Once you've made it through the Experiment Block door, you can catch your breath and then head around the corner to the left.
Examine the body on the ground nearby to retrieve the very-much-welcome Shotgun M147S. Once it's yours, continue along the corridor as it turns left. There's a large red crate blocking your path through the doorway ahead, so - in the spirit of conserving precious ammo - smash it with your melee attack and then grab the Handgun Ammo that comes tumbling out.
Move into the next room and you'll spot another red crate a little further ahead, this time containing a Green Herb. At this point in the single-player game, you automatically switch control to Moira for the next part of your quest.
Look around to locate three glistening objects on the shelves in one corner of the room. Focus your beam on them to uncover some more Handgun Ammo, a Topaz (100BP) and a Crowbar.
Where to find Moira's crowbar
Left For Dead 2 Resident Evil 1 Map
The Crowbar acts as Moira's primary weapon, enabling her to perform a simple melee swing, stun certain enemies from behind, and deliver a follow-up blow to downed - but not dead - enemies. Use your new tool to prise the wooden panel from the nearby blue door and you'll automatically regain control of Claire.
Heal up if necessary and make your way through into the next, even grimier, corridor. Immediately after entering, you'll catch a glimpse of another mysterious figure, so give chase once more, pushing further along the linear corridor.
In the next room, use Moira's torch to uncover two more stashes of Handgun Ammo on the ground, then switch back to Claire and smash the nearby crate to secure some Shotgun Ammo - you'll need it shortly. With your pockets now bulging, interact with the shutter at the end of the room and proceed into the next corridor.
Climb the staircase beyond to enter the main prison complex. Before pushing forward, do a U-turn and investigate the open cell door behind you. Inside you'll find a crate containing a Green Herb.
Back out in the main area, head toward the open door at the far end, ignoring the anguished wails of the - thankfully restrained - inmates. Following a brief cut-scene, nip through the open cell door to the left and shine Moira's torch on the ground to reveal more Handgun Ammo.
Back outside, continue onward, ignore the staircase leading up to the Control Room, and pass through the gate to find a blocked-off area full of nefarious torture equipment.
To gain access, you need to locate a Gear Kog (yes, with a 'K') and use it on the panel to the right. Sadly, it's going to be a while before that happens.
Find the Detention Centre Map
Before moving on, grab the Detention Centre Map from one of the two nearby tables and the 'Improving Security Measures' document on the other. Next, proceed along the corridor to your right and reveal the hidden Shotgun Ammo on the floor using Moira's torch.
Make your way through the door at the end of the passage and duck into the small alcove immediately to the left. Once you've located the 'Excerpt from Kafka's 'In the Penal Colony' document and the crate containing a Ruby (250BP), turn around and pass through the next blue door to proceed.
There's some hidden Shotgun Ammo near a pipe in the corner of the room, and a strange contraption in the centre. Attempt to fiddle with the machine's controls and you'll be informed that it's currently inoperable. So begins your next quest to turn the power back on.
- The next part of our walkthrough explains how to upgrade your weapons, dodge the blades and find the Rusty Key.
- You can find the rest of our Resident Evil Revelations 2 guide from the first page of this article.
![Resident evil hd remaster map Resident evil hd remaster map](/uploads/1/2/3/7/123729404/531826237.png)
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Forgotten your details? There are many locked doors (with corresponding keys) in the Resident Evil remake. While there are many different keys to be found, there are four main keys that are used to open most of the locked doors in the mansion. These four keys are each named for a part of a suit of armor: Sword, Shield, Armor and Helmet.
The mansion can be a confusing place and it's easy to lose direction while navigating it. A series of maps has been compiled for each of the four keys, showing each door that they open.
Click Key titles for Map info
Tip[edit]
If the player opens every door that belongs to a specific key, the game will tell the player that there is no further use for the key. It then allows the player to discard the key, freeing up inventory space. It can be helpful to try to open as many of these doors as soon as possible to take advantage of this feature.Comments
Where to find every weapon in Resident Evil HD Remaster, and what you need to do to get them.
Where is the Pistol in Resident Evil HD Remaster?
