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While this gameplay is neither natural nor elegant, it has a certain rugged old-school charm, and feels more suspenseful than the safety-first gun-and-cover mechanics that are de rigeur today. Rather than running and gunning, you stand (or walk very slowly), shoot a bit, do a 180-degree turn, run away a bit, then 180 back and continue shooting. Revelations 2 has the same stiff gameplay that’s embodied the Resident Evil (more like Rigident Evil) series since the pivotal fourth entry. I’m happy to give Rev 2 the benefit of doubt here, but this felt like lazy design on Capcom’s part, and I’m hoping to see the two story forks diverge more in subsequent episodes. It was not to be though, as Barry and Natalia spend the first half-hour of their campaign retreading Claire and Moira’s footsteps – before finally veering off into the woods. While this level felt acceptable to run through once as Claire and Moira, I was ready for some new scenery by the time I got started as Barry and Natalia. The design of the lab is generic – all murky lighting, rusty control panels and sacks of things hanging from ominous ceiling chains. You control these two first, before playing through the same level six months later as Barry Burton (of “Jill Sandwich” fame) and a mysterious young girl called Natalia, who are searching for Claire and Moira. They wake up in cells in an abandoned research lab somewhere in possibly Russia, and are mysteriously released by a disembodied female voice that seemingly wants to torment them.

In the first episode of Revelations 2, Claire Redfield and Moira Burton get kidnapped from a corporate-looking party hosted by the do-gooder organisation, TerraSave.

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