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Game Review The Evil Within The Assignment

You know, 2014 has really done some serious damage to me, in a sense that I'm a lot more skeptical about upcoming games and how they will turn out, which, given what happened with Unity, Destiny, MCC, etc, isn't at all a bad way to approach things, in fact, I think it worked out in my favor. Anyways, I expected The Assignment, in which we take control of Juli Kidman, a mysterious character in the original campaign. If I'm being completely honest here, I, for the most part, expected more of the same deal with this DLC, which, isn't bad, considering that The Evil Within was my favorite game of 2014. That said, I can't express how surprised and how happy I am that the DLC managed to provide a unique and slightly more tense experience.

The Evil Within wasn't exactly a scary game, but it was a very intense and taxing one, which is one of the reasons I loved it so much. Trudging through darkness on low health and ammo as I was hoping to god that I wouldn't encounter more of thous godforsaken doppelgängers was truly mind-wrenching. However, there is a very huge difference between the main game and the DLC. One, regardless of what people say, is a mix of survival horror and action, because you actually have a way of fighting back and directly killing your enemies, whereas the other, is completely stealth and strategy oriented. And yes, it's true that the Evil Within did have stealth mechanics, which I occasionally found useful, but the difference was that the game itself wasn't built on it. Outside of certain occasions, which only becomes apparent when played on harder difficulties, Sebastian could get through most of his enemies through force, even if he had to stay in the shadows here and there, whereas Kidman has to completely rely on stealth and sneaking around. Moreover, what I found interesting and quite refreshing was the fact that the switch from offensive to a defensive gameplay , which is a pretty radical change on it's own, didn't really compromise the core of the original campaign, since familiar elements such as using your environment to your advantage and luring enemies was maintained. Speaking of which, I think it's worthwhile to mention that most of the mechanics associated with covertness have been molded, or "upgraded" if you prefer, in order for it to fit in with the more stealth-like tone of the DLC, which means that everything Kidman has at her disposal is to help her avoid confrontation, since she isn't as tough as sebastian physically. As such, Kidman's main weapon, unlike Sebastian, is only a flashlight that she uses to keep a look out for her enemies, solve puzzles, etc. Also, the environment and level design in general, despite the absence of deadly traps and such contraptions(there was only a few If I remember correctly), serves to help the player to better manipulate his/her enemies. I wonder if such mechanics will later be incorporated into the main game if any sequels and such were to be released.

And much like everything else, boss battles had a distinct approach as well. I wouldn't call them real boss battles, but as far as immersing the player goes, the game did a find job of getting you invested in what was going on. This is because most of confrontations were basically tests to force the player to utilize everything they had learned beforehand, which included sneaking around, luring your enemies, moving quietly about the environment, and quickly vanishing when spotted. And, on that point, what I find pretty interesting is that this stealthy approach managed to intensify the game even further. I mean, the main campaign was taxing before, but in the Assignment, your options of survival are severely limited and completely depended upon your patience and planning, which, in my personal opinion, makes the experience all the more unnerving.

Now on to the best thing about this expansion. The Evil Within, no matter how much I liked it for it's creative designs, was pretty much ambiguous in terms of storytelling. It's true that I attributed this as a strength, but now that I've played the assignment, I'm a bit pissed off that hey'd hold this off as a DLC. Look I'm not gonna change my stance on the fact that I enjoyed the mystery in the Evil Within, and it's potential for sequels, but seriously, if they had distributed Kidman's parts( we'll still have to see how the second part of the DLC fairs) throughout the original campaign, the story would have been absolutely fantastic, considering that the Assignment already filled in some much needed gaps about what had happened in The Evil Within. Furthermore, I enjoyed Jennifer Carpenters performance( voice of Juli), more so than that of Anson Mount( Voice of Sebastian). Don't get me wrong, I liked how ridiculously cheesy Sebastian was, but Juli actually felt more interesting to me, which is probably a result of the fact that the game gives her a greater exposition and actually tries to develop her as a character. I think Sebastian's diary should have been audio recordings since it would have given Anson Mount a better chance to present his character, but since we had to read all of them, we really couldn't get behind his character. To us, he was just a typical badass detective who didn't really say much. Juli's characterization, while not stellar, is pretty good IMO, since most of her background is presented throughout her own audio interviews. Plus, the game itself takes us to a few places familiar to Juli, which would have, or could have helped improve Sebastian as a protagonist, but oh well.

