Resident Evil 3 (2020) • Nemesis Doesn’t Get the Stars He Was After
Alright, strap in. Boy, do I have some words. It is well known that I am the biggest fanboy of the series, and that I am deeply familiar with the series origins, its values, evolution, lore, you name it. Not only was I blown away by the heights of the recent Resident Evil 2 remake, but I was floored by the announcement that its sequel, Resident Evil 3, had been in development for even longer than 2 and that it would be releasing a mere year later using the same game engine. While it might have been my fault to hold such high expectation after the success of 2, and the promising trailers of 3, I came out of my run with Jill and Nemesis sorely disappointed.
Jill’s face no longer looks like a sandwich
Personally, I love PS1 graphics. But there is certainly no denying how exciting it is to see such popular characters of the franchise, and in gaming, be reimagined in breathtaking HD. Graphics and assets have all been vastly improved compared to the original on this contemporary gen console, and given such vibrancy by the addition of stellar lighting designs and detailed textures to really cement the denizens (human or otherwise) in reality. Adjacently, the world of Raccoon City oozes personality with the ability to deeply detail its setting. With the inclusion of in-world advertisements for movies, restaurants and drugs, as well as making sure that the world pops with details like hastily boarded up doors, flaming cars, and ransacked shop interiors, Raccoon City truly feels like an interconnected, living, breathing world. It is a great pleasure to roam iconic locales that were once two-dimensional backgrounds in vivd three-dimensions and is probably the strongest asset of the game.
Master of lockpicking
The strongest draw of the original games were their similarity to a giant-escape-room. The entire game was a puzzle, items were to be collected to gather new items to access new areas to pick locks in to gather more items to complete more puzzles to move to new areas until you were done. Yes, that exists in some capacity in this game with its collectable key items that access new areas, but their collection requires no intelligent action as the key objective is consistently updated by the game and obviously pointed out to the player in-game. The campaign itself might as well be completely linear. In fact, the scope of Raccoon City is an illusion this time round. Areas are so often barred by ‘rubble’ that any option to travel off the beaten path is lost. The entire map is dramatically scaled down from the sprawling and interesting original, and characters don’t even travel to each new area – they’re brought there through cutscene and sequestered off from any place they’d been to before. What this makes for is a title more focused on action than it is on adventure, something at odds with the core of the game built on a foundation of exploration and survival horror. Its laurels are combat, which is just as engaging and tense as its predecessor, but I fail to give it merit since its predecssor implemented these functions and this title only introduced a vaguely overpowered dodge mechanic. And it has less diversity in weaponary this time around.
A story REimagined
I struggle to consider this game a remake. There are so many changes to the original game that it barely resembles itself anymore. A remake ought to take the strongest qualities of the original and enhance it further with modern technologies, use the opportunity to rework its shortcomings, and alter the game’s story enough to generate intrigue and add story elements that only serve to thicken the plot. This title does none of those things, except giving Carlos a hunky makeover and more of a personality. Not only is the game focused on running and gunning enemies (so many herbs and ammo boxes this time, and autosaves?), but this game wants you to be done with it as quickly as possible. Even with careful exploration on hardcore difficulty, this game was finished in five hours. The remake cuts so many iconic areas from the original (clock tower, park, factory) which means it cuts story, and gives you nothing but sly references to those missing pieces. In fact, the story is somehow simpler and less dense than the original (which makes no sense considering how limited memory was back then and this is a next gen console) and offers no secondary run through, no alternate ending, or even an additional game mode. It’s better to think of this game as a ‘what if’ scenario, because it is absolutely ludicrous that Jill wouldn’t go back to the Raccoon Police Department on a night like this – the best part of the original game, I might add.
Nemesis, the nemesis to my enjoyment of this game
The posterboy of villainy in the series – Nemesis, a gaming icon. With the superb redesign of Mr X in Resident Evil 2 who brought a newfound sense of terror and anxiety to the game with his brutish stalking presence, the hype for Nemesis (a character known for being worth at least three Mr X’s in terms of power) was palpable. Nemesis was the original stalking boss, and he had the capability to run after the character, follow them through doors, fire missiles at them, and kill you in one go – even back in 1999. Cut to today, and the potential for Nemesis is squandered by relegating his presence in the game to setpieces. Nemesis appears in cinematics and primarily as the only boss figure in the game (R.I.P. Gravedigger). There are small sections in the game where he does his usual chasing of the player, but since the game is so short and the map so linear, these encounters are small and rare. He won’t even go through doors. The buff he was given to surpass the might of Mr X was a tentacle he can now use to drag you back to his feet (that is given no warning for you to be able to dodge) and a dash mechanic where he can basically teleport in front of you. Neither of these design choices feel earnt, and feel like a cheap way to keep you face to face with the beast. Also, his iconic ‘STARS’ line is barely audible.
