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The Problem With The "Resident Evil Was Always Action-oriented" Argument
I thought I'd offer my two cents as a longtime series fan since watching friends play the first two before trying out RE 3: Nemesis in childhood (I LOVED the concept, atmosphere, characters, and story, but personally could never get the hang of the tank controls). While I haven't played many of the games, I have taken enough time to understand its history & influence that I feel my assessment is adequately informed. Everything I'm about to say is based on my own perspective of RE + what actual fans from varying generations of the franchise have told me based on their anecdotal experiences:
Below, I will discuss three overarching flaws with every Resident Evil title being defended through this logic. Apologies for the length, but these are my unfiltered thoughts:
1) It oversimplifies the nuance, necessity, and influence of "survival" in survival-horror:
To clarify, I do not disagree with the statement that "RE was always action-oriented" in itself. That is indisputable, regardless of how people feel about it. It is a fact of history that a defining aspect of the series from the 1996 original onward was always combat, guns, and killing monsters. RE as we know it today wouldn't exist without those ingredients. That was intentional on the part of both Capcom & Shinji Mikami, who initially envisioned the original game in 1st person before the spread of modern shooters (an idea that would be explored in 2000's RE Survivor, then revisited in 2017's RE 7: Biohazard).
A fundamental trait of the term "survival-horror" that Mikami's team pioneered at the time was crafting a new kind of experience that gave players more agency to fight back, more control over their fate, and more overall input + options compared to the simpler gameplay loop of avoiding danger rather than confronting it (a formula once again popularized in modern gems like Amnesia & Outlast). The core of RE was always about players managing limited resources in the shoes of a vulnerable protagonist while discerning with their own best judgment when to fight vs. when to flee or evade.
Prior to this, the "horror" in horror games often led to getting frustrated when mistakes resulted in dying or being cornered with no means of defense, having to wait until you could retry from your last saved progress (Not that this formula can't be executed well, but it was becoming repetitive back then). Survival-horror birthed a new ball game by building everything around allowing players weapons & tools to prevent death but at the same time not providing enough resources to fight/kill everything. Just enough freedom was provided, yet restricted, to make decisions feel more important.
This balance is what helped get fans immersed in the underlying psychological game of thinking every step through BEFORE acting instead of gunning everything down like an 80's superhero. You could theoretically play that way, but it wasn't the intended framework and would generally be more difficult. Except, typically on New Game+ which was meant to reward players that already made the effort to complete the intended experience with unlockables to have more fun with less restraint. At THAT point, yes, more freedom was given to indulge in a power fantasy because it was EARNED.
Whatever extra toys & challenges players achieved for replayability, that doesn't change that the crux of the experience was first-and-foremost about SURVIVAL which is not exclusive to action & combat. The act of survival by itself isn't as black and white as "fight, heal, scavenge, repeat". It's nothing more or less than a goal, and the myriad ways of accomplishing it are the point of playing the game. This goal NEVER demanded action, except in specific instances. Players can just as plausibly survive by avoiding enemies (minus those that must be killed to progress) as they can by standing to fight.
The original three games are praised partially because they always kept this balance at the forefront of the intended adventure, maintaining that mental game within the player to make the most effective choices moment-to-moment. As the series progressed, however, the goal of survival (in addition to progression) demanded action more and more in service to that purpose, most heavily in RE 5-6. It arguably wasn't until 7 that survival was made the top priority again with action only being one means of fulfilling that mandate. For the first time in years, action was treated more as secondary.
THAT'S what I interpreted from Capcom & the developer's message of "returning to the series' roots". It wasn't just about returning to a dark house filled with monsters & puzzles, though that was definitely part of it, or even necessarily about being "scary" again. It was primarily about attempting and mostly succeeding at recapturing that balance of RE being a "thinking man's" survival game throughout (not just for specific puzzles). All core tenants of the original gameplay loop were transitioned into the new generation, taking full advantage of modern technology & controls to recreate that survival spectrum.
It was the first main series entry in years (since the original trilogy, depending on whom you ask) that successfully reintroduced and, in some ways, possibly evolved this dynamic. Does this mean that every game has to be like the originals to be a "true RE"? No, not necessarily. There's nothing wrong with deviating and taking risks in lieu of repeating the same formula past its peak. Again, however, there is a balance that must be kept at the center in order for the "survival" in survival-horror to carry forward. Otherwise, it is by definition no longer survival-horror. It's action with surface-level survival elements.
