The first Resident Evil is a banger, putting you in control of Jill Valentine and Chris Redfield as they try to make sense of a nasty situation that leaves their STARS team decimated. Resident Evil 2 marks the debut of Leon S. Kennedy and Claire Redfield in Raccoon City in an adventure with implications that have stayed with him all his life, coming to a head in Requiem as he learns the truth about Raccoon City’s bombing. Resident Evil 3 Nemesis brings it all back to Jill, and her desperate effort to escape the city as the effects of Umbrella’s underhanded dealings unfold on its streets.

They’re quite impressive titles, even prompting a couple of remakes that were quite successful in their own right. However, we can tell you that the OG versions hit different, and at this price, they’re a steal. You could choose to pick one over the others if you’re interested in a specific story. Either way, it’s nice to go back to where it all began, a sentiment that Requiem made good use of in its main narrative.

And if those don’t suit your taste, then there’s Breath of Fire 4, one of the best role-playing games ever made. Unfortunately, all four titles come with the Enigma Protector DRM. It isn’t present in the GOG releases and seems to have broken performance on Steam Deck, so keep that in mind when diving in.

This is largely due to how Resident Evil games tend to offer more linear and focused experiences, while Bethesda’s titles tend to be more open games with many systems working on top of each other.

“I really, really like the Resident Evil remakes and those are super cool where it was like, totally remade, but I don’t think that’s really viable for a Bethesda game to do that,” he said in an interview with KiwiTalkz. “With that many systems interacting, to try and get that to actually behave in the same way. Ugh, I wouldn’t wish that on anybody.”

Purkeypile also spoke about The Elder Scrolls 4: Oblivion Remastered, and how it was achieved by the developers making use of Unreal Engine 5 on top of the RPG’s own engine, both working in tandem. He also acknowledged that a “from scratch” remake for an RPG of such scale would be too expensive to consider.

The Elder Scrolls 4: Oblivion Remastered was released last year, and quickly became quite the hit, reaching 9 million players just a few months after its release. The title was developed by Bethesda working together with Virtuos, and was built by making use of Unreal Engine 5 to handle the visual side of things while the original Gamebryo Engine powering Oblivion took care of the gameplay logic. For more details, take a look at our review. While it is currently available on PC, PS5 and Xbox Series X/S, a Nintendo Switch 2 port is also in the works. However, Bethesda hasn’t yet confirmed a solid release date aside from a general 2026 window.

In the same discussion, fellow former Bethesda developers Jonah Lobe and Bruce Nesmith discussed how they wouldn’t be too surprised if the company were to give the responsibility of developing Fallout 5 to another studio. While typically unlikely, Lobe brought up the fact that the company likely has its hands full for now with the development of The Elder Scrolls 6.

“I wouldn’t be surprised if Bethesda gave Fallout 5 to a different production studio,” said Lobe. “I think that they’re doing more and more of that already, they’re bigger and bigger than ever. I feel like The Elder Scrolls 6, the expectations are already beyond the screen here, and they already have their hands full with that.”

Nesmith noted that it would also be advantageous for Bethesda to release a new entry in the Fallout franchise while Amazon’s live action adaptation is still running. “I wasn’t necessarily with you before, but when you say that, I totally agree,” he said. “Having the game come out while the show is either still running, or still very fresh, would be a huge advantage.”

That is, unless you’re a game developer with a reasonably successful title that launched many years – or even just a few. You can then go back and remake it, as so many studios have done over the past decade or more. But it didn’t always used to be like this.

In the past, some games would premiere in arcades before hitting consoles, and when they did, some would have extensively retooled graphics. From Space Invaders in the late 1970s to Ultima 1: Age of Darkness, even Super Mario All-Stars can be considered a remake, since it updated the NES titles with new visuals. As technology improved across all platforms, you would have titles like Resident Evil HD in 2002 with far higher budgets.