And last but not least, I'm happy with some of the creative designs. Some familiar faces make a comeback, but I'm glad that Juli is given her own antagonist and set of few new characters. I was worried for a while that the same monsters would have been recycled, which wouldn't have been bad, since, as I mentioned above, the approach to how you deal with your foes is different from the previous iteration. Regardless, I'm glad that we get some more creative and interesting designs.

All in all, I'd say the Assignment is definitely worth it's price. It's a great game that not only expands and sheds more the Evil Within universe, but also manages to craft a unique experience without alienating some of the people who enjoyed the previous style by maintaining familiar gameplay elements and atmosphere.

Score : 9.5/10

The Evil Within [official site] is one of those gems that, because it was released in that pre-Christmas period when EVERY GAME IS, went a little under-appreciated. Basically it’s a fantastic re-working of the survival horror genre, and in particular Resident Evil, as psychological torment rather than biological gauntlet – and my opinion of it increases over time. But with two pieces of DLC, both now released, developer Tango Gameworks has moved TEW even further away from the action beats of its inspiration.

Click to once again enter the world of survival horror.

To explain the DLC’s setup requires some mild spoilers for the original game’s storyline. The Evil Within’s campaign focused on Sebastian Castellanos, an alcoholic cop pulled into a nightmare world controlled by a nasty sort called Ruvik. One of Castellanos’ cop buddies, Julie Kidman, is also pulled in and eventually seems to betray him – though both her actions and motivations are less than clear. The Assignment (released in March) and The Consequence (released a few days ago) together form a mini-campaign that follows Kidman from her initial involvement with a sinister outfit before crossing-over into the events of the main game.

There are major differences between controlling Kidman and Castellanos, and the most far-reaching is that she doesn’t have an armoury at her disposal. Where Castellanos has a gun from the first moments and is toting magnums and rocket launchers by the finale, Julie’s main tool is a torch and the ability to shout. Throughout both DLC campaigns the emphasis is on avoiding enemies wherever possible and, if you’re spotted, hiding as fast as possible: Julie’s health regenerates but the pool is low, and even on Normal (‘Survival’) difficulty two quick hits will kill you. Most of the enemies save time by doing it in one. This is no power fantasy.

Avoiding confrontation is the most important of several big shifts in emphasis with the DLC, and it could have been disastrous – after all, one of the most finely-tuned and beautiful parts of the original game is the combat system. But it works because the enemy encounters are kept low-key, and the environments are cramped. The challenge here, initially at least, is in getting around one inconveniently-placed foe rather than taking out crowds of them.

Kidman creeps around enemies using both distraction and cover. The first is handled by tossing bottles and the odd environmental interaction, as well as the ability to shout from cover. This pulls enemies around but the paths they’ll take are worryingly erratic, so it’s rarely a smooth process. Staying crouched or in cover is paramount, and the killer detail in any cover system is how well the developer has managed context-sensitive movement – basically, when you pull away from a wall and want to move, but the game insists you press the button first. The Evil Within doesn’t quite nail this, but nor is it too far off, and never becomes frustrating. If this was a more frantic shooting-focused campaign it may have been more of an issue but, as it is, your actions are always slow and considered.

This style of play is helped enormously by the fact that TEW’s atmosphere is so oppressive in the first place, but the DLC increases this (!) by also focusing on light. Most of the environments are dark, sometimes pitch-black, and your torch is often permanently raised which reduces Kidman to a walking pace. This might sound annoying, and in other games surely would be, but the fact is that you never want to move fast anyway – the threat of what might be lurking nearby is so pronounced that running only ever enters your head when everything’s gone to hell.