2) Resident Evil was originally intended as a SUBVERSION of the action sub-genre in horror:
Several younger series fans whose views I've listened to or read seem to mistakenly believe that RE's charm was always partially about action-hero protagonists performing superhuman feats in over-the-top sequences. Essentially, their argument typically boils down to "The characters were always superheroes in action-heavy plots, the sequels doubling down on that was a natural progression." Obviously, I have no authority to tell them they're wrong for feeling that way but this historically misrepresents the reasoning behind why Mikami's team designed the protagonists as elite cops.
As any RE historian worth their salt knows, the first game was inspired from three main sources: A) George Romero's zombie films, B) 1989's Japanese-exclusive horror game Sweet Home, which RE was at one point planned as a remake of or spiritual successor to, C) Hollywood B-horror, particularly of the 1970's-80's (Ex- '74's The Texas Chainsaw Massacre). Gameplay-wise, several aspects of its survival-horror blueprint were directly influenced by 1992's Alone in the Dark (particularly the conceptual change from 1st person to 3rd person with fixed camera angles against pre-rendered backgrounds).
Unfortunately, this generational gap combined with the series' steadily escalating action has influenced the misconception that, because RE took inspiration from over-the-top cheesy B-horror, the final product was therefore designed unironically as cheesy B-horror. This is a textbook example of a franchise's identity getting lost in translation as future games move away from its roots, which is common as sequels & spin-offs enter new territory over time out of desire to stay interesting/relevant. Again, this isn't inherently bad. Examples of this in film include the tonal shift between Alien vs. Aliens.
When fans are led to project what they believe the series was always about based on their introduction to it via a later entry, however, this can perpetuate ignorance and mischaracterize its legacy. Looking back at the original's main leads without having taken the time to understand its content, it can admittedly be an easy mistake to make. At first glance, S.T.A.R.S. Alpha Team look like a borderline-cartoonish cast ripped out of the 80's and dropped into an almost laughable B-horror scenario. Their anime-esque art designs + goofy one-liners & dialogue all create a demeanor of virtual superheroes.
They intentionally present an action-star premise of hardened combat veterans following the call of duty into the thick of another mission, flying in their helicopter to investigate, close the case, get justice, and kick some ass along the way. This is painfully obvious, from their unrealistically stylized militaristic uniforms (especially Jill's pads and beret) to Wesker wearing sunglasses at night + inside. All of this, on top of the live-action intro's opening and the cast's flashy profiles, paints the protagonists as locked & loaded bad-asses who could stand alongside Arnold Schwarzenegger's Commando.
Anyone who's never seen or heard of RE before could watch the first minute or so of the intro and easily assume this game will have them stepping into the boots of a super-cop who can handle anything, mowing through monsters like an arcade shooter. Guess what? THAT WAS THE POINT. This makes it that much more tonally jarring and effective when these 80's archetypes find themselves completely unprepared, in way over their heads, and forced to run/hide for their lives. Finding what's left of their comrades picked off one by one, the true nature of the game finally opens up.
The hunters have become the hunted as the audience's perception of these supposed elite operatives is flipped on its head to unapologetically graphic results. The protagonists are now established as vulnerable, frightened flesh & blood mortals far out of their depth. Trapped like rats in a maze, the group must rely on their wits to survive a situation beyond anything they were trained for. You know what other story used this exact subversion tactic to similar success? 1987's Predator, another Schwarzenegger gem. And it is no accident that this trope was reused by Mikami's team for RE.
The whole setup literally shares so much DNA with Predator (right down to the heroes entering and then escaping the setting in a helicopter, following a climactic explosion), if Dutch's squad were police instead of mercenaries and hunted by mutants in a booby-trapped mansion instead of a lone alien in the jungle. For the interactive medium of gaming, especially a game instilling a mindset of "Survival first!" in players, that is a masterful buildup. It subverts expectations in the best way, albeit much quicker than Predator took its time doing since that was a movie and this is a video game.
Nonetheless, the method of pulling the rug out from under us is the same psychological principle. Instead of feeling confident and secure playing as Jill or Chris, you fear for their lives and therefore get that much more invested in their survival. This carried over into RE 2-3, which followed a rookie cop, a biker with some combat experience thanks to training from her brother who's a cop, and a returning protagonist from the original who's more experienced but still vulnerable and suffering from PTSD. In every case, the hero is over-the-top archetypal but simultaneously human and grounded.
