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The Infection: Ranking the Best ‘Resident Evil’ Titles

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What are the Best Resident Evil Games?

Have we really been blasting apart zombies and surviving a myriad of over-sized animals and bioweapons for over two decades? You might not believe it, but it’s true: Resident Evil was first released twenty-three years ago and with the recent release of Resident Evil 2 Remake, it doesn’t seem to be going anywhere anytime soon.

If that makes you feel old, then you’re in good company as more than a few of us here at Goomba Stomp are old enough to have actually played the original all the way back in 1996 and we’re here to remind everyone what made these games great (or not so great) to begin with, where they succeeded and where they failed. Welcome back to Racoon City folks; here is the second half of our list of the best Resident Evil games to date.

 

Resident Evil/REmake

5 – Resident Evil/REmake

There is no doubt of the original Resident Evil’s impact on the gaming industry as a whole, but the fact of the matter is, time hasn’t been kind to Spencer Mansion and its inhabitants. Released at a time when 3D gaming was still in its infancy, these days the PlayStation classic can simply be described as ugly and unappealing to those who didn’t play it two decades ago. Thankfully, Capcom remade the game for Nintendo’s GameCube; dubbed the “REmake” by fans, not only was Capcom successful in bringing Resident Evil to a new generation, but they also created the gold standard for all video game remakes going forward.

Upon its release, the REmake was a technical marvel, and to this day it’s a feast for the eyes. Each corner of the mansion looks phenomenal, and enemies are genuinely grotesque. Utilizing the GameCube’s hardware, Capcom was able to add fantastic lighting effects, which drastically bolstered the game’s ominous tone, and improved upon the already phenomenal atmosphere. Other minor additions, like enhanced shadows, environmental effects, and improved audio all successfully deepen player immersion while significantly upping the tension. None of the additions or changes harm the creators’ original vision, but instead, serve to enhance it.

The technological leap from the original to the remake is especially astounding when you consider that the REmake came out a mere 6 years after the PS1 version. Since 2002, the REmake has been re-released several times, including in 2015 for 8th generation consoles. Lauded by both critics and fans alike, the REmake is seen by many as the definitive version of Resident Evil. (Matt De Azevedo)

Resident Evil 7

4 – Resident Evil 7

When Resident Evil debuted in 1996, it helped popularize the survival horror genre and ushered in a golden age of survival horror video games known for their slow-pace, heavy exploration, and brooding atmosphere. A decade later, Resident Evil 4 shifted directions with a third-person shooter approach, fewer puzzles and a greater emphasis on gunplay and weapons upgrading. Both the original Resident Evil and Resident Evil 4 have arguably been the two biggest highlights of the series, and no other game in the franchise came close to the greatness of those two titles until RE7 was released in 2017.

The seventh entry in the series, Resident Evil 7: Biohazard swerves in its own new direction by taking the best parts of the series (a measured pace and focus on exploration) and adding a new first-person perspective. Fear is palpable everywhere and just about everything in this game can make a player jump. It immerses you like no Resident Evil before it and all of this is captured with gorgeous (or grotesque) visuals and incredible sound design which rivals the best work ever done in video games.

While the more recent entries in the series placed a focused on action and gunplay at the expense of a methodical, brutal form of horror, Resident Evil 7 does the opposite. Yes, folks, Resident Evil is terrifying again, and a bold and successful reinvention of the franchise. The long-overdue return to survival horror was just what the franchise needed and it ends up making Resident Evil 7 one of the best games in the series. (Ricky D)

Resident Evil 2

3 – Resident Evil 2

If we’re talking the older style, survival-horror roots of the Resident Evil franchise, you won’t find a single game in the series that can match Resident Evil 2RE2 is still considered by some to be the best game to ever bear the Resident Evil name and regularly finds itself in the top 5 survival-horror games of all time. It’s not hard to see why the game made such a big splash as it improves upon the original in nearly every conceivable way imaginable. The main thing worth noting is just how different its campaign is depending on who you select at the beginning. Claire and Leon take radically different routes to the end game, even meeting and interacting with completely different characters from one another, and battling alternate bosses to boot.

