Everytime I Watch A Review/deep Dive Of The Evil Within, I’m Always Majorly Disappointed. Instead Of

i'm rewatching npmd

(again.)

and when max says shit-lips

richie goes "it's lip-schitz, richard lipschitz"

and i want to point out he said his first name too (his full first name)

and i feel like this is a trans richie thing like he's so used to correcting people on his first name

idk

I love Invincible but this fandom gives me a mad headache

If Capcom decides to remake Code Veronica, imagine the potential power remake Steve Burnside holds. I’m certain that he’ll get the Carlos and Luis glowup treatment. Steve is a generally disliked character and if Capcom can change that, his entire character and arc might be another banger. Also he’s almost like the free trial period to Luis. He’s kinda cheeky. Never noticed before but both have similar pistols. And with remake Luis now, both have have ties to Umbrella. Steve even refers to himself as the “knight in shining armor” at one point. And that part in CV is definitely gonna hit. Okay damn, I need it right now Capcom.

Zero-Sum Escape: A Close Reading of Code Veronica’s Steve Burnside

Introduction + Disclaimers

If you’re a friend/mutual/unfortunate witness to my discovery of Steve Burnside, you might’ve seen this coming. I’ve become an avid enjoyer of the character, which has led to some interesting discussions about him with friends! I’ve decided to write a small (edit: it was supposed to be small) piece on what makes him so interesting, using quotes and cutscenes from the original Code Veronica game. A lot of online discourse around Steve has historically been negative, so I hope this can be a positive primer for folks who want to learn more about him, or even an interesting curio for folks wondering why someone would do such an in-depth read for a one-off character.

This reading will focus strictly on Code Veronica (and not any of the Darkside Chronicles material) – with the full understanding that many aspects of the game are a product of their time, good and bad. I’ll try to cite my evidence as much as possible, but this will obviously be coming from a subjective and modern perspective as a fan of his character! I’m also a fairly new Resident Evil fan, so if anything’s incorrect, please forgive me and let me know! I’d be happy to make edits.

Anyway, this is all in good fun – and to anyone who even reads a single sentence of this, I appreciate your time!

Reference

As a way to “cite” dialogue and cutscenes, I’ll be including rough timestamps to this great video of Code Veronica cutscenes: https://youtu.be/ym46RPHqaSY?si=a6ItTpdOn3rCZq-U. Feel free to follow along, but the text should make sense without the video too.

So, who is this guy, anyway?

Let’s start with the basics. In the game Resident Evil – Code: Veronica (taking place shortly after RE:2), you start as Claire Redfield, recent prisoner of Rockfort Island. Unfortunately, Claire finds herself in the midst of another biohazard outbreak. And what’s worse is that during her escape, a stranger in a watchtower starts shooting at her indiscriminately! (0:05)

When the dust settles, Claire comes face to face with an abrasive teenager named Steve Burnside, a fellow prisoner on the island.

“Uh, sorry about that little misunderstanding…” (0:43)

This, alongside his attempts to be “smooth” – (I mean, who says “Relax beautiful…” unironically?) doesn’t do him any favors for most players. Not to mention his active derision of Claire’s skills – he leaves her with a few choice “tsks” and a “I don’t want you following me, lady. You’ll only slow me down.” (1:30).

This opening scene sets up a few key characteristics for Steve, which I’ll be referencing throughout this piece.

Steve is someone who makes numerous mistakes, ranging from purely accidental to sheer negligence.

Steve puts a heavy emphasis on reliability/dependability. He leaves Claire because he thinks she will “slow [him] down”. We’ll see more examples of his complex with “relying on others” later on.

Where do these traits leave us? A character that ends up being deeply paradoxical, and in my opinion, super fascinating because of it.

“You’ll just end up disappointed if you rely on others”

Claire finds Steve somewhat quickly afterwards, perusing information about her brother, Chris. I think it’s important to recognize Steve’s intent here. If he was purely focused on escaping (and leaving Claire behind), he wouldn’t have bothered looking for any records relating to her. Some folks may argue that he has a crush on Claire already, and is just following teenage impulses. But trust me, there’s more concrete evidence of teenage impulses later. For now, let’s give him the benefit of the doubt and assume he was trying to help her out – it ties well with point 2.

Steve’s snooping reveals that Chris is being monitored by Umbrella. Claire immediately takes action, contacting Leon about it. At this point, Steve sarcastically tells her,

“That file shows latitude and longitude of this place. Tch, why don’t you send your brother the coordinates and ask him to come help?” (2:20)

When Claire takes him completely seriously, he becomes prickly.

S: “Hey? I was just kidding? There’s no way he could get here, even if he is your brother.” C: “Yes he can; I’m sure of it.” S: “No way. He won’t come. You’ll just end up disappointed if you rely on others. Believe me, I know!”

