Second Look - Resident Evil 7: Biohazard (PS5)

Note: This review contains spoilers for Resident Evil 7: Biohazard.

Following the mixed reception of Resident Evil 6 (RE6), in spite of its high sales, Capcom realized it needed a change in direction going forward with the franchise, which included cancelling a sequel meant to continue in RE6’s footsteps. Jun Takeuchi, who had experience with the series since the original Resident Evil (RE1) and produced Resident Evil 5, took over the project and helped brainstorm ideas for the next game, which led him to an isolated setting in the vein of both RE1 and The Evil Dead. As development proceeded with this concept in mind and under the direction of Koshi Nakanishi, which included a first-person viewpoint, the team created the RE Engine (“Reach for the Moon” Engine) for smoother next-gen game development and later made the game VR-friendly. Despite some misgivings from fans based on the Beginning Hour demo, the final 2017 release, Resident Evil 7: Biohazard (RE7), received near-universal praise and sold well enough to warrant a sequel of its own, Resident Evil Village.

As I’ve mentioned in other Resident Evil (RE) reviews, RE7 was my formal introduction to the series after a couple false starts. Despite some flaws and my general aversion to horror games, I loved it and played it multiple times across both the original release and the later Gold Edition release, which has all of the DLC on the disc (sans Not A Hero). My journey through all of the pre-Winters RE games inevitably led me to another replay of RE7, this time through the free PS5 upgrade. I had always viewed RE7 as one of my favorite survival horror games and, perhaps as expected, this latest playthrough didn’t really change that. What did change, however, was my appreciation for this entry’s accomplishments in light of the rest of the series’ ups and downs. As a consequence, however, some of its flaws did stick out a little more.

In 2017, Ethan Winters travels to a derelict plantation in Dulvey, Louisiana after receiving a message from his wife Mia, who had gone missing three years prior and was presumed dead. While exploring an abandoned farmhouse, he finds Mia in the basement and, on the way out, receives a phone call from a woman named Zoe who tells him where he can make his escape. Ethan’s hope is short-lived, however, when he’s attacked by Mia and forced to kill her in self-defense. Shortly after, Ethan is knocked out by Jack Baker, the family patriarch, and comes to as a captive of the Bakers, who want to make him part of their “family”. For the rest of the night, he fights in search of an escape.

So begins the nightmare.

Although my general opinions on the story haven’t changed that much between playthroughs, my perspective has. As the most standalone entry in the series, apart from the impactful RE1 and the incredible Resident Evil 4 (both the original and the remake), there’s a lot to like as a first-time player. It has an incredible atmosphere, terrifying villains and the unique perspective of an ordinary man thrust into a life-or-death scenario beyond his control (the closest equivalent from the “Classic” games would be Claire Redfield from Resident Evil 2). Some storytelling flaws persist, like presenting a heavy choice at a certain point that affects the outcome of the story much later, losing some amount of the atmosphere towards the end and not letting you skip any cutscenes, but it still holds up through multiple replays. In fact, one major twist towards the end actually enhances subsequent playthroughs and arguably makes one character and an associated item even creepier. I’ll also admit that Ethan isn’t developed much as a character in this game, likely a result of him representing the player, although the next game, Resident Evil Village (Village), would rectify this.

Coming off of all of the previous main entries, however, my appreciation for RE7 only grew. Although it does follow the traditional RE formula in some ways, like slowly uncovering the cause of an infection, eventually finding a laboratory that explains everything and literally flying off into the sunset in a helicopter, it puts a new spin on it that feels fresh and exciting (and not just not defeating the final boss with a rocket launcher). For example, the fact that the Bakers are victims themselves makes them more sympathetic without taking away from the terror of the real threat and I appreciated the different approach to the traditional dual perspectives seen throughout the series. Following RE6 escalating to a worldwide threat and turning into a bombastic action movie as a result, the smaller and more intimate setting of a single Louisiana plantation feels like a breath of fresh air, as it avoided the temptation to go bigger when creating a sequel. I didn’t even mind how the opening scene remixed Beginning Hour, as it brought it more in line with Ethan’s story and the events of the demo have no bearing on the main game anyway. The only thing I didn’t like was how the Gold Edition still ends with a splash screen advertising the Not A Hero DLC, even if you already own it, implying it was hard-coded into the disc.