The use of the A/B scenario system here is a masterstroke that cannot be overstated, as it makes for four different campaigns to play through, each with its own revelations and plot twists to discover. It also helps that the dark elements are expanded and the mythology takes on a conspiratorial tone which suggests a much more menacing set of antagonists pulling the strings from behind the scenes. Finally, you have more diverse environments, better production values (read: no god-awful live-action scenes) and the introduction of the indestructible stalker trope that remains an essential part of the series to this day. A classic in every sense of the word, if you dig survival-horror, you owe it to yourself to seek out RE2(Mike Worby)

Resident Evil 2 Remake

2- Resident Evil 2 Remake

If the original RE2 was a perfect sequel, the new Resident Evil 2 is a prime example of how to remake a classic while staying faithful to the original. While the word “Remake” doesn’t appear in the title, Resident Evil 2 (2019) is, in fact, a remake of the PS1 original. Capcom built the game from the ground up, changing a few things here and there, and for the most part those changes have improved what was already a great game. Much of the critical acclaim has centered on RE2’s gameplay and thick atmosphere, and much like Resident Evil 7, Capcom has made a game that is visually stunning throughout. Resident Evil 2 has just the right amount of retro appeal, capturing the spirit of the original without being bound by it.

There are no longer any loading screen doors, and Claire and Leon no longer move like tanks thanks to a new claustrophobic, over-the-shoulder, third-person perspective that helps elevate the action and opens up new possibilities for the series’ classic puzzle-solving. Resident Evil 2’s controls are incredibly intuitive, and while the classic static angles may be missed by fans of the original, I’d argue that the new camera system actually heightens the tension. By allowing the player to have more control of what they see, more often than not a player will unintentionally put themselves in danger. For those who enjoy tight, tense, graphic horror, this game offers an ample helping, something that might not have been possible without such a major overhaul.

Capcom’s new Resident Evil 2 — which was released twenty-one years after the PlayStation original — is everything one can hope from a video game remake. It preserves enough of the source material to feel like a respectful tribute, yet changes just enough to warrant its existence. This is one of the best horror games ever made — and proof that cannibalizing old material sometimes works fiendishly well. While I have fond memories of the original game, RE2 (2019) is smarter, tighter, and far scarier — start to finish. It’s a masterclass in environmental design, sound design, level design, and atmosphere. All of that and more makes Resident Evil 2 one of the best remakes — er, ‘re-envisionings’ — of a horror classic (game or otherwise).

Resident Evil 4

1- Resident Evil 4

Series creator Shinji Mikami reinvented the wheel with the fourth installment of Capcom’s pivotal survival horror series. The over-the-shoulder third-person aiming system reinvigorated the genre and the innovative quick time events added an extra layer of suspense to the proceedings. Coupled with gorgeous cinematics – a vast, upgradeable arsenal – some of the most memorable boss fights in any game and an oppressive atmosphere – it’s easy to see why Resident Evil 4 is usually cited as the best entry in the series.

Resident Evil 4 is a near-flawless game – and it paved the way for hundreds of others like it such as UnchartedGears of War and Dead Space to name a few. Resident Evil 4 did for the action-horror genre what Super Mario 64 did for 3D platformers. It changed the industry moving forward and like all great games, it stands the test of time. (Ricky da Conceicao)

PART ONE

Humans by birth. Gamers by choice. Goomba Stomp is a Canadian web publication that has been independently owned and operated since its inception in 2016.

7 Comments

7 Comments

  1. Kenneth Kazun

    August 23, 2019 at 1:55 pm

    This^ clap clap

  2. devil

    September 21, 2019 at 8:10 am

    u forgot resident evil revelations 2

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‘Garden Story’ First Impressions: The Coziest of Adventures

Long-awaited Twitter darling Garden Story just released its first demo. Here’s what we learned after playing through it twice.