Steve’s sudden anger and exit demonstrate how much this topic of “reliability” affects him. He’s vocal about his need for self-reliance – and yet, if we take his investigation in a positive light, it’s not like he’s completely selfish in his attempt to escape Rockfort.

Steve is someone who desperately wants to believe in human reliability, and yet has been spurned due to the circumstances of his imprisonment. We’ll see that he tries to emulate it himself, but unfortunately (and perhaps realistically) falls short.

Yet, what really nurtures this desire is Claire – someone who he can finally depend on. The pair’s next encounter comes when Steve is in trouble (if you’ve seen the “Steve is suffering” memes, it’s from this scene). The player hears him yell a pitiful “Help me!” as he bangs against a locked door – so much for relying on yourself.

If Claire solves the puzzle fast enough, Steve escapes and tells her, “That was too close. But I found something. Thanks to… you.” (3:44).

Thus begins the two’s shaky partnership – and believe me, it’s shaky. Steve runs off yet again, only agreeing to give Claire the essential golden lugers if she trades him something “fully automatic”. But Steve’s obviously on better terms with her now, as seen when he emphatically tells her, “See? This is why you need me. I got your back,” later (5:10). Quite cooperative for someone who was crowing about not relying on others.

In the midst of these scenes is a growing desire to look good to Claire – to be someone she can count on.

The knight fantasy – and bitter reality

Steve ends up describing his own motivation pretty well. Claire finds herself stuck with a nasty Bandersnatch, before Steve dramatically comes to her rescue (more on this in the next section). Afterwards, he eagerly proclaims the following:

S: “Oh yeah, that felt good! Don’t worry Claire, your knight in shining armor is here!” C: “You wish – but thanks for the help.” S: “See? This is why you need me. I got your back.” (4:54)

Steve wants Claire to see him as someone she can rely on – as a self-proclaimed knight to save her from the influx of zombies. It’s why he tells her to wait as he clears out the following area with his “new toy” (6:35). He wants to be the hero who saves the day – Claire might not be able to count on others, but she can sure count on him. He even states it outright afterwards:

“See? You can depend on me.” (6:58)

But maybe this is too blatant of a turn even for him, because he immediately backs off and instead mentions his guns instead:

“You see? This thing is a lot more reliable than any person.” (6:59)

Claire takes immediate suspicion of this, however, and starts to ask questions.

C: “Than people?” S: “…” C: “Steve, what were you doing here? Who brought you here, and where’s your family?” S: “Shut up – I don’t want to talk about it!” *shoots his gun at the wall* C: “Steve…” S: “Never mind. Let’s get going.” (7:04)

Note that he punctures this conversation with an angsty emptying of his gun magazine at the wall. This is no knight – this is volatile, teenage behavior. Claire can tell there’s something on his mind, but Steve doesn’t seem to be in the condition to explain anything.

Steve does the same thing four times – aka, analyzing entrances

As a brief interruption (but it ties into the rest, I promise), let’s take a chance to look at the different ways Steve barges into a cutscene. Humor aside, Steve’s physical actions vary across the four different times he comes to Claire’s “rescue”.

Bandersnatch (4:30)

The first rescue is all cliches and edge. Claire’s “knight in shining armor” breaks through a window dramatically. He shoots at the Bandersnatch without even directly aiming at him, walking forward as he shoots with his dual wielded lugers. It’s almost comical as he walks straight up to the Bandersnatch, delivering a kick and single killing shot for good measure.

It’s all impractical – Steve’s incessant wish to dual wield would hardly be effective in real life, let alone everything else here.  But this scene, cliche as it may be, reflects what Steve wants to be in front of Claire. He’s the action hero, the knight – the one who can be counted on to swoop in and save the day.

The Infamous Father Scene (8:13)

These heroics fail him once the two encounter his father. No longer is this a fantasy but bitter reality – and Steve can’t find it in him to shoot his infected dad. It’s only when Claire is in peril that he takes action – and this time, it’s impulsive and rough. He unloads all his ammo in a single, shaking shot, continuing to press the trigger even when it’s all gone.

It’s now that Steve tells Claire the full story – his father was caught trying to sell confidential Umbrella information, leaving his mother dead and the two of them locked up here. He morosely tells Claire, “He was a fool to do something so reckless! So stupid…” (10:15). We can see how much his father’s actions have impacted him – his desire for consistency comes from having his familial life ripped apart by the actions of someone he trusted dearly. And now, at the end of it, he is truly alone – the last one left in his family.

Alfred (11:07)

The next time we find Steve, we see a little bit of the Bandersnatch energy back in him – there’s the same aim, the same kick (to open the door) – but it’s less dramatic this time. There’s no slow-motion focus on shattered glass, no cocky final shot. In fact, this encounter leaves Steve visibly hurt – a crack in his armor. Steve’s still trying to be Claire’s dependable rescuer, and yet this encounter shows that he’s not the infallible knight he wishes to be. Far from it, considering the mistakes he'll make later on.

