The game demands that you think on your feet and put the Tyrant to the back of your mind until you need to deal with this invincible foe. The Tyrant doesn’t care where you are or what you’re doing, or even in some cases whether the room you’re in has an easy escape route.
You might think you have his number eventually, but when the intense musical cues surge and he slams open a door revealing his stoic, towering self you will instantly be filled with fear. In the latter, you’re left helpless and begging for the fluorescent tube lighting to stop flickering and tormenting you, praying for a solid blast of light to reveal the Licker you are constantly convinced is waiting patiently on the ceiling just in front of you. Viscera-lined sewage pools and electricity-starved hallways also make their mark. Terrifying highlights include Chief Iron’s deeply unsettling office space, an encroaching room lined with his trophy collections and subsequent notes on each animal, in which he describes an almost sexual obsession with taxidermy. Less is more, and whilst the game’s few defining zones don’t match up geographically with the open world expectations of the last decade, it never suffers for it due to this eye for detail. It feels like a victory lap in environment design, a Herculean effort where no one room lacks some kind of interesting flavor.
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The Arklay Mansion is oppressive but full of engrossing secrets that keep you pushing forward, and Raccoon City Police Station is no different.
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If their record with this series belies anything, its that Capcom understands how to curate a claustrophobic environment that is deeply interesting to explore.
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