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If this has any relevance to the story it's not apparent in the first three chapters, and it plays so blatantly into the old clichés of the dangerous "dark continent" and the primitive lust of its inhabitants that you'd swear the game was written in the 1920s. When you attempt to rescue her, she's been turned and must be killed. Later on, there's a cut-scene of a white blonde woman being dragged off, screaming, by black men. The mini-map lets you keep track of your partner - though there's rarely anywhere for them to go. Where Africans are concerned, the game seems to be suggesting, bloodthirsty savagery just comes with the territory. Since the Majini are not undead corpses, and are capable of driving vehicles, handling weapons and even using guns, it makes the line between the infected monsters and African civilians uncomfortably vague. These are ordinary Africans, who stop and stare at you menacingly as you approach. Animal or human, it's never revealed, but these are not infected Majini.
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One of the first things you see in the game, seconds after taking control of Chris Redfield, is a gang of African men brutally beating something in a sack.
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That debate is only going to get louder and more urgent once the game is released, and is being covered beyond the cosy world of the specialist gaming press, since there's imagery in here that goes beyond the general air of foreign menace that caused a ruckus in the first trailers. There's also the spectre of the old racism debate, hovering the background. That your character is wandering around in broad daylight, with a constant and shapely companion, hardly helps to nurture a feeling of paranoid terror. There are plenty of gory moments, some agreeably wacky monsters and enormous amounts of bullets fired, but the series' famous sense of dread and horror-movie pacing has been completely ditched in favour of all-out action. Where the game seems weakest is in its reliance on a wonky AI model for the single-player, and a noticeable lack of scares. The controls are a struggle at first, but it's not difficult to accommodate the quirks with the aiming speed turned up and the fourth control option selected. It's never less than visually impressive and the set-pieces are delivered with all the movie-style aplomb you'd expect. It all culminates in an even bigger boss battle against an aquatic creature, once again relying on conveniently placed mounted weapons to blast the weak spots to bits.Īnd so ends Chapter 3, and our time with the game. There's a battle through an oil refinery where you're joined by a third character, Josh, followed by an airboat chase during which you have to jump ashore to find the buttons that will open the gates to continue. It shouldn't take much mental effort from fans to work out what might be involved.
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There are the usual melodramatic plot twists and cheesy revelations, but I'm not about to spoil any details. Somewhat ironically, it's at this point that the story really starts to kick in, and where fans will start to learn how the events of Resident Evil 5 tie in with the dense narrative tangle of the series.