"Resident Evil Requiem" Review: Bloody, Bizarre, Impressive

Contents

Thirty years after the T-virus outbreak in Raccoon City, Capcom's survival horror series returns to where it all began. “Resident Evil Requiem” is the ninth main installment in the series and tackles a question the franchise has been grappling with for years: How much action can horror endure – and vice versa? Capcom's answer is as simple as it is bold: the game is split in two. On one side is Grace Ashcroft, a new protagonist with no combat experience, who must fight her way through oppressive environments. On the other is the familiar Leon S. Kennedy, facing zombie hordes with firepower and witty remarks. Whether this experiment succeeds and “Requiem” truly combines the best of both worlds is revealed in the review.

Back to the Roots

“Resident Evil Requiem” is not a direct sequel to its predecessor, “Resident Evil Village,” but shifts the setting back to the origin region of the infamous T-virus, beginning thirty years after the events of “Resident Evil 3.” In addition to the familiar hero, Capcom introduces a new female protagonist, Grace Ashcroft, who shares the playtime roughly equally with Leon. Grace works as an FBI analyst and is tasked with investigating the scene of a mysterious murder that took place in the very hotel where her mother was killed years earlier. However, instead of a routine investigation, she finds herself at the beginning of a horrific journey into the past.

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Resident Evil Requiem (11 Bilder)

The plot of “Requiem” is brilliantly staged, yet superficial. This should surprise no one, as the series is now known for its sprawling, not always logical, slightly “trashy”, but always charming stories. Long-time fans will still find plenty to enjoy, as there are new revelations about the Umbrella saga and some nostalgically charged moments. Newcomers, on the other hand, will have to accept many things as given. However, this is unlikely to diminish the fun, as the real star of “Requiem” is the game itself, not the story.

Among the characters, the new antagonist, Dr. Viktor Gideon, stands out, whom Capcom portrays as wonderfully disturbing and mysterious, and could have perhaps brought more to the forefront. Leon remains a one-dimensional wisecracker for the most part. Although he has to deal with tragic events from his past, his Raccoon City trauma doesn't take up too much space. Grace fills the role of the reluctant heroine well, gets enough room for her story, but sometimes seems a bit naive for an FBI agent.

Between Fear and Power Fantasy

In terms of gameplay, Grace and Leon represent two different approaches that Capcom immediately clarifies. The introduction with the shy, almost vulnerable-seeming Grace is dark, mysterious, creepy, and immediately puts players in the role of the pursued, suddenly exposed to incomprehensible horror. Here, the focus is on solving puzzles and escaping the terror from the darkness – preferably on quiet soles. Although Grace works for the FBI, she lacks combat experience. She can handle weapons, but they are always scarce – just like ammunition. In the first third, Capcom stages a brilliant survival horror experience that creates constant tension, requires clever resource management, puts players under pressure in well-dosed situations, and triggers terror with targeted jump scares. The balance is also frighteningly good, as none of this is used excessively, thus avoiding wear and tear. This is also ensured by the short interspersed moments where players switch characters and thus game logic.

In contrast to the inexperienced Grace, the “Resident Evil” veteran Leon has seen (and shot) it all and confronts even the most gruesomely disfigured mutants with appropriate coolness. Leon's sections are very short at first, but they pack a punch. The DSO agent, now clearly marked by his life as a zombie hunter, mows down zombie hordes between exploding cars and fleeing civilians or carves his way through infected with a chainsaw as if it were a normal Monday at the office. The character switching is logically woven into the plot and, unlike in “Assassin’s Creed Shadows,” occurs exclusively at fixed story points. Free switching is not possible; only perspectives can always be freely chosen. Capcom recommends a third-person perspective for Leon and a first-person perspective for Grace. In fact, the switch between perspectives works surprisingly well and is – at least in Leon's case – even recommended, as some sections are better suited for first-person and others for third-person perspective.

Leon is hot on the trail of the kidnapped Grace and her tormentor, occasionally traversing the same levels. However, there is never any unnecessary backtracking, as he either searches other areas of the same building or the areas already seen have a new twist. Only from the halfway point does Leon's gameplay share become significantly larger, changing the game feel from “Resident Evil 7” towards a more action-heavy “Resident Evil 4.” In addition to the changing proportions of horror and action, there are also subtle gameplay differences that keep the character switching exciting. For example, Grace can collect blood from killed infected and craft useful and deadly items from it, while Leon receives credits for kills, which he can exchange for new weapons and modifications. Capcom rewards aggressive play with Leon by showering players with credits. Thus, Leon can quickly build a large arsenal of weapons and draw from an abundance. Ammunition or inventory scarcity are completely foreign to the tough guy.

