I have never been a die-hard fan of Resident Evil games. I’ve played absolutely every title in the franchise, but aside from one, I can’t say the series ever truly won me over the way it did most players. That said, I did actually enjoy everything from the original Resident Evil 1 on PlayStation 1 to Resident Evil 4 Remake on Xbox Series X. Out of the entire franchise, the one I personally liked the most was Resident Evil Village. I don’t know why exactly, but it just clicked with me in every possible way. And I think that’s perfectly normal, because the Resident Evil series has gone through so many different iterations over the years that there’s truly been something for everyone.
Even beyond my favorite entry in the RE lineup, I really like what they’ve done in the “Remake” era. We got three fantastic titles completely reworked for third-person gameplay, Resident Evil 2 Remake, Resident Evil 3 Remake, and Resident Evil 4 Remake, the latter being “only slightly” redefined and modernized, but in my opinion, those were much-needed changes compared to the Nintendo GameCube and PlayStation 2 versions. Now, looking at it from the perspective of this review, it almost feels like all the games released over the past ten or so years. especially those three remakes, were simply preparation for the next mainline title, bringing back everyone’s favorite, Leon S. Kennedy. Over the past few weeks, I had the privilege of diving into this new entry, and before I go any deeper, I have to say this upfront: this is one of the best single-player games I have ever played.
Story Split into Two Equally Important Halves
The story initially throws you into the shoes of Grace Ashcroft, the daughter of Alyssa Ashcroft, the main protagonist of Resident Evil Outbreak. Grace is now an FBI analyst, but after several suspicious deaths, she’s sent into the field to investigate the latest disappearances and murders at the Wrenwood Hotel. However, Grace isn’t entirely convinced she’s the right person for the job, the Wrenwood Hotel is the very place where her mother was killed. Still, orders are orders, and she heads there. At the same time, Leon is somewhere nearby, investigating the same strange murders. From the outset, the narrative dynamic is handled extremely well and intelligently. You play one section as Grace, then switch to Leon, two perspectives of the same story. Each character knows one part of the truth while the other holds different pieces. The only problem is that Grace and Leon never seem to get a moment of peace to actually meet and talk, events constantly conspire to keep them apart. Your task is to uncover whether a new pandemic is looming, or if something entirely different is at play. The entire story structure is masterfully executed, from the mysterious opening to the final explanation. The game never gives you room to breathe; it constantly keeps you on edge, creating that irresistible urge to push forward. It’s as if every single segment ends with a deliberate cliffhanger that refuses to let you rest.
As with other Resident Evil titles, much of the storytelling is environmental. Various notes, reports, letters, and orders further clarify what’s truly happening in this world. None of these should be ignored, because once you piece everything together, along with the phenomenal ending, you realize even the smallest detail has its place in the incredible narrative of Resident Evil Requiem.
Grace Ashcroft and horror reinvented
Grace Ashcroft’s journey might be the most effective transfer of horror from character to player the series has ever achieved. From the very first moment she’s introduced, her psychological profile is clear. An FBI analyst forced into the field, returning to the site of her mother’s murder to investigate new killings in the same location. so many years after the traumatic event at the Wrenwood Hotel. Right from the opening sequence, as you walk through rain-soaked streets toward the hotel, a sequence that looks absolutely stunning on consoles, you can feel her disbelief, fear, and sheer terror. It’s all beautifully conveyed to the player through trembling hands, hesitation in even the simplest actions, and the quiver in her voice. Oh yes, I couldn’t believe that just a voice, not even the dialogue itself but the raw sounds a person makes, could contribute so much to horror atmosphere. Grace truly sounds terrified, and I don’t think I’ve ever played a game with voice acting this good. Angela Sant’Albano delivers an astonishing performance. The way she transfers Grace’s inner horror to the player is so convincing that you literally feel the unease constantly running through her. After all, she’s not trained for this. She’s an analyst, someone who sits behind a desk and reviews reports.