This is a fair balance between the protagonist being an invincible action star vs. a wimpy everyman who can't fight back at all. What many fans criticize is NOT that these characters became more experienced, nor did they ask that every subsequent game reset the status quo with a fresh newbie lead (not that this wasn't appreciated every now and then such as Ethan's introduction in RE 7). The issue is that, as the sequels built these veteran characters up as progressively more larger-than-life, they consequently sacrificed the vulnerability & relatability that originally encouraged survival.
3) The core criticism was NOT about the action in itself, it was the action becoming dominant:
The problem isn't Leon becoming a govt. agent or Chris a soldier in the war on bio-terror. It's that, by the time of RE 5-6, they're depicted as super-soldiers who can overwhelm many enemies with little-no struggle which fundamentally undermines any incentive to fear for their lives. Whereas the original games toppled the B-horror action-hero in order to flesh out more three-dimensional humans beneath an exterior of bad-assery, the later games ironically lost fans by EMBRACING the archetype. They inflated these characters into superheroes, which is exactly what the original games subverted.
While 4 is often cited as the beginning of this thematic reversal, it's still commonly agreed that 5-6 took it to the next level (punching boulders in a volcano was just the tip of the ice-berg). It had little-nothing to do with suspension of disbelief, that was a factor throughout the series. It's that this made it more difficult to invest in the heroes' conflicts or victories since the formula had grown predictable. Some may argue that this was inevitable, that you can't make the heroes more experienced but still vulnerable. This attitude is partially influenced by confusing vulnerability for weakness or stagnation.
It's predicated on the narrative that what critics of the later games wanted was for all the iconic faces to stay the same or to be just as "weak" in every appearance. This is not accurate in the slightest. Plenty of fans who loved and/or grew up with the classics starring rookie heroes enjoyed playing their more matured versions just as much. Govt. agent Leon has about as many fans as rookie Leon. The difference is, Leon still felt vulnerable in RE 4. He was sent to rescue the President's daughter, not fight a one-man-war against a mutated cult. He was still under-prepared and faced frightening odds.
He entered a village expecting one kind of mission and found himself challenged at every turn. It was literally him alone (with occasional help from Ada, Luis, etc) against a huge population of monsters. Worse, he was infected himself. Unless you played skillfully, you could still be easily overwhelmed even by low-level foes in the village. By 5-6, you were not only playing the whole story with a partner but surviving feats many leagues above the first four entries. The escalation was far steeper, and at no point do the protagonists feel in genuine danger (the CG animated movies are even more egregious).
The balance of action & survival over the games are NOT equal. Not to mention, it's more difficult to die in every campaign's early game even on higher difficulty so long as you make the bare minimum of effort, except against higher-tier foes and QTE's (I tested this out, so I know what I'm talking about). The youngest stars of 6 (Jake MulleWesker and Sherry Birkin) have OP superpowers, for crying out loud (strength, speed, and regeneration). Meanwhile, Leon's capable of "John Wicking" everything in sight and Chris rag-dolls foes bare-handed (their fights in RE Vendetta are hilarious, but look cool).
To conclude, the significant contempt for much of RE's modern period isn't about wanting things to stay the same. You can make the heroes more battle-hardened, but still human & vulnerable. You can increase stakes without it becoming a Michael Bay movie. You can make these characters larger-than-life in context of their universe, but still weak enough to invest in their struggle. These are NOT mutually exclusive, it's a balance as it always has been. In fact, part of what made RE 4 successful was BECAUSE it moved on from the past and offered a new experience along with showing Leon's growth.
Jill's maturity in RE 3 wasn't that vastly different. Despite its greater emphasis on action while neglecting survival-horror, Mikami still kept just enough of the survival psychology to avoid pushing the extreme too far. He didn't forget the roots. 5-6 crossed this line, alienating survival. Capcom lost sight for a while of what made survival-horror in the first place because it bought into its characters' own hype (forgetting that this action-star tone is what the originals and even 4 to an extent poked fun at) and got greedy with its brand, pushing toward catering to new demographics for higher profit.
Okay, rant over. Again, my sincerest apologies for the length. Thoughts?
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The truck slow rolls through town, street by street, gathering up a big crowd of zoms behind it. The two shooters in the back are plinking heads all day.
Would be loads of fun, and before too long the whole town would be cleared out of zombies.