This bonus mode is probably the best in gaming's history.
#Resident evil 6 pc video plus
Co-op makes everything better, that's just a truth, and Resi 6 is designed to be played with a buddy throughout (though the ally AI has improved vastly since Resi 5's item-quaffing Sheva).Įach of the four campaigns took between five and seven hours to complete, plus on top of this there's the Mercenaries mode. But the bulk of the game is a combat system we've known since Resi 4, tweaked and tuned to be a tad more manoeuvrable, and then playable in co-op. Its cinematic sequences take control away from the player to a large extent, and then veer between brilliant and plain silly. Resident Evil 6: Chris in the jaws of trouble It also doesn't hurt that the common enemies, whether zombies or the humanoid J-Avo, are often sent backflipping by the sheer force of your weapons. One of Resi 6's unqualified triumphs is that its shooting feels great, the meatier guns packing heavy recoil and each shot accompanied by a bellowing audio crack. The other two campaigns star Chris Redfield, AKA Stubble Straightjaw, and Jake Muller, AKA White Rapper, and follow a pretty similar pattern – move forwards, fight a group of enemies, big set-piece, rinse and repeat. These events are all over the place, really, some breathlessly exciting and others falling flat – the latter mainly thanks to an over-fiddly implementation of "Simon says" button-pressing, which isn't a fun thing to be doing in the first place. By the end of Leon's campaign you'll have fought on top of trains, piloted a helicopter, wrestled a shark, had a shootout atop a skyscraper, ridden a mine cart and more or less surfed a jet I'm pretty sure I saw a kitchen sink exploding at one point. We know it doesn't quite manage that, but the most atmospheric environments in Resi 6 are found here – an early journey through a zombie-filled subway tunnel, complete with running trains, showcases the game's exquisite lighting tech like nothing else. Leon S Kennedy, last seen in Resident Evil 4, is joined for the first campaign by US agent Helena Harper, and this slice of Resi 6 is supposed to be delivering the horror. So the compensation is a quadruple helping of lengthy single-player campaigns, three of which are playable in co-op. Capcom's focus on the production values of Resi 6 makes a casualty of progress – in the context of the third-person shooter genre, the controls are clunkier than they should be, and you'd be hard pressed to call any of its new systems innovative. The real surprise is how much of it there is.
Resident Evil 5 leaned in this direction, but Resi 6 dives in with both guns blazing. Resi 6 is what you call a run-and-gunner, moving ever-forwards while blasting through crowds of biohazards. It'll give you a few shocks, enemies jumping out of hidden places and big monsters bursting through the floorboards, but the days of creeping through darkened rooms with bottom clenched are over. In some ways that's a bad thing: Resident Evil isn't scary any more. The directorial eye is a big part of Resident Evil's heritage, but here the focus has overwhelmingly shifted: "survival horror" is now "constant action". Resi 6 is obsessed with delivering a "cinematic" action experience, its levels punctuated by regular set-pieces, constant explosions, sharply-edited camera changes and a never-ending supply of near-death experiences.
Sounds like a straight-to-DVD nasty, doesn't it? Resi 6 is more like one of those box sets yoking together Con Air and Die Hard, promising the purchaser several evenings' worth of extras getting tipped over balconies. Capcom has been at this longer than most and, 15 years after the Arklay Mansion incident, the biggest project in the company's history is Resident Evil 6.
The goal for any console developer these days isn't to make one great game – it's to construct the foundations of a franchise, a starting point for sequels and spin-offs. O utside of comic books, no medium loves a recurring character quite so much as video games.
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