Right at the start, the game recommends playing Grace’s sections in first-person perspective, and I have to say that recommendation is absolutely justified. In fact, this might be the only game where I can defend a narrow FOV (Field of View). Here, it genuinely enhances the atmosphere. Moments when you have to physically turn around to see what’s behind you, or when you’re rushing through a sluggish action sequence but Grace’s shaking hands slow everything down, when your vision is locked onto one critical task you must complete in that very moment, it all feels incredibly well justified. A wider FOV would grant the player more awareness and preparedness. But the whole point here is to feel unprepared, to not see the full picture while focused on one desperate action.
First-person gives Resident Evil Requiem that intimate, personal feel. You’re constantly anxious, afraid of even the smallest shadow, and it simply isn’t as effective in third-person. That said, third-person has one major advantage: Grace’s animations when she’s frightened, and believe me, there will be plenty of those moments. The facial twitches, subtle expressions, uncontrolled hand movements when she tries to hide from something she doesn’t even fully understand, they look fantastic. Still, that personal connection is somewhat lost in third-person. Overall, playing as Grace is pure, unfiltered horror in every possible sense, disturbing and relentless.
Surviving the Dark Corners of Rhodes Hill Hospital
Grace’s gameplay boils down to survival horror in its truest form. You’re not meant to march forward killing everything in sight, first, you simply won’t be able to, at least not immediately; second, that’s not the point. Grace must be quiet, subtle, stealthy, using everything at her disposal to create distractions and reach her objectives. But it won’t be easy. Zombies and other creatures aren’t the only enemies, the level design itself, familiar to every Resident Evil fan, plays against you. Most of all, the sound design is relentlessly unsettling. Thin walls in the old clinic where much of the game takes place allow you to hear everything happening several rooms away. You can hear a massive creature moving down the hallway, the sounds it makes, everything. I can’t describe how much this adds to the atmosphere. It creates the feeling that you’re never truly safe. Wherever you are, if you make noise, something will come for you. And before you see it, you’ll hear the screams, the footsteps, the dreadful approach.
On a second playthrough, once you unlock extra items and weapons using points earned, as in every RE title, you can attempt a Rambo-style run with Grace. I might try that myself once I finish a few more challenges to earn enough CP currency.
Like in other Resident Evil games, survival revolves around puzzle-solving, gathering key items, and combining knowledge gained from each area to push forward. Grace can craft supplies throughout her journey, but you’ll never have resources to waste. The game smartly limits your carrying capacity, just like past entries, yet it never leaves you completely stranded, unless you’re utterly careless with your inventory. You’ll collect raw materials like infected blood to craft specific items, and these resources, infected blood mostly, will appear exactly where they’re needed. But once collected, they’re gone. It’s up to you to prioritize, plan, and decide how to spend them. I often found myself without empty inventory slots for essential items, forced to sacrifice tools just to move forward. But that’s the essence of Resident Evil, you’re not a hoarder. You don’t need everything. You only need what helps you survive.
You can also use various serums to boost overall health and weapon control. Because the moment Grace is touched or startled, her aim will wildly sway across the screen until she calms down. That alone confirms that this part of the game isn’t focused on action, it’s focused on something entirely different.
The Return of the Handsome Uncle
Capcom kept Leon S. Kennedy’s involvement under wraps for quite some time, but how could such a massive sequel exist without the face of the franchise? Leon isn’t just a minor detail in Resident Evil Requiem, I’d even say his part of the game feels like a completely separate game within the game. Grace’s gameplay is all about oppressive survival horror. Leon… well, Leon is Leon. After decades of battling horrors across numerous Resident Evil entries, he’s become hardened, sarcastic as ever, and deadlier than he’s ever been.
Leon’s gameplay mechanics are the polar opposite of Grace’s. For starters, it’s third-person, reminiscent of Resident Evil 4 Remake. His movements are beautifully executed. He’s older now, nearly 30 years since the Raccoon City incident, over 20 since Resident Evil 4, and it shows. He’s heavier, slower to turn, but still responsive. And most importantly: incredibly fun to control. Perhaps some of that sluggishness comes from the minor infection he’s dealing with, but that’s another story.