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garden story

Following the unfortunate (but understandable) delay of Animal Crossing: New Horizons, there’s been a distinct lack of chill, aesthetic games to fill the void. Garden Story’s charming environmental art and animation have earned it a dedicated social media following, but it wasn’t until Picogram released a demo just a couple days ago that anyone with a Steam account could actually experience the game for themselves. So, just how fun is this wholesome little RPG?

Setting the Scene

Garden Story’s demo centers around the newly-appointed village guardian Concord (a grape) and their first steps in rebuilding Autumn Town, a community ravaged by a sinister force known as “the Rot.” Chatting with villagers reveals a bit of insight into the situation at hand; it’s soon clear just how much the other townsfolk need the player’s support.

There are several clear parallels to old-school Legend of Zelda titles here, but Garden Story manages to set itself apart rather quickly. For one, this isn’t a solo adventure; the player sets out with Rana (a frog) and Fuji (a tomato) on a friendly quest to be as helpful to the surrounding community as possible. Seeing friends around and watching cute scripted cutscenes between the crew does a great job of instilling a sense of camaraderie and friendship.

In another pleasant twist, everything here is themed around building rather than destroying. Instead of traditional swords and bows, Concord repurposes his dowsing rod and scavenging pick into makeshift weapons. The combat itself calls to mind Stardew Valley; simple, minimal, and clearly not the main focus. There’s a pesky stamina bar that restricts the number of times Concord can attack and how far they can run, frequently forcing players to pause between barrages. In this way, encounters often come off as more of a necessary evil in Concord’s town rehabilitation journey than a main attraction.

Rebuilding a Community

So, how does one go about aiding the town? The method highlighted in the demo was by attending to a quest board with three different types of requests: Threat (combat), Repair (exploration), and Want (gathering). Each is accompanied by a task that plays an integral part in keeping Autumn Town safe and in good working order (e.g. clearing out Rot, finding sewer access so new resources can flow into town, and so on).

Aside from fulfilling requests, there are a few interesting hooks to incentivize hitting every shiny thing you come across regardless. The more different types of items are scavenged, and the more catalogues are filled by being updated with new materials, the more literature becomes available to give little bits of insight into Garden Story’s world and history. Then, in another parallel to Stardew Valley, any leftover resources can be sold in the pursuit of buying tool upgrades.

While the full game will feature four locations to explore and tend to, there was still plenty to do in Autumn Town itself by the end of the demo. Rana mentioned that villagers will post new requests daily, and the demo even featured a mini side quest (called “favors”) that led me to obtain a brand-new tool. Between daily requests, favor fulfillment, and dungeons spread across four different regions, it’s looking like there will be a good bit of content here for those who really want to hang around Garden Story’s world for as long as possible.

Ambient Appeal

Though it remains to be seen just how enticing its complete gameplay loop and accompanying systems are, Picogram’s latest is already delivering on its core appeal: being a cozy, relaxing experience. The color palette is soft, the lighting is moody, and the soundtrack is right up there with the Animal Crossing series as having some of the most mellow, loopable tunes around.

In fact, it’s the sound design in particular that gives Garden Story such an intimate feel. From the sound of a page turning when entering and exiting buildings to the gentle gurgles of a bubbling brook in the forest, it’s clear that composer Grahm Nesbitt poured a ton of love into making this one feel just right. Here’s hoping the full game more than delivers on all the potential shown here.

Garden Story is slated to release in Spring of 2020 and is available to wishlist on Steam.

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How Asynchronous Online in ‘Death Stranding’ Brings Players Together

Hideo Kojima’s latest game creates a sense of community by aiding other players on the same perilous journey.

