This game, a genuine masterpiece in my opinion, is often unfairly dismissed due to initial technical flaws and a slow start. Its cross-generation release was a mistake, however, most performance issues vanish on modern PCs with simple tweaks. I'm a huge fan, so please indulge my lighting analysis; I'll discuss the game's design later.
The lighting echoes the unified light and shadow styles of sixth-generation classics like Doom 3, and seventh-generation titles such as Dead Space. Its visual prowess is striking, despite minor texture imperfections. Let me explain: the game expertly employs shadow casters and receivers.
Even the impressive cloth physics participate in the shadowing. While some baked occlusion may be present in distant outdoor areas, the indoor and outdoor scenes primarily feature real-time rendering. Clever use of deep shadows, ambient occlusion, post-processing, and dynamic lighting creates believable darkness.
The subtle indirect specular highlights in dim areas are exceptionally well-executed and restrained, a stark contrast to the excessive indirect specular effects in games like Wo Long: Fallen Dynasty. The game isn't limited to single-gradient shadows; it supports multiple gradients based on light source properties. Shadows and light sources blend additively, a feature reminiscent of Doom 3 and F.E.A.R.
This is less frequent than in Doom 3, but it greatly enhances the visuals, particularly after playing games with simpler shadowing. Combined with ID Tech 5's cinematic bloom and masterful light placement, it's a lighting marvel. Character illumination is phenomenal. The art direction is brilliant.
The sequel is also exceptional, but I slightly prefer the original. Beyond some poorly-executed psychological horror sequences, the first game expertly combines classic Resident Evil and RE4 elements with unique ideas. The traps are ingeniously designed, delivering thrilling, unpredictable moments.
These traps are a superb progression of similar mechanics in RE4. The late-game carousel room is a masterclass in game design. The slow escalation to intense chaos is brilliant. The game boasts many such moments. A few aspects are weaker – the mutated dog boss is underwhelming, and the final boss fight feels like a predictable power fantasy.
The movement and stiff animations are common criticisms, but I feel the movement suits the game's blend of classic and action-oriented Resident Evil gameplay. Other minor issues include megatexture pop-in. The game's effective use of megatextures and dynamic lighting is visually impressive.
The game's physics are also exceptional. Few games match its realistically rendered IV carts. Condemned’s office chairs might come close, but they lack the hanging IV bags. Teardown also has some good interactive objects.
Eighth and ninth-generation games rarely match its unified lighting, even some ray-traced titles. Lightly ray-traced games don’t compare to the fully ray-traced visuals of some UE5 titles or the updated Metro Exodus. I prefer the lighting in the original Metro Exodus due to its superior art direction.
Other contenders include the Dead Space remake, Ghostwire Tokyo, and Alan Wake 2. This is a long list, but even these games don't quite reach the same level of lighting excellence as the first Evil Within. My appreciation stems partly from the art direction and the interactive lighting.
This type of responsive lighting enhances immersion and spatial awareness. The upcoming wave of interactive lighting powered by UE5 and ray tracing is exciting, but simpler methods can also yield excellent results. Too many modern games overuse harsh lighting.
Evil Within 2's lighting, while good, is inferior to the original’s. Performance considerations likely led to a change in techniques, resulting in less cohesive lighting. The original may not use PBR, but it looks convincingly realistic.
The Windows Store/Game Pass port may improve matters. I would love a remaster with higher-resolution textures, enhanced lighting, and even more light sources. This post has been overly long. Add any notable games with similar lighting to my list. I eagerly anticipate the next Evil Within. Dead Space 2, despite its baked occlusion, also excels in lighting.
The lighting echoes the unified light and shadow styles of sixth-generation classics like Doom 3, and seventh-generation titles such as Dead Space. Its visual prowess is striking, despite minor texture imperfections. Let me explain: the game expertly employs shadow casters and receivers.
Even the impressive cloth physics participate in the shadowing. While some baked occlusion may be present in distant outdoor areas, the indoor and outdoor scenes primarily feature real-time rendering. Clever use of deep shadows, ambient occlusion, post-processing, and dynamic lighting creates believable darkness.
The subtle indirect specular highlights in dim areas are exceptionally well-executed and restrained, a stark contrast to the excessive indirect specular effects in games like Wo Long: Fallen Dynasty. The game isn't limited to single-gradient shadows; it supports multiple gradients based on light source properties. Shadows and light sources blend additively, a feature reminiscent of Doom 3 and F.E.A.R.
This is less frequent than in Doom 3, but it greatly enhances the visuals, particularly after playing games with simpler shadowing. Combined with ID Tech 5's cinematic bloom and masterful light placement, it's a lighting marvel. Character illumination is phenomenal. The art direction is brilliant.
The sequel is also exceptional, but I slightly prefer the original. Beyond some poorly-executed psychological horror sequences, the first game expertly combines classic Resident Evil and RE4 elements with unique ideas. The traps are ingeniously designed, delivering thrilling, unpredictable moments.
These traps are a superb progression of similar mechanics in RE4. The late-game carousel room is a masterclass in game design. The slow escalation to intense chaos is brilliant. The game boasts many such moments. A few aspects are weaker – the mutated dog boss is underwhelming, and the final boss fight feels like a predictable power fantasy.
The movement and stiff animations are common criticisms, but I feel the movement suits the game's blend of classic and action-oriented Resident Evil gameplay. Other minor issues include megatexture pop-in. The game's effective use of megatextures and dynamic lighting is visually impressive.
The game's physics are also exceptional. Few games match its realistically rendered IV carts. Condemned’s office chairs might come close, but they lack the hanging IV bags. Teardown also has some good interactive objects.
Eighth and ninth-generation games rarely match its unified lighting, even some ray-traced titles. Lightly ray-traced games don’t compare to the fully ray-traced visuals of some UE5 titles or the updated Metro Exodus. I prefer the lighting in the original Metro Exodus due to its superior art direction.
Other contenders include the Dead Space remake, Ghostwire Tokyo, and Alan Wake 2. This is a long list, but even these games don't quite reach the same level of lighting excellence as the first Evil Within. My appreciation stems partly from the art direction and the interactive lighting.
This type of responsive lighting enhances immersion and spatial awareness. The upcoming wave of interactive lighting powered by UE5 and ray tracing is exciting, but simpler methods can also yield excellent results. Too many modern games overuse harsh lighting.
Evil Within 2's lighting, while good, is inferior to the original’s. Performance considerations likely led to a change in techniques, resulting in less cohesive lighting. The original may not use PBR, but it looks convincingly realistic.
The Windows Store/Game Pass port may improve matters. I would love a remaster with higher-resolution textures, enhanced lighting, and even more light sources. This post has been overly long. Add any notable games with similar lighting to my list. I eagerly anticipate the next Evil Within. Dead Space 2, despite its baked occlusion, also excels in lighting.
