In the lead-up to the launch of Resident Evil Requiem, my preparations were exhaustive. I immersed myself in mountains of franchise lore, revisited the classic beats of Resident Evil 2, and analyzed the historical reception of every major installment. However, the most enlightening piece of research I conducted was revisiting a gloriously over-the-top feature: Resident Evil: Death Island.
Released in 2023, Death Island is a standout entry in the series’ animated lineage. It serves as an ensemble spectacle, uniting the franchise’s iconic heroes to combat a biohazard outbreak on Alcatraz Island. It is every bit as audacious as that premise suggests. While viewing it isn’t a prerequisite for understanding the narrative, it provides a fascinating technical parallel to Requiem. It demonstrates that the once-distinct worlds of high-budget CGI cinema and real-time gaming have finally achieved action parity.
Though they rarely garner the same mainstream attention as the live-action adaptations, the animated films possess a rich history. 2008’s Resident Evil: Degeneration pioneered this trend, acting as a narrative bridge between Resident Evil 4 and Resident Evil 5. It showcased bombastic set pieces that exceeded the technical capabilities of contemporary consoles—including a massive commercial airliner crashing through an airport terminal and biological horrors parrying grenades with mid-air precision.
At the time, the gaming entries were only just beginning to pivot toward heavy action. While Resident Evil 5 and 6 eventually leaned into the spectacle, the animated films always seemed a step ahead in terms of sheer absurdity. 2017’s Resident Evil: Vendetta, for instance, introduced “gun-fu” sequences so confidently ridiculous that they became legendary within the fanbase.
As we navigate 2026, that technical gap has effectively closed. Resident Evil Requiem pushes cinematic boundaries, proving that Capcom’s RE Engine is more formidable than ever on modern hardware. One particular sequence stands out: during a high-stakes return to Raccoon City, Leon S. Kennedy engages in a high-speed motorcycle pursuit through a crumbling highway. Pursued by the villainous Dr. Victor Gideon and a pack of mutated hounds, the scene evolves into a high-octane joust on wheels. It is a moment of pure, unadulterated adrenaline.
Interestingly, Resident Evil: Death Island features its own Leon-centric bike chase. Early in the film, he weaves through highway traffic, fending off adversaries in a sequence that feels like a supernatural twist on the Bourne films. Cars are launched like projectiles, and villains use trailers as ramps to descend upon him. The creative DNA between the two mediums is unmistakable.
This isn’t necessarily a sign of direct collaboration between film directors and game developers, but rather a testament to the franchise’s consistent creative vision. Capcom has always maximized its available technology to deliver dramatic tension, from the iconic “creaking door” loading screens of 1996 to the photorealistic stunts of today. The animated films have simply been a playground for ideas that the games are now powerful enough to execute. It is a remarkable era for the medium when Requiem and Death Island can mirror each other’s audacity so seamlessly.
Ultimately, if the campy, high-octane thrills of Resident Evil Requiem resonate with you, Death Island is a mandatory watch. It may not redefine the genre, but watching Jill Valentine dispatch an undead threat through a shattering glass table is the kind of stylistic flair that defines this legendary series.
Source: Polygon