Despite its success – to say nothing of everything that came before and after – the trend only really became so dominant after the success of 2019’s Resident Evil 2. And for good reason – it’s generally considered one of the very best ever made, and has sold millions of copies. Its changes were well-received by fans at large, and in a way, you could argue that it drew in a whole new generation to the Resident Evil franchise. This was perfect for the developer , which was in the midst of a renaissance of sorts thanks to Resident Evil 7: biohazard.

The trend has ballooned well past simply revisiting what worked and reinventing it for a new generation. Remakes are big business – 2025 alone saw the launch of Metal Gear Solid Delta: Snake Eater, Dragon Quest 1 and 2 HD-2D Remake, Trails in the Sky 1st Chapter, Yooka-Replaylee, and so on. That’s not even getting into games that had Definitive Editions or remasters like Suikoden I and II HD Remaster, Tomb Raider 4-6 Remastered, and so on, or titles like Silent Hill 2 remake, which was finally released on Xbox Series X/S.

However, it highlights a more noticeable quirk about the industry thus far, one that was also observable in a different way: Sequels. Think back to some of the most well-received and/or financially successful games of last year. Ghost of Yōtei, Death Stranding 2: On the Beach, Hades 2, Hollow Knight: Silksong, Monster Hunter Wilds, Kingdom Come: Deliverance 2, Battlefield 6, Mario Kart World, Silent Hill f – it’s a pretty extensive range of sequels, but they’re also some of the most hyped games of this generation.

Heck, even on a smaller scale, there are the likes of Ender Magnolia, Wizard of Legend 2, Citizen Sleeper 2, etc. Ninja Gaiden: Ragebound and Shinobi: Art of Vengeance may be considered soft reboots in a way, though they’re heavily based on their predecessors (and fit within the established canon). But either way, they’re part of established IPs. And let’s not forget that the most anticipated title of the year is Grand Theft Auto 6 – yet another entry in an established IP. Don’t even get me started on sequels like Code Vein 2, Nioh 3, Mario Tennis Fever, Resident Evil Requiem, and so on.

This isn’t to say we haven’t seen new ideas and stories. Clair Obscur is the most obvious choice, but you also have Blue Prince, Avowed, ARC Raiders, StarVaders, and Dispatch, among so many others. But the number of risks taken by the big players, the triple-A publishers, is relatively lower. Microsoft may have offered up South of Midnight and Keeper, but it gave far more attention – and marketing budgets – to games like The Outer Worlds 2. Halo: Campaign Evolved is out this year, and it got far more media attention.

Sony is an even wilder case with a treasure trove of beloved IPs that it’s yet to revisit. So while they would technically be sequels, a new Sly Cooper, Resistance or Jak and Daxter might as well be exempt from the rule. And there’s no guarantee that they’ll put in the numbers that The Last of Us Part 3, Uncharted 5, and other theoretical sequels would.

Now, I’m not saying that all sequels and remakes or even reboots are bad, or that they can’t push innovation. Donkey Kong Bananza may technically be part of an established IP, but its combination of destruction and platforming is something we haven’t seen before, even with Mario. Hades 2 follows the same formula as its predecessor, but makes sweeping changes and additions to its combat system to feel significantly – but not too heavily – different. The same could apply to Ghost of Yōtei and Death Stranding 2, and they’re absolutely pushing their respective gameplay formula – and genres as a whole – forward.

However, seeing brand new ideas on such a massive scale is becoming less common. Perhaps the most notable is Naughty Dog’s Intergalactic, and based on rumors, it’s looking at games like Elden Ring – a new IP but one that draws on FromSoftware’s extensive history with Dark Souls and Bloodborne – for its world design. At times, you have to wonder if the balance has tipped too far to the other side, to the extent that new IPs struggle for visibility. For every Clair Obscur, Dispatch and ARC Raiders that becomes massively successful, there are acclaimed titles like The Drifter, which sold 13,617 units in its first week.

But it’s clear to see why so many studios are focusing on remakes and sequels, besides the fact that they’re part of familiar brands, which means guaranteed audiences and less risk. Development costs only continue to rise, and publishers, the ones with the money, don’t just want the best return on their investments – they want games that drive growth.

