Summary
Switching toa first-person perspectivewas a massive gamble forResident Evil, a series known for its tank controls, fixed angles, and slow, creeping dread. But Capcom has never been shy about reinventing the wheel, and occasionally tossing that wheel out the window to build something completely unhinged that can be terrifying, chaotic, experimental, or just plain weird. Sometimes all at once.
This list takes a look at every first-personResident Evilgame so far, from the awkward early spinoffs that barely functioned, to the modern nightmares that redefined survival horror. Some of these games stumbled, so others could sprint through a haunted house with nothing but a shotgun and blind panic.
There’s something oddly poetic about combining the most narratively convolutedResident Evilentry with one of themost chaotic gameplaystyles in the franchise. That’sResident Evil Survivor 2 – Code: Veronicain a nutshell. Released exclusively in Japanese arcades and for the PlayStation 2 in Japan and Europe, this sequel was built on the bones ofCode Veronica, but most of its internal organs were swapped out for reflex tests.
This wasn’t a traditional survival horror game so much as a rail shooter strapped to a ticking clock. Players raced through environments pulled fromCode Veronica, gunning down monsters with light gun controls while dodging time penalties and tyrants. Claire and Steve were playable, but don’t expect a story—this was more of a fevered simulation than a continuation of anything.
It was also mechanically bizarre. Players were punished for standing still, and Nemesis—yes,thatNemesis—randomly shows up to ruin the player’s day. As if one tyrant wasn’t enough. There were ideas here, likeco-op multiplayer in the arcade version, but none of them felt fully developed. It’s a curiosity at best, and even among diehard fans, it’s mostly remembered as the one with the weird yellow timer bar that made everything worse.
There’s a very specific kind of horror that comes from knowing exactly what players are supposed to be doing but having absolutely no control over their bodies. That’s more or less howResident Evil Survivorplays.
Released in 2000 for the PlayStation, this was the first attempt to bringResident Evilinto full first-person territory. And it shows. Movement was clunky, shooting felt like trying to thread a needle with oven mittens, and the visuals—well, let’s just say early 3D had its limits. But for all its flaws,Survivordeserves credit for being the series’ first step away from fixed camera angles.
The story follows Ark Thompson, a man with amnesia (classic), who wakes up in a helicopter crash on Sheena Island, where Umbrella has been cooking up horrors no one asked for. The game tried tomix exploration and combatin a new format, but the execution fell flat. No light gun support outside Japan, stiff controls, and barely interactive environments made it feel more like a proof of concept than a fully fleshed-out entry.
And yet,Survivorhas its defenders. Some players appreciate the atmosphere and eerie soundtrack, and there’s a certain charm to its jankiness. It’s not good, but it walked so others could eventually sprint.
By the timeThe Darkside Chronicleshit the Wii in 2009, Capcom had ironed out many of the kinks from its earlier light gun experiments. This game was stylish, fast-paced, and packed with nostalgia. It reimagined key moments fromResident Evil 2andCode Veronica, while also adding a brand new prequel story about Leon and Krauser called “Operation Javier.”
What setDarkside Chroniclesapart was its cinematic flair. The camera swayed wildly during action scenes to simulate tension, which looked cool but made some players queasy. It was like watching a found footage horror film while someone shook the TV. Still, the voice acting was strong, the monster redesigns looked fantastic, and the game never let up in terms of pacing.
It also subtly expanded on Krauser’s backstory before his big role inResident Evil 4, making his fall from grace feel more personal. And while it’s technicallyan on-rails shooter,Darkside Chroniclesput more effort into storytelling than most games in the genre. It was flashy, ambitious, and occasionally a bit much—but it worked.
BeforeDarkside Chroniclesadded the shaky cam and personal drama,The Umbrella Chronicleswas Capcom’s first real attempt to turnResident Evilinto a ride at a haunted amusement park. Released on the Wii in 2007, this on-rails shooter gave players a chance to relive major events fromResident Evil 0,Resident Evil 1, andResident Evil 3, with some new lore sprinkled in for good measure.
What madeUmbrella Chroniclesfascinating wasn’t just its nostalgic recap, but the way it recontextualized key events. For instance, players could experience parts of the story from Albert Wesker’s perspective, complete with his smug narration and weirdly operatic combat style. There was even a new chapter set in Russia that bridged the gap between old-schoolResident EvilandRE4.
The gunplay felt responsive, the enemy variety kept things fresh, and the locations were meticulously crafted to mirror their original versions. Sure, some purists scoffed at thearcade-style gameplay, but as a guided tour throughResident Evilhistory, it was surprisingly effective. It didn’t try to reinvent the franchise—it just let players shoot their way through its greatest disasters.
By the timeResident Evil Villagereleased in 2021, first-person horror was no longer a novelty for the series—it was a refined weapon. Set in a remote European village inspired by Eastern European folklore, the game pushed the franchise deeper into fantasy horror territory without losing its grotesque edge.
Ethan Winters returned as the world’s most durable everyman, and players once again saw through his eyes as he stumbled into a nightmare of werewolves, witches, and one very tall lady with claws.Villageembraced spectacle, leaning into larger-than-life villains like Lady Dimitrescu and Heisenberg while offering set pieces that felt straight out of an action blockbuster.
What made it sing was the variety. From the atmospheric dread of Castle Dimitrescu to the psychological terror of House Beneviento—where players were stalked by a monstrous baby in the dark—each section felt distinct. The first-person view wasn’t just a gimmick, it was crucial to delivering jump scares, environmental storytelling, and brutal combat sequences up close.
Some longtime fans missed the slower pace of older entries, butVillagestruck a balance between action and horror, taking cues fromRE4while still keeping players on edge. It was polished, bombastic, and endlessly rewatchable thanks to a community obsessed with breaking down its lore and speedrunning its campaign.
No otherResident Evilgame shifted the entire tone of the series the wayResident Evil 7: Biohazarddid. After years of action-heavy sequels that leaned more into explosions than scares, Capcom took a sharp left turn into first-person horror, locking players into the decaying Baker estate with no HUD, no backup, and barely a gun in sight.
From the moment Ethan Winters wakes up in that swampy Louisiana nightmare,RE7makes it clear: this isn’t about saving the world, it’s about surviving dinner with a family of sadistic mutants. The first-person perspective made everything feel claustrophobic and personal. Every creaking floorboard, every inch of mold creeping down the hallway—it all felt way too close.
Combat was minimal at first, with players relying on knives and scavenged ammo while sneaking through the house. Jack Baker’s relentless pursuit, Marguerite’s disgusting hive powers, and Lucas’s Saw-inspired traps all reinforced that sense of helplessness. And then there was Eveline, the childlike bioweapon whose presence infected every corner of the house like a bad memory.
Resident Evil 7didn’t just bring horror back to the series, it redefined howResident Evilcould be scary. VR support added another layer of dread, and the game’s pacing—from its slow buildup to its chaotic finale—was razor sharp. It was a gamble that paid off, breathing new life into a franchise many thought had lost its identity.
