#So naturally I wanted to restore that shit the fastest

[cosmicwhoreo]

Moon Pearl

hwat if BP finally reformed after years of grief and took her mum's place as the new embodiment of the Almighty Sea~?

But, be wise to not mistake this change of mind as passive. For she is as beautiful as she is volatile, sailors of all stripes being cautioned to offer tribute to the sea for the promise of a safe voyage.

[artificialqueens]

Good Morning Campers, Chapter 2 (Crystal x Gigi) - Gelato

One week down, six more to go.

Crystal and Gigi has successfully avoided one another, more so on Gigi’s part than the other.

Gigi busied herself as usual, filling her days with tennis, swimming, and hikes with her fellow “Heather’s”. Over all, it was exactly the camp experience she had been looking forward to.

But Crystal was getting all more difficult to ignore.

Gigi had become all too familiar with Crystal’s nightly routine. She always returned from the showers clad only in a damp towel, her wet hair piled at the top of her head in messy space buns. She wouldn’t bother getting dressed for at least an hour, opting to do a little hair and makeup before evening activities. Her towel always managed to slip, which never went unnoticed by the young Miss Goode, who would always pretend not to see.

Gigi had long returned from her afternoon activities, refreshed and waiting for the first dinner bell to ring so she could report to the pavilion for dining hall duty.

It had began to rain softly over the camp, the first day of unfriendly weather to grace them since arriving. She laid peacefully on her bed, reading through her worn copy of Little Women, enjoying the gentle drumming of the rain as it pummeled onto the cabin’s rooftop.

She glanced at her watch, noticing it was well past the time that Crystal usually arrived back from her shower.

Gigi scoffed.

If there was anything she hated the most, it was tardiness. And Crystal was the queen of tardies, already receiving a warning from the Senior Counselors for reporting late to her duties over the past few days.

Just then, a burst of thunder and lightening made it’s grand entrance, followed by the fearful shrieks and shrill voices of campers caught in the storm. Gigi could make out the sound of running feet all around the cabin as the girls scrambled to take shelter, followed by the swinging door of their very own cabin, 701.

“It’s fucking freezing!” Crystal exclaimed.

Gigi looked back at the sopping wet girl who made her way to their shared back end of the cabin.

Crystal wore only flip flops and a one piece swim suit, both light pink and sparkly. She had obviously spent the afternoon on the lake, her freshly tanned skin and newly sprouted freckles across her nose to show for it.

“Dining hall duty is in 20 minutes. Should I inform them that you will be late.. again?” Gigi asked with a huff without looking in Crystal’s direction, shutting her book and rising to gather her rain slicker and boots for her walk to the pavilion.

“Not at all. I’m going to take the world’s fastest shower and then I’ll be on my way. Thanks for your concern, though.” Crystal replied over her shoulder with a smirk.

Gigi rolled her eyes, opting to leave her umbrella as she figured her rain coat and hood would do the trick. She made her way to the cabin door, Crystal hot on her heals with a towel in hand.

“Well, good luck with that.” Gigi replied half heartedly before exiting and bounding down the steps, not realizing just how slippery they had become with the rainfall.

She slipped.

Slipped and slid right through the mud that formed and collected at the base of the cabin’s steps. Laughter erupted from the surrounding girls that bustled their way through the rain in every direction.

Gigi flushed red with embarrassment and anger. There was no way she could go straight to dining duty now.

Light footsteps creaked behind her as Crystal rushed to pull her from the mud.

“Race you to the showers?” Crystal giggled. She moved her fingers through Gigi’s hair, which was now caked with mud, pulling leaves and twigs out along the way.

Gigi closed her eyes and let out a frustrated groan. She didn’t have a choice. A shower with Crystal it was.

———

They were the only two left in the bathroom facilities. Crystal wasted no time stripping down, much to Gigi’s embarrassment.

“Do you ever cover up?” She asked, truly annoyed with Crystal’s lack of decency.

“Why? Afraid you’ll see something you might like?” Crystal asked with a chuckle before hopping her naked body into the shower stall.

Gigi froze. So Crystal hadn’t quite forgotten their almost kiss on the first day. She decided to ignore Crystal’s comment and stripped down as well, quickly making her way into the shower stall next to her bunkmate’s.

After a few minutes into their showers, the power cut off in the windowless bathroom facility, causing both girls to let out a shriek of surprise.

“Damn it!” Gigi shouted, barely having finished rinsing the shampoo out of her hair. The rain pummeled on outside.

“Hey, don’t worry. I have a flashlight on my keychain.” Replied a cool and collected Crystal.

Gigi heard the rustle of the shower curtain next to her stall, and the wet patter of Crystal’s feet stepping out.

“Now if only I could figure out where I set my towel down..” Crystal trailed off.

Gigi froze once again and filled with dread. In her haste, she had left her towel back at the cabin. Thinking quickly, she opted to cover her body with her mud soiled clothes and make a run for it to the cabin without the other campers, or especially Crystal, noticing.

“Hey, Crystal.. Um, don’t look, okay? I’m stepping out.” Gigi said cautiously before exiting the stall.

And ramming straight into a wet, naked Crystal who had been waiting just outside the curtain.

The two screamed and slipped to the floor with one another, Gigi landing directly on top of Crystal, bodies now flush with each other’s.

Crystal stared up at an equally shocked Gigi, her eyes now adjusting to the darkness to take in her puzzled features. Their faces were once again only inches from one another.

This was their second chance. They leaned in closer, lips now grazing.

The lights were then restored, snapping both girls back to reality. They were soaking wet, naked, and on top of one another in a place where just about anyone could walk in and see.

Gigi hurriedly pushed herself off the other girl in horror.

“What the hell? Why were you standing so close to my stall!?” She screamed at the naked blue haired siren still splayed on the tile floor.

Crystal flushed red with anger from being yelled at.

“It was dark, I couldn’t see shit! Why the fuck don’t you have a towel?” She barked back.

“Why don’t you!?” Gigi exasperated.

“I was about to grab it before you came slipping out like a lunatic!” Crystal shouted back, rushing to her feet and grabbing said towel.

She quickly wrapped herself up and rushed out of the bathroom, running straight to Adore’s cabin, deciding she would just borrow a change of clothes their instead of returning to her and Gigi’s bunk.

It was mortifying. How close they had managed to get only to end up screaming at one another. She couldn’t look Gigi in the eye. She was crushed.

Gigi stopped herself from running after her and gathered her soiled belongings to cover her body, hoping to God that no one would notice her naked form darting to cabin 701.

———

“She hates me.” Crystal sobbed into Katya’s neck.

The Russian exchange student, puzzled over her friend’s tears, looked to the other two of their group in confusion. A natural comforter, she wrapped her arms around Crystal’s small frame.

“She doesn’t hate you. She hates herself. All of this.. denial bullshit. It’s a front. She’s scared of how she feels, babe. We all see the way she looks at you.” Adore assured her, rushing to wrap Crystal in a hug from behind.

“I don’t get it. I’m nothing but nice to her. All I ever see from her is disgust.” Crystal continued sobbing, much to her friend’s anger and discomfort.

“Let’s kill her!” Yvie suggested. She lit a cigarette, pleased with her suggestion.

“No.” The rest of the group groaned in unison.

“Silence is violence.” Yvie shrugged, displeased that no one was on board with getting even with the Heather’s.

“I mean, think about it guys. They’ve treated us like outcasts every summer for five years. And now look. Our baby Crystal is in tears over Gigi “my pussy is made of gold” Goode. It’s time to get even.” Yvie continued.

Crystal swallowed her tears. She was growing increasingly frustrated, yes. But didn’t want to retaliate. It wasn’t in her nature.

“Thank you, Yvie. I appreciate you wanting to stand up for me. But I have to handle this on my own.. I think.” Crystal sniffled.

The group nodded in agreement and gave their last comforting words to their friend before heading for the dining hall.

———

The two stood at opposite ends of the serving line, Crystal passing out drinks and utensils, and Gigi on the far left placing dessert on each camper’s tray.

Once everyone was served, they took their seats with their respective cliques and attempted to enjoy their meal.

“So,” Violet began as soon as Gigi was seated at their bench.

“What’s up?” Gigi prompted, genuinely curious as to what her most vocal friend had to say.

“Trixie told me she saw you and Crystal head to the shower stalls together before dinner. But didn’t you shower after our last round of tennis?” the brunette asked with a smirked, brow cocked in question.

The color drained from Gigi’s face. She had a perfectly logical explanation, of course. But became flustered as all eyes fell on her.

“I fell in some mud. Trust me, being stuck anywhere with that freak was a last resort.” Gigi replied cooly, hoping that an insult toward Crystal would throw them off.

The group snickered.

“That’s for sure. I heard her and the rest of the Strange Gang are into girls. Sick! I can’t believe they let them into an all girl’s camp. I really feel for you Gig’. You have to sleep next her at night? Has she ever tried anything with you.” Violet asked, disgust dripping from her every word.

Gigi clutched her fork in her hand so hard her knuckles turned white.

She couldn’t crack. Not now.

“No, gross! I wouldn’t want that dyke anywhere near me. It’s bad enough I have to deal with her around camp. Sleeping near her as been an absolute nightmare.” Gigi replied, almost too easily. The girls cackled at her response.

A throat cleared from behind her. Gigi’s head snapped back to see who it was.

The entire Strange Gang had been sitting behind them, and the Heather’s had been too self absorbed to notice. Crystal stood up, angry tears welling at her eyes, and face flushed with anger.

“Hey, Yvie?” Crystal said glancing over at her friend, who sat just as pissed beside her.

“Let’s get even.” She finished, a sinister smile spreading across her full lips.

Without hesitation, Yvie climbed to stand on their dining hall table, her green food tray in hand.

And threw it right at Gigi Goode’s face.

[makeste]

BnHA Chapter 160: Grand Theft Auto

Previously on BnHA: Deku knocked Overhaul THE FUCK OUT. Tamaki saved Aizawa and captured Chronostasis. Eri wasn’t able to deactivate her quirk, and for a few moments things didn’t look good for Deku. But the cavalry brought Aizawa to the surface just in time, and he erased Eri’s quirk and she passed out. The heroes called like a dozen fucking ambulances to evacuate all of the wounded. Nighteye was strangely peaceful for someone who just lost an arm and got impaled through the fucking stomach, and he was grateful to Deku for bringing about a future different from the one he had seen. I feel like Deku sensed something was going to happen, because he suddenly started encouraging Nighteye to hang on, and that he had to talk to All Might and make up with him. But Nighteye closed his eye really dramatically, and I’M FEARING THE WORST HERE YOU GUYS. We then cut to the ambulance containing the wounded villains (and their confiscated goods, including the quirk-be-gone bullets and the quirks-come-back serum), and watched as it was intercepted by a trucking carrying none other than SHIGARAKI FUCKING TOMURA. This is easily the most badass villain thing he’s ever done tbh.

Today on BnHA: We learn that Jin and Toga called the rest of the squad to let them know where the villain ambulance was headed. What ensues is probably the most badass action sequence this series has ever had. Dabi takes out the ambulance’s police escort with his quirk, but it turns out the car is protected by a pro hero named Snatch. He can manipulate sand and he is fucking awesome. So Tomura fucking leaps at him from the back of a moving truck, and the two of them start to duke it out, but Snatch keeps him at a distance, knowing better than to let Tomura touch him with his bare hands. Enter Compress, who rolls an innocent little marble under the car they’re battling on, and then snaps his fingers and turns the marble back into A GIANT FUCKING BOULDER. The car flips over and crashes into the ambulance; Spinner whips the truck around while shrieking nonsense; Dabi and Compress take care of Snatch; and Tomura goes to confront Overhaul in the crashed ambulance. He takes the bullets and the serum. And then he disintegrates Overhaul’s fucking hands and chops them off at the wrists. And he and the rest of the League just casually walk away. Holy. Fucking. Shit.