Alfred in Antarctica (21:30)

This cutscene skips forward a little, but it’s a nice final reminder that Steve does genuinely try his best to protect Claire, and succeeds! We see him take two stylish leaps and then shoot a quick few bullets to rescue her from Alfred. He’s still trying to emulate that knight image, but it’s more efficient than his Bandersnatch moment.

The Flight (and THAT SCENE)

After numerous troubles, Claire and Steve are finally able to escape the island. Needless to say, they’re elated and exhausted. Now that the coast is clear, Steve decides to get honest with Claire and apologize:

S: “Claire, I’m sorry. I know I caused a lot of trouble for you.” C: “No; it’s okay. It was hard for both of us.” S: “Well, I really hope you find your brother. I… I know what it’s like to be alone.” C: “Oh Steve…” S: *coughs awkwardly* “So, where should we go now? I can take you anywhere you want to go, Claire.” C: *laughs* “I hear Hawaii’s nice this time of year.” S: “You got it!” (14:20)

(On a personal note, isn’t this scene so cute? If only this was how it all ended…)

It’s here that Steve bares his heart to Claire. It’s clear that his mishaps and snarky remarks have been weighing on him too – he genuinely wants the best for her. When Claire is all too accepting and sympathetic, however, Steve begins to reveal his feelings (in… controversial ways).

After they find out that the plane is out of their control, the two of them take an uneasy rest. In the cutscene at 16:12, we find Claire leaning on Steve – a physical sign of how she relies on him. As if to follow his teenage impulses, Steve leans in for a kiss – only to startle as Claire begins to wake. His notion is thwarted immediately. Steve stands up,leans on the glass, slams the window and sighs.It shows signs of a “what was I thinking?” moment of clarity.

After all, kissing princesses in their sleep is something knights do in fairy tales. And Steve? Well, he’s no knight. He’s someone who’s almost hindered Claire’s escape as much as he’s helped, and he knows that. This thought is only exacerbated with his actions upon their arrival in Antarctica.

Antarctica, where more mistakes ensue

The plane decides to violently crashes into the side of the Umbrella Antarctica base. Steve kicks the door down and jumps first, reaching his arms out to catch Claire. She lands after, only to stumble and leave them both on the ground. Steve pulls her into a hug, which Claire doesn’t quite reciprocate. As she stands up, Steve lays back flat on the floor, sighing. It’s clear he’s jumped the gun, and it leaves him embarrassed. He doesn’t take Claire’s hand back up and tells her that they should split up to try and find a way out (18:55).

Steve’s love causes another mistake shortly after. The two of them try to break through the base wall with a digging vehicle, only for Steve to get distracted by Claire midway through. This causes a toxic gas pipe to burst – interestingly Steve tries to correct it through the controls – perhaps a reflection of his desires and fantasies for an “undo”. But in reality, he can’t undo his mistakes, and Claire is forced to grab him and leave the area.

This last mistake hits Steve particularly hard:

S: “It’s all my fault…” C: “Don’t say that. Listen to me – we’ll escape from here, together.” C: “Come on, we’ve got to shut off the gas. If we split up, we’ll have a better chance of stopping it.” S: *sighs* “…Okay.” C: “Steve. Don’t forget. We’ll get out of here. Together.” (20:45)

It’s not as if Steve is blind to his own faults – he knows that he’s been the one hindering their escape and takes it particularly hard. Claire has to reassure him multiple times that they’re working as a team to get out of here.

As a further blow to his ego, Steve is completely useless when the two exit the base and encounter Nosferatu, previous Alexander Ashford. Claire notices Nosferatu first, but Steve forces himself ahead of her soon after. He’s still clinging to the need to protect her.

However, Nosferatu easily knocks him off the platform, leaving him clinging to the side. Steve’s at his lowest here, and urges Claire to just leave him behind. If he can’t protect her, then what use is he?”

C: “Hold on, I’ll waste that monster and come back.” S: “Claire, forget about me. Run!” (23:50)

Claire’s resourcefulness and skill allow her to defeat Nosferatu and come back to Steve, still weakly hanging on. She pulls him back up, and Steve is left apologizing again for his rash behavior:

S: “I’m sorry. I failed you.” C: “Don’t worry about it. Let’s go.” *she leaves* S: “I swear I’ll protect you next time, Claire.” (25:15)

At this point, Steve’s all too aware of how his mistakes have left both of them in peril. It’s something that he deeply dislikes – as someone who wants to be dependable, he’s being a poor show of it. Claire’s been the one helping him out through most of this, both emotionally and physically. And so he makes himself a promise that next time, he’ll repay the favor.