There’s a reason franchises like Dead Space, Titanfall and Dragon Age are on ice – the return on their investments didn’t fulfil any of the conditions that Electronic Arts sought. Despite several Assassin’s Creed titles in development, there’s a reason why the developer has games like Assassin’s Creed Black Flag Resynced, Splinter Cell Remake and Prince of Persia: The Sands of Time Remake in the works. They’re safe bets, and if they blow up as Resident Evil 2 remake did, then they might drive renewed interest in dormant IPs, thus spurring even more remakes (and potential sequels).

Of course, the biggest reason we’ll continue to see sequels, remakes, reboots, remasters, and whatnot is because of those who buy them: Gamers. Time is limited, and the sheer number of choices in the triple-A, indie and free-to-play spaces is immense. Why not spend it on something familiar that’s also fun? It’s not the most unreasonable expectation, but the knock-on effect could result in huge shifts down the line. Would games like Keeper receive any attention if Double Fine weren’t part of Microsoft, or if it weren’t on Game Pass? Would developers even still be around if they weren’t acquired in the first place? What happens when their titles fail to perform well?

Whatever the case may be, the fixation isn’t going to end anytime soon, especially if it pays dividends. The only thing we can hope for is that innovation eventually breaks through, regardless of audience, brand name and studio size, as we’ve seen so many times this year.

Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.

In 2019’s Remake, Mr X isn’t just about using spectacle to evoke fear; he sustains pressure, relentlessly and systemically, using his senses and intelligence to coerce you out of hiding. And this is why his deadly cat-and-mouse tactics are so effective: it’s how he occupies space. He listens, he reacts, he haunts. See, Mr X is as much a benchmark for stalker design as he is an iconic survival horror antagonist. He’s a fan favourite the developers are yet to beat.

But, what actually makes a great Resident Evil enemy? Well, we’ve already alluded to their intelligence. Digitally written to make their behaviours seem real, or unpredictable, cold, clinical, or emotionless. Their AI is key, sure, but so is their aesthetic design or emotional backstory. Even their introduction into your world is a contextual extra worth considering.

Dr Salvador – the “Chainsaw Man” – makes an explosive entrance, but his fear is sharp and short-lived. The wall-scrambling Lickers are among the series’ most memorable mutant designs, but their chamaeleonic tongues are avoidable (certainly in Resident Evil 2 Remake) once your trembling subsides and you figure out their movement patterns.

Jack Baker – RE7’s maniacal, shovel-wielding stalker – was terrifying, in part, because he felt relatable. His sections were intense, darkly funny, and masterfully representative of that thing Resident Evil does so well – the seesawing between tension and relief. Yet, his appearances were narratively bound; yes, he’s a fan favourite like Mr X, but the tall, dark, fedora wearing Tyrant doesn’t just corner you in specifically scripted moments, but is an omnipresent threat who redefines how you interact with the world. This imprint he makes on you, this is his superpower.

So, cast your mind all the way back to 1998, to when Leon and Claire first tiptoed through the Raccoon Police Department’s suffocating narrows. The Mr X of this era, as foreboding as he was, was constricted to specific encounters. He’d chase you down corridors and through rooms, but he wasn’t relentless. Like tank controls and fixed camera angles, Mr X’s appearance in 1998 was a defining quirk of the original Resident Evil 2, a design born from technological limitations as much as creative intent. Yet, tank controls, for all their awkwardness, heightened combat tension while fixed camera positions offered a kind of deliberate, cinematic framing that modern, over-the-shoulder perspectives can’t easily replicate. Mr X’s segments, however, were constrained in a way which can’t be reinterpreted. Bottom line: he was underutilised, his appearances making the RPD feel less of a continuous space and more a collection of isolated moments. Much like you, Mr X wasn’t there to occupy the building. He was just passing through.