C Ranking
Look, as a game, it is good. As a Resident Evil game, it is good (even though it feels like a DLC to Resident Evil 2). But as a remake of a Resident Evil game, it is not good. It is unfortunate that this game feels rushed and feels as though its designers completely missed where the worth of the original title lied. It is worth the run through (although not for the price tag, maybe wait a couple of months), and is certainly an enjoyable game packed with challenge, but feels incomplete. There is also an additional game bundled called Resistance, but this is an online multiplayer shooter that holds no influence over the experience of the main game. If you’re looking for the true Nemesis experience, play Resident Evil 2, or better yet play the original game, because you won’t find it here. Two and a half Cthulhus out of five. For my take on the predecessor, read here.
(2.5 / 5)
“Fallen cities are adorned with statues of star-beings, cultists manifest their fervour into reality, and belligerent unions prepare for a cosmic invasion. Familiar landscapes are overrun by strange weeds, corrosive mists creep in from the sea, and jet black mountains watch from the horizon. This odd world has been affected by beings stranger than we can imagine.” -pg 4, INto the odd remastered: introduction
Into the Odd Remastered is an update of the 2014 role-playing game of the same name. Written by Chris McDowall and sold by Free League Publishing, the rules-lite tabletop roleplaying game asks you to place yourself in a world long ago ravaged by cosmic horrors. The general atmosphere comes across as dark steampunk though there is room for plenty of genres to intermingle.
The rules are relatively simple. Characters have four stats; Strength, Will, Dexterity, and HP. Strength, Will, and Dexterity start as a value between 3 and 18, as determined by rolling 3d6. During the game, players roll a D20 versus their stats, attempting to roll lower than the value in order to succeed. Many effects damage the stats as well as the HP value. Additionally, all attacks always hit, with rolls being used just to determine damage.
The rules can fit on a single page as evidenced by the handy Into the Odd cheat sheet made by garkia19. As a note, this cheat sheet has some minor typos. For example, characters don’t have a Charisma score. However, I found it incredibly helpful to use as a reference while I played Into the Odd. Another great resource was Søren Nøhr Ryborg’s The Odd Generator, which auto generates characters for Into the Odd. Since we were just trying out the system, both these resources made it really easy to jump in without my players needing to read the whole rule book.
A general shoutout to Owlbear Rodeo, a free virtual tabletop software, David Wilson’s 2-minute tabletop token library, and Kenku FM for their role in creating an immersive gaming environment.
The Player Experience
The Into the Odd rulebook, in addition to rules, also contains a sample dungeon. It was this dungeon that I ran for a party of three adventurers. They found the system to be easy to understand, however, coming from more rules heavy systems they often felt like they weren’t doing enough. For example, they wanted to roll dice more often. However, they still had fun crafting a narrative and working with each other.
The Gamemaster Experience
I was in love with the idea of Into the Odd. An accessible, low barrier RPG with a splash of steampunk and cosmic horror. What’s not to love? But I found the Into the Odd system left a little to be desired. In particular, combat doesn’t feel particularly difficult or interesting. Since players always go first and everyone always does damage, it meant my party of three people were able to dispatch any enemy before it could hurt them. Skill checks felt like they had the opposite problem. None of my players could succeed in a skill check because their stats were so low. This meant that the tension was removed from both combat and skill checks. Playing the dungeon and rules as written, I didn’t feel as if I had the mechanical or narrative tools to rectify either issue.
The dungeon itself was a bit drab. I loved the art and ideas behind it, but there wasn’t much content. A smaller, more detailed dungeon would have been easier to run and better received by my players than a large, sparse dungeon. I also wished for far more traps. While I recognize I could have populated the dungeon myself, I often don’t expect to finish a dungeon myself when given one to run.
