Thankfully, all of the updates are instead focused on the technical side of things.
Read: The Last of Us Part II tests the limits of video-game violence The original Resident Evil 4 arrived before any of that forced navel-gazing I wondered if this latest remake would have to indulge it, in order to justify the high retail price and expansive budget. The Last of Us, recently adapted with fawning faithfulness by HBO, is a prime example of that category, featuring a dense script, motion-capture performances by great actors, and some meta ruminations on gaming’s violent themes and the bleakness of the horror genre. The trend, these days, is for video games to be serious, and lavish, “ triple A” games that aim for the highest sales are the most serious of all. My deep fear with the Resident Evil 4 remake was that a lot of this cartoonish nonsense would be scrubbed away. Midway through the game, Ashley becomes Leon’s chirpy companion, wearing impractical boots and constantly needing assistance. Leon Kennedy brings much of the magic he looks like he was transplanted from the set of a mid-2000s boy-band video, his blond, hairspray-slicked locks falling perfectly over his forehead as he takes aim at hordes of enemies. The plot is a Super Mario adventure crossed with straight-to-video thriller nonsense, to immensely satisfying effect. Its depiction of contemporary Spain is laughable, rendering it as a community filled with medieval, dull-witted farmers hooded cult members and preening villains who seemed to have stumbled out of the Napoleonic Wars. Yes, it’s filled with gory violence, awesome weaponry, and a distressing atmosphere, but it’s basically about a zealous do-gooder hero rescuing a princess in a castle. To put it simply: The game is very, very silly. And this, dear reader, is why I love Resident Evil 4 the most, and why I happily slapped my money down for this latest remake on the day it was released. (Yes, you read that right: rural Spain.) The protagonist is Leon Kennedy, a rookie cop in Resident Evil 2 and now a steely government agent assigned to a special mission: rescue the president’s daughter, Ashley, who has been kidnapped and locked in a dungeon by mad cultists. Capcom added more dynamic action, simplified the disorienting, maze-like landscape of the earlier games, and changed the setting from Raccoon City to rural Spain. Resident Evil 4 aimed to loosen things up.
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The best-selling horror franchise spawned rival series such as Silent Hill and Left 4 Dead, but by 2005, the Resident Evil formula had grown creaky, having gained sequels and prequels for almost a decade to diminishing returns. The first Resident Evil pioneered the “survival horror” genre, asking players to conserve ammunition, solve puzzles, and withstand jump scares as enemies swarmed from every dark corner. When it was first released, the game marked a departure from the rest of the Resident Evil series, in which the player navigates the fictional Raccoon City during a viral zombie outbreak.
I was introduced to Resident Evil 4 in college, and I’ve replayed it countless times over the years as it’s been “ported” to new consoles. But the most recent edition is a soup-to-nuts revamp, meant to bring in a new generation while still satisfying longtime players like me who are just looking to relive the glory days. Since its 2005 debut on the Nintendo GameCube, Capcom’s Resident Evil 4 has been lightly reconfigured for a dozen different devices.
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Take a hit title that came out a decade or more ago on a prior console, spiff it up with updated graphics, controls, and maybe even some new content, and sell it at full price to a nostalgic audience. The “next-gen remake” is the latest and safest cash cow in video gaming.
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