Jill is already equipped with this when the game starts. Chris finds Wesker's pistol on the floor of the main hall after the first zombie encounter. Good for dealing with zombies, bad for almost anything else.
Where is the Shotgun in Resident Evil HD Remaster?
Found in the first floor east wing drawing room on the far wall. Ensure you go here first after finding the Sword Key (found after entering the crypt out the back door of the mansion) or Barry will not save you, meaning you'll have to waste time going to the west wing to recover the Broken Shotgun (Chris has to do this by default). Excellent crowd control weapon, especially against groups of dogs (although it has been known for these enemies to sometimes shrug off Shotgun damage, so beware).
where is the Lighter in Resident Evil HD Remaster?
Found on a desk in the small library in the east wing, second floor when playing as Jill (Chris starts with it in place of the Lockpick). Mission critical, and can be used to light downed enemies on fire when combined with the Canteen (found in the east wing save room) and kerosene.
Where is the Grenade Launcher in Resident Evil HD Remaster?
Found on Forest's corpse on the east wing second floor balcony. The door requires the Armour Key to unlock. Three different shell types - grenade, incendiary, and acid - each have different uses. Flame rounds can burn zombies instantly and are good against Plant 42, grenades can stun Hunters and are good against dogs, and acid rounds are also effective against Hunters and spiders.
Where is the Assault Shotgun in Resident Evil HD Remaster?
![Evil Evil](/uploads/1/2/3/7/123729404/934550461.jpg)
Recovered in the east wing attic during the Yawn boss fight IF you saved Richard with the Serum (for tips on how to save Richard, check out our Beginner's Guide.
For Chris, if you save Richard the same way this weapon will be found in the Residence's Aqua Ring B2, by the first, smaller flopping shark. Same basic properties as the Shotgun, but with higher damage, making it a great all-rounder. Added bonus: carries more shells.
Where is the Magnum Revolver in Resident Evil HD Remaster?
Found by completing the cemetery puzzle on the way to Lisa Trevor's cabin. Requires the Wind Crest, which is located in the Researcher's Room in the mansion's east wing second floor. Extremely effective on most enemies, this should be saved for when the Hunters turn up. Ammo is at a premium.
Where is the Self Defense Gun in Resident Evil HD Remaster?
Found on a desk in Residence room 001. Extremely powerful, and best used on bosses such as Yawn 2 or the Black Tiger. Only one round for the entire game, however. Use it wisely.
Where is the Flamethrower in Resident Evil HD Remaster? - Chris only
Only found in Chris' game, in the Courtyard B1 just before the Black Tiger fight. Effective at putting the spiders down, but in reality it's a last resort. Also used to unlock doors (by setting it on a special switch), it can only be used in the Courtyard.
Where is Barry's Magnum in Resident Evil HD Remaster? - Jill only
Ultra-powerful revolver, capable of putting the Tyrant down in one shot during the first encounter. Only available if you refuse to give Barry the gun back immediately prior to the Lisa Trevor boss fight under the mansion, doing so prevents players from getting the best possible ending. Only 6 shots, as well - it cannot be loaded with normal revolver ammo.
Where is the Rocket Launcher in Resident Evil HD Remaster?
Thrown by Brad during the final fight. Most powerful weapon in the game. Four shots: don't miss.
Where are the Bonus Weapons in Resident Evil HD Remaster?
Samurai Edge
Acquired by completing the game in under 5 hours, the Samurai Edge has infinite ammo and fires in a three round burst.
Rocket Launcher
Complete the game in under 3 hours to get this weapon, the strongest in the game. Infinite ammo.
Resident Evil is often credited with inventing the survival horror genre. While that particular accolade may not be entirely factual, the game is worthy of recognition for cementing horror as a viable, mass-market console genre. Critics are quick to point out that Resident Evil’s basic game system, consisting of static backgrounds, 3D characters, and character-centric pivot-and-move controls, were lifted almost entirely from Alone in the Dark. Resident Evil, some will argue, might have taken the Dark formula and spruced it up for prime time, but it can hardly be credited with any great game design innovation.
Though it’s true that Resident Evil used Alone in the Dark as its template, I think that critics who write the game off as a copycat are not paying enough attention. There is a wealth of interesting game design ideas in Resident Evil, and in this article I want to tackle one of them in particular: the design of the mansion map.