(As always, all comments not marked with an ETA are my unspoiled reactions from my first readthrough of this chapter. I’ve read up through chapter 187 now, so any ETAs will reflect that.) 

so basically they figured out that the police would have to transport the villains to the nearest villain hospital, so they went on Google Maps and found the fastest route, and from there it was simply a matter of intercepting them

so Toga’s on the phone with Compress. and she says Jin is the one who told her to contact the others. I like that she gives him credit where due

(ETA: I can’t believe this joke went right over my head earlier, but at the time I had somehow forgotten Compress’s arm status. now that I remember, I can’t fucking get over this bit:

this son of a bitch kidnapped Bakugou. how dare he be so absurdly charming now. praising Toga for her quick thinking and making jokes about his own missing limb. I can’t believe the entire League of Villains are now collectively my favorite character.)

Jin is cradling his head in his hands and trembling :(

oh my god I love how she just gently takes his hand and leads him along. lord help me, why do I ship this so fucking hard, goddamn

also she’s so fucking smart. she watched and waited for a while before she contacted the others. to make sure that’s where the “finished product” was headed, since she knows that’s what Tomura was after, and they weren’t able to get ahold of Eri

and now we’re cutting back to the highway

this poor driver is having himself a hell of a morning

boy, you about to earn that paycheck today

(ETA: yeah I’m pretty sure this guy is dead now. this joke didn’t age so well ffffff rest in peace??)

and he instantly recognizes Tomura and knows him by name. but I suppose he’s just about the most recognizable villain in the business when he’s all done up in full hand gear

(ETA: it’s cute that he feels the need to clarify, as though there was more than one Shigaraki Tomura running around and we needed to know which particular league this one hails from.)

I have to imagine it’s not actually that easy to maintain one’s balance on top of a moving truck. you sure are full of surprises aren’t you Tomura

oh shit Spinner’s here too!

(ETA: is Dabi just being cute here or do you suppose he really does get carsick. are you gonna puke on everyone, Dabi. do you need some dramamine)

haven’t seen you in ages, Spinner. we still don’t know what your quirk is if I recall

(ETA: oh my god, and we still don’t. Horikoshi you are playing a dangerous game, dragging it out for this long. if it doesn’t turn out to be some incredibly badass, plot-twisty thing when it’s finally revealed, you and I are gonna have words. I swear to god if we finally get that dialogue box and all it is is something like “quirk: lizard. does whatever a lizard can!”... I didn’t wait around this whole time for you to be all “LOL HE CAN SMELL STUFF WITH HIS TONGUE”, okay.)

this guy really learned how to drive from video games and Tomura still trusted him to drive this fucking truck while he stands ON TOP OF IT. wow

Spinner is disgruntledly muttering about not being sure whether this is really following Stain’s will

and Tomura can somehow hear him from on top of the truck, and he says this is “a necessary sacrifice”

he’s gotten so good at management. he really has matured a lot

I really want to see this in the anime. mainly because I feel like Tomura’s jacket is going to be whipping around in the wind and it’s going to look cool as fuck

like, if this scene plays out anywhere near like I’m expecting it’s about to, this is basically going to be our confirmation that Tomura has finally graduated from the ranks of “baby villain” to “main villain at large”

(ETA: yeah I think it’s safe to say our boy has got his bachelor of villainy)

ohhhhhhh shit

THIS IS GOING TO LOOK SO FUCKING AMAZING IN THE ANIME YOU GUYS

(ETA: it stands a good chance of surpassing the one in Black Panther to become my new favorite car chase tbh)

jesus christ

that cop car that was in between the villain truck and the ambulance was completely engulfed

oh! or maybe not, because it looks like the car is FIGHTING BACK

I LIKE THIS GUY. WHAT A BADASS. WHY HAVE WE NEVER SEEN HIM BEFORE, THAT’S A DAMN GOOD QUIRK

(ETA: maybe a little too good. that’s probably why this is his one and only appearance)

Tomura’s just annoyed, though, and he’s telling Spinner to slow down

so now Snatch is pumping the truck full of sand, but at the same time Tomura is leaping right at him

Snatch are you about to be disintegrated my dude

oh!!

HE’S NOT GOING DOWN WITHOUT A FIGHT

lol what

lmao just because someone is capable of holding you back for more than two seconds doesn’t mean they’re your “natural opposite” Tomura. I’m not quite sure you understand how that works. is he restoring a pile of dust back into its original form like what we all hope will happen in Avengers: Endgame? no? then he’s not your opposite, he’s just a guy with an awesome quirk that you’re having a bit of trouble with

he is fucking amazing, though

he’s absolutely right. Tomura he got your number dude

Dabi and Compress are still in the truck watching this play out

and Compress realizes that Tomura is trying to distract the guy

oh snap

you know, I’m starting to realize Compress’s quirk is quite a bit more badass than I previously thought

ohhhhhhhh shit

(((╹д╹;)))

aaaaaaand the ambulance is crashing

do you see how they did that? making it clear beyond a doubt what happened without actually showing it in horrific excruciating detail? I could have used more of this during the Overhaul arc

(ETA: also this answers a question I had as to whether Tomura had ever actually killed one of the good guys (as opposed to a fellow villain) onscreen. I couldn’t recall for sure. but that’s a definite yep.)

also this is a super epic car crash. this is crazy cinematic, it’s straight out of a movie

LMAO

I LOVE IT

and oh my god it looks like Snatch actually saved the driver just in time. so no one was disintegrated after all!

(ETA: I actually think that’s the driver of the police car that he saved. not the ambulance driver. he ded. correct me if I’m wrong!)

but now Dabi is there >_>

preemptive RIP, Snatch. you were the GOAT for one whole half of a chapter

I’ll take that as a “no I haven’t”

oh snap is he still alive though?

but we can all agree the other guy definitely died. that driver cop guy. rest in peace, friend

(ETA: yeah both drivers are super dead from what I can see)

so now back to the ambulance, where Tomura has retrieved and is talking to Overhaul who is strapped to a bed

TAKE HIS QUIRK!!!

Tomura says he hates Overhaul because he’s arrogant

something is clearly about to go down, so before that happens I’ll just say, I thought Overhaul could disassemble anything he touches. so how come he can’t just do that to the handcuffs. plothoooooooles

anyway

well LOOK WHO GOT HIMSELF A SHINY NEW ROBOT ARM MOTHERFUCKER

THIS MAN DESERVES HIS REVENGE. AND... YOU DESERVE TO DIE

(ETA: any idea what he just compressed, btw? I can’t for the life of me figure it out. this chapter is so cool but there are a handful of little details that I can’t quite get straight)

(ETA 2: many thanks to @baezetsu who pointed out that COMPRESS MOTHERFUCKING STOLE ONE OF OVERHAUL’S ARMS. straight up. you’re absolutely right. Tomura only disintegrates the right hand, and the left arm is already gone in the panel below. so either this is some good old-fashioned “eye for an eye” revenge (but with arms), or Compress is looking to replace that robot arm with something even better. god this chapter gets better and better with every subsequent readthrough holy shiiiiiiiiiit.)

so now Tomura is opening the box of bullets, and thoughtfully saying that he’s not sure which of the two boxes they recovered actually holds the finished product

“ahh well, guess it doesn’t really matter”

oHHHHHHHHHHHHHHHHHHHHHHHH SHITTTTTTTTTTTTTTTTT

oH MY GOD!!!!

MOTHERFUCKER!!!! MY JAW DROPPED TO LIKE HERE. HOLY SHIT, THAT WAS THE MOST HARDCORE SHIT I’VE EVER SEEN??!?

HERE I WAS SURE HE WAS GONNA DELETE HIS QUIRK, AND INSTEAD HE JUST DISINTEGRATES AND THEN CHOPS OFF HIS MOTHERFUCKING HANDS

SHIGARAKI TOMURA HAS GAINED +10,000 VILLAIN POINTS!! SHIGARAKI TOMURA IS MAKING A SUDDEN POWER RISE THROUGH MAKESTE’S FAVORITE CHARACTERS LIST

SHIGARAKI TOMURA IS ONE CRAZY BITCH AND I KIND OF FUCKING LOVE IT

THIS IS SO FUCKED UP AND I’M LIVING FOR IT?????

“GOOD LUCK WITH THAT”!!!!!

yo, when Deku and the others hear about this attack later what will their reactions even be. cuz if it was me I’d be like, “oh no... that’s terrible... you know. in principle”

hahaha!!!!

(ETA: gotta love Overhaul screaming in the background. this chapter is so fucked up lmao)

THIS HAD BETTER BE A FUCKING PROMISE TO US LOYAL READERS YOU SON OF A BITCH. NO MORE SIDE VILLAINS. I’VE GOT FIFTY-ODD CHAPTERS LEFT BEFORE I’M ALL CAUGHT UP, AND THOSE FIFTY CHAPTERS HAD BETTER NOT FEATURE ANY OTHER BAD GUYS BUT YOU SONS OF BITCHES

(ETA: he just ignores everything I ever say to him)

oh man. well, that was a grand five chapter binge and I feel satisfied and very exhausted. I’m gonna turn in, and then tomorrow I can hopefully finally read a chapter with my explosive and hot and cold sons at long last

BONUS:

likes: barbeque. is this Horikoshi’s idea of a joke. holy shit

and I guess that confirms whether or not he died, huh. these motherfuckers didn’t leave any survivors apart from the captured villains. that’s so messed up. why do I love them so much. Tomura you are a terrible man. please keep getting more terrible

[videogamesincolor]

Resident Evil 2 (2019) - Not quite the ‘re-imagining’ it purports to be (SPOILERS)

[Written: Feb 4-25, 2019. As always, act brand new on my post, you will catch the fastest block in the west.]

The 2019 iteration of Resident Evil 2 shares a lot of common ground with games like Silent Hill: Shattered Memories versus something like Bluepoint Games’ Shadow of the Colossus or even Sega’s Yakuza Kiwami series. 

The first game is a re-imagining – effectively a reboot –, recreated from the ground up with almost little to do with its predecessor. The others are genuine remakes that change very little in the way of the framework or structure of the game and merely recreate or repair its presentation with the graphical fidelity (or control schemes) of the present era.

While both profit and rely on nostalgia, a remake has the specific ‘obligation’ to maintain what came before it. A re-imagining has cart blanche to do what it wants under the pretense that it has no obligation to restore or replicate. In the case of Resident Evil 2, it’s a bit funny in the fact that the existence of its reboot was reliant on the 2002 remake of Resident Evil.

During the re-release of the 2002 Resident Evil remake in 2015, Capcom more or less ransomed the idea of making a “remake” of Resident Evil 2 by placing the burden of that reality on the shoulders of Resident Evil HD. Or rather, the shoulders of their consumer base.

If Resident Evil HD didn’t meet publisher sales expectations, no “remake”. It was an easy sell, of course, because the Gamecube remake was not a game everyone played (on account of Nintendo console exclusivity). To no surprise, Resident Evil HD ended up being their “fastest selling digital title” in 2015. That same year, Capcom officially announced the Resident Evil 2 “remake” was becoming reality, went radio silent, and the aged fandom wept.

Common knowledge, but Capcom originally wanted a remake for RE2O in the vein of the 2002 remake. Mikami, however, was preoccupied with Resident Evil 4. He would never return to look back on the series because Capcom was Capcom, which inspired Mikami to depart from the company.

I think the assumption folk made (at the time), was that because the reboot was necessitated by the financial success of Resident Evil HD, Capcom might go for an experience similar to the 2002 remake, but with the graphical fidelity of present day consoles.

Graphical remasters and remakes are a “hit and miss” production. They happen because publishers (and by extension, developers), know there is profit to made in the machine of nostalgia, not (necessarily) because they’re interested in preserving or restoring old games. You see developers clearly holding back the desire to remix instead of being completely restorative, removing things they either didn’t like or expanding on things that couldn’t be done with previous hardware. 