In 2019, that limitation disappears. Mr X finally becomes the Tyrant the original game only implied. Not just a towering assailant, but a persistent menace enabled by modern systems to exist in the RPD at all times. Once he’s arrived, everything inside the police station seems to compress – not structurally, but experientially. Puzzles develop urgency, herbs become lifelines, and darkened stretches need renegotiating. Even safe rooms feel like temporary annexes for deep breaths and downtime, rather than sanctuaries.

Crucially, this sense of oppression isn’t achieved through teleporting AI power. Mr X still operates independently when off-camera, prowling through every room like a real person would. He doesn’t know your precise location, only where noise, movement, and probability suggest you might be.

Yet, this doesn’t break the illusion but heightens urgency. Likewise, multiple breakdowns of Mr X’s off-camera walking pace show he obeys the same spatial rules as you do, so long as he’s in your vicinity. Once his searches bring him to an adjacent room or corridor, he’ll step to a pace that’s measured and fair.

The result of these systems is an enemy which feels intelligent because he exists convincingly within the game’s rules, not cheapened by reality-defying powers. And, if the systems in which he’s built are designed for constant, grinding pressure, it’s the sounds he stirs which puts your fear in a chokehold.

See, Mr X’s most powerful tool for oppression isn’t his intelligence, his reach, or his invulnerability, but the sound that he makes. Blending with the score’s atonal dissonance, Resident Evil 2 uses Mr X’s sound design – more specifically, his thumping footsteps and cavernous door slams – to conjure atmospheric dread, deploying an audio mix that gives a looming sense of danger to what’s unseen. The result: Mr X – perhaps inadvertently – “teaches” you audibly how to survive, but he hammers on psychological pressure when doing so.

These are deliberate uses of what sound designers describe as acousmatic sound, or audio that is disembodied from any visible source. The effect is deeply concerning, as without visual confirmation you’re left to estimate Mr X’s proximity based on the volume and intensity of his footsteps. The Raccoon City Police Department is a grand, spacious, echoey sort of place, so every floorboard creak, gust of wind, or distant howl will break the clarity of Mr X’s movement. Your ears need to be consistently engaged, but you’ll struggle to establish a rhythm. Your tempo – in avatar movement or real-life heartbeat, perhaps – is dictated to you by the soundscape.

But – funny thing is, as stridulant as this audio can be, silence is still worse. Ambiguous sound is better than no sound at all, but this only serves to unsettle you more. And this brings us full-circle, like a sine wave, back to what elevates Mr X above other Resident Evil enemies that have come after (or before, for that matter).

Take Lady Dimitrescu, for instance. She’s undeniably unforgettable, but her contributions are more limited in scope compared to Mr X. She’s confined to specific sections where her audible presence is tied to clearly telegraphed bellows and musical cues. Resident Evil 3 Remake’s version of Nemesis sees the iconic BOW through some spectacular chase sequences, but this scripted design leaves no room for audio-led tension to marinate. If we pluck a stalker-type enemy out of Resident Evil’s back-catalogue, say Resident Evil: Dead Aim’s Morpheus, we find an enemy with narrative ambition overshadowed by a lack of meaningful audio. Sound sells terror, and Resident Evil 2’s remade Mr X knows this better than anything else.

So, seven years on, Mr X hasn’t been surpassed because the developer hasn’t tried to outdo his specific philosophy. He’s the only Tyrant who hammers pressure through constant pursuit and psychologically tortuous sound. Whether Resident Evil Requiem introduces a stalking presence to rival him remains to be seen, but future entries don’t need to replicate Mr X beat for beat – only the design principles that make him terrifying: make him seem real, and make him play fair.

Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.

Well, if that PlayStation Store leak wasn’t enough evidence, we can finally confirm it: Leon S. Kennedy is in Resident Evil Requiem. That alone would be enough, but the developer wasn’t just content on teasing, oh no. It showcased his new look – one that’s gruffer, with longer hair and some stubble. Don’t even get me started on his new outfit – the black coat, complete with the high fur collar and gloves, is pretty darn cool. Almost covert ops but far sleeker.