It’s not all shouting and sneaking, and you’ll stumble across single-use hatchets that can take out an enemy from behind. These are another neat addition because they’re rare enough you’re tempted to hoard, or at least save them for a rainy day, but the inventory only allows Kidman to carry one. And of course as the campaign progresses there’s some catharsis – after all that hiding there’s a set-piece with a magnum and infinite ammo, before the closing hours give you first a handgun (swiftly removed) and eventually a booming shotgun that turns erstwhile tormentors into mush.

As this might suggest, Kidman’s campaign is really about the set pieces – which run the gamut from small-scale encounters to scenery-collapsing madness. The rhythm is what’s special. I’m usually not a fan of developers limiting interaction for the sake of a marquee moment, but TEW’s approach is to focus exclusively on one mechanic for an instant, then move on. The repetition is minimal: there are two sequences over the DLC’s 5-6 hours where Kidman is sprinting from big bad nasties, and in both you’re trying to dodge left and right while staying on the correct route. Both last between 30 seconds to a minute, and are relatively easy challenges (I didn’t die on either). This makes them refreshing, especially when you’ve been creeping around in darkened rooms, and the brevity makes it impossible to resent the temporary removal of Kidman’s usual moves.

The finest sequences involve Kidman’s own bête noire, a searchlight-headed maw wrapped in a medical coat that staggers around on a woman’s legs. This thing might sound horrible but just wait till you’re in the same room, watching the light flick back and forth as it searches. If it gets near Kidman that’s that, it swallows her in one gory gulp, and the most wicked thing about the design is that it can slow Kidman’s movement when chasing. That’s right: if it catches sight of you the searchlight beam changes from white to red and Kidman starts flipping out, moving more groggily as it shambles closer.

First of all, the idea of a ‘hunter’ enemy in a thirdperson game whose proximity can be judged by light – you see the searchlight hitting Kidman’s back and the walls ahead of her – is nothing less than brilliant. The way it slows you is a bit cheap, but being around this thing is so terrifying that the mechanic seems like a digital embodiment of Kidman’s own fear. There are a few encounters with this thing and the best is a hoary old classic rejuvenated: you’re in a server room, and have to wait for an elevator to arrive while staying hidden. When I managed this, on my third attempt, I went to celebrate with a cup of tea and a calm down.

Certain issues that affected the original game are carried over: the texture pop-in is noticeable, and occasionally the camera has trouble with an especially cramped room. But these are minor things and dwarfed by what the DLC gets right. So many games are expanded by bulking out what was already there – more of the same, basically. TEW’s DLC has much in common with the original game – of course it does – but in turning the focus away from combat it becomes a distinctive experience.

Despite the minor issues The Evil Within’s DLC shows both that a big-budget horror game doesn’t necessarily need guns – which is an obvious point but worth making in an industry obsessed with firearms – and also that Tango Gameworks is no one-man show. Shinji Mikami has spoken of how he feels a responsibility to nurture the next generation of talent at his studio, and TEW’s model – where Mikami directed the main game and the up-and-comers get a shot at the DLC using that solid foundation – has worked out well. First-time director John Johanas should take a bow.

The two parts form a mini-campaign every bit as scary as the main story, and illuminate what was going on in the first place. There are times when playing that you’ll be inching forwards as slowly as possible, barely touching the analogue stick, not from fear of an immediate threat but simple fear of this world. The Evil Within felt under-appreciated at release, and aficionados may well look back in years to come and recognise a masterpiece of the genre – for them and latecomers, the DLC adds much.

The Assignment and The Consequence are dark, they’re frightening, they get the blood pumping, and there’s nothing else quite like them around. You’ll know when you’ve been Tango’d.

Rich’s thoughts on the original game and its links to Resident Evil are well worth reading.

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DLC, feature, review, The Evil Within, wot i think,

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