2014’s The Evil Within was renowned game director Shinji Mikami’s spiritual successor to the classic Resident Evil titles of his creation, so, with the seventh instalment of Capcom’s horror series successfully returning to its roots earlier this year, The Evil Within 2 needed to evolve to garner attention. Thankfully, that’s exactly what happened: TEW 2 improves and expands on its forebearer in almost every way, making for a great example of a sequel done right.
The Evil Within 2 improves and expands on its forebearer in almost every way, making for a great example of a sequel done right.
While perhaps a little difficult to wrap your head around initially, STEM’s alternate reality is a fantastic means to remove all barriers and let The Evil Within’s design run riot. You’re relentlessly shown exciting new visuals, bolstered by HDR compatibility, all of which are so considered in their grotesquery that they achieve a morbid beauty. Just as you wouldn’t generally link beauty and brutality, The Evil Within 2 revels in making further juxtapositions feel natural next to one another, be that in reality-based and abstract settings, affluence and dilapidation, or low and high technologies.
This serves to complement another of the game’s villains, the artist Stefano, a character that has more than a little in common with BioShock’s fantastic Sander Cohen, complete with his very own Fort Frolic. Using human flesh as his canvas, you’ll bear witness to many of his works, and, somewhat disturbingly, very likely stop to calmly admire them with the fitting accompaniment of an original (and excellent) classical music track.
Having gone quasi-open world, the game’s two truly sandbox areas (one of which is cheekily recycled as a faux third) are, thankfully, packed with exciting and significant optional activities. Compliments for open world design are thin on the ground these days - we, along with many others, have grown tired of the map-filling, tedious brand of busywork many games have come to rely upon. The Evil Within 2’s unique boss encounters, side missions, collectibles and secrets put that issue to rest however, maintaining consistently high quality whilst also serving to fill in the wider narrative and bridge the three-year gap between instalments. This makes scouring the crumbling streets of Union a thoroughly enriching experience, akin to exploring Batman: Arkham City for the first time.
STEM’s alternate reality is a fantastic means to remove all barriers and let the The Evil Within’s design run riot. You’re relentlessly shown exciting new visuals.
What’s more, especially if you up the difficulty to Nightmare, this nonlinearity sees the survival element begin to shine. You might clamber onto a rooftop and use your sniper scope to scout a location in the distance, spotting a tempting loot pile surrounded by enemies before weighing whether or not it's worth pursuing; perhaps you then make some supplies via the simple new crafting system, these convincing you to head in with stealthy intent. You’re spotted. An unnerving chase begins, more and more enemies emerging from all directions, drawn by the ruckus, as you narrowly avoid an incoming swipe and hurriedly slip into the nearest safehouse, breathing a heavy sigh of relief as you stand, shaken, behind the boundary door. That’s just one example of the many possible, and quite memorable, self-contained stories The Evil Within 2’s emergent gameplay can facilitate, in much the same vein as State of Decay.
Frequently breaking away from the open areas for more linear main story segments, as well as trips through a series of tunnels called The Marrow, had us longing to return at times. This feeling isn’t helped by the fact that these sections occasionally force either open combat or stealth on the player, rather than leaving them to choose their own method of approach. Both play styles are at least engaging, with a highly customisable loadout of loud, punchy firearms and a versatile tactical crossbow making up the bulk of your offence, while conventional-but-satisfying hidden melee kills and a slightly dodgy cover system mostly comprise the sneaky side of things.
Having a sizeable arsenal at your disposal unfortunately relieves many of the malformed cast of enemies of their scare factor; provided you’re actively scavenging for resources, you’ll never be in any desperate need for either ammunition or medical supplies, even on the hardest difficulty setting. Throughout a playthrough, which should last around twenty hours, ways to manipulate the dopey AI and reliably spot enemies lying in ambush also become apparent, further tipping the odds in your favour.
Other than some great late game boss encounters, The Evil Within 2 gradually leaks horror until there’s little left to be scared of; this might be either welcome or disappointing, depending on how much you like sitting in your own leakage. Maintaining the first game’s body burning mechanic - which saw enemies have the potential to spring back to life if their corpse wasn’t ousted using a limited supply of matches, à la the Resident Evil remake - would likely have helped the game remain more engaging on that front, however.
All in all, despite a weaker second act by comparison to the superb first, The Evil Within 2 is a mechanically gripping game. It’s a sophisticated mix of old and new, along with Western and Japanese influences, thanks to its diverse development staff. A considered audiovisual feast that, in a year where Resident Evil 7 convinced us first-person perspectives and VR were the unchallenged future of survival horror, compellingly challenged that notion.
