Our Comparison Between Until Dawn & Resident Evil 7

Until Dawn

As an interactive story game, you seem to have been able to guess the outline of gameplay mechanics like what Until Dawn offered. That’s right, most of your time will be spent following the character’s path in a straight line, triggering an event, and finally choosing a response and dealing with any consequences that occur, whether significant or not. It feels almost impossible to create the atmosphere of a slasher film without any action sequences at all. So following the mainstream design of most games of the same genre, Until Dawn also relied on QTE to achieve this. All of your actions, whether running from the psychopath’s pursuit, climbing, or just running past obstacles will all be determined from the sequence of buttons that must be pressed. Failed? So at some point, the disaster will end.

But there are some interesting things from the concept of Until Dawn, regardless of how familiar the mechanics he offers. One of the most special is the implementation of the Dual Shock 4 gyro function that deserves thumbs up, even worthy of being used as the optimization standard for horror genre games in the future. To represent the conditions of the characters who must be quiet when chased, there are several game points that require you to be quiet and not move Dual Shock 4 at all. Once you are negligent and your hands are shifting just a little, then you have to deal with consequences that are mostly, fatal. He may sound very simple, but the sensation that he caused was extraordinary. To make sure your controls remain silent, your hands stiffen, your breath is regulated to a minimum, with the body also stiffening. This little thing makes you feel like you are doing the same thing with what your main character is doing, with similar worries and anxieties.

The implementation of another function that deserves thumbs up is the fact that you always have a third option for every event that appears. That’s right, you can choose not to choose any of these responses and end up doing nothing until the time is up. Some of them might end up with a sequence of stories that have been set by the developer, but not a few will take you to a different branch of the story and consequences. Like when at the beginning of the game, Chris wanted to show off his shooting ability to SAM. In the midst of his preoccupation with shooting at various available objects, suddenly a squirrel appeared in the middle. This game tempts you by giving an extra red crosshair that shows it as a target that you can shoot if desired. With one more shot to end the question – you have three options to end this story: shoot another target, shoot the squirrel, or stop without doing anything. The action that will trigger a different reaction from SAM.

Not only in scenes like this, there are several sequences that also give you the freedom to react or instead choose not to throw any reaction. Like when Mike was trapped in an experimental place where there were so threats appearing from every angle. Safety will depend on how quickly you press QTE here. But there is one extra option that is interesting every time you successfully trigger an existing QTE – there is an open option to shoot the monsters behind these bars. The knowledge you get from existing stories ensures that fire is the only way to permanently eliminate them. Should you shoot any of the threats behind these bars in every QTE sequence that appears? Or you can just let it go and hope that your actions will save you a shotgun bullet will be paid off later? There is a choice for that.

Resident Evil 7

You know that a game developer really intends to present an optimal game series to support whatever they want to pursue, when they decide to create their own engine, instead of using a third party engine. These more complex processes are usually pursued to facilitate new features, or pursue a sale value in a different format than their previous projects. This is what Capcom did with Resident Evil 7. Instead of using a pre-existing engine, they decided to create a new engine called RE Engine that ended up charming.

At a glance, you might immediately be reminded of how Fox Engine is injected by Kojima on P.T. which is focused on creating a more realistic quality of indoor visualization. And this is what the RE Engine has successfully pursued. The atmosphere in the room looks more tense through the details of objects that deserve thumbs up, and the quality of the lighting that makes each room more dramatic. The object details look amazing when investigated up close, including the variety of weapons you use. Other visual effects such as blur and depth of field produce effects that are closer to the real world. In short, from the presentation, there is almost nothing to complain about the latest Capcom engine which seems to be designed for games from the eyes of this first person.

The character model that you meet is just as good, even though it still doesn’t count perfectly. Two of the biggest complaints may be the quality of hair that is still not good by tracking the eyes of a character model who still cannot read where you are moving, making them sometimes speak facing empty space. Something of course strange, for a modern game engine. But what we think is the main weakness of the presentation is how absurd and illogical these characters are written.

We certainly don’t question how “realistic” a game is that clearly makes fiction the main story foundation. It’s just that it’s hard not to notice that the reaction of some characters, from animation to voice acts, feels unnatural at the end. Like the example? When Ethan first met Mia in the basement of Baker Family. What kind of normal reaction can you think of for a husband who hasn’t met his wife for 3 years? Ethan reacted like meeting a woman he had just met two weeks ago, without a hugging gesture or just a tone of voice that showed that he missed the woman who now stood before his eyes after that long time. Flat, not alive, and unnatural makes Ethan’s character not shine. While on the other hand, animation and voice acts that fill The Baker Family end fantastic and deserve to be thumbs up.



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