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It makes actually seeing anything on that side rather difficult, enables enemies to easily get the drop on you, and renders close-combat clunky and awkward. Your hulking avatar, kitted out in shields and helmets and special forces gear, takes up a massive amount of the screen: nearly a third, in practical terms.
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Perhaps the most obvious – being as it’s visible the entire time you’re playing the game – is that the FOV is far, far too low. Other choices, however, are nearly as baffling.
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Umbrella Corps’ problems don’t end there: they’re just the ones which happen to best show off problems with the game’s design. It’s got some interesting Resi-inspired maps, but they’re far too small for the game’s spawn system, meaning you’ll often kill (and be killed) within seconds of materialising.
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It’s got an in-depth upgrade system for weapons, gear, and other items, in order to incentivise extended play, but the default pick-axe melee weapon makes you move faster, has an insane lock-on, and is a one-hit kill, so everyone’s just using that. It’s got zombies and other bioweapons in it, which should make for interesting three-way battles, but the zombies themselves aren’t really up for said battle, and don’t do much bar stand there and occasionally get shot. It’s a team-based tactical shooter which encourages cover at literally every turn (a massive prompt attaches itself to anything the player can), but it moves so fast – your prone movement speed is almost the same as your walking speed – that it negates that cover. While it doesn’t really fit – despite its lashings of violence there’s no swearing approaching this level anywhere else in the experience, and ‘Fucking Hell’ just seems, well, weird in that context – it’s an almost perfect description of the game itself: a bizarre mishmash of styles and elements that don’t fit together at all. One of these statements, bizarrely, is ‘Fucking Hell’. When you get shot in Umbrella Corps your character will occasionally utter a remark describing how miffed they are at the situation.