It’s been a while since we all played Resident Evil, so let me refresh your memory. At the beginning of the game the protagonists find themselves locked in the sinister Spencer Mansion, which is also home to lots of zombies and (as we eventually find) a large underground secret laboratory. As the game starts there are only a few rooms that are accessible–access to most of the mansion is sealed behind locked doors, secret panels, and powered-down elevators. As the player progresses through the mansion he finds keys that unlock doors in areas he’s already visited, and must eventually return to those areas to find more keys to unlock new areas of the structure. Thus the player travels through the map in a very non-linear fashion, moving back and forth between rooms as items are collected and puzzles are solved, and eventually passing into areas with entirely new rooms. The map opens itself up like a spiral shell. I call this design Recursive Unlocking.
This approach has interested me for a long time. The genius part of the Resident Evil level design is that in the course of playing through the game two things happen: the player unlocks shortcuts and the player runs out of ammo. At some point the game becomes entirely about traversing efficiently through the mansion; it’s a run from the safe room (where we can save) through the shortest possible set of rooms until we reach another safe room or a new puzzle to solve. There’s simply not enough ammo to dispatch all of the zombies in the game, so route planning and deftly maneuvering through the Victorian building is eventually the key source of challenge.
Though the Recursive Unlocking pattern is interesting, I’ve struggled with how to study it. The actual order in which rooms are accessed has a lot to do with the player himself; most of the time there are two or three puzzles that are in the process of being solved simultaneously, and the level of traversal efficiency can depend on the order in which these puzzles are attempted. That said, there’s clearly a method behind the design of Spencer Mansion and its surrounding areas. The brains behind this game carefully architected the map so that the player’s traversal through the mansion would occur at a pace that they could control. To understand how the Recursive Unlocking methodology works, it would help to understand how the space was designed in the first place. Since we can’t just call up Shinji Mikami, Hideki Kamiya, and the rest of the (large) design team, I turned to the next best thing: data mining and visualization.
Methodology
When designing a game we can assume that the level designer thinks in terms of the fastest path through the space. If several goals must be completed before the next space is unlocked, the level designer knows the most efficient order in which to complete them. He’s likely to lay the main path out first, then go back and flesh it out with extra details, secondary goals, or side-paths. Therefore, if we look at a highly efficient traversal of the space that doesn’t rely on bugs or tricks, we should be able to get a rough approximation of how the level was put together originally.
What I did is take a video of a speed run of Resident Evil: Director’s Cut (using Jill, on Arrange Mode, with 100% completion) and trace the player’s path through the game. I recorded each room transition in order, along with a time stamp, to produce a mapping of the speed runner’s entire path through the game. Then I wrote some code to render this path over a 2D map of the whole game using Processing. Finally, I took all the data I had, threw it into a spreadsheet, and made some graphs.
The results are pretty interesting. The speed runner takes the most efficient path possible through the game; no time is wasted with story or items. The only rooms visited are those that are necessary to progress to the end of the game. Since this is Arrange Mode, the actual details of the traversal might differ slightly from the original Resident Evil, but even so the main arc of the game, the way that the player moves from one part of the mansion to another, is clearly visible and worthy of analysis.
Visualizing Recursive Unlocking
Here’s a visualization of the most efficient path through Resident Evil 1.
You can download a full-res movie file (Quicktime format, 30 MB) of this if you want. There’s also a Java applet version, but it doesn’t work well in some browsers and needs a lot of memory.
This speed run is by UltimateSpeedRuns. The maps were produced by Daniel Engel and posted on Gamefaqs. Resident Evil: Director’s Cut: Unauthorized Game Secrets had a useful numbering system for the rooms (which is unfortunately ignored by the actual walkthrough text) that I used to keep track of the speed run data.
What you are seeing here is the path from room to room that UltimateSpeedRuns took to finish the game in a little under an hour and a half (you should also check out his hilarious 44 second speed run of Clue). The game starts with Jill entering the dining room on the first floor of the mansion and ends with her running down a hall in the laboratory to catch an elevator to the helipad. There are 213 room transitions here, which I’ve sped up to show in about a minute (if you want to see them in real time, try the Java applet).