I would also like to mention that there is one interaction that’s surprisingly optional, but worth going out of your way to see for the sake of a single mandatory moment in Village. During the first terrifying encounter with Jack Baker in the main house, Ethan has to retrieve a key and use it to open a hatch in the Pantry and escape in the crawlspace below. In all likelihood, you’ll successfully outrun Jack and escape. However, if he catches you in the laundry room, a cutscene will play where he severs Ethan’s foot and taunts him. The player must then crawl towards the foot, which Ethan can reattach with a First Aid Med that Jack places a little further away. Since this scene establishes that Ethan can successfully reattach limbs, the later moment in Village makes more sense.

While each RE game either experimented with the gameplay or made advancements in mechanics that either streamlined certain elements or added a layer of complexity, RE7 does both by scaling back from RE6 and presenting the game through a first-person viewpoint. While RE7 was not the first game with a first-person view, that belongs to Code: Veronica X’s (CVX) Battle Game mode, it was the first to apply it to the entire campaign instead of a single mode. This viewpoint not only makes the game pretty VR-friendly, if you can deal with a drop in graphical fidelity, but enhances its horror even while playing flat. While player used to the traditional third-person views may be disappointed by this change, I can’t imagine this game working in an alternate perspective, as it was designed around first-person and shows just how effective it can be. Admittedly, this also means there are a few jumpscares, including some that I forgot about in the years between playthroughs, but they never feel obnoxious and usually have proper buildup.

The first-person view enhances the horror.

As for the rest of the gameplay, scaling back from the complexity of RE6 works in its favor. The first-person view means that the player can’t perform complex acrobatic feats, but they don’t need to, as the simple movement is enough to get anywhere. The game isn’t so complex that it forgets to tell you what you can do and instead presents the player at a good pace with exactly the tools they need to help Ethan escape. There isn’t as much enemy variety as in previous games, but considering the small and intimate setting, that’s not the worst thing and the player gets challenged enough as new enemy types are introduced when relevant to each part of the game. Although fighting the different Molded enemies can feel tense, especially the first time through, I felt relieved knowing that Molded only respawn at scripted moments and that you can safely walk around any space you’ve already cleared out.

From observing the evolution of the series’ gameplay, I can appreciate now how RE7 combines elements from prior games in a fresh and new way. The scarcity of items and ammunition, which players may feel more on their first playthrough or on a higher difficulty, affects the crafting system in a way that makes players carefully weigh risk vs reward, like which broken weapon to use a rare Repair Kit on or which item you should create with the versatile Chem Fluid. In a returning feature from Resident Evil 2 and Resident Evil 3, Ethan will have to deal with two pursuers, Jack and Marguerite Baker. While the times that they actively pursue the player are scripted, the smaller spaces and narrow hallways make encountering them scary to the point that the scripted element doesn’t matter as much, as their mere presence remains unsettling (or even terrifying in the case of Jack Baker) between playthroughs. It even continues the series tradition of two playable characters, but incorporates this directly into the narrative (like CVX but better) and is the first game since Resident Evil 0 to not feature the Partner System or co-op of any kind. Plus, puzzles return after their complete absence from RE6 and are often complex enough that they feel rewarding. This includes the video tapes, two of which (“Mia” and “Happy Birthday”) are optional, but helpful on first playthrough (personally, I have a harder time revisiting the rather tense and unnerving “Mia” tape than the more puzzle-like “Happy Birthday” tape). Although there’s no New Game+ option, you can unlock items that will make future playthroughs easier, even if just a little, by fulfilling certain conditions.