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Death Stranding

Video games have always been fascinated with the idea of player interactivity as a means of crafting a power fantasy. The player typically goes on a hero’s journey, eventually culminating in them being the one and only savior of the world inside the game. Typically associated with single-player games, MMOs also crafted that same narrative but with the conceit that everyone is going on this journey. Often the acknowledgments of other players are in multiplayer-specific features such as PvP and Raids. Destiny is a great example of a series that takes players on the same journey and makes no promise that the story is different between players by even allowing them to engage in playing story missions together. It all feeds into the larger narrative of Guardians fighting together to save the Light. A game that handles this very similar and perhaps more successfully is Hideo Kojima’s Death Stranding.

While lacking any direct player-to-player interaction, Kojima’s latest game is drenched in the conceit that community is crucial to triumph over adversity. You can read many articles about the game’s ideas of community from fellow writers on the site. What hasn’t quite gotten the attention it deserves is how revolutionary Death Stranding feels in terms of utilizing asynchronous online to greatly affect the game itself. Games like Dark Souls and other FromSoftware titles have included the ability to leave notes (which Death Stranding also offers) that help (or trick) players as they venture throughout the world on their own. How those notes’ effects are manifested are often on a much smaller scale – helpful at times but often to warn players of an impending way they might die. They don’t have a large impact on the player, only a temporary means of cheating death. 

Where Death Stranding becomes something greater in scale is in what it lets other players do to other peoples’ single-player experiences. In the game, you play as Sam Porter Bridges who is tasked with reconnecting America from coast-to-coast. At first, the game thrusts Sam into its narrative, taking the reluctant, isolated character and forcing him to eventually realize the importance of hope and connections in dire times. As Sam starts bringing more and more people onto the Chiral network (which allows instantaneous communication and the transferring of 3D-printable goods), so too does the game open up and reveal its ultimate goal: to bring players together.

Death Stranding

This doesn’t mean players will ever talk to other players, and the game very much avoids any real negative actions that can be performed on players. In fact, someone could play the game without ever actively engaging with online features. Instead, the game will passively hand out “likes” to other players whose ladders are used or roads are driven. If one wanted to fight the game’s narrative and instead keep Sam isolated and away from the community that the Chiral network provides, they could definitely do that – no matter how antithetical it would be to do so. Death Stranding even offers an offline mode that would nullify all of that and keep the experience solely on the player’s impact on the world and no one else’s. 

Yet there’s a reason the online mode is the default mode. It was near the end of Episode 3 (which also happens to be when the game unloads almost all of its mechanics onto the player) when I finally realized the impact I was having on other people’s games. I had spent an entire day playing the game, but focusing largely on delivering premium deliveries – these are optional challenges that essentially boil down to carrying more cargo, damaging cargo less, or getting to your destination in a set amount of time. Death Stranding doesn’t ever tell you the best way to get somewhere. Instead, it places a wide array of tools in front of you and assuming the Chiral network is set up in an area, it can provide a rough guide on places to avoid or infrastructure already built. However, one of the key pieces of infrastructure missing for my playthrough was roads. My efforts immediately became focused on building a network of roads that made their way all throughout one of the larger areas in the game.

The game doesn’t ever make you build roads. It tells you the option is there but it doesn’t force your hand. Often tools will be introduced, like zip lines and floating carriers, but the game never demands that they’re used. Of course, engaging with those tools will make your life easier. There are easy ways to start building infrastructure in Death Stranding: ropes and ladders can help to scale mountains or plummet depths. Those will remain in the world for other players to use and will even appear on their maps as they hook up areas to the Chiral network. So, someone who plays the game earlier than someone else could lay down ropes and ladders, and depending on when the other person starts playing, they will find those once they have progressed to a point where they are traversing that area. Where the game becomes even grander in its sense of community is the realization that the more players commit to building roads or setting up zip lines, the more other players benefit.