Yet, “if it ain’t broke, just update the visuals, maintain the rest”, is an adage some prefer. More often than not, remakes end up splitting older and younger audiences down the middle regardless of what changes or what remains. And that’s without taking into account bugged and half-hearted releases that never get addressed by devs.

But, Resident Evil 7 (“we swear it’s not a reboot”) happened, and it was fairly clear what direction Capcom was going to go in. While Capcom and fanbase for the game were content with calling Resident Evil 2 a “remake”, Capcom later insisted, “This is not a remake. It’s a retelling, a new game built from the ground up.” So, on the surface, RE2R definitely has more common with Shattered Memories than it does 2002’s Resident Evil. But, where Shattered Memories wasn’t interested in treading so familiar waters, the same cannot be said of this reboot.

The 2019 iteration of Resident Evil 2 is a monkey’s paw wish of a game, just based on the observation of how the established fanbase is reacting and my own personal feelings (as someone with no nostalgia for it). For some, they got exactly the experience they wanted (more RE7). For others, modifying the game (on PC, naturally) to recreate an experience closer to the 1998 release is a must. And then there are some who are simply disinterested in the game, content with the original, or dissatisfied with the creative or business choices made by Capcom (and given Capcom’s track record, I can’t blame them).

Within the game itself, there is a lot about the reboot that feels unfocused, hindered by budget, last minute decisions, a blandly retold narrative, and trying to cling to abstract bones in an effort to maintain the audience it courted, when abandoning those bones might’ve been a better idea.

I. Presentation – The "Realistic” “Re-Imagining”

If Marvin’s final moments with Leon or Claire weren’t enough to convince you the of the severity of the situation, maybe a emotionally manipulative scene with Dad and Zombie child will.

The Resident Evil series is not one known for its screenwriting. If anyone’s being real honest themselves, the shit’s bad 90% of the time, reached peak stupidity in RE6 and just kinda self-destructed from there. YMMV, but Resident Evil is the “so-bad-bad-its-good” game you could enjoy up to a point. The 2002 Resident Evil remake took a particularly poor script localization and improved upon its delivery, right down to the voice direction (which could still be a bit stilted). Yet, you never got the feeling RE1R was striving to be anything other than what it was: A cinematic-based video game that reveled in the aesthetic of Gothic environment design, mood, and b-movie monsters with a world domination plot thrown for extra spice. It had a decent sense of humor, and often poked fun at itself.

RE2O built its foundation on the basic principles of the original (isolation, aesthetic, framing, mood), but focused a little more on its humor, body horror and action-movie flair. The plot of RE2O was as bare-bones as it got with the presentation of its narrative. A new cop and an AWOL cop’s bike enthusiast sister wind up trapped in a police station, accidentally stumble across a corporate conspiracy and must escape a giant underground complex before it blows up. Simple stuff. And the dialog – with a fairly improved localization and English performances – got you from point A to point B.

For everything I didn’t like about RE7 (from its aesthetic, plot, combat, creature design, and its bologna white characters), it was, to some degree, an attempt to recapture the camp and b-movie horror that RE4 so firmly embraced without damaging its atmosphere. RE7 was self-aware enough to embrace the inanity that was its premise in a way the series had only recently attempted again in Resident Evil Revelations 2, which also had its tongue firmly placed in its cheek. Resident Evil is a game comfortable with its silliness, but can still deliver a tense mood and atmosphere.

It’s disappointing that RE2R adopts the tone of, “Please, take me seriously”, with all the self-awareness that RE6 had when it tried to be an action/thriller.

RE2R’s primary issue is tone and presentation. From the jump you can tell the scenario writers of RE2R want the game to be this gritty drama with “complex characters”, grounded in reality, right down to the HBO-levels of profanity and the redundant use of “bitch” littered throughout the script. In an attempt to remold a cast of characters designed for the absurd into “realistic” persons, what you get characters largely disinterested in their circumstances. Claire and Leon seem only mildly inconvenienced by the end of the world. They casually shout over explosions (that might as well not have happened), and often can’t be arsed to sound anything other than annoyed by most events that unfold around them as repetitive canned reactions regurgitate through the speakers.

The script doesn’t trust scenes like Leon’s one-to-one moments with Marvin to sell the dire circumstance. So, casually chauvinistic characters like the Gunshop owner (who got comically bodied by zombies) becomes a saccharine drama piece that stalls the progression of the plot in what might be one of most disingenuous moments I’ve seen in a game. When monsters like William Birkin, Mr. X, the Licker, and the plant monsters eventually begin to appear, they stand out and heighten the already problematic uncanny valley present in the game, and seem better suited for the elder games of the series.

You never really get moments like Chief Irons sorrowfully lamenting, “And to think taxidermy used to be my hobby”, Ada shrugging dismissively at Leon’s pride as a police officer, Annette getting conked upside the head by falling debris, or Claire tricking Mr. X into jumping over the ledge to go after the G-Virus hidden in Sherry’s locket and straight up calling him a sucker. The drab, washed out presentation of the plot, played so deadly serious, honestly made for a joyless experience.

RE2R asks and answers the questions like, “What if Leon was wearing civvies on the way to work?” or “What if Ada Wong pretended to be an FBI agent?” A lot of it comes off like a fan novelization that proudly boasts “My version of how Resident Evil 2 would go”. The first time you read it, maybe it’s an interesting take to indulge, but the more you revisit it, the more unessential or cosmetic the changes end up feeling. (The only real cosmetic change that doesn’t seem weird to me is the idea that the police hijacked a museum and made it their dumping grounds.)

A lot of changes to the plot seem to function largely on the assumption that things like Ada posing as a civilian, Sherry being sent to the police station by her parents (as opposed to leaving her in a unprotected living residence with no immediate help), the RPD knowing about the Mansion Incident and brushing off the survivors (Chris, Jill, Barry, etc.), or Ben the reporter locking himself a jail cell to avoid other monsters, are things that strain suspension of belief or just wouldn’t happen in “real life”. So things of that nature either get removed or reworked altogether, often times for jump scares telegraphed a mile away, or left hanging for prequel baiting (because Capcom knows folk are going to be clamoring for another remake of RE1 and RE3).

The plot and its progression feels condensed down to something that’s like the bullet points version of RE2O. It over-simplifies what was already a simpleton of a narrative, largely to compress a lot of events into two campaigns that now never work in harmony. To add insult to that injury, Claire and Leon never communicate, let alone work together. They pretty much forget the other exists, thus making that friendship pretty non-existent.

Say hello to your friends. Say hello people who care. Nothing’s better than friends.

With regard to the two campaigns, for all the focus Capcom places on Leon – the mascot of the reboot itself –, Claire’s campaign is probably a better presentation of a rebooted RE2O, even with its drawbacks to Claire as a character overall (more on that later). The highlight of Claire’s campaign is the fact that her friendship with Sherry Birkin remains intact. I actually think it gets a better representation here than in the original, or what was only marginally improved in side-games like Darkside Chronicles. The downside is that the two interact even less than they did in RE2O, the plot separating them immediately after forming a partnership.

There are some genuine moments of scripted walk-n-talk between Claire and Sherry as they explore the early parts of the game, which in turn makes Claire a far more engaging character than she is with Leon (who is devoid of any real charm or personality in this reboot). The downside, however, is that Sherry is reduced to a prop, where she was a far more proactive party in the original game. That and by the end of Claire’s campaign, there is a lot of “shitty mom” apologia from Claire, whose basic human decency makes her better guardian than Annette Birkin.

Annette Birkin is questionably re-framed as a sympathetic and even tragic hero character who “never meant for this to happen”, never-mind she and her husband (who is also framed as a victim) were involved in the testing, abuse and deaths of orphaned children in the name of science. Then there’s the whole virus that turns people into zombies. But, yeah, what a tragic figure.

My primary issue with the narrative of Leon’s campaign is that they decide to tie him more into the Umbrella plot (aka, Ada and Claire’s shtick) instead of having him focus on finding a way out and helping other people. The reboot actually had the opportunity to employ the “help the other survivors” bit I always felt was dropped in the original (but revisited in Outbreak), and put Leon’s altruistic character into more action. But, then the reboot removes this motivation altogether by making Marvin and RPD’s rescue efforts a complete and utter failure (thanks, Capcom). 

His plot lacks any real momentum, largely because the game nixes his original cast dynamic. Despite nothing crucial happening in his campaign until the end of it, his bears the greatest consequence on the reboot’s compressed narrative. The outright removal of his friendship with Claire, and even the briefest interaction he has with Sherry, makes Leon pretty bland as hell. 

The only time he comes off as remotely personable is when he interacted with Marvin. Otherwise, it’s one eye open, one eye closed with this iteration of the character. The fact that he’s less of a take charge personality, and more of pushover (to sad degrees) also makes for less entertaining interaction all around.

You can tell someone with no ability to write or direct romantic subplots handled this. Whoof.

And while I’m not against reworking the Ada/Leon dynamic where the start of an attraction is a little less like a brick to the head (”Ada wouldn’t do that. I KNOW her!”)?  A): this is Capcom, so that didn’t happen, B):  It’s still pretty much like a brick to the head, only this time it’s last minute, with less foundation, and outright unimaginative. Nothing about the execution of the “romance” in this game works at all. Where Ada and Leon at the very least had a functional rapport and partnership in RE2O, in the reboot the majority of their time is spent in passive aggressive disharmony. The outright antagonism between the two characters in the reboot is not only boring, but not remotely conducive for what follows near the climax.

As something that takes up the majority of his narrative, for worse instead of better, a lot the dialog – a direct consequence of what they choose to do with Ada – is comprised of uninspired “enemies-to-lovers” shtick, right down to drab flirt dialog and throwing one’s words back at the other (“I didn’t realize you were keeping score” / “I didn’t realize we were keeping score”).

The worst thing about his campaign is Ada’s depiction. The reboot effectively turns her into a character who does more damage to her own agenda than Leon being remotely present. I get the writers think having Ada posing as a federal agent is “smart” or “realistic”, but the character instead comes off as more suspicious than a civvie with a gun. She’s a pretty terrible spy in this reboot. Reboot Ada is an antagonistic character with zero charisma or personality, there’s no fun in finding out her ulterior motives. On top of that, the FBI shtick is probably the dullest iteration of the character since her “fringe observer” status in her RE6 campaign. 

But, where you had complete control of her and she was motivated by her own subplot (that did intersect with Leon, sometimes), realized in gameplay and plot, RE2R reduces Ada to a purely cinematic and expositional tag-along character with no agency in the narrative. A lot of what was done to and happens to Ada’s character is purely in service of Leon’s plot and actions. They really fire-bombed the character, but if you’re a hardcore Ada/Leon shipper, then her function will have served its purpose, both for you and Leon’s arc.

Marvin Branagh is humanized on such a level he is no longer the same character from the original game, but his role is effectively the same one. Like Ada, Marvin was re-contextualized largely as a sacrifice to Leon’s character arc (this is not a vibe you get with Claire’s campaign ever). Chief Irons, who feels like he appears out of nowhere, with no buildup, has been reduced to this kind’ve ineffectual kidnapper who disappears just as quickly.

Resident Evil is at its best when it knows it’s an interactive horror b-movie – with action elements – and has a director who knows how to balance all those elements. Beyond the singular moment wherein Claire Redfield declares “I’m gonna kill the monster” while wielding a six shooter and Annette Birkin is actively cheering for the death of her Frankenstein husband, RE2R never tries to be that kind’ve game. It actively runs away from schlock, and so it is the less remarkable product.

Things gleamed from Resident Evil 2′s abandoned direction offer a far more interesting “re-imagining” than 2019 end result. To a degree.