This time around, I felt a bit mixed on the inventory system. On one hand, your limited (expandable) storage space forces you to manage resources against enemies and only take what you think you’ll need, especially since some weapons take up two slots. It’s in real time, so you’re not necessarily safe while moving things around and need to make sure you’re in a safe place before making adjustments. You’re also never too far away from an Item Box, even if it doesn’t seem like it is at first, so you can always adjust what you take with you as needed. On the other hand, your space can easily get cramped, as it’s not just weapons, ammo and healing items that take up space, but also crafting materials, Antique Coins (which help you obtains certain upgrades or the Magnum), Treasure Photos (which help you locate hidden items) and Key Items, as well as any items you may have unlocked from previous playthroughs. Playing on a lower difficulty may also give you a bullet surplus by the end if you know what you’re doing. I didn’t have too much trouble balancing everything at first due to familiarity, and it helps that you can discard unneeded items, but even midway through the game I found myself with too little room for Key Items and wished I had cut down on my loadout.

The inventory can get cramped.

What I appreciated the most this time was the controls. Although RE7 doesn’t feature elements like fixed camera angles or tank controls, it does demonstrate that you really can put the “horror” in “survival horror” while having tight modern controls, complete with adaptive triggers in the PS5 version. No need to artificially handicap the player with slow turns or movement, shaky aim or occasionally missing a shot. Just the right balance of atmosphere, tension buildup and providing the right tools for the player. That said, I missed the Knife having a dedicated button, as you know have to equip it first to attack enemies or break boxes, but at least you can do so with a d-pad shortcut. Speaking of the Knife, it’s a pretty versatile tool that also comes in handy for cutting tape and getting past certain obstacles.

With how well-designed RE7 feels in general, it’s no wonder that the remakes that followed would use this game as a blueprint for approaching the atmosphere and controls. I’m aware that one could argue that this may come at the expense of the original games’ identities, mainly going from campy or over the top B-horror to a more serious and grounded tone, but that's a philosophical discussion too great for the confines of a review.

For the first use of the RE Engine, RE7 still holds up very well. Apart from the art style striking a good balance of realism and stylization, the Baker plantation looks very lived-in and the lighting does a great job setting the right mood, though my brightness settings made me turn off the lights in the real world to see certain details more clearly. As far as I could tell, the ray tracing in the PS5 version also looks good. Looking back at this installment, the presence of “yellow paint” isn’t too distracting due to the game steering you in the right direction through subtle environmental clues and more natural signposting.

As with the graphics, the voice acting also holds up. Just about every character has a good choice for a voice actor who draws out the emotions of their characters at the right moments, including Ethan. Notably, this includes the first new voice actor for Chris Redfield in a major entry, with David Vaughn taking over for Roger Craig Smith. Though this is Vaughn’s only go at the character, he did a decent job in the role, though it may sound jarring to those used to Smith’s tenure. I also loved how RE7 used sound to its advantage, maintaining a tense atmosphere with ambient noise and only bringing in its score at the most effective moments. Of particular note is the haunting rendition of "Go Tell Aunt Rhody" that plays over the credits, as well as the memorable Safe Room music that gives a true sense of calm and safety.

For the sake of completeness, I’d also like to touch upon the demos and DLC for RE7, as I replayed them for the sake of this review, though not in chronological order this time. However, since I already wrote more in-depth reviews of all of these items before, I won’t go into as much detail here, beginning with the Epilogues.

At the same time that Capcom released Resident Evil 7 Gold Edition, they released the long-awaited Not A Hero, a free epilogue chapter that follows Chris Redfield immediately after the events of the main RE7 campaign. The story focuses on tying up some loose ends from the main game, namely the disappearance of Lucas Baker and additional information about Eveline, while also hinting at the post-Umbrella future of the story with the first mention of The Connections. As of now there’s no telling where this storyline will head, but having something new to latch onto helps keep the series fresh.