Death Stranding

The reality is that ladders and ropes are temporary – they cannot be rebuilt, they can only be replaced. The game’s Timefall – a weather phenomenon that acts as rain but ages anything it comes into contact with – can reset an entire map after a while if there is nothing more substantial placed on the map. So in my game, I decided that whenever I could build a road, I committed to doing so. This could mean going to multiple waystations and collecting materials that have amassed over time from deliveries, or going out in the world and finding these materials like Chiral crystals. At a certain point, I would load up a truck with multiple deliveries that were on or near the roads I had built, as well as with as many metal and ceramic materials I could load into the truck before it reached capacity. As I delivered packages, I’d replace them with more deliveries and more materials from each waystation. Eventually, I’d find myself at a point where a road was not built yet and would then build that road.

Community stands as the strongest component of Death Stranding .

In contrast to a game like Dark Souls, actions in the world such as providing notes on the ground or helping another player with a boss battle is helping them cheat death. The community that is being built is not one that has any lasting effect on the world in the game. No Man’s Sky may let players interact with each other and further their knowledge of the universe within the game, but often that help is relegated to an isolated planet. It’s a more contained impact. Hideo Kojima created a game where players don’t just build infrastructures for themselves, they can intentionally or inadvertently assist other players throughout their games. This leads to players like myself creating strand contracts with other players who have built things I liked in the game. A strand contract is a powerful feature because it means more of that players’ roads or other items built for the world will show up more frequently in my game.

Every Action in Death Stranding Creates Hope

One of the perks of building so many roads is you also get a lot of likes, whether passively given because someone used the road or actively provided by a player because they not only used the road but were appreciative that someone built it. It’s hard not to feel important in someone else’s life when you’ve made their experience less cumbersome because they no longer have to drive over rocky terrain or through enemy territory but instead can take a highway to their destination. What’s better is that more substantial developments like bridges and roads can be repaired by other players and even upgraded. So while I laid the initial roads down, I actually haven’t spent any materials repairing them. Instead, notifications come in and tell me players have repaired roads I’ve built. There’s no real reason to do that unless the infrastructure built was necessary to their journey through the game – making it easier but also providing the same feeling of helping out a larger community. 

Community stands as the strongest component of Death Stranding – a game that doesn’t even try to be subtle in its intentions. Traversing Kojima’s version of post-apocalyptic America is harrowing on your own. With just your two feet and a package to deliver when the entire world itself is trying to stop you from doing so, America isn’t just divided – it’s hostile. Where Death Stranding shines brightest is when it offers a helping hand. Players aid one another to achieve the same unified goal: save the country. All of this is under the assumption that the country can be saved, but there is no denying that seeing someone else’s rope hanging off a steep cliff, or a Timefall shelter where it rains Timefall on a constant basis, is one of the most satisfying feelings. In Death Stranding, it isn’t enough to know that you’re making progress, but that everyone is willing to assist others to reach the same end goal. It’s a game where every action creates hope and is built upon the idea that we are at our best when we work together.

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‘Woven’ Review: Comfortably Soft and Lumpy

Despite those blurry visuals and stilted gameplay, there’s something endearing about this innocent elephant’s adventure.

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With a sincere warmth and fuzziness that conjures up dreamy recollections of 3D games gone by, Alterego GamesWoven mostly overcomes its blurry visuals and technical jankery to somehow create a pleasant, old-fashioned experience. Those excited by modern gaming probably won’t give this lovable hand-me-down a second look, and perhaps they shouldn’t; extremely simple actions and soothing narration support a fairy tale quality that’s probably best suited to younger players. However, anyone willing to look past the well-worn exterior in search of a relaxing break from stressful button pushing may squeeze more fun out of this familiar stuffed toy than they might originally expect.

Woven tasks players with taking control of a meandering patchwork elephant named Stuffy, and guiding him through a sparsely populated knitted world that seems to have met an untimely demise. Because Stuffy has cotton for brains, he is assisted on this journey by a much smarter metal firefly named Glitch (a reference to his role in this story?), who floats alongside the curious-but-clumsy plush toy and provides hints as to how he can use his various abilities. Together, this odd couple will traverse open plains blanketed with colorful yarn grass, maneuver around impassable felt trees and plants, and hopefully discover the secret of where Stuffy’s clueless kin have all gone.