Part of the problem with Capcom’s attempt to “re-imagine” RE2O is that it wants to cling so badly to the framework and story beats of the original game instead of creating an identity of its own. It wants the ability to say, “we’re a totally different story!”, but at the same time does very little to become a different story, and exiles itself to this island of nowhere because it actively alienates the connections to the games that come before and after it.

This is where I think, while a lot of people disliked Shattered Memories, it’s a better re-imagining of the original Silent Hill, because its bold enough to actually commit to that definition. Capcom’s execution here is pretty half-hearted, deliberately so.

I’ve only just chosen to acknowledge the prototype of Resident Evil 2, but despite knowing the devs were not happy with the end result (and just scrapped it), it does a lot of things that this reboot honestly should’ve at least attempted.

Not only does it handle the character plots in a way where scenario nonsense would not be a problem, you basically had (what are now) established (or nixed) characters in different roles, reasonably isolated from the RE1 plot, working in tandem with your player characters (Eliza and Leon) and their cast of characters, who were never designed to meet until the apparent end of the game. Also, Marvin had a larger role and a functional relationship with Leon (I hate Capcom).

As a “retelling” of RE2O, RE2R is pretty weak. There are so many ways Capcom could’ve “re-imagine” RE2O if they were being genuine about that, but the final product more or less proves they weren’t. It’s over-reliance on referencing or leaning on things from RE2O hinders more than helps the game. It invites comparison to what is a better product despite its age. 

The reboot wants to be taken seriously, and does everything it can to project that image to the detriment of its presentation. RE2O more or less reveled in its silliness, and shlocky horror movie tropes and knew you would enjoy the ride anyway.

Separate Ways, Broken Scenarios

Claire and Leon working together, solving the problems...

RE2O’s scenario system was a fairly interesting way of presenting the story of two characters, and I always wondered why this was never more of a thing in games. Claire and Leon’s plot were separated on two discs (PS1). Leon was first, Claire, second. Completing one character’s “A Scenario” unlocked the other character’s “B Scenario”. Certain gameplay actions created minor consequences to affect the respective character’s scenarios (if you took a certain weapon or item over another, it wouldn’t appear in the other character’s alternate scenario).

The scenario system and the corresponding plots of the player characters were clearly developed in tandem with each other. Whatever goofs arose from therein, the narrative position of the characters remained firmly in place (largely because they were told through cinematics).

Claire’s B scenario always felt the most changed because the cinematics had to accommodate for a change to get Claire in places I was otherwise unaccustomed to seeing her. Legit, some of the cinematic differences were wild.

Back in June 2018, Capcom made it clear that RE2R was not intended to have a scenario campaign at all. The decision was (apparently) made back in 2017, when it was clear doing an A/B scenario was going to be costly on a AAA budget. It was only going to be a single campaign for Leon and Claire. So, Claire and Leon’s campaigns in RE2R are, structurally and plot-wise, “Scenario A and B did a fusion dance”.

In execution, their campaigns are like choose your own adventures. It asks the question “what if you went with Claire?” and its answer is “Leon de-spawns and doesn’t appear again until the end of the game”. It’s definitely not “Two strangers walkie-talkie a plan to escape a zombie infested city”.

Inside or outside, the B Scenario for the player characters barely differentiates itself from Scenario A

In this case, they should’ve stuck to their guns, just released one campaign per character (it’s not exactly like the absence of the B scenarios would actually impact their sales. Not with the fans whipped into a frenzy) and focused on getting their plot to work a little better.

“Claire B” and “Leon B” come off like a slapdash cut-and-paste job that made me question whether or not I had hit something on the controller that was causing the sequences to skip right through whole gameplay segments. Yet, now armed with the knowledge of a year before, it would explain why nothing in this game’s presentation ever feels like it gels, or was hastily put together.

Another issue the RE2R’s alternate scenarios make is not maintaining the characters static narrative placement as RE2O did. I think this is where you really start to see how little interest Capcom had in Claire as a character versus Leon. 

RE2R’s “Claire A” Scenario opens with a brief clip of Claire on her bike, talking to someone on the phone about Chris, then hearing something in the gas station store. The game then proceeds to put her in the exact same circumstances as Leon, which is baffling. They really have her doing the Leon shtick and repeats what she did in “Leon A”, but inside the gas station. Whack.

If you play “Leon A” first, she appears out of nowhere like she’s been attacked outside the gas station somewhere nearby. Her motorcycle isn’t even anywhere in view, so, the natural assumption you make is that maybe they’ll show that later when you play “Claire B”. Maybe there’s another area you can explore.

Nah. In “Claire B” the exact same cinematic plays again, trailer music starts, cut to black, and, it jumps to her intro scene in “Leon A”. At no point are you given a unique gameplay level or cinematic for Claire to bridge the gap between Leon heading for the store exit and Claire being chased by zombies that suddenly surrounded the gas station. She lit. just spawned into the area! Whack.

Now for some awkward car dialog

The original game was smart enough to give you a cinematic where she scoped out an empty diner and happened across some zombies while Leon’s boots were being accosted outside by zombies near his jeep. It really sold the idea of events happening concurrently to two different people within the same area.

Claire in “Claire B” doesn’t even get a section where she runs through the city after escaping the T-bone incident. The game just drops you in the graveyard, and then drops you at the rear police station gate where Leon spots her outside. You do a lot of backtracking in RPD with zero character interaction, and then, about an hour into the game, you end up on the exact same track as you did in “Claire A” (meeting Sherry, saving Sherry, Birkin #3-5 fight, escape) with no scene restructuring or whatnot, just the standard “Extended Ending” shtick.

“Leon B” in RE2R shares the exact same problems as “Claire B”. It feels like an abridged version of “Leon A”. Beyond Leon standing outside the gas station store and instant transmission’ing to the back of the police station there are zero story differences. But, with Leon you always have the reassurance that you can just play “Leon A” if you want a more complete experience.

Driving motorcycles in the rain is, factually, an accident waiting to happen

Claire regardless of the scenario you choose for her, A or B, will never get a unique starting gameplay moment of her own. While I think they did a far better job of reworking “Claire A” better than either of Leon’s scenarios, that’s disappointing. Claire really feels like something of a afterthought. 

Other detractors from the scenario nightmare include Mr. X following you around in the A Scenario and the B Scenario, instead of the B scenario only. Mr. X went from a fairly unsettling stalker of a boss enemy, who worked on slasher movie principals (the monster appears out of nowhere when you least expect him), then quickly transformed in a wearying exercise of dodging an enemy type that overstays its welcome. Both scenarios feature the helicopter crash and skylight Licker ambush, etc., etc.. 

If they couldn’t build upon or better realize what the 1998 game did, then the B Scenario was best left to the wayside. Naturally, Capcom didn’t follow their own advice and the want to cater to nostalgia bit them in the ass. 

Water is wet.

II. Gameplay – Night of the Living Bullet Sponges

Lickers (who are still terrifying) are practically one-hit-kill monsters now. Yippie.

There is a lot about the cinematic presentation of the elder Resident Evil games that defines much of its identity. An identity strong enough that most games that came out during the high point of its career were content to copy or refine its formula (Temco’s Fatal Frame, Konami’s Silent Hill 3, and Capcom’s Onimusha and Haunting Ground for example). There is a lot that loses the more it – a two decade old franchise – attempts to keep up with an ever-changing landscape of what’s considered modern-gaming-at-the-moment, instead of going to sleep like Onimusha, or even being forcefully put out to pasture like Silent Hill and Dead Space.

RE2R is a standard third person shooter that de-emphasizes cinematic presentation within its plot and its game space. There are no establishing cinematics, and the Kamiya action-movie-esque flair that made the last stretch of the climax what it is, is thoroughly absent. RE2R instead opts to – present the plot of the game completely within the game space itself with minimal cinematics. Sometimes it works, other times, it doesn’t.

Lickers drop unceremoniously on your head in your first encounter, Mr. X just appears out of nowhere then hounds you like Jehovah’s Witnesses, the sound of a helicopter crash goes whizzing by in time for you to walk past the model that’s already in the wall, Marvin becomes a zombie with no real sense of mourning or terror about his passing, Ada Wong gets the worst on-screen send off, etc. Cinematic moments that were meant to emphasize and foreshadow the decaying situation of the police station and the stakes of the characters are just kinda nullified.

Sherry Birkin’s gameplay segment is one of my favorite parts of the reboot.

I think one of the reasons Claire’s campaign leaves a better impression on me than that of Leon’s is what they decided to with Sherry Birkin’s part in her plot. Leon’s scenario has Ada trudging through a boring sewer corridor hunting for fuse boxes and then the game knocks her out so Leon can come to her rescue. With Sherry, you get something a little more creative, something that doesn’t treat her like a momentary distraction from the player character like it does with Ada. The entire orphanage level, from its presentation, to its level design, is probably what I would’ve liked to haven seen more of in the game.

The game puts you in the shoes of Sherry, but instead of traveling through sewers on your own, you’re exploring and searching an empty building that invokes a mood similar to – but not like – 2002’s Resident Evil. Obviously, this choice was made to keep Leon and Claire’s paths from intersecting (fuck that, I guess), and in a lot of ways, the game abandons the mechanics of Resident Evil and becomes a modern Clocktower game.

Chief Irons becomes the scissorman to Sherry’s Jennifer Simpson, and you, the player, have to navigate a fairly limited space to get away from him. They basically expand upon the Natalia stealth segments from Resident Evil Revelations 2 and create a fantastic gameplay segment full of distressing near misses and a legitimate win for Sherry. (I only wish they had allowed her to lock Irons in the bathroom. He would’ve Nicholson’ed his way out anyway.) Unfortunately, it ends with a Deus Ex Birkin appearance and leaves the player asking more questions that it’s not interested in answering on any level. Also Mr. X just spontaneously appears as well, which only compounds the Deus Ex Birkin thing.

Where you could soccer kick a head from a zombie in the original, Claire and Leon can barely expend energy to shake ‘em off their shins. Fantastic.

Combat wise, in a lot of ways, RE2R feels like a chore. A regression of the advancements that RE4 and RE1R was able to strike a balance with, but later iterations leaned too heavily on or used too little. Hell, I even think it’s a regression of how Dead Space approached combat. RE1R encouraged the player of doing away with zombies much in the same fashion as its counterpart and RE2O, with tactile and visible indicators that the zombies were dead (pools of blood under the body, dismemberment, headshots), but, it also threw in the risk of dealing with a new threat (Crimson Heads) if you chose not to oil and burn the bodies you left behind as you cleared the area. The gameplay was solid about letting the player know their resources had been put to good use.

RE4 encouraged smarter gunplay, aided by laser sight, and critical damage hits to other areas of the Ganados. The risk of taking headshots were being attacked by the parasites that could take large chunks of your health out in tandem with the mobs that – one way or another – would catch up to you. Dead Space took the critical hit system of RE4 and transformed it into a mechanic that made the complete dismemberment of the Necromorph critical to survival. Effectively, both you and the enemies were fairly balanced against each the other. You were never so strong that you could blast through your opponents and your opponents were never so OP that you lost unnecessary resources trying to kill them.

The same really cannot be said of RE2R. Nothing about the combat or enemy encounters feels particularly balanced for much of anything save busywork and resource death. There is no real balance between yours and the strength your opponent. I’ve heard RE4’s adaptive difficulty is still in play here, but if it is, its implementation here is not great. I certainly never reached that flow-state where I felt I was in harmony with the game.

Yeah, I didn’t miss this bit at all.

Headshots are nullified in a way they’ve never been in the series, and right off you can tell what the devs consider a “challenge” in terms of gameplay. Zombies eat bullets as badly as any mid-tier B.O.W., regardless of what difficulty setting you choose. In standard I saw six-to-nine bullets go into the head of a zombie and there was no guarantee they were dead until you saw their head explode or maybe saw them twitch. In hardcore (my sister’s preferred mode), zombies will eat eight-to-twelve-or-more bullets to the head and the consequence is the same.