Outside of the sample dungeon, there is not much content for the gamemaster to work with. If I wanted to start running my own Into the Odd games there are very few monster, trap, and loot examples so I would have to come up with everything myself. This is not the end of the world, however, I personally like to have more content than what was provided to start doing my own adaptations. If I were to try this system again, I would want to use it for a heist narrative over a dungeon crawl.
Conclusion
The Into the Odd rulebook provides the skeleton for a rules-lite RPG adventure, however it fails to add any meat to the bones. The result is an RPG that requires far more work for a gamemaster than the rules-lite exterior would indicate. This is not inherently negative, however could be surprising given the game’s pitch. If you are looking for a new system to tinker around with, this could be a great next purchase!
(3.5 / 5)
Disco Elysium is a role-playing video game released in 2019. It was developed and published by ZA/UM under the lead of Robert Kurvitz. The Final Cut was released in 2020 featuring full voice acting and new content. It is available to play on PC and console.
Disco Elysium is a weird game. I have been playing video games, especially RPGs, for most of my life and I can confidently say this game is an outlier. Instead of a focus on combat, the game is written almost entirely around skill checks and dialogue trees. While that alone isn’t enough to make the game a stand-out, it is the fact that a vast majority of the dialogue trees occur as your own internal monologue which sets it apart.
Who Are You?
There are 24 different skills split across the four categories of intellect, psyche, physique and motorics. You of course have the more traditional skills such as Logic, Empathy, Endurance and Perception. But there’s also more elusive skills, like Esprit de Corps which determines how connected to your home police precinct you are.
After all, you are a police officer in town to solve a murder. It’d certainly help things if you hadn’t drank so much that you absolutely ruined your memory (among several relationships in town). “What kind of cop are you?” the tagline reads. You get to decide because you cannot remember who you once were.
This isn’t a review about Disco Elysium in the traditional sense. Because Disco Elysium ended up being far more than just a game to me. I found myself relating to the main character (whose name in and of itself is a spoiler) far more than I ever should have. He doesn’t know how to be human – and for the most part neither do I.
What Makes You?
As you play through the surrealist dream that is the setting of Revachol, interactions with the townspeople can be tedious processes. The entire time, you are in constant dialogue with yourself trying to figure out the right thing to say. Logic makes some good points, but Electro-Chemistry says I should forget about all of this and go get wasted because Empathy just chimed in and told me I hurt this woman’s feelings with my failed attempt at Rhetoric.
The first time I played Disco Elysium felt like an awakening. No game has ever so accurately managed to tap into the types of conversations I have with myself daily. No game has ever so accurately managed to tap into the sheer shame and self-degradation I endure when I mess up a social situation.
Luckily, in video games there is this neat trick called save scumming. It is when you save the game before important decision making, and if things don’t go the way you’d like you simply re-load the save and try again. There is seemingly nothing better than doing something over differently and a new part of your brain chiming in to say, “Damn, that felt *good*. Your heart is pounding nicely. You should tell people to fuck off more often.”
What Breaks You?
In real life, there is no save scumming. There is no going back in time to give yourself a do-over. I think that is why RPGs speak to me so strongly in general. I can slip into the skin of a new character and failure never has to be an option. The sinking pit of shame only has to last as long as the game takes to reload.
Disco Elysium feels like a game built on shame, guilt and redemption. Probably because it is a game built on shame, guilt and redemption. My entire life has felt like a game built on shame, guilt and redemption. I’ve gone through like the protagonist – bumbling and trying so hard to pick the correct option in the dialogue tree and only realizing moments too late that I chose the wrong one. My only reward, like his, is a stream of insults hurled at me by my own brain.
Of course, I learned nearly two years after my first play-through that I am autistic. It turns out, most people do not constantly have dialogue trees of pre-scripted responses popping up in their head when they speak to others. They can just… have conversation? With my diagnosis came a lot of soul searching and an equivalent amount of therapy.
What Heals You?
However, it turns out, my diagnosis and the resulting psychology bills shifted the way I play RPGs in a way I didn’t realize until I picked Disco Elysium back up for another playthrough. As I load into the opening scene hotel, I walk away from the first skill check knowing I won’t pass it. The first time I played, I probably re-did that skill check ten times alone before I got the result I wanted.
As I exit the hotel room to encounter the next character, I’m open and honest with them about the fact I cannot remember anything. I previously ran through that conversation five times trying to convince them that I was normal and that everything was fine with me (despite the obvious indications otherwise).