Grace, on the other hand, must first find ancient coins to exchange them for small improvements. She compensates for the much more compact inventory with a chest, while Leon can only buy and sell items. Storage is not possible. Grace's rather defensive playstyle is also noticeable in pressure situations. While she can only push approaching undead away to escape, Leon also uses roundhouse kicks or his new, deadly cleaver in close combat.

Impressive Disgust

Audiovisually, the ninth installment in the series is a feast for the eyes. Players traverse several large and very different areas. It starts with a burnt-out old hotel in the middle of the city, which immediately builds tension with its oppressive atmosphere and threatening soundscape. Shortly after, it moves to a sprawling mansion, perfectly suited for survival horror, where series fans should feel right at home. As the game progresses, the developers pull out all the stops, transporting players to sometimes breathtaking settings that are also excellently utilized in terms of gameplay and provide variety until the end.

The controls are pinpoint accurate in both perspectives, the handling of weapons feels powerful and precise, and dismembering the infected also brings a morbid grin to any horror fan's face. Blood is omnipresent in “Requiem”. Limbs and heads, even entire bodies, explode, splattering the red life fluid around the environment and onto the player characters. While this may seem a bit disgusting at first glance, it is technically impressive, permanently alters the environment, and also has gameplay implications.

Zombies with Personality

Of course, “Requiem” wouldn't be a true “Resident Evil” if it weren't teeming with bizarre mutations. Especially in the first large section, the sanatorium, Capcom presents some of the most disturbing creatures ever to make it into the series. What's crawling around there is likely to cause not only Grace sheer terror but also make some players grip their seats. What particularly distinguishes “Resident Evil Requiem” here are the small tragic backstories of the infected, revealed through scattered notes, which almost evoke a sense of pity.

Even the “simple” zombies in the sanatorium still show remnants of personality and engage in various activities. There's the cook still pounding meat in the kitchen, the singer providing entertainment in the bar, or the cleaning lady scrubbing the toilets perhaps a bit too meticulously. In some cases, these quirks can also be used against the infected, adding a tactical depth to stealth gameplay.

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Later in the game, zombies become mere targets again, but they still possess creative traits that repeatedly require new approaches. Old acquaintances also return, which should particularly please series veterans. A small downside, however, is Grace's second major appearance, which gameplay-wise doesn't differ too much from Leon's anymore. This is mainly due to an overpowered throwing weapon that is available in large quantities and immediately defuses what would otherwise be a significant threat.

The boss fights with Leon are also a double-edged sword. They are undoubtedly staged magnificently, and Capcom has absolutely succeeded in the design of these massive absurdities. However, the fights are far too easy and in essence little more than target practice on glowing weak points. Anyone with a reasonable amount of skill will have few problems with these encounters, especially given Leon's well-stocked arsenal. Grace has fewer of these big moments, but they feel significantly more intense, as a single wrong step can mean the end.

Conclusion

The latest “Resident Evil” installment is a top-tier audiovisual blockbuster, with skillfully staged cutscenes, an excellent voice cast (including in German!) and visuals and gameplay values that are second to none. “Requiem” feels like a best-of compilation of the most successful installments in the series. It's bloody and brutal, not shying away from explicit close-ups and cool one-liners that could have come straight out of the nineties. But it can also be different, skillfully staging the horror that lurks in the shadows, creeps up silently, and strikes all the more powerfully.

Capcom has succeeded with the experiment of two main characters, even if the momentum wanes towards the end and some boss fights are more impressive than challenging. Grace and Leon are different enough to provide variety and tension, yet similar enough not to disrupt the game flow. The story is a weak point. Series fans can look forward to many small allusions, flashbacks, and the resolution of past plotlines. At the same time, the story requires detailed prior knowledge and doesn't exactly shine with depth. “Requiem” generates tension primarily through its dynamics, the interplay between horror and action, the magnificently designed settings, and the bizarre monstrosities – not through the plot.

(joe)