It’s imperative to try and incapacitate the undead, because minimizing your enemy count in RE2R is an exercise of frustration and often, a waste of bullets. Zombies move far faster than they did the original iteration of this game, practically zapping over to you no matter how much space is between you and them. They do just about the same, if not more, damage to you. The common defense against this is grenades, flashbangs and knives. If you haven’t used them for other things (like Ninja vanishing or crowd control), it’s the quickest way to get out of their hold. It’s simply not as reliable or was enjoyable a method to fight the zombies off in the vein RE4 provided (German Suplexes, kicks, elbows to the face, a knife that isn’t dollar store plastic, dodging, etc.).

If you can avoid them, by all means, avoid them. The consequence, however, is if you have to backtrack, well, you might be running into a bigger crowd, one that may include the problem monster of the given area (Lickers, Mr. X, Dogs, Plant Monsters, etc.) and potentially less resources. It’s a particular problem in the police station with Mr. X following you everywhere and not being remotely helpful enough to do some of the killing for you. He just gently pushes them out of the way.

A lot of the time, my sister was preoccupied with head-shots (against all odds) while I spent my time (trying to) cap their knees, and remove their limbs (so they couldn’t grab us after I capped their knees) so we could sprint our way through environments when the opportunity presented itself (largely to save ammo for another problem area). She’s the better shot, I’m only great with projectile weapons (so Claire’s campaign is even better to me in that regard), which I largely prefer on principal of strength. For me, there is no real satisfaction in the game’s combat, not even in a fight-or-flight sense (prime example: the village and castle encounters in RE4), or on a level capable of inducing the worst panic attack in me like Dead Space 2′s opening hospital sequence.

I was frustrated with near misses. My sister was a little more forgiving about the changes despite never being to make the clean headshots she wanted. We only really agreed on mutual dislike of the boss battles, but’s more or less how we feel about all of RE’s bosses. There is not a single one we’ve enjoyed fighting, and the worst ones were all in RE6 (which literally had us not talking to each other for days afterward) and Revelations 2.

Local zombie mocks police station’s lack of shutters

RE2R is pretty generous with its ammo cashes, with most of what you need readily available. The map, for the most part, makes locating items easier, but spotting them poorly lit environments, and around mini horde-like numbers that seemingly materialize out of nowhere is a bit of chore. Rarer types of ammo, like shotgun or automatic weapon ammo are often hidden in safes or lockers with combination locks.

Resource management returns in the reboot, copy-pasted from RE7, right down to the stark menu and a minimalist design that makes item management, I guess, less busy (color wise). It works, so it doesn’t bother me in context. The maps are definitely easier to read and a little more explicit about what items are where, but have otherwise maintained the “cleared” / “in progress” blue and red dynamic. 

Depending on the difficulty level you’re playing on --- easy (assisted), normal (standard), or hard (hardcore) ---, your resources will be readily available to you, somewhere in the middle, or few and far between (in practice). Hard mode will have you rely on ink ribbons to save your game (like a standard PS1-PS2 game), and I think there are no checkpoints. Save points are scattered in new locations and are a brief safe haven.

Puzzles in Resident Evil have always been a series of frustrating events, particularly slide-and-complete-the-picture and “find the missing themed piece” puzzles. But, this game actually made me appreciate them, largely because the gun-play is no longer a satisfying aspect (and probably will never be again). 

Mechanically speaking, a lot of the puzzles or item hunts from RE2O are sort’ve retained, but they’ve been mixed up or their importance to getting to one place or another has been (extremely) reduced or made even more convoluted. The reboot is definitely not that interested in puzzles, so it feels and is designed less like a dungeon crawler.

Item hunting in order to solve puzzles requires you backtrack quite a number of times through the environment-of-the-moment. However, backtracking is perhaps more nightmare-ish and gauntlet-like than previous entries because it seems like the game spawns more zombies into the area. And with Mr. X basically breaking the exploratory pace of the game, the want to explore your environment is actively discouraged.

[Sighs Loudly For a Thousand Years]

Despite the game’s over-reliance on Mr. X, breaking from the series formula of not over-exposing its mini-bosses (the Regeneradors, Verdugo, or even that huge Centipede in a Trenchcoat for example, were not following you everywhere), Mr. X was, for a short time, the only ‘combat’ element in this game that invoked the right kind of déjà vu.

It was actually satisfying knocking him down, and ducking his punches at the last minute. I mean, at least it was in levels having nothing to do that Ada Wong segment. (Then. he. kept. coming. back.)

Ending him isn’t quite as satisfying as it is in the original game. Not because he effectively became an SNK boss, but because the component that makes that fun (The Resurrection of Ada Wong and the emancipation of the Rocket Launcher) was removed entirely from the game for a sequence far, far blander in comparison.

III. Non-Union for Billion Dollar Corporations

Around 2015 or so, there were rumblings (outright vocalizations)  from unionized voice actors that shed some light on some particularly horrible business practices that developers and publishers were carrying out on voice actors. They were either not being paid their due, or not allowed proper rest-time during the jobs they worked on. Big studios like Insomniac Games, EA Games, Activison, and the like were mistreating voice actors, often to the point where some confessed to experiencing vocal damage, stress or injuries sustained from shitty work conditions and people who clearly viewed their occupation as a lesser division of their project’s production.

At the same time, well before the strike became officiated, Capcom made the conscious decision not to hire unionized voice actors for the production of the Resident Evil 2 reboot. No one knew about this until 2017, when the game was well on its way to being released the following year (before a delay pushed it to 2019) and the Strike was ongoing. Alyson Court (on-again-off-again VA of Claire Redfield), Matthew Mercer (the most recent VA for Leon), and Courtenay Taylor (the most recent VA for Ada Wong) all announced that they weren’t reprising their roles in the game because the reboot was not a union project, but it was not a result of the strike.

Some vocalized their displeasure with this, even going as far as to say that they wouldn’t buy the game in a show of support of the actors. Others aren’t sparing it a glance because they’re otherwise disappointed with the creative direction anyway. But if the reception of the game from basic users – aware of the circumstances or not – is anything to go by, solidarity will typically lose out to FOMA (Fear of Missing Out). Especially if you’re not getting anything out of it personally or emotionally as a consumer of media.

I’m not particularly interested in demeaning non-union voice actors, (I’ve watched and paid for many a-thing that used non-union labor). Capcom, despite working on union projects, also continues to dabble in non-union label as well. I know Capcom’s likely wasn’t interested nor aiming to help voice actors not represented by SAG-AFTRA (or other organizations) become better known or gain better opportunities.

The less money they can probably shell out with non-union work, the better it is for them in the long run. Knowing the striking voice actors didn’t remotely get what they wanted out of negations (and probably didn’t get the support they wanted on account of whataboutism) will probably only embolden Capcom and other publishers and developers to make/continue behavior like this, whether or not another strike ever occur.

Resident Evil has never been particularly known for its voice acting beyond the scope of how terribly it started out in 1996 and kinda petered out on the platform of “meh, it’s not completely terrible” with later entries.

The series could hire some fantastic voice actors (Rino Ramano, Karen Dyer, Sally Cahill, and Paul Mercier, for example), and a lot of them can deliver some dud performances regardless of experience. At the end of the day, unless they have an equally strong director and screenwriter, you’re going to end up with an embarrassment of riches that may become memes one day (“Complete. Global. Saturation.”).

That said, RE2R’s issue seems to lie primarily within the writing. In an attempt “humanize” characters, major to minor, the script is often littered with profanity that not only distracts from the point of what you’re reading or listening to, but adds unnecessary fat to a script that’s already bogged down with dialog and text.

The downside to a rebooting a 20 year old game, is when corporations indulge in fandom bullshit. RE2R is pretty rife with cutesy dialog meant to whip the “Cleon” shippers into a frenzy. Its nauseating, really.

Claire and Leon’s conversation at the back of the police station is a prime example of that: Instead of having the dialog delivering urgency of the scene,  the objective of the characters we get an aimless exchange full of flirty dialog, and two characters not all that concerned with zombies materializing behind them (given they take forever to put the fire under their boots). In RE2O, at least the writers were smart enough to have the characters meet in a zombie-free room or hall.

I’ve seen people make the Realism™ argument constantly with this game (esp. when counterpointing the gameplay criticisms), but, "realism” is a weak argument and esp. when you’re simply looking to be dismissive. When dialog begins to wander from its point, when profanity hinders more than helps your delivery, your story not only loses impact, it rather shows you’re a mite lazy or weak as a writer. 

Comparatively, RE2O was able to communicate the urgency, anger and tone of their characters, and under no circumstances were they this reliant on profanity or long-winded dialog. The issue isn’t that profanity is present, or that the game is text or dialog heavy, it’s how its executed. And at present, the execution is lacking in a strong focus or reduces the game to script written by someone who just realized, “wait, I can make characters swear????”

I can honestly see why a lot of protagonists in survival-horror games were silent for so long outside of cinematics, or simply had substituted thoughts (”I better find Ashley quick”). Running commentary really does break the immersion. 

Claire and Leon go from mildly relatable to mechanical models spewing canned reactions that lost their bite forty minutes ago. It’s like being stuck with multiple versions of the Generic Husband from RE7 who “what the fucks?” at every single thing when given the opportunity. So, in a lot of ways, it has a lot of the same problems that made the dialog in Resident Evil Revelations 2 anguish to listen to (hello, Moria Burton), but it lacks such charming (/s) quips like, “Holy balls, my life is awesome!”

That said, not all of the performances are terrible. The voice actors for Claire (Stephanie Panisello), Marvin (Christopher Mychael Watson) and Sherry (Eliza Pryor) probably leave the greatest impression, and are arguably the strongest performers in the game. Christopher Mychael Watson in particular gives a wildly different performance depending on who you’re playing as (Leon or Claire) and has the strongest rapport with Stephanie Panisello.

Nick Apostolides, on the other hand, he just turns in a really unremarkable performance as Leon. Like, in comparison to Mercer, Mercier, he simply does not charisma to inject personality into what is an otherwise really boring version of Leon. He definitely doesn’t have the hammy, but dead-serious delivery of Paul ”why does no one listen to me?” Haddad (Leon’s original VA). 

I think one of the more disappointing sequences in the game is when Leon returns to the main lobby in the station and gets jumped by zombie Marvin. Instead of sounding devastated, Leon just sounds mildly disappointed his C.O is a zombie (Panisello gives you a better impression of Claire’s heartbreak). And because this scene isn’t a cinematic, you as a player are just running around in circles hoping you have enough ammo to kill the bullet sponge zombie Marvin. When Marvin is finally a gory mess on the ground, Leon saying, “Don’t worry, Lieutenant. I’ll stop this” (paraphrasing) to the pieces of Marvin’s body, comes off as unintentionally hilarious, right down to the delivery of Apostolides.

My feelings are about the same on Jolene Andersen (but we all can’t be Sally Cahill, can we?), but also makes me wonder why Capcom didn’t go the distance to hire a Chinese-American voice actress for Ada. They clearly had the opportunity to do so, they found a Black actor for Marvin, but they just didn’t bother with Ada.

The worst performances out of the bunch is probably Daddy Gunshop owner, “Hello Human” reporter guy, Annette “You’ll Never Get the G-Virus” Birkin, and Chief Irons.

IV. Capcom’s Adventures in Sexism Rebooted

One of these characters had some thought put into their design. It’s not the character on the left.

The Resident Evil series is no stranger the sexualization or objectification of female characters. Historically, for every step forward Resident Evil takes with the presentation of its female characters, it takes six steps back. If there is a female character in the series, the chances are she’s going to be wearing something meant purely for the male gaze, while her male companions wear something far more appropriate for the game’s plot. It only gets worse with alternate costumes, which are typically comprised of sexy school girl fantasies, Daisy Duke hot pants, anti-Black fetishism, and little red riding hood looks. (And no, costumes like Chris’ Sailor Man and Mad Max looks aren’t a counterpoint gotcha.)