Compared with Ethan’s gameplay, Chris’ gameplay is more action-oriented, including the addition of melee follow-ups against stunned enemies. This also extends to the more visible HUD, including Chris’ oxygen supply, and less of an emphasis on puzzles in favor of encouraging some backtracking and proceeding through certain areas in the correct order. Considering Chris’ military background and his time in both S.T.A.R.S. and the BSAA, this change in style, and the subsequent change in tone, makes sense. While perhaps not as good overall as the base game, the fact that its free and contributes to the story still makes it a good addition. I just wish it wasn’t a separate download from the physical Gold Edition disc that otherwise has everything on it.

The other epilogue is End of Zoe, a piece of paid DLC that takes place weeks after Not A Hero and wraps up Zoe Baker’s storyline through the perspective of the previously unseen Joe Baker, the only uninfected family member. Notably, the events of this story also confirm that the “Mia” ending in the main game is canon, meaning you don’t have any real incentive to go for the “Zoe” ending except for a trophy or to view a little bit of alternate content.

Much like Chris’ gameplay in Not A Hero, Joe Baker’s gameplay is more action-oriented than the main game, this time centered on beating everything you come across with your bare fists, though you can also use explosives and spears. Although there is a stealth mechanic, it doesn’t come up nearly as much as making Joe stronger by collecting Boxer and Champion Effigies that eventually make him strong enough to defeat anything in one or two punches. This style actually feels very cathartic after the hell that Ethan went through and has a somewhat sillier tone as a result, but the story still does a great job finishing the story and expanding the world while having a surprisingly emotional climax. Definitely worth playing for the extra closure.

Prior to RE7’s release, it received two demos, Kitchen and Resident Evil 7 Teaser: Beginning Hour (Beginning Hour), which I will go over here in release order.

 Kitchen originally debuted as an E3 2015 exclusive demo meant as more of a visual showcase for PlayStation VR and to test the viability of RE7 in VR. Later, the public got to play it through the PlayStation VR Demo Disc, though considering it released on a niche and expensive platform, I wonder how many RE fans actually got to experience it. In any case, this two-minute experience follows Clancy immediately after the events of the “Derelict House Footage” tape in the game and depicts Peter’s demise in his attempts to free his cameraman, followed by the player eventually getting stabbed in the face. This shouldn’t be the only reason you try to get a PSVR headset, especially since the main game shows a recut flat version of the events, but it’s a neat thing to have in a PSVR collection and I would still say it’s a very effective use of the platform and that being completely helpless enhances the horror. As an interesting tidbit, I also realized that the menu for selecting the demo on the disc has the player behind the camera and viewing an empty chair, which adds to the sensation of suddenly sitting in that chair during the actual demo and having the camera pointed at Clancy and, by extension, you.

2016 saw the release of Beginning Hour, a demo that served as a teaser for what players could expect from the full release. Throughout the year, the demo received two updates, the Twilight and Midnight versions, which added new rooms, items and endings, as well as a taste of combat against a Molded enemy (I originally played each update as they released). Regardless of which version you play, you control an unnamed protagonist who tries to escape the Bakers’ Guest House. Though short, the demo does a great job of setting the tone and establishing the main game’s gameplay style, though some may not realize that it’s a survival horror with traditional combat due to the demo de-emphasizing this aspect. Though there are multiple endings, none of them have any bearing on the full game, but solving a puzzle within the demo lets you obtain a Dirty Coin for use in the full game, where it will act as an extra Antique Coin. I also like that you can explore the environment as much as you wish if you don’t trigger the appearance of either Jack Baker or the Molded, which lets you appreciate the design of the Guest House at your leisure compared to the Guest House portion of the full game.

Shortly after RE7’s release, it received two DLC packs, Banned Footage Vol. 1 and Vol. 2, each containing two new scenarios and an extra game mode. Since I already covered these more in-depth in a prior review, I will go over the scenarios and then the extra game modes. Overall, however, I consider all of them worth going through after the main game.