Along the way, the duo will walk great distances (often without much event), solve the occasional environmental puzzle, and generally just keep on keepin’ on.Woven is mostly straightforward in its campaign, merely about getting from point A to B by whatever means the path requires. Most often this involves finding new blueprints that allow players to change Stuffy’s design from an elephant into a wide variety of other animal shapes, each with a set of abilities that come with a new set of arms, legs, and a head. For instance, while the stocky (and adorable) bear can push plush boulders and perform a mighty stomp, the goat and frog can both use their legs to hop, while the kitty cat is able to push buttons on rusted consoles that activate dormant machinery.

However, these abilities are usually only able to activate when context-sensitive prompts from Glitch appear, so don’t expect some sort of platforming freedom. Woven handles a bit clumsily in that regard and others; strolling is definitely the order of the day, as long as Stuffy doesn’t get hung up on the geometry.

But these actions do help provide variety; a tropical bird of some sort (toucan, maybe?) can sing certain notes, while a pelican-thing can fly (sort of) over land and shallow water with great speed. And so, it often becomes necessary in Woven to alter Stuffy’s look with a total reweave. These designs can be applied at various sewing machine-like stations scattered about, which go a step further than just swapping Stuffy the deer for Stuffy the ape. Each blueprint is comprised of five parts, allowing for players to create a Frankenstein Stuffy made up of all the best abilities the player has on hand (or cushioned paw). By mixing certain sets, Stuffy will soon be able to scale mountainside crags, cross piranha-filled rivers, and pick up industrial cogs without the need to make a pit stop and bust out new needle and thread.

Some truly hilarious (or horrifying, depending on your sensibilities) aberrations can be created; seeing Stuffy hobble on hooves as he flaps a wing on one side and swings a muscular gorilla arm on the other, all with the head of a squirrel, is freakishly entertaining. In addition, for those who like to wander off the beaten path, there are a plethora of knitting patterns to discover, tucked away in both obvious and devious locations (and denizens). These cosmetic enhancements can also be applied at the sewing stations, essentially giving players seemingly endless amounts of customization. And these aesthetic changes even get in on the puzzle act every once in a while, especially when a pesky cobra shows up.

But outside the odd ‘connect the power line’ or ‘raise and lower platforms’ objectives, Woven doesn’t throw much at players that even young children shouldn’t be able to handle — and that seems to be the aim. Stuffy’s adventure lives or dies on its wholesome and serene vibe, which players either buy into or they don’t. There’s no combat here, very little to actually do outside hunting down those patterns, illuminating some painted caves, and activating some of Glitch’s ‘memories’ contained by machines hidden in the soft folds. Ongoing narration is pleasant to the ears, often conveying old-fashioned morals and cutesy jokes, but there’s no more story than in a classic fable.

And make no mistake — though the world is certainly bright and cheerful, it’s also quite fuzzy around the edges. The tactile nature of the cloth textures is lessened greatly by the low definition (at least on the Switch version), eliciting memories of the Wii-era. An increased crispness would have really made the world of Woven pop off the screen, perhaps luring in a larger audience who have become accustomed to such. There is still plenty of charm, but it feels like a missed chance at that true magical feeling the game seems to be shooting for.

Other stumbles come when certain worlds try to open up a bit more, which might lead a younger audience to get frustrated by the lack of direction (especially when they keep getting hung up on that geometry!); Woven definitely works better when it’s casually guiding players along, letting gamers of all ages envelop themselves in the easygoing atmosphere instead of requiring tedious backtracking. There’s just something nice about sitting back and relaxing to hummable music, watching the roly-poly amble of a stuffed kangaroo.

Woven will not be for everyone; those who play for challenge or eye candy won’t find either here. And yet, despite those blurry visuals and stilted gameplay, there’s something endearing about this innocent elephant’s adventure. Woven certainly has its share of lumpiness, but somehow remains cozy regardless.

‘Woven’ is available on PC, Xbox One, PS4, and Switch (Reviewed on Switch).

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