My immediate thought on RE: requiem is that is is a game of two halves. It is a title suffers not from identity crisis, but from a lack of distinct separation. Unlike Alan Wake II, where the player is given an adequate amount of time with both Alan and Saga, I often found myself wanting to spend more time as Grace or Leon respectively. Also, unlike Resident Evil 2 (2019), and to a closer extent Resident Evil 4 (2023) and Separate Ways, with both recent entries taking a different but separated approach between Leon & Claire, and Leon & Ada respectively. This was a development choice that has been made to bridge two separate fanbases at the detriment to the overall quality of the experience. Sales, user metrics, and journalistic reception would say otherwise, but I believe my initial thoughts will be proven correct by time. This is the first original — and I use the term loosely — entry into the mainline series since arguably Resident Evil 0, and as such initial thoughts and public reception should be taken with that into account. The industry leading (in many areas) execution, and overall novelty of a canon Resident Evil alters the perspective in a major way. The only takeaway to be had from this exact scenario is that when an IP is left dormant, undergoes radical identity change and returns to form, expectations are skewed. In this sense market categorisation leans closer to a title such as Call of Duty: Modern Warfare (2019), than Resident Evil VIII. This is also a direct parallel to what I consider the current genre and generational watershed — Alan Wake II, and Resident Evil’s direct competitor — Silent Hill f.

I rated the first 45 minutes of the game 10/10 arbitrarily, as a number helps understanding. I also critiqued it quite heavily, as industry leading is not perfection. Video games by their very nature are also prone to many flaws that are mitigated in cinema, literature, or even still imagery. The 10/10 descriptor was given with that in mind, it is far harder to critique an open interactive space, than a 2D still. The arbitrary designation was also given with the exact blinders I stated above, is it good for a Resident Evil? And that answer is a clear yes. Is it a good survival horror game, or even a good video game? That too is a definitive yes. The question I will attempt to tackle is if it is good regardless of the medium, which the closest competitors can lay a strong claim to being. It is worth noting that these are not reviews, these are internal benchmarks that prioritise artistic direction, narrative, and touch on technical execution. My initial impression upon completion remains the same, this is a definitive Resident Evil experience, and watershed title of 2026 regardless of genre.

Before we begin to speak in broader terms, there are points I wish to address regarding what was intended by this instalment and how this materially affects perception. The first is that much like Capcom is known for, this title utilises heavy asset reuse, both from in-game assets to wholesale environmental meshwork from prior titles. I can only allude to the fact that the Wrenwood Hotel is a re-skin of the Baker Family Mansion, but Raccoon City and in particular Raccoon City Police Department, Gun Shop Kendo, and most the literal, Racoon City Orphanage. I will eventually tackle the subject of whether this is a strength of the series, or more akin to Devil May Cry 4, but for now the parallel I want to broach is that this is clearly a return narrative, and as such two things immediately stood out to me. The first being that this was done impeccably well in Dead Space 2, with the return to the docked USG Ishimura. Secondly, that the motorbike scene heavily drew inspiration from Resident Evil: The Final Chapter (Paul W.S Anderson, Sony), which at the time drew headlines due to the tragic life-altering accident of stunt rider Olivia Jackson. The final point I wish to broach is how late-game segments regarding Leon S. Kennedy’s T-Virus infection induces hallucinogenic segments of gameplay similar to an early-version of Resident Evil 4. Whilst these points in no real way affect or alter how this benchmark will be processed it can be said with certainty that these are ineffably important to the game, and to a greater extent Resident Evil as a franchise.

As you can see in the still above, the game is introduced using a Hollywood-esque contemporary cinematic look, currently defined by heavy shadows, ochre tinge and teal accents. There seems to be an underlying layer of magenta to the image, likely to aid in skin tones. Grace is introduced using a series of close-up cuts in quick succession, highlighting her obsessive nature and relatively unorganised persona (along with signature Hamilton timepiece—for better or worse). Our first true introduction is in this typical reverse over-the-shoulder medium shot, that expands into a wide. This is of note as the standard angle at which Grace is viewed, giving her a diminished appearance within frame. This is purposefully reversed at key moments, such as the frame below, when we first see her reach for her government-issued sidearm. This time, leaning heavily on a rule-of-thirds placing and what is commonly referred to as a leading line (from muzzle to mouth, then naturally to the eye). This is in stark contrast to Silent Hill f, that relied on a warmer palette and off-kilter indie compositions that leaned either too symmetrical or radically off-balanced. In contrast, the almost perfect asymmetry of RE:requiem gives the title a grounded, Western feel. This is a trend that continues through the majority of game, with later sections leaning towards a desaturated, then clinical palette for Raccoon City and ARK respectively.

Protagonist Grace Ashcroft — game in-engine cinematic above, late game below — showcasing impressive tessellation, sub-surface scattering, and overall industry-leading model quality and performance capture.