The evil within pc mods
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. It's not all shouting and sneaking, and you'll stumble across single-use hatchets that can take out an enemy from behind. 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.
Most of the environments are dark, sometimes pitch-black, and your torch is often permanently raised which reduces Kidman to a walking pace. 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. 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. The Evil Within doesn't quite nail this, but nor is it too far off, and never becomes frustrating. 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. This pulls enemies around but the paths they'll take are worryingly erratic, so it's rarely a smooth process. The first is handled by tossing bottles and the odd environmental interaction, as well as the ability to shout from cover. Kidman creeps around enemies using both distraction and cover. The challenge here, initially at least, is in getting around one inconveniently-placed foe rather than taking out crowds of them.
But it works because the enemy encounters are kept low-key, and the environments are cramped. This is no power fantasy.Īvoiding 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. Most of the enemies save time by doing it in one. 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. 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. 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. 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. 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 Evil Within's campaign focused on Sebastian Castellanos, an alcoholic cop pulled into a nightmare world controlled by a nasty sort called Ruvik. To explain the DLC's setup requires some mild spoilers for the original game's storyline. 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.Ĭlick to once again enter the world of survival horror. 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. The Evil Within is one of those gems that, because it was released in that pre-Christmas period when EVERY GAME IS, went a little under-appreciated.