I really like video game boxes. Barring any previous knowledge about a specific game, they can make or break an impression. Having edited a lot of information on Giant Bomb in the past and thanks to my general encyclopedic tendencies to research video games, I enjoy seeking out the different covers that were used for video games in regions other than the United States. The Resistance series has had many variations for the primary trilogy, and even for the two handheld games, that I want to post about.
The series’ initial release was a fairly standard first-person shooter and it’s box art isn’t eye-catching. It’s grayish palette is boring, and then you notice that isn’t a human skull. One thing that I really like about the series’ logos, is the use of landmarks related to the game’s setting. In this incarnation, Big Ben (officially known as Elizabeth Tower) defines the A. With the exception of various rating labels, this box art was used in all regions.
Resistance 2 saw Insomniac Games adopting the “scale and Hale” approach, and it most definitely traded on a larger scale and included more depth to Nathan Hale than Fall of Man. The box art is fairly representative of this although some might say it’s a little generic thanks to the image of Nathan brandishing a gun. The background conveys a lot on the flip side. For this release, the Golden Gate Bridge defines the A.
A few alternate covers were released through the PlayStation Blog for fans to print off and replace the original Resistance 2 cover if they desired. The first one didn’t alter much. It features a zoomed in Nathan, perhaps better conveying his Chimeran traits visible by his eyes.
This is the second alternate cover released through the PlayStation Blog and I really like it! I think it’s more eye-catching than the cover used and foreshadows the duality in Nathan’s half-human, half-Chimeran traits. This is also true for America, before and after the Chimeran invasion.
Finally, Japan received a different box art for their release of the game.This one conveys a little more of the futile nature of the human-Chimeran conflict that I surmised present in the game’s narrative.
And with Resistance 3, Insomniac and Sony went a completely different direction. Without a doubt, it’s more “artsy” than any other Resistance cover. A visit to Olly Moss’ website proves he has a definitive style that harkens back to periods past, and his design was somehow fitting for the final game in the trilogy. Defining the A this time is the Statue of Liberty.
There have been two compilations of the series thus far. A dual pack release that bundled the first and second games together and an actual compilation that featured all three games. The North American box art isn’t really noteworthy. it features the basis of Fall of Man’s box art with some stickers stating what it is. This cover however was utilized for Europe and Australia and is much, much cooler.
The first spin-off for the series was Resistance: Retribution for the PlayStation Portable. From most accounts, it’s a stellar game that isn’t as hindered by the PSP’s lack of a second analog stick. I haven’t played it myself, although I’m looking forward to it. Both covers feature the Eiffel Tower prominently. The left-hand box art was used in America and Japan and is similar to the second game’s while the right-hand one was used in Europe and Australia and reminds me of Japan’s cover for the second game. With this title, the Eiffel Tower defines the A.
The most recent, and likely final, game in the series is Resistance: Burning Skies for the PlayStation Vita. It was generally received negatively, but I’m still moderately interested in it. The North American and European cover implies a violent end for the Chimera in question while also highlighting the occupation of the protagonist. The Japanese box art is oddly colorful and I’m really drawn to it. Defining the A for the final time is Tom Riley, the game’s firefighter star.
The series has had a fair amount of diversity in the various covers but one thing always remained constant: Chimera. Dead or alive, they were always present.