RE2R, on the surface, seems to be yet another step-up in the presentation department for female characters in the series. Claire is wearing a leather jacket over a black tank top and sports jeans instead of shorts in new her default costume, they even presented Ada Wong in a world’s ugliest looking trenchcoat. Even better, one of Claire’s alternate costumes is a suit pants and shirt look. Claire has three alternate costumes that aren’t even remotely fanservice-y in the least and it’s great.

Then Capcom announced the “Classic Costume” for Claire and finally revealed Ada Wong without the trenchcoat, and it was business as usual. Claire Redfield’s “Classic Costume” in the reboot is, for lack of a better word, closer to fanservice-y than the original leotard under shorts, black shirt, and vest combo ever turned out to be. The only marked improvement made are the shorts are equal to the length of the leotards and no longer look like underwear.

Where the tank top worked with her new jacket and jeans, it throws the entire look of the original costume’s framing off, and based on the cinematics. While it’s nowhere near as sexualized as her Revelations 2 alt costume, Capcom’s intent here is pretty clear.

Effectively, Claire looks closer to a character who would appear in a Michael Bay produced horror film, whose talking points are usually how sexy the actress makes being terrified look. In the original she was simply meant to look “cool”. When she removed the vest, and wore the holster over her black shirt, she did.

Ada Wong goes from wearing a halter top dress with leggings, and flat heeled shoes that looked fairly maneuverable in, to looking as though she’s been zip-locked into a red slip that doesn’t fit her, finished off with a tacky tiny black bow, a choker and two inch heels. 

The entire look of it rather screams at you like a flashing ad banner advertising for an explicit website fetishizing Chinese-American woman. A lot of the fan art coming out of the fandom for Ada Wong in the remake is reflecting more or less that, so the target audience has been completely satisfied in this regard.

She looks absolutely ridiculous in gameplay segments because the dress was designed with no reactionary physics. It doesn’t flex the way a dress does around legs. It looks like a bad mod made by a fan that wanted a “sexier” looking Ada Wong.

Even outside the context of alternate costumes, female characters like 18-Year old Rebecca Chambers (who isn’t even in this game) ends up being oddly sexualized in a photograph where she was originally just sitting on the ground with a basketball in front of her leg, grinning like a goofy kid on a Scholastic paperback from the 90s.

Were it not for the fact that they were legitimately aiming to make Annette Birkin look undesirable, I’d be surprised that she didn’t appear in this game wearing a lab coat, half-open dress shirt, office skirt and three inch heels with heavy makeup.

Meanwhile, Leon Kennedy gets a “Classic Costume” that gets no [major] alternations to its look and thus is restored, unlike Claire or Ada, normal civilian clothing, and a Noir costume. Ada basically got no alternate costumes despite her playability, and I think it was the same with Sherry as well?

Standard, tried and true sexism aside, when it comes right down to it, even if your female character has the reputation of characters like Leon, “How can I make her sexier?” is a question Capcom all too readily answers instead of being creative.

V. RE Engine or, a Trip into the Dark Valley of Uncanny Gray People Land

Photorealism in games isn’t something I’m crazy about and how I react to it ultimately depends on the developer. A lot of video games have been worse for it – dead eye and plastic looking characters is an issue that persists – while very few have used it to the advantage of their creativity.

The major thing that puts me off is the blandness of a photo-realistic white faces. Developers are have shown they can sleepwalk a photo-realistic white face with no issues, but when it comes to the faces of people of color, well, either their biases start to show in the designs (its real easy to make a caricature of Black or non-Black face for video game devs) or their limitations are inherent in their how they see faces that don’t look like them.

I find myself struggling to say what I enjoyed about this game on a visual aspect, because its biggest detriment is without a doubt the RE Engine.

Environment Design - You want it Darker

Creative Assembly’s Alien Isolation did something I really liked. And that’s make the player reliant upon its darkness. You spend as much time in the light as you do enshrouded in the dark. The A.I. systems of Amanda Ripley’s enemies: Hostile humans, androids on an aggressive warpath of helpfulness, and the Xenomorph make hyper-aware of just how exposed you are bathed in the light, just as the dark and shadow make you equally aware that you’re just as open to an attack from the Xenomorph who needs no light to see you should it ever spot you therein.

A lot of the design philosophies in RE2R were built on the groundwork established by RE7, but its disadvantage was the player’s familiarity with RE2O’s level design. In a lot ways, I think they opted for pitch black environments to break that confidence. There are several environments throughout the presentation of RE2R that are turn-the-lights-off dark (which makes for an unpleasant experience for my eyes), but in a way that’s more superficial than essential.

Most areas in the game contain low-level lightning most of the series is known for, but it lacks any of the color and saturation from older games that make set pieces stand out. The most light you’ll see in RE2R is within the lobby, library and upper offices of the police station and the underground lab at the climax of the game. 

The closest the game ever gets to replicating the atmosphere and mood of the older Resident Evil games is probably the orphanage level and the later street level in Claire’s campaign. The lightning and shadows are perfect there.  But, more often than not, RE2R is content to plunge you into a adversarial darkness repeatedly with a flashlight. In addition to the game’s muted or desaturated colors and washed out look, nothing about the environment design really stands out as remarkable outside of the aforementioned levels.

I don’t think I’ve read so many complaints about having to adjust the contrast, color, brightness, and etc just to get one area or another to look normal before this game (in relation to RE). It’s apparently bad enough that PC Modders are creating mods that fix the overall presentation of the game (more color contrast, sharper image, improved lightning). Devil May Cry 5‘s environment and lightning design tends to looks leagues better than this game, and its got its fair share of bland looking levels. 

The screenshot is edited, but this is a solid approximation of how dark it is in a lot of areas.

Where almost no light worked in a game like Amnesia: The Dark Descent, SOMA, Penumbra, or even Silent Hill, RE2R’s design template actively discourages exploration in a way the older games did the opposite. It gives you the impression that the game has more to hide than it does to show you. The 2002 Resident Evil remake is still one of the best examples of cinematic light, dark, and shadow created purely for navigation purposes. The game is seventeen years old (holy shit), and legit, I don’t think there is a Resident Evil game in the series that nails how essential lightning is to your environment like this one.

On an aesthetic level, the reboot fails to capture the period of the world that its predecessor was basically developed, lived and breathed in. Setting aside product placement (“Pepsi”) and musical cues (“Baby one More Time”) is beyond Capcom’s budget, it’s the little things about the environment and level design in the reboot that really fails to say, “Here lay 1998. We’re a year away from the full-blown Y2K craze, floppy discs, and pagers were still a thing.”

There’s a tape recorder, yes, there are big, blocky computers sitting on hardwood desks and gas prices I still can’t believe my father grouched over in comparison to the shit they have us paying now, but, a lot of those things feel like superficial window dressing on a poster board. 

The environment design and world of RE2R feels very much like a 2019 era world with very little ringing true of the 90s.. I don’t think any damages the authenticity of the world much like the design of the characters – who look a little too 21st century as opposed to individuals trapped in a moment of time – now twenty years ago – and the same can be said of the secret evil lair of the Umbrella Corporation.

Everything in the final level of the game feels like something of Paul W.S. Anderson’s Resident Evil (The HIVE), and less like a lab that was built and constructed with what a 90s era architect would think was cutting edge tech and aesthetic of the late 1990s. It got to a point where I honestly think they should’ve just set the reboot in 2018.

Character Design - Petrified Faces and Awkward Mouths

He’s lit. melting in the rain right now.

Photo-realistic characters live and die by how well they imitate life without setting off the alarms in your mind. RE2R falls on the spectrum of “missing your mark” in a lot of ways. Characters in RE7 had the look of wax mannequin dolls walking around terrorizing you’re equally doll-esque player characters (with no heads). Nothing about how these characters were rendered and animated was particularly great, and it constantly triggered the meant response of “there is something wrong with what I’m looking at” that often comes with the uncanny valley.

The biggest issue facing the grand majority of the white characters RE2R is the fact that Capcom is still manipulating faces like they’re still using stylized animation and not an engine “based in reality” to its detriment. Characters are puppet-esque, or look particularly unfinished in the washed out environment and desaturated colors. This is noticeable in throwaway characters like the trucker in the opening cinematic (eating a burger that reacts unlike food) with a face that seems ready to melt off of its model at any moment, Chief Irons, “Hello Human” reporter guy, and the father and zombie daughter from the trite Gunshop sequence begging for its SAG award. None of these characters emote or animate well and draw the eye to the imperfections of the engine than wow you with its animation.

Among the central cast, the characters that look the worst rendered in the RE Engine are probably Claire Redfield and Annette Birkin. Both characters look as though the face models simply did not cooperate with Capcom tweaking the faces. Annette is more puppet-like than say, Claire (who at least has genuine moments of humanity). The less than stellar facial and lip animation is extremely noticeable on Annette's model who might’ve been promoted to minor antagonist at the last minute, because she has no business moving so robotically. It probably doesn’t help matters that Capcom designed her character with the philosophy of “working women don’t care about their appearances” (paraphrased) in mind, which makes their changes to Ada and Claire all the more suspect.

Claire’s biggest issue seems to be that Capcom simply spent less time on her than they did Leon. The model’s face is often stiff and under-animated, so it looks like Claire’s face is struggling to emote. This is especially notifiable when you compare Claire’s model to her living counterpart (who is far more expressive in a still image than her 3D model). Capcom more than likely tweaked the model’s face more than a little bit, and to the character’s detriment. Honestly, it’s comparable to how she ended up looking in CGI film Degeneration (where her face barley animated). Claire’s model really, really, really needed more work, or Capcom needed to find a face they could work with better than the one they chose.

Leon is the character they clearly spent more time on, at least in terms of details. In general, his animations are probably stiffer than Claire. Most of the cinematics involving close-ups of Leon’s face make it appear as though Leon has mastered the art of talking through one’s teeth without moving their lips, and he’s not particularly emotive unless the emotion is an extreme one.

Out of the characters with any remote screen-time or plot-related dialog, the only ones that look slightly more remarkable are Ada Wong and Marvin Branagh. Marvin in particular might be the best example of what the RE Engine can do with unique faces and competent performance from the animators and the actor. 

Ada Wong looks better than she ever did in Resident Evil 6, and while this not my favorite rendition of her character on any level, she is only female character in the game – in terms of character design – that got a decent face model.

The only drawback with these two characters that Marvin looks as ashy white as the white characters (and no blood-loss isn’t a justification for that) and he shares the same thousand yard dead-eye look in his eyes that a lot of the other characters have. The less-than-stellar facial animation is more than a little noticeable in Ada Wong’s sequences a well (was she snarling or trying to annunciate words at Annette?).

The zombies and non-human enemy types look better suited the grayscale, clay-esque look the RE Engine gives everything. Zombies require almost little to no real facial animation, but against the backdrop of reality they are truly out of place (to reiterate). The same can be said of characters like Mr. X or William Birkin’s monster form.

The big sell Capcom made with the zombies and monsters in RE2R is that they could render insane amounts of gore, based on the human anatomy. On paper, it definitely sounds like a cool idea, in execution? I’ve been so desensitized to gore and human guts – within the fictional spectrum – that this really doesn’t impress me. (My sister, on the other hand, needed a moment.) 

It’s like, “Yeah, that guy’s arm is are hanging off alright.” But, unless you’re giving me RE4 or Dead Space level styled deaths, where the gore is put on display with a sort’ve Evil Dead irreverence, well, the most your doing is just demonstrating gross anatomy. It’s cool, but not exactly satisfying, esp. when taking the clay-esque look of the models into consideration. The masturbatory gore dislay is also probably a big reason why firearms and explosives against zombies no longer have the desired effect. The most you’ll be doing a lot of the time is peeling the skin off of a model, which I guess, is your cue to go, “Wow, look these physics, look at that gore.”

