Resident Evil: Revelations - EDGE review details
EDGE score - 6 out of 10
- Consistently high production values. Sets a new visual standard for 3DS Stellar character models and animation
- Takes most of its cues from 'Resident Evil 5's gung-ho gameplay'
- 'There's variety to the levels, but they're a mishmash of beauty and blandness'
- 'Scanning enemies [with the genesis device] while they're alive adds a nail-biting-time-attack layer, forcing you to find some distance and monitor your health while learning more about the lumbering freaks.'
- Enemies described as braindead, with no sense of spatial awareness. The first person shooting option emphasises their erratic behaviour.
- Jill Valentine's level, the cruise ship, is described as the best portion of the game, hitting ' a fine loop of exploratory memory tests and corridor shooting...it's a shame this solid, engrossing loop is broken by an episodic structure and the design team's commitment to a fractured narrative. Bizarrely, the third act gives introduces a comic-relief double act...if the game gave itself over entirely to the survivalist thrills of Queen Zenobia, discarding the more trigger happy scenarios offered up by the ensemble cast, Revelations would be a more coherent, singular, and dynamic experience.'
- Plot described as convoluted and heavy-handed. 'It's a far more standalone affair than the numbered entries in the series and , sadly, far less gripping for it.' NPC comrades are 'largely redundant and distract from the sense of isolation with their cringe-worthy chatter.'
- 'Revelations picks up the ball and runs even farther towards the casual-shooter goal.' The addition of the side-step has 'removed one of its most pivotal suspense devices: your sense of helplessness.'
- 'The co-op Raid mode is, ironically, better suited to a lone player, recycling singleplayer environs that are by their very nature tailored for one, with their countless corridors and assorted cramped spaces. There's none of RE0's co-op puzzling here, besides the need to do some heavy door lifting. It feels like a missed opportunity.'
- Consistently high production values. Sets a new visual standard for 3DS Stellar character models and animation
- Takes most of its cues from 'Resident Evil 5's gung-ho gameplay'
- 'There's variety to the levels, but they're a mishmash of beauty and blandness'
- 'Scanning enemies [with the genesis device] while they're alive adds a nail-biting-time-attack layer, forcing you to find some distance and monitor your health while learning more about the lumbering freaks.'
- Enemies described as braindead, with no sense of spatial awareness. The first person shooting option emphasises their erratic behaviour.
- Jill Valentine's level, the cruise ship, is described as the best portion of the game, hitting ' a fine loop of exploratory memory tests and corridor shooting...it's a shame this solid, engrossing loop is broken by an episodic structure and the design team's commitment to a fractured narrative. Bizarrely, the third act gives introduces a comic-relief double act...if the game gave itself over entirely to the survivalist thrills of Queen Zenobia, discarding the more trigger happy scenarios offered up by the ensemble cast, Revelations would be a more coherent, singular, and dynamic experience.'
- Plot described as convoluted and heavy-handed. 'It's a far more standalone affair than the numbered entries in the series and , sadly, far less gripping for it.' NPC comrades are 'largely redundant and distract from the sense of isolation with their cringe-worthy chatter.'
- 'Revelations picks up the ball and runs even farther towards the casual-shooter goal.' The addition of the side-step has 'removed one of its most pivotal suspense devices: your sense of helplessness.'
- 'The co-op Raid mode is, ironically, better suited to a lone player, recycling singleplayer environs that are by their very nature tailored for one, with their countless corridors and assorted cramped spaces. There's none of RE0's co-op puzzling here, besides the need to do some heavy door lifting. It feels like a missed opportunity.'