So right away, he makes an impression, saving Grace from the massive Stalker foe that’s been hunting her (while also asking why an FBI agent is involved). Not only does this reaffirm the developer’s statement that the creature is a small part of the campaign, but it also implies that Leon will meet up with Grace early in the story and have an immediate impact. Of course, that could be in the first hour or third, for all we know.

Regardless, Leon is following his own investigation into the mysterious Doctor Victor Gideon. After Umbrella Corp went under, the latter purchased a mysterious building where he’s seemingly conducting his research. Just as Grace is investigating that fifth corpse and how it relates to the Wrenwood Hotel, so is Leon.

How Gideon is related to Umbrella remains to be seen, but we know that he needs Grace to set something called Elpis “free.” He calls her the “chosen one”, and when she flees from him, he pursues, screaming in anger and frustration. The question is: Why was Grace afraid, especially at this point when she has a weapon? Interestingly, when Leon ventures to the building in question, a woman in nursing attire says that Dr Gideon has been expecting him.

Speaking of weapons, Leon wields a revolver with high-powered rounds that are more than capable of repelling the Stalker-like creature. He utilizes a tomahawk, pulling it from a freshly slain enemy’s head. A clue that players will be able to reuse it? Maybe, but it may also be used as a throwing weapon, marking a significant upgrade over the standard knife. Of course, despite his age, Leon is still adept at kicking fools in the face and performing takedowns at close range.

We also got a better look at the infected, who seem zombie-like, but their flesh is nowhere near as rotting. It may be the effects of Elpis, and judging by that photo of Gideon with other scientists, he seems to have infected them. One wields a chainsaw, not unlike the infamous Dr Salvador, the difference being that he’s swinging it around much more wildly.

So anyway, Leon can take the chainsaw and execute enemies with it. Oh, how the turn tables. Here’s hoping it’s a permanent tool that he can use. I didn’t think I needed Slayer Leon, but I’m all for it.

Another notable thing is Leon’s ride. Back in September, Dusk Golem alleged that his levels are bigger than Grace’s, which means a vehicle to get around. Cue this trailer and the developer’s official confirmation of a partnership with Porsche, with Leon driving around in a Cayenne Turbo GT. And who should comment but Dusk, wondering aloud what vehicle he would be driving through “some big open levels.”

You could argue it’s purely for show, but would the developer really collaborate with a brand like Porsche to just feature their vehicle in a few scenes?

Another notable detail is that the story will intertwine the fates of both Leon and Grace. While Grace offers a “unique survival horror experience,” Leon brings “explosive action” to the forefront. It’s unknown just how extensive his campaign missions will be – after all, even Chris was front and center of the marketing for Resident Evil Village despite not having the longest gameplay role. Nevertheless, considering how iconic Leon is, the whole bit about their stories “intertwining,” and that Dusk Golem outright said he’s a major playable character, we’ll hope for the best.

If all this wasn’t enough, there’s the voice communicating with Leon, telling him not to do anything stupid. Some assumed that it’s Ingrid Hunnigan, the communications officer, who worked with him to rescue Ashley, but the voices sound too different. This mysterious new character sounds younger, almost like Sherry Birkin. A quick comparison with her voice in Resident Evil 6 certainly lends credence, even if it’s a different voice actor. Besides, given her connection to Leon and the Raccoon City Incident – not to mention she’s also a federal agent – it wouldn’t be surprising if she returned.

As an aside, the developer finally revealed the other cosmetics in Requiem’s Deluxe Edition, including two new weapon skins for Leon’s revolver and three outfits for the man himself. These include one that’s without his new coat, highlighting the various weaponry underneath (including what seems to be a few knives and a grenade). You can also equip his jacket or a suit, which seems like a nod to Infinite Darkness, albeit with a tie. It’s worth noting that Grace’s second outfit, which offers a strong look, was also revealed. There’s also an additional screen filter that provides a much more saturated look to everything.