Grip Digital and Teotl Studios’ first-person, single-player survival game released on PC and Xbox One to a middling critical reception last year. The addition of virtual reality support helps to elevate the PlayStation 4 release in many ways, though some issues still hamper the otherwise engaging and atmospheric adventure.
A thick air of mystery ebbs and flows as you explore environments and begin to peel it back, often only to uncover more secrets.
With that said, the absence of a formal tutorial means it’ll take a little while to get used to the button-heavy control scheme; once you wrap your head around it however, you’ll be walking, turning and teleporting comfortably without need for an analogue stick. Other VR issues include lengthy, awkward 2D loading screens that somewhat break immersion, and the galling oversight that you can clip your hand through many locked gates and use the teleporter (an item separate to the standard teleportation for travel) to bypass the game’s simple puzzles.
You can’t get up to similar tricks playing on a TV, which might be a good or a bad thing depending on how you’re inclined, but there are also definite boons to playing in our humble, real-world reality. There’s a closer connection to the protagonist as you hear more of their musings and see scenes cut for comfort from the VR experience, plus there’s a sharper presentation in terms of both resolution and a clearer UI, which can serve practical purpose in helping to find obscure collectibles that boost resistances and fill in the wider narrative.
Anything other than a temperature resistance buff is frankly a waste, as that’s the only one of the game’s survival elements that ever really comes into play. Food and water are plentiful, and getting enough sleep is easy done, but staying warm when outdoors at night is near impossible. While the straightforward crafting system can be used to start temporary fires that offer slight respite, the only real solution is to ride out the night somewhere safe. With no means to tell the exact time, you’re only ever acting on a best guess while judging an alien day/night and dynamic weather cycle, so, should you misjudge or spend too long exploring, you might be doomed to get hopelessly caught out from the moment you set off. Due to the game’s manual save points and infrequent auto-saves, it’s possible to lose a lot of progress to this - even totally bugger your save file - leaving you feeling decidedly cheated in the process.
Thankfully, the survival elements are fine tunable, so you can tone them down, turn them off completely, or, if you’re some sort of sadist, make them stricter. This goes a long way to remedying the issue, but being tempted to turn a survival game’s survival aspect off so that you can fully enjoy it is far from ideal.
While The Solus Project isn’t a great survival game, its focus on setting, atmosphere and storytelling make it more immediately engaging than its crafting-obsessed peers. Overall, the game succeeds in spite of failing within its genre - especially when played in VR, with the mode providing a fully-featured and lengthy campaign for headset owners to absorb in affecting fashion.
The story of Conan Exiles is one of two halves. On launch day (for Xbox One), we tried to give it a go straight out the gate and found it to be an extremely lag-ridden, buggy mess. In multiplayer players would drop out as soon as others joined and in single player things weren’t much better, with the game allowing you about five minutes of play before the sheer weight of everything which had to be loaded in around you caused a few seconds of lag for every second of normal gameplay. In short, it wasn’t something we were feeling too confident about as far as first impressions go.
One element which is yet to be explored in depth is the idea of religion, as you choose one of a handful of deities for your character to follow when creating them and each have their own altars with their own abilities. For example, if you character follows Yog, their shrine (the aforementioned fire pit) will let you cook human meat, which doesn’t spoil.
The combat is straightforward enough to be able to jump into easily, though the timing can be tricky as your character generally flinches when hit, and mashing attack at the wrong time can find you stuck in a loop of being pummelled to death. Fortunately your allies will generally (if they can be trusted) come to your aid, and the game is certainly enjoyed best as a co-op experience.
While everyone levels and learns recipes separately, crafting items for others isn’t an issue, meaning we were able to craft plenty of extra clothes and weapons in preparation for our game (before the team promptly threw themselves in a fire and wasted all that hard work...just watch the video).
As far as the endgame or wider story of the game goes, that remains to be seen. The in-game map feels quite vast and filled with different climates to explore once your party is ready to venture away from the comforts of home. Make sure you’re well prepared however, as hyenas and even dragons await you and will make short work of lone survivors.
Despite a shaky start, there’s a solid game to be enjoyed here - providing you’re happy to take the initiative and work a few things out for yourself. The soaring soundtrack feels like a cross between Jurassic Park and Mars from Holst’s The Planets Suite, adding to the sense of scale and grand adventure of proceedings. There’s still plenty of work to do before the full release in 2018, but in the meantime there’s no harm getting to grips with it, providing you think it’s worth £30, but all told it’s a yes from us.