There are some developers who really know how to work with photo-realistic environments and, even moreso, how to render photo-realistic characters, be they based on living people or not. Remedy Entertainment (using the in-house engine, Northlight Engine), is one, and Naughty Dog – who still rely heavily on stylization – has only recently entered that threshold during the PS4 era.

A lot of this of course, is a consequence of experience with that medium. Naughty Dog’s history with more animated styles definitely helps more than harms their photo-realistic models and environment. Remedy Entertainment’s persistent desire to render the real world in a 3D environment has simply improved as the tech has gotten better.

Capcom, like Square Enix and the late Konami, was always at its best with hybrid blend of animation and photo-realism. Resident Evil was rendered and designed in such a way that it straddled the line of photo-realism and stylistic animation in way no other games did. It wasn’t too real, and it wasn’t too cartoony.

That creative style lent itself to their level design as one was often not without the other. The Gothic horror design of mansions or European countries, and the stark familiarity of places like a police station, a cruise ship or a prison island, were often picture-esque or surreal by design. The RE Engine is probably the biggest step backward in terms of design and atmosphere.

VI. Conclusion – “All Employees Proceed to the Bottom Platform.”

Hey, look, a callback to Resident Evil 2. Neat.

As a game I played with my sister, passing he controller to her every fifteen minutes, I had fun based purely on how she reacted to the game. Whatever my quibbles, the most fun I’ve had with this game is probably screaming and yelling with my sister, and acting as her personal exposition machine. 

She asks so many questions about what the hell is going on in the greater scheme of the plot. She doesn’t care, per-say, but she asks anyway because she knows I like reading Wikipedia and thus have the answers. I can only tell her what I know from the previous games, which I know effectively don’t count for shit with this reboot.

That said, the reboot just made me weirdly appreciative of what went into the creation of the original Resident Evil 2, especially in terms of structure, gameplay and presentation. The reboot is ultimately something that feels like it was produced within a AAA space, right down to its paid DLC offerings, which once would’ve been natural unlockables in the game. It’s budget was probably sunk by the over-lavish requirements of the RE Engine, and just from looking at it, this game had budget it was straining against. It ultimately ends up making its predecessor all the more crucial and unique.

It kinda highlights just how useless exploiting nostalgia is in the process of replicating things. You don’t get the same results, and in the end you’re only playing an imitation of something that was a consequence of the right people coming together at the right period of time. It’s what makes things like polygonal character skins, or “play this game with lower resolution settings”, give the impression that devs largely miss the point or misunderstand what people like or continue to like about older productions, even when a newer imitation of it comes out (the discussions people have about Metal Gear Solid vs. The Twin Snakes highlights this best, I think).

I enjoyed Bluepoint’s Shadow of the Colossus, they went above and beyond the call of duty to reproduce the original, but I often find myself playing the older far more than its 2018 remake, because the latter ultimately lacks what Team Ico put into that game.

In its attempts to be a retelling of the game, RE2R probably would’ve been better off abandoning the entire framework and creating something entirely new (I say again). But because it never tries to be different enough from its counterpart, especially in terms of story beats, the end result is a condensed soup with missing flavor. Otherwise, I think restorative would’ve been a better move than remixing it. Not something I could say about Shattered Memories. If I could describe RE2R, outside of the interaction I had with it in the company of my sister, “boring” would be the kindest descriptor I could give it. Everything about its aesthetic, to the delivery as a much toned down version of RE2O, was not gripping [for] me.

Comparing this reboot to something like DMC5, something using the same engine, but manages to be more vibrant in design and presentation, makes RE2R look unremarkable in comparison. The visual quality of the game tended to remind me of the presentation of Ready at Dawn’s The Order 1886, which was also heavily reliant on photo-realistic graphics and a washed out presentation.

This game is nowhere near as engaging as its original. And because the campaigns are basically a Frankenstein hybrid of the original A/B set up, a lot of the changes to the plot seem really superfluous or detrimental to the structure overall.

They really did Ada dirty in this game.

Playing the events of RE2O as more overly dramatic or serious effectively makes for a really dull game. A more reality-based RE isn’t something I’m particularly interested in, especially since the end result appears to be a less exciting product. The fact that they did so little with or reduced characters like Marvin and Ada – who are nowhere near as present or independent of the scenario characters as they should be, just makes for a greater disappointment.

RE2R is a reboot of the original 1998 game in all the ways that are reflective of RE7’s design principals, carrying the pretense of realism on its shoulders. RE2R keeps some of the bones of RE2O, but discards the rest in exchange for something trying really hard to be different, but familiar enough to invoke déjà vu. If you spent the radio silence hoping for the lavish recreation Mikami made of his 1996 original in 2002 for Gamecube audiences, you sadly won’t find it here. If anything this more or less proves something like that will never happen again.

RE2R strives to be a third person iteration of RE7 with an older title. If you weren’t crazy for what a lot of people more or less called “Resident Evil in Name Only” when it was released in 2017, chances are you won’t enjoy your time with RE2R. If you were completely and utterly for RE7, the RE Engine and all that this blueprint entails, you’ll basically have a good time with RE2R and whatever else gets remade under this umbrella.

The last temptation I have toward this game is playing it heavily modified on the PC because the mods for this game actually look like something to mess with. I’m just waiting for the “Classic Ada” costume mod, because that dress is some of the laziest character design I’ve ever seen.

[chattegeorgiana]

Get your garbage out of the Sasuke tag.

"Like, for as much as I like also Sasuke as a character" stop lying bitch we know you don't. It's blatantly obvious.

"it’s like... the guy took everything that Naruto had - his motivations, the love of his life, the show... everything. Everything was taken and was given to Sasuke."

?????!!!! How did Sasuke took Naruto's motivations? Their motivations were always different. At no point did Sasuke wanted acknowledgement or whatever the fuck Naruto wanted. And you really out here saying Sasuke took "the love of his life" with your whole ass chest? Lmfao. Sakura was the one pursuing Sasuke, not the other way around. Stop acting like Naruto was entitled to get what he wanted just because he was the MC or that he was entitled to get with someone just because he happened to have some feelings for that person. It does not work like that. But then again, this level of entitlement is something you can only see in Naruto and Sakura/Narusaku wankers.

"Sasuke keeps taking, taking, taking and Naruto keeps giving, giving, giving. And the balance in this case isn’t right. It never is." Girl... are you normal? What does naruto keep giving? Last time I checked, Sasuke was the one who risked his life for Naruto, not the other way around. Deadass Sasuke literally sacrificed his goals, motivations, life for naruto against Haku and he was willing to do it again against Gaara.

"Because Naruto worked his ass of for everything while Sasuke went to Orochimaru to cut things short and what? He’s the one who gets it all, while Naruto’s hard work is repaid how? " And you think Sasuke did not work hard when he was with Orochimaru? Do you think he improved his genjutsu/taijutsu/ninjutsu that much and learned swordsmanship, as well as creating numerous tehniques by snapping his fingers and doing nothing???? Sasuke was shown to be an incredibly hardworking person ever since he was a child, his databook hobby is literally TRAINING and let me remind you that one of Orochimaru's training sessions literally involved Sasuke fighting against countless people, and you think Sasuke had it easy compared to Naruto??? You think him going to Orochimaru "cut things short"???? Bitch sit your ass down. Naruto is the one who does literally the bare minimum yet he gets 353423 power ups at once. He unlocks Kurama mode? Oh would you look at that, he's now one of the fastest ninja, despite his speed being otherwise mediocre, he's now good at taijutsu, and he also gets additional strenght and his jutsus are significantly boosted. And all he had to do for that was tnj Kurama with Kushina and Bee's help. Basically gaining access to KCM was one hell of a frickin shortcut for Naruto to make up for all of his previous weaknesses. Without Kurama, he would've had to train years to get that speed, he would've had to train years to get that level of taijutsu and strenght yet Kurama makes up for all of it. In Shippuden Naruto's just handed ridiculous power up after power up and his garbage fanboys and fangirls be out here talking shit about Sasuke when this Naruti fucker was even given the ability to fly and restore people's eye and heal them without doing jackshit at one point in the manga? Girl sit you ass down and stop spewing shit.

"What message is this in the end? That in this world the only way you will make it is by cutting roads, taking shortcuts and ‘cheating’?" If Sasuke is "cutting roads, taking shortcuts and "cheating" then so is your precious naruto, even more so than Sasuke.

Don't you ever put your crap in the sasuke tags. We don't wanna see garbage in these tags. Narusaku wankers like you better keep his name out of your mouths and sit in your fucking lane. Even better. Deactivate and find other purpose in life than bitching about your trash ship not becoming canon. Cringey, corney ass cunt. This is literally the first ask of this type that I'm ever sending cuz god bless it's hard as hell to get me this heated, but your corny, stupid ass somehow pulled it off. Congrats.

I pondered over whether I should reply to you or not. And decided to do it, because unlike you, I recognize the fact that you are entitled to have an opinion.

Ya know, like I do, too. But unlike you, I won't start calling you names, you see. Because dear God, although yes I am a Sakura and NaruSaku fan, doesn't mean I leave my brain at the entrance. One that unlike you, also knows that my favorite character(s)/pairings also have flaws. So whenever people have an opinion I disagree with, I just leave them be.

Instead of ya know, going into people's inboxes and acting like you did.

Like wow, doe... Take it easy. You think that if you came into my inbox and spewed all this wall of text filled with insults you're a better person or what?

You gotta learn in life that yes, people have different opinion than yours dude or dudette, whatever you are. And you know what? You're gonna have to learn to live with them, like it or not, cuz you don't live in a vacuum space.

Excuse me but since when someone dictates me what I am and what I am not? I didn't know I require your permission to be a fan of Sasuke in a certain way otherwise I shouldn't be called a fan.

You just saw a post here, read some few questions here and there and placed your judgement that oh, all I am is a stupid Sakura/NaruSaku fans who thinks like this just because of my ship. Well, news flash: I can separate my liking of a certain thing and analyze things outside of that. You know why?

Because I don't take things personally like you seemed to have done here. Yes, I have my opinions and I stand by them. But that doesn't mean that I can't judge things outside of those opinions.

I don't know with what kind of thinking and people you are accustomed to, but you've got me wrong here.

Everyone who is here along me for the years I've been on Tumblr (and elsewhere) knows that I've always said I have a love-hate relationship with Sasuke.

I hate some of the things he does (more like HOW he goes about them), while I LOVE how he's the one who truly challenges the status quo present in Naruto world.

But aah, here you are, coming into my inbox, telling me what I am and what I'm not. Chill yer self, will ya? I know very well who I am, I don't need your incapable of having a decent discussion self to tell me who I am.

Now to address your points

How did Sasuke take Naruto's motivations? Oooh, then you might've missed him wanting to become Hokage, which was Naruto's dream since this god forsaken story began.

THAT IS HOW.

Naruto journey was about 3 major things: acknoweldgement, Hokage and getting Sakura.

Minus the acknowledgement thing (which gets weaved with the bringing Sasuke plot along with the Hokage one), the other two are transferred to Sasuke.

Irrespective of Sasuke wanting those things or not. Because ya know, as I said, everything was taken and was given to Sasuke.

Which, I'm sorry but it's true. Sasuke's major plot and defining moment ended-up when he killed Itachi, so from there on Kishimoto needed to think about something for him.

Hell, Kishimoto himself admitted that he didn't know what to do with Sasuke in the Kobayashi interview, dude. Like chill your goddamn self.

Not to mention along the years he spoke about how Sasuke and Kakashi's popularities grew more than he envisioned. Hell, at some point the man purposely cut out Kakashi from the story because he was getting more popular than Naruto, so really, what are you getting pressed about?

For speaking about a valid critique of how things happened? Kishimoto ended-up giving to Sasuke what we all followed Naruto for.