Despite only being three minutes and 24 seconds long, Resident Evil Requiem’s trailer didn’t disappoint. It gave everyone what they wanted to see after months of rumors – the return of Leon S. Kennedy to the fold, looking better than ever – while adding more mysteries due to Gideon’s involvement. Whatever Elpis, which is Greek for “hope,” is, it seems to cause the infected to lose their teeth and cause these dark skin lesions. Even their eyes don’t look quite like a traditional zombie’s, what with the distinct glow.

And then of course, the developer ended it in the best way possible – with an ever-so-brief look at Leon’s abilities. The familiarity is immediately enticing – this is the action horror that we know and love – but now you can wield a chainsaw, however briefly, as Leon. What’s not to love?

We still have so many questions. What was up with that GameStop Deluxe Edition listing, which indicates two new story DLC and an update to Mercenaries Mode? What about those mentions of Rosemary Winters, the protagonist of Resident Evil Village’s Shadow of Rose DLC? Is there any chance that other iconic characters tied to the Racoon City Incident, like Claire Redfield or Ada Wong, will return, perhaps even as additional characters in Mercenaries?

Time will tell, but we’re more pumped for Resident Evil Requiem than before. It’s out on February 27th, 2026, for Xbox Series X/S, PS5, Nintendo Switch 2, and PC.

Note: The views expressed in this article are those of the author and do not necessarily represent the views of, and should not be attributed to, GamingBolt as an organization.

Whether he has “other” unique actions is unknown, but Automaton Japan did learn more about the respective playstyles for Grace and Leon. Director Akifumi Nakanishi described the former’s gameplay as “based on Resident Evil 2,” and to no one’s surprise, “Leon’s gameplay includes martial arts and melee moves, based on Resident Evil 4.”

He also noted that this is Leon’s first title as a protagonist after Resident Evil 6. With age comes wisdom, and that formed a major theme for the development team. “‘What would Leon be like in 2026?’ Even though he keeps fighting to save people,  bioterror never goes away, so what state of mind has he reached now? What can he do with his seasoned combat skills? With those concepts in mind, we added new elements on top of a Resident Evil 4-style foundation.”

Some of those elements seemingly include a tomahawk, which Leon can reuse after disposing of enemies. However, there’s also his car – a custom Cayenne Turbo GT, which Capcom collaborated with Porsche on. When told that vehicles typically don’t make it out in one piece throughout the series, producer Masato Kumazawa responded, laughing, “It’s usually the helicopters that get blown up.”

Nakanishi added, also laughing, “Please look forward to seeing what happens this time.”

Subtle foreshadowing or perhaps trying to hide how significant the vehicle will be for traversal, especially with rumors about Leon’s levels being bigger and more open than Grace’s? Time will tell, and we may not have to wait long since a deeper dive is planned for early next year.

Resident Evil Requiem launches on February 27th, 2026, for Xbox Series X/S, PS5, PC, and Nintendo Switch 2. Capcom isn’t planning a demo and is instead focusing on finishing the game. However, that could change, especially if feedback from the same helps in optimization (see Pragmata).

God of War 

There aren’t many games that are able to deliver a stunning experience in such a smooth manner as Sony Santa Monica was able to do with the 2018 reboot. This story sets the protagonist in a new setting; new boss fights and outstanding level design. It’s both fresh and recognizable at the same time, and the new combat and the camera on offer also embodies the spirit of modern third person game while making it more intentional. The 2018 reboot is definitely one of the best games on the PS4, and is a great starting point for newcomers.

Resident Evil Village is worth pointing out first. It sold 12.872 million copies, with 1.566 million sold in the past two quarters. That puts it above the more recent Resident Evil 4 remake, but the latter is still performing well with 1.266 million sold in the same period for a lifetime total of nearly 11.2 million.

Of course, neither can measure up to 2019’s Resident Evil 2 remake, the current highest-selling title in the series at 16.342 million units sold. However, Resident Evil 7: biohazard shouldn’t be ignored – it’s slowly creeping up towards 16 million units sold with almost 1.2 million sold in this fiscal year thus far.

