![]() Like that emergency ladder, which in real life would have been dropped by now, but hasn’t because it’s something for the player to toy with, Resident Evil 2, aesthetically and geographically, is a blend of credible and conceptual. It’s a building that you get-it’s a reference point to real life-but it’s filled with things that are odd and videogamey. You begin Resident Evil 2 on the streets of Raccoon, and it’s all bloody and urban and dire, and then you arrive at the police station and it becomes strange and abstract. Ignoring boring questions about realism or plausibility, the game nevertheless does a fascinating job of tying videogame conceits to comprehensible mechanisms and architecture. But in Resident Evil 2 it’s rooted to a real-world object, to the context and confines of a fire escape inside a metropolitan police station. “Do you want to play travelling the long way between the ground and first floors, or do you want to risk opening the shortcut?” That’s a very videogame question. It’s a primitive, small example of choice-based design and branching narrative. ![]() ![]() The ladder is meant as something for the player to deliberate-if you drop it you can travel faster, but it might enable enemies to follow you between floors. Why didn’t anyone drop the emergency ladder? ![]()
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