Analysis
So that looks pretty cool and all, but what does it really tell us? Let’s start with some of the raw data collected for this research.
There are 116 unique rooms in Resident Evil, split between four major areas: the mansion, the courtyard, the guardhouse, and the laboratory. A room is any space the player can occupy: a hallway, passage, closet, or room. To finish the game, UltimateSpeedRuns visited 213 rooms total, which means that most rooms were visited only twice. Skyrim cbbe body. Does it strike you as odd that a game known for requiring a lot of backtracking can be completed without passing through most rooms more than two times? Remember, this includes all hallways and passages, as well as proper rooms, in the game.
In fact, the data shows that we can be far more efficient than that. Of the 116 rooms in the game, 19 of them were not visited at all in this run. These are rooms that contain story pieces, or access to guns or other items that are not strictly necessary for progression. The majority (44, 38%) of rooms were only visited once. The most visited room in the entire game is a small hallway in the upper-right part of the mansion’s first floor. This room connects the mansion to the courtyard, to the second floor, and it is also right in the middle of several shortcut paths. It was visited a total of eight times.
This means that while there is some backtracking involved in Resident Evil, the path is from beginning to end is mostly linear. In fact, looking at the video above, we can see that there is a common pattern to the traversal: the player enters an area and then spends a lot of time in that immediate vicinity, visiting adjacent rooms several times before moving forward or heading back the way they came. You can see how an area will light up with activity for a few seconds, then the player travels on to some other part of the mansion. There’s a little bit of micro-backtracking within these “hot” areas, but very little retracing of steps across the larger map. At a macro level, Resident Evil is pretty much a linear string of these hot spots.
The presence of these high-activity areas reveals a key trait of the level design in Resident Evil: items and puzzles are organized together spatially and on the game timeline. When a puzzle in a room becomes solvable, it’s likely that the next item required after it, or the previous item required to access it, is in an adjacent room. The hot spots we see in the video are areas where a bunch of related items are stored in close proximity, but the unlocking of these hot spots is sequenced, so we also know that related items are revealed to the player when they become relevant. The message to the player is this: the items you have now are useful soon, and you won’t have to travel far to use them. Looking at the fastest-path traversal of this game, we can see how a skilled player only collects items when they are relevant and close, which leads to hot areas of the map and helps him avoid back tracking. That he can schedule item collection and traversal like this at all indicates that the levels were designed with this sort of progression in mind.
Of course, regular players might not realize that there’s an optimal order to collecting items and solving puzzles. They may backtrack to previous areas unnecessarily, or miss a key item and be unable to progress. But because the items and puzzles are staged both spatially and on a timeline, the player who wanders around looking for the next step should find himself returning to the same areas over and over. If there’s something left to be done in one room, there’s probably an item or puzzle in a room close by as well. This design serves to shrink the search space for the player, to localize the area which requires extra focus. I’m sure many players do this unconsciously without realizing that they are being guided by the game design.
Recursive Unlocking in Practice
There’s one specific moment where the player suddenly makes a long arc back through the first floor of the mansion, revisiting the areas where the game began. You can see this in the video at about 35 seconds in, which puts it at roughly 60% of the way through the game (it occurs 51 minutes into the speed run). This is a great example of the Recursive Unlocking pattern because it shows how the designers use this map layout to control tension and pacing.
At this point in the game the player has been all over the mansion. Then they left the mansion and spent some significant time (about 15 minutes of speed run time; 16% of the total game time) in the guardhouse. They then returned to the mansion and fought a boss (the giant snake, second appearance). This lead to a new area of the mansion that the player has seen but been unable to access (the library on the second floor), and eventually deposits the player back in the long hall next to the dining room where the game begins. The next destination for the player is the courtyard, which is accessed from the top-right corner of the map, and to get there the player passes back through the main hall and a bunch of other rooms that appeared early in the game.