The title is coming to Nintendo Switch 2 next year in February alongside Resident Evil Village, so it could very well unseat Resident Evil 2 remake in the process.

Resident Evil Requiem, the ninth mainline title, launches on February 27th, 2026, for Xbox Series X/S, PS5, PC, and Nintendo Switch 2. Pre-orders go live later today, so expect further details on its price and various editions.

“Of course, there will be boss battles,” he told Automaton-Media. “However, rather than defeating enemies in a flashy manner as you progress through the game, like in games that emphasize gun shooting action, the style is more like Resident Evil and Resident Evil 2, where players expand their exploration area in a closed space and overcome obstacles using their wits.”

It’s in line with the growth of protagonist Grace Ashcroft, who goes from being scared of her predicament to eventually fighting back. “One thing that’s so appealing about the Resident Evil series is that characters who are initially terrified grow stronger as they gain experience in extreme situations. Grace is scared at first, but the situation eventually causes her to snap, and she becomes able to fight her enemies.

“Being able to experience this process of growth together with the protagonist is one of the highlights of the game,” said Nakanishi. Interestingly, he mentions that knives will allow for “new ways” to take down threats.

Of course, there are rumors of Leon S. Kennedy, who is playable and seemingly offers larger gameplay gameplay areas compared to Grace. However, these are also allegedly more grounded and horrifying than his previous stints. With how wild previous games’ bosses have been, it should be interesting to see how they turn out in the sequel.

Resident Evil Requiem is out on February 27th, 2026, for Xbox Series X/S, PS5, PC, and Nintendo Switch 2. It’s arriving to celebrate the series’ 40th anniversary with Resident Evil 7: biohazard and Resident Evil Village out on the same day for Switch 2 players.

Director Koshi Nakanishi and producer Masato Kumazama explained this process to IGN at Tokyo Game Show 2025, and how there’s an “inflation effect” when leaning more towards action. “I think you can broadly classify Resident Evil titles on a scale of how much they’re like Resident Evil 2 or Resident Evil 4. Resident Evil 7 was definitely on the 2 side of that, as it returned to survival horror roots and was very acclaimed for that. Resident Evil Village built on that and added in more action and gunplay and brought it toward the Resident Evil 4 side of that particular scale,” said Nakanishi.

“But if we kept going in that direction there’s almost an inflation effect, where you have to keep adding more and more action to outdo the previous title, and by doing that you ultimately end up where Resident Evil 5 and 6 went, and although they’re still great games, the consensus is that they pushed Resident Evil so far in the action direction that it was no longer horror.

“I didn’t want to have to do that with Resident Evil’s ninth title, where I just tried to outdo the action in Village and ended up making something I didn’t want to make.” As a result, Requiem is “swinging the scale” more towards Resident Evil 2’s style of gameplay and calls it “almost an upgrade.”

However, there’s also the concern about improving on the scares of previous titles, and Nakanishi admits not knowing if the game is scary until players go hands-on. “We’ve made so many of these that we can’t tell anymore until someone else plays it. There was actually a bit of a worry internally before we showed the [Resident Evil: Requiem] hands-off at SGF and the first hands-on at Gamescom. Was this actually scary? Because we don’t even know anymore. This is our bread and better, what we make every day.”

When asked about cut content that went a little too overboard with the scares, Nakanishi said, “We didn’t really implement it, so it wasn’t cut, but- we don’t know if something’s scary. So we say, we’ll do this, we’ll do that, we keep adding on stuff, and at one point we were like, what if [Grace] gets a big gash in her leg, or her leg gets cut off, because that thing attacks her, and oh my god it’s so scary, but we talked ourselves down a little bit.” This isn’t to say that other terrible things won’t happen, so stay tuned.

Resident Evil Requiem launches on February 27th, 2026, for Xbox Series X/S, PS5, and PC. You can check out the developer’s process of bringing it to Nintendo Switch 2 and how fans should “calm down a bit” regarding rumors (especially those regarding Leon S. Kennedy being in the game).