been; it’s weird now more than ever.

Town could have played it safe. Ethan could have been seen continuing his adventure across America, in secret labs and through another family infected with mold. And with the skills of the Resident Evil team, this game would probably still have made our top 50 list. Corn Town gets weird instead and takes players away from the usual world of zombies and secret labs in the series in one with giant female vampires, werewolves, killer dolls, and ritual sacrifices.

Resident Evil Village is like a carnival of different horror experiences. Each direction you head in leads to an ice-cream hall or big ferris wheel-like spectacle, in this special way a carnival can make a single field look like multiple worlds. I have played more spooky games than Resident Evil Village, but I have never played with such varied dungeons. TownS success isn’t in how scary it can be, but in all the different ways it tries to scare you.


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