And you say that he didn't give him Naruto's motivations? LOL MAY I REMIND YOU that Sasuke's POV in the last chapter is really similar to Naruto's? Him wanting to reach Naruto the same way Naruto wanted to reach him, him being envious of Naruto the same way Naruto was envious of him, though Naruto's envy and Sasuke's are so different in nuance.

As for Sasuke's skills... dude, I'm sorry but Sasuke's WHOLE arc was about searching power from Orochimaru. Which I am sorry BUT IT WAS CUTTING SHORT because ya know, the cursed seal??

Like I'm sorry but Naruto's Kurama power was a handicap to him until he had to train with Bee, so give me a break here.

I'm not taking away from the fact that Sasuke trained as well, far away from that. But as it's true that he trained, it's ALSO true that he cut things hort.

Him going to Orochimaru is the point to that whole thing. That's the whole plot point of him going to Orochimaru.

Ya know, cuz that's how darkness as a motif works in a story my dear.

It gives you power easily (AND SASUKE HIMSELF ADMITS IT TO SAKURA when he leaves the village that he is NOT like them aka Naruto and Sakura). Granted, there's always a reason behind darkness offering you that power and Orochimaru's was that he wanted Sasuke's body. That's THE WHOLE REASON Naruto and Sakura wanted to bring him back to the village??? Because in his quest for power he's losing himself.

But it doesn't retract from the fact that Sasuke DID do that. Hello, remember how he had to eat that pill to "die" once and then BOOM MAGICALLY level 2 curse?

Like don't give me that crap that Sasuke is a hard worker cuz it's not true. He's a talented one, I give you that. But NOT a hard worker.

There's a slight difference in nuance here. The motif of natural talent vs hard work has always been prevalent in this story. Guess on which side of the spectrum Sasuke was?

The one who always had to train more was Naruto because I don't know if your angry self absorbed self remembers, but having Kurama functioned as an impediment to Naruto rather than something helpful.

The fact that he FINALLY got to utilize Kurama's power-ups (which should be looked as a reward system after functioning as an impediment in the story), I'm sorry but it's not like he snapped a finger and went there and magically got it? No, my dear. He had to undergo training!

Not to mention, that wasn't the only power-up that Naruto got. Mind I remind you of Sage arts? The one he learned once again, by training hard?

Meanwhile Sasuke got his power-up because Itachi left behind his eyes. Then again we see Hashirama in the war arc giving him his chakra, and then again we have Hagoromo who gives him the seal. But that one is out of the equation because Naruto got it handed to him the same way Sasuke did.

So, like it or not, by the virtue of how the story was developed and the motifs it uses, Sasuke is the one who uses shortcuts, abandons his comrades and gets things handed to him.

While Naruto is the one who works hard because unlike Sasuke, he's not the talented Uchiha genius. His only talent is the fact that he is able to relate to people in more ways than one, unlike Sasuke.

Like dude, that's the story's premise ffs.

The fact that you don't like it, well, that's another issue. You're free not to, of course.

But you coming here in my inbox and insulting me isn't going to change the reality of those facts.

As for blaming it all on me for YOUR OWN actions, well, isn't that juicy?

I didn't make you come to my inbox and write these insults, did I?

You had so many other choices: come to my inbox and NICELY ask me to take it out because you see it as offensive to the Sasuke tag, IGNORE IT and move past it like I so do with so many things I see in the tags of the characters I like, or simply come and tell me that dude, I consider that you're wrong because this, this and that.

But no, instead you came here, wrote all this long ass ask, used foul language and you wanna make me the bad guy in this whole story because I dare to have an opinion?

Sure Jan, whatever rocks your boat and helps you sleep at night.

As for the last part, I'm sorry to burst your bubble but I won't do any of the things you said I should.

You're not the first, nor the last person who comes into my inbox spewing hate. I've been doing this for 10 years now.

You're not the first and probably not the last either, like I said. But let me tell you one thing: I don't care.

You hold no power over me and what I do on the internet.

So you can either accept that and move on with your life or keep continue acting all hateful like your fave used to do in his teen years.

Ain't gonna stop me from being me.

Like I said... This is the internet, my friend. You have no power over me.

Sayonara!

[we-future-first]

Just really needed to get this theory out there, nature is way more resilient and adaptive than we think

I've had this cool theory for a while which I personally hold true but I'm sure most of you will say is far fetched.

I personally believe that nature is far more adaptable, dynamicly resilient and powerful than we as a society believe. I can't seem to find any articles on the topic because everyone is jaded by the belief that humanity's destruction and eradication of life on earth will bring a collapse to the natural world. This is what I believe is wrong, as we intently destroy the global ecosystem on an unprecedented scale, the overall gene pool of life as a mass will begin to be forced to select for traits that are effective in reducing humanity's stresses and impacts for it's own survival. Many species are evolving to, or are being manipulated into cooperating with humans. But I believe many more species are evolving to directly or indirectly weaken and destroy mankind.

Simply put, life on Earth has constantly evolved and adapted to thrive even through absolute destruction and percievably impossible scenarios. The fact that life came to exist from the most coincidental and bizarre circumstances and has not gone away proves the incredible resilience it holds. We as humans are now constantly destroying and eradicating, forcing nature into extremes to ensure its own survival.

Remember that by nature I mean all cellular and non-cellular life on earth except humanity. Plants, animals, fungi, pathogens, bacteria and everything in between. Particularly I emphasise on microscopic life such as viruses, bacterial and pathogens as these are the fastest to evolve and are thus the most adaptive and resilient of all. Humanity's extortion and destruction is often forcing species to have as profound an impact on humanities prosperity and inevitable survival as possible. The rapidly exponential rate at which life is beginning to cohesively 'jepoardise' humanities prosperity will also be forced to essentially co-operate against mankind and form dynamic direct or indirect systems which make human life more difficult.

Life will constantly try to restore the natural equilibrium that existed before the Anthropocene (human epoch), destroy humankind's existence entirely or force humankind into creating this natural equilibrium which would likely result in various systems of human population control.

I know what many of you are thinking, your probably that humankind possesses the ability to and is essentially acting to destroy the Earth and all life on it. But I simply do not believe we are yet capable of, or never will be capable of destroying life on earth entirely. Not to say if we really tried to say blow the world up by using all nuclear power on earth to creat an exlosion that somehow could break the world in two, of manipulated the trajectory of a meteorite or space Phenomena of some kind to literally disintegrate or split the earth into pieces (with the potential survival of life within the vacuum of space forced to cling in). I simply do not believe we are yet capable or even ever will be capable of the Earth's destruction, mother Earth will likely bring us down first. I f every nuclear warhead on earth were to simultaneously be detonated, extremely catastrophic mass extinction would likely entale and the majority of life will perish. However just as life came to be here life will always remain on earth, and there will always be outliers, enclave, mutated and biologically resistant life that will then flourish and prosper in a new environment with very little competition. In fact the 'eternal' nuclear fallout would dramatically increase the rate of mutation in genetics and life would raidly evolve into a terrifyingly dynamic new reality, or some fungi will just evolve to rapidly detox and irradiate the earth returning it to normal 😂

Now to get back to the point I'm making, humanity must either universally co-operate with the natural world. Or be forced into a position where they are no longer the dominant species. Another species will also likely evolve to be sentient and compete with humanity in a geographically short time period, with many more to follow.

This may all seem like jibber jabber to some of you, it seems that our society's ego has us believe that we are better than nature. We often believe we are not animals and we are so advanced that we have the ability to prosper through anything nature throws at us. But this is simply untrue and mother nature will grab humanity by the balls when she wants to, and her grip is getting tighter.

I don't have any degrees, in fact I don't even have any sources to quote here. There is no reason for you to agree with me, any and all argumant or rebuttal will be great and I would love for someone to raise a point that makes my theory obsolete. I could go on about this with many more intricate predictive theories on the topic, but I have so many more ideas and theories I just need to get out of my head.

Nah, I got a couple other thoughts on this as well. Nature's manipulation of hamnkind may even be completely indirect, we may never now how the natural world can impact our psyche and may simply create an extreme tendency for society to be extremely unstable. The DNA that codes our life may likely select for genes that encourage humans to fight each other as a form of population control, and this may be how an equilibrium could be established. Overpopulation will likely lead to conflict, famine, diseases and all as nature will and always has been thriving for a world of diversity and cohabitation. The environmental recovery caused by the global impact of covid-19 is a great example of how nature indirectly works together against us. Since animals that transmit diseases will often prosper through the lessened impact of humanity in their own lives. Species that can transmit viruses directly or indirectly to humans, will likely thrive, thus selecting for genes which directly or indirectly cause human habitation within their environment to decrease or desist. This will likely lead to a world where animals evolve purely to kill humans, the outcome in only a couple millenia will be scary af.

The problem I see is not animals or plants though, it's pathogens and all the microscopic stuff. When the environment benefits from a virus that impairs humanitys impact, many others will naturally begin to evolve to the benefit of other species in this ecosystem, and diseases will do this first. Viruses and bacteria are of particular concern here since they or the most rapid to evolve and adapt to a change in their environment. Zoonotic viruses that rapidly immobilise humans will have significant benefits to their hosts and ecosystems they are within thus zoonotic viruses that can infect humans will likely be the first step in Earth establishing an equilibrium.

If overpopulation is somehow rapidly addressed this would probably significantly reduce the rate at which this 'theoretical bullshit' may happen. Realised I forgot to mention why I don't have faith in our sciences or doctors to fight spontaneous natural occuring diseases. Viruses/bacteria/pathogens all that, have n essentially infinite ability to evolve, gain resistances and become immune or more severe. It is commonly known that most viruses do not want to kill their hosts, but when the entire global ecosystem benefits from a virus killing it's host, those viruses will begin to occur far more frequently and likely with increasing severity. Sorry if this is scary for you somehow as long as you are young and healthy you will probably be fine but I can't say much about the outcome of a likely upcoming war of significant proportion, likely fought very unconventionally.

TLDR and a lil conclusion: Nature is powerful as heck, in the end we are just another species on this planet and through all the great things we have and will achieve, mother Earth will be able to keep us in check. I don't understand why I am unable to find articles on this, mass extinction does not simply cause life as a whole to perish, it strengthens the gene pool, and by impacting essentially all species of life on Earth; we are essentially creating our own undoing. Overpopulation will likely trigger the most significant mechanisms of 'human eridication'. You can say I'm just a doomsday theorist or something but this will not happen in a couple of years, I believe it has been ongoing ince we first discovered fire and is now taking a drastic step in its inevitable fate. Also not sure if I even mentioned global warming, but the extreme loss and extinction caused by this will likely be short lived, most ecosystems will eventually benefit from Increased temperatures with a global increase in rainfall and water available for evaporation. Fungi and other live organisms will likely evolve systems to reduce harmful gases and elements in the ground and air (as they already do) and filter out the 'toxins'.

I also just want to say that every opinion is biased somehow, of course this for example, but even the most credible articles and studies from prestigious universities or organisations. Simply by thinking that we as humans are top shit, the short term impact of our actions/activities blind us in our judgement of the long term outcome. Nature finds a way, always will and always has, we don't know why or how this occured, but it has clearly proven to be terrifyingly powerful and resilient.

Humanity must lose its ego, we might look like top shit right now but some day or another we will be put in our place. Mother nature is patiently waiting to bitch slap us back into our caves, and it kinda seems that no-one wants to talk about this? Also yes, this is something I thought about on a mushroom trip, but I've formulated the other ideas since. WAKE UP SHEEPLEZ nah jk kidding there's nothing we can do lmao😅

submitted by /u/mrunk0 [link] [comments] source https://www.reddit.com/r/Futurology/comments/hy2tvz/just_really_needed_to_get_this_theory_out_there/

[fuckyeahbotany-blog]

Cheats For Unturned

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