 

Nightmare follows Clancy after the events of “Derelict House Footage”, now trapped in the basement by Jack Baker. The only way out is to survive until 5AM against multiple waves of Molded, as well as the Bakers themselves. One could think of the scenario like Five Nights at Freddy’s with more resource management, as Clancy can only obtain or upgrade weapons and abilities with Scrap, which he must collect from Compactors placed within the different rooms of the basement. Each attempt at completing this scenario will help you earn rewards that make future playthroughs easier, so you can’t beat it on the first try. Still, it’s an interesting twist on RE7’s gameplay and a great time for those who enjoy improving through multiple attempts.

Following Clancy’s escape, Marguerite Baker has captured Clancy and he wakes up cuffed to the bed in the master bedroom. So begins Bedroom, where Clancy must make progress towards his escape without Marguerite finding out. Every time he makes significant progress, Marguerite will start returning to check on Clancy, at which point he has limited time to put everything back in place. If she finds even one thing out of place, she will attack Clancy, bringing him closer to death. I personally enjoy playing through this DLC every time I revisit RE7, as its escape puzzle approach feels satisfying even after knowing most of the solutions between playthroughs. I only wish that making the mistake of not equipping a certain item at the very end didn’t mean redoing the entire scenario form the very beginning, even if it’s only about 20 minutes long when you know how it works.

21 continues Clancy’s story after his escape at the end of Bedroom, which provides him short-lived freedom when Lucas Baker captures him and forces him to play a sadistic card game. During a game of 21, Clancy must avoid losing his life to Saw-style traps by winning against Hoffman, another of Lucas’ victims. As the game progresses, the player has access to Trump Cards that can turn the game in their favor, leading up to a semi-scripted final hand that adds another puzzle element to the game. After defeating Hoffman, players can continue playing through Survival and Survival+, which add a greater challenge and new Trump Cards unique to these modes. Although it has a tragic ending, I still love this DLC for its tense atmosphere and its combination of luck and skill. More recent players familiar with Buckshot Roulette may find this content particularly interesting, as it predates that game and even has a similar structure.

Although another prequel story, Daughters depicts Zoe’s point of view and right when the infection on the Baker plantation begins, when the Bakers find Eveline and bring her inside. It doesn’t take very long to complete this story, but I like that it not only fills in a piece of the story previously untold, but also emphasizes stealth and that getting the True Ending rewards paying attention to the environment, like knowing where to get a code for Lucas’ computer. It’s worth playing for the extra story, though it does arguably contradict the main game regarding how quickly the mold spread.

In Jack’s 55th Birthday, you play as Mia Winters as she searches different areas for food to feed Jack Baker until he’s fully satisfied before the timer runs out. You can defend yourself with weapons or take certain skills to give you an edge, but you must still leave room in your inventory for the food and drink that you find. Killing certain enemies may be required to open certain doors and you can combine certain food and drink items for a new food item that will satisfy Jack even more. This rather silly game mode is a fun way to get more out of RE7 and rewards doing well by granting bonuses for future stages and runs.

In contrast with Jack’s 55th Birthday, the other game mode, Ethan Must Die, follows Ethan through a high difficulty minigame where he must escape the plantation by defeating members of the Baker family in a certain order. Breaking boxes in the environment may get you useful items, but nothing is guaranteed and dying means starting over with nothing while you try to find your body to retrieve your items (dying a second time in this state will remove all your items). In the meantime, you must also defeat or avoid the Molded, who are tougher than in the base game. Beating this mode requires a lot of patience, skill and luck and is perfect for those who want a challenge beyond what the main game can provide. From my observation, this also replaces the popular The Mercenaries game mode, though I’m not sure how well that would work in the context of RE7.

While already strong on its own merits, there’s more to appreciate about Resident Evil 7: Biohazard within the context of the rest of the series and its shift back into true survival horror territory. Whether this is your first time playing Resident Evil or you didn’t like the prior shift towards action, Biohazard remains a strong choice, even if replays make it a little less scary.