It took me an embarrassingly long time to realize I wasn’t save scumming. Something inside of me had clicked into place. It was a new feeling replacing the insane urge to “get it right.” I stopped focusing on how to play correctly and realized that there is no way to play correctly.
I have my skills and I can use what skills I have to solve the problem, even if it isn’t the conventional or correct way. There is no sense in trying to shove a square solution into a circular problem.
What is Next?
I realized that it’s ok to get things wrong, it’s ok to admit you don’t know what you’re doing, it’s ok to ask your partner for help when you’re terrified they’re just going to laugh at you. More importantly, I learned that in Disco Elysium and life that it’s ok to walk away from things until you have the needed skills to go back. And you don’t need to feel guilty about it.
The first time I played – I immediately reloaded when Drama chimed in to tell me “This may have been a *grave* mistake, sire.” This current playthrough I sat firm in my decision and finally got to hear Volition’s response: “Maybe. Maybe not. Mercy is rarely a *complete* mistake.”
My rating for Disco Elysium:
(5 / 5)
“A debt owed. A missing heir. A new cult rising in the desert. Trapped between an ageless prophecy and sensitive politics, a delicate path must be walked. What is the truth? With whom will you stand?” – Introduction, Time Becomes A Narrow Door by Modiphius Entertainment
August 3rd through 6th I had the absolute delight of attending Gen Con, as they like to say,The Best Four Days in Gaming™. It is an enormous gaming convention, primarily focused on tabletop gaming and filled with vendors, events, workshops, and anything else you can think of.
While at Gen Con, I was able to sit down and play Dune: Adventures in the Imperium by Modiphius Entertainment. Modiphius is known for their 2D20 RPGS such as Achtung! Cthulhu, Star Trek Adventures, and the Fallout RPG. They also carry some familiar items such as the Bladerunner RPG and the Tales From the Loop Board Game. As a well-regarded publisher with great titles, I was excited to check out how they made the Dune universe immersive.
Dune: Adventures in the Imperium, like many of Modiphius’s RPGs, utilizes the 2D20 system. Each character has Skills and Drives that are added together in a given situation to produce a target skill value. In order to succeed on a test, a player must roll below that skill value. Players roll 2d20 by default, but can spend a luck currency, called momentum, to add additional dice and/or activate their special abilities. More information about how to play can be found in the Modiphius-recommended video below.
Playing the Game
I played the scenario Time Becomes a Narrow Door, with a table full of players new to Modiphius’s system. We used the pre-generated characters available in the Dune Quickstart Guide, which is available for free on Modiphius’s website. I’ve included two sample pre-generated characters from the free Quickstart Guide for reference. All six re available through the official Quickstart Guide. Worth noting, the Quickstart Guide also includes the scenario Wormsign to help get you started, which we did not play.
In Time Becomes a Narrow Door, we were members of a small house trying our best to garner favor, help our rivals, maintain our morals, and make sure we still came out on top. Our main task was to convince the son of another house to return from his spiritual journey. Our table had a lot of silly energy, so we named ourselves House Montana, with our patriarch being Lord Billy Ray Cyrus. Of course, bad southern accents abounded. We had a blast bouncing off each other and making the world our own. Big props to the person running the game for making it such an enjoyable and accessible experience.
The system was a lot of fun! It was easy to build an environment where collaborative wins were rewarding. The system prioritizes collaborative storytelling as well as mutual success or destruction. Therefore, it was easy to treat everyone at the table’s rolls as meaningful and contributing to the betterment of the house. I also loved the mechanic of building our own house. We only did a small amount of this in our session, but by reskinning House Atreides to be our own small house, we felt a lot more ownership over the assets, favors, and enemies we were gaining.
My one caution is that we didn’t do a lot of combat. There was only one fight, and we let it be a duel. As this is a part of the game we didn’t experience much of, I can’t really speak on how robustly the system handles that kind of conflict. My initial impressions point towards combat lacking some mechanics. However, I only got a small introduction.
If you are a fan of Dune, check out the Dune: Adventures in the Imperium Quickstart Guide! While I cannot rate the system as a whole, the experience was definitely worth its time! Try Time Becomes a Narrow Door yourself, or just check out the Quickstart Guide.
(4.8 / 5)
Find more of my Gen Con 2023 shenanigans here.