Through Zombie Skulls with a Hatchet
If Grace represents pure survival horror, Leon represents pure action even slasher-horror in the best possible sense. From the moment you take control of him, you’ll see how drastically the presentation shifts. It’s so distinct that it’ll put a smile on your face, at times you’ll even laugh out loud. The action never loses its variety or excitement as the story progresses. Resident Evil Requiem constantly tries to surprise and impress you at every turn. Leon’s section isn’t about fear, it’s about clarity of purpose. He has a goal, and nothing will stand in his way.
If I had to position Leon’s gameplay within the series, I’d say it’s a mix of Resident Evil 6 and Resident Evil 4. I know how that sounds, but hear me out. Resident Evil 6 was the first truly over-the-top, bombastic entry filled with explosive, scripted set pieces. It felt like Capcom stepping completely outside their comfort zone. Resident Evil Requiem delivers that same bombastic energy, wild, unforgettable, jaw-dropping moments, but unlike RE6, it never feels excessive just for spectacle’s sake. The game maintains its class and refinement from beginning to end, whether you’re enduring terror with Grace or smashing zombie skulls with Leon’s axe. And that’s a fantastic achievement. Despite the radically different playstyles, both maintain quality and deliver something entirely new for the franchise.
Back Where It All Began
Raccoon City is MASTERFULLY realized. Completely different in design and gameplay philosophy compared to Grace’s sections. The spaces are more open, more exploratory, yet still maintain that classic Resident Evil progression system, finding key items to unlock new paths. Leon’s default inventory is larger, his arsenal broader and deadlier. Progression works differently too: Leon uses a Kill Tracker to earn money for weapons, upgrades, and other necessities. And yes, some might think that sounds arcade-like, but it actually makes sense, especially considering what happened to Raccoon City after the thermobaric bomb was dropped (yes, not a nuclear one, which explains why you can still walk through the city, or what’s left of it).
I’ll admit, at first ,I thought Leon would be a minor addition. But Capcom gave him just as much, if not more, attention than Grace, which is only fitting. While Grace’s sections are resource-tight and tense, Leon’s feel more liberating thanks to his weapon-focused approach. Still, you’re never overloaded. There will be moments when you wonder if you’ll need something more, but that’s exactly the tension Resident Evil channels through its characters.
Perhaps the most important element in the entire game is spectacle. Resident Evil hasn’t traditionally leaned heavily into that, aside from RE6, but here it’s executed flawlessly. With Grace, spectacle lies in small moments: survival, creatures constantly hunting you, the unmatched sense of danger. With Leon, spectacle is everything, the action, the environments, the events unfolding around you. It’s all breathtaking.
Visually, this is one of the most beautiful games of the current console generation, especially that opening walk through the rain-soaked, crowded city streets. It’s genuinely breathtaking. And the visual consistency never drops, no matter where you are or what you’re doing, the game looks phenomenal and runs fantastically. As for voice acting, I’ve already praised it. The sound design is the best I’ve heard in a game. Overall, this is the best Resident Evil title in every measurable way.
We would like to thank CD Media Greece for providing us with a copy of the game for review purposes.
Resident Evil Requiem (Xbox Series X)
And that brings me to the end. If I had to describe Resident Evil Requiem in one word, it would be SPECTACULAR. In every possible sense. Before playing, my most anticipated Capcom game this year was Pragmata, but after finishing Requiem, I was completely blown away. By the end, I wanted to stand up from my chair and applaud in my room, even though it was half past three in the morning. I even teared up from sheer joy. This game impressed me that much. It’s the most complete single-player experience I’ve ever played. Perfectly paced, leaving you with that fleeting “I want more” feeling, yet at the same time, you know you’ve already received more than you expected. So, if a perfect title exists, it’s without a doubt Resident Evil Requiem.