We can see in the traversal visualization that this is one of the few times the player actually has to cross the whole mansion map without doing anything on the way. This trip serves a couple of purposes. On some level, it is comforting for the player to revisit these early areas, as they are familiar and the location of nearby saves and health has been long since memorized. On the other hand, the passage also serves to ratchet tension up as the player approaches a new area (the courtyard basement): the zombies that the player originally faced in these halls have now been replaced with giant spiders and hunters, both of which are pretty hard to kill. And finally, this section serves as a reminder of where we are; it brings us back to the beginning of the game and reestablishes the mansion in our memory. This is the last time the player will see the mansion; after traveling through the courtyard basement the he continues to the laboratory, which is the last environment in the game. So the last bit of the mansion that we see is the area that introduced us to the mansion to begin with. It is these rooms that we’ll remember the best when the game is over.
Using Traversal to Fight Fatigue
Another interesting aspect of this visualization is the way that the player moves between the four main environments: the mansion, the courtyard, the guardhouse, and finally the laboratory. These areas all look very different; the mansion has huge ceilings, Victorian stylings, and lots of zombies. The courtyard is outdoors, and has zombie dogs, snakes, and eventually hunters. The guardhouse is a wooden structure, old and dilapidated compared to the mansion, and it’s overrun by spiders. The lab is all metal hallways and complex piping, with sliding doors and glowing screens–another big departure from the previous areas.
The mansion accounts for the biggest chunk of the game, but it’s less than half (43%). One fourth of the whole game takes place in the laboratory, and the guardhouse and courtyard combined account for the remaining 30%. In terms of rooms, the mansion itself is the most dense (59 rooms visited), followed by the lab (21 rooms), with the guardhouse and courtyard about tying for third (with 18 and 17 rooms respectively). These areas are not reused much; the player generally enters one of these areas, solves a bunch of puzzles (another hot spot in the traversal), and then leaves, never to return again (the courtyard is sort of an exception–it gets traversed twice).
The four major locations in Resident Evil look distinct and play differently to prevent player fatigue. After solving a bunch of statue puzzles and placing gems into stone eye sockets for a few hours, the player is ready for a change. Leaving the mansion gives the designers an opportunity to change up the pace of the game, introduce new enemies, and just give the player a break from the areas he’s already seen over and over again. Given that the entire design of the Resident Evil map is based on recursion over the same key areas, these secondary spots are an attempt to prevent monotony.
It’s also interesting to note that by looking at how much time the player spends in each room, we can sort of get a sense of how the design changes from area to area. The speed runner in our video goes through the mansion rooms at an average of 37 seconds per room. The mansion is primarily a traversal puzzle. Time spent examining the environment isn’t recorded by this data, as the speed runner did not bother. The guardhouse is similar: 36 seconds per room. But the courtyard and laboratory areas are much longer: 53 seconds per room and 59 seconds per room respectively. Perhaps the difference in speed is related to an intentional change of pace between these areas, or perhaps it is a side-effect of the development process. Either way, it seems clear that the rooms in the mansion and guardhouse feel different than those in the courtyard and laboratory because they are passed through so much more quickly.
Other Fun Facts
Here’s a couple of other interesting tidbits I gleaned from this data.
- The hunters are introduced almost exactly half-way through the game.
- The door opening animation, which plays between rooms to mask the room load time, takes about 5 seconds. In total, the accumulated cost of this load time is about 25% of the total play time of this speed run.
- Arrange Mode (used for this test) moves the locations of items around on the map, but doesn’t generally disrupt the order or point in progression in which they appear.
Conclusion
Visualization of player data can give us interesting insights into how games like Resident Evil work on the macro level. Using a speed run for this sort of visualization is ideal because it removes any bias and confusion that might stem from individual player sensibilities and shows us something close to the path that the level designers intended. In Resident Evil’s case, the Recursive Unlocking pattern is used to control the pace of the game, the flow of the narrative, the progression of enemies and weapons, and even to force a change of scenery on the player, all while maintaining a non-linear feel. This sort of analysis reveals how much thought actually went into the construction of the layout of this game. I think you’d be hard-pressed to find another Adventure game from the Resident Evil era that pulls off such a tight and formal traversal; this level design is clearly the product of serious planning. The data here shows that the layout of Spencer Mansion and its surrounding areas was probably the single most difficult part of the Resident Evil design, but the work that Capcom’s designers put into it made the game the masterpiece that it is.