It’s with this personal promise that the two climb aboard a snowmobile, hoping that they can make it to the Australia base. Unfortunately, this escape is a dead-end for them as well.

Sleep, weary knight

After Alexia awakens and destroys the snowmobile, Claire is rescued by Chris, who managed to find a way to Antarctica. She’s insistent that they must rescue Steve. She finds him cuffed to a chair in a long hallway, with an axe against his throat.

To Claire’s dismay, it seems she’s too late. Alexia has injected Steve with the t-Veronica virus. Steve’s last words before his transformation are a desperate plea for help. At this point, he’s actively asking for help from the one he loves, but fate has it that Claire is powerless. He begs Claire to save him, but she can only watch in despair as he morphs and chases after her.

In what seems to be a miracle of love, Steve manages to snap out of it just before he lands the killing blow. He instead slashes through Alexia’s entrapping vines, sparking her ire and a fatal blow to his chest. He dies in Claire’s arms, once again in human form, lamenting how he couldn’t protect her – how he couldn’t be her knight:

C: “Oh Steve…” S: *brings Claire’s hand to his cheek* “You’re… warm…” C: “Steve, you’ve got to hang in there, okay? My brother’s come to save us. We’re getting out of here!” S: “Your brother kept his promise. I’m sorry I cannot…” C: “What? What are you saying?” S: “I’m glad that I met you… I…. I love you… Claire…” C: “Steve? Steve?! Steve!” (34:15)

To players who dislike Steve, this may be a cheesy ending to a tedious character. And yet – we see Steve’s character arc complete fully in this final scene. No longer is he a volatile teenager, or a “cool” hero, or a self-perceived deadweight. He’s just Steve – utterly human Steve, who couldn’t keep his promise, and yet saved Claire in his own way. And it’s in these final, human, moments that he can confess his true feelings – only for everything – his façades, his love, everything – to all vanish.

The arm theory

As a somewhat lighter ending to this post, I’d like to discuss a little theory of mine.

People who have been following along with all the cutscenes might have noticed Steve’s right arm getting injured during the fight with Alfred. There’s no visual effect on his model, and Steve even claims, “I’m fine; it’s just a scratch” (11:30). And yet I’m convinced that it was quite a serious wound.

Note that he continues clinging to the platform in the Nosferatu battle with his left hand (24:40), not his right. Yet he keeps clutching his right arm in the cutscene after (25:44). And more importantly, Claire is the one driving the snowmobile during their escape attempt, after Steve had taken the wheel so many times prior (25:59). My theory is that the deterioration of his right arm is also why the arm is significantly skinnier upon his final transformation. If you look super closely at the bottom of the screen, you can actually see his right hand convulse as he mutates! Does this imply anything? Not really. But it would be cool to see this brought back somehow in a hypothetical remake, especially as Darkside Chronicles skipped these parts entirely. Kind of reminds me of another Resident Evil character who had arm injuries…

Anyway, if anyone made it this far, thank you! I hope this was a little insight into why I appreciate Steve so much as a character – and maybe in my wildest dreams, made you potentially enjoy him too.

Why I Headcanon Waylon Park as a Trans Guy?

it came to me in a dream.

ok but jokes aside (well not entirely it DID actually originate because of a dream i had getting interrupted by a nonexistent video essay on the topic... dreams are weird man), i do want to try talking about my reasoning for this (although it's totally legit to hc a character as trans purely because you want to!! thats totally based also lol), because maybe it'd be interesting to hear the lens through which i saw this game? idk lol but i'm doing it anyway... below the cut in case it gets long

Ok immediate prefaces, A: i doubt this was actually the intended at all and i'm not trying to say it's canon, just saying why i read it that way :3 and B: this will probably be a rambling mess and I apologize, I'll try to make it somewhat make sense.

I guess I'll start with: a whole major thing of Outlast, is fighting to tear down this large corporation, that is like. the embodiment of shitty systems that exploit people (this post by bry mentions that general topic, although more focused on miles' angle). It's worth noting because, to me at least, fighting these sorts of systems really aligns with a lot of queer folks (and basically any group that gets fucked over by the system, which is most of them loll). There's like, this whole thing of Waylon seemingly fitting that image of the ideal typical man, with the wife and kids and a job, but he has to risk all of that to do what he feels is the right thing.

(Oh yeah, I guess quick tangent on that note. Yes I know in canon we literally see his dick lmao and also we know he has kids, which you might think would deter my hc here. but A: i already said ik it's probably not canon, i can still read into it regardless. B: intersex ppl exist. C: phalloplasty and other similar procedures exist. D: ppl can have kids in non-traditional way. so im prob not gonna cover that element of it more)

My brain hasn't been able to help but interpret his whole journey in a queer way, because i played it as a teenager still in the throes of understanding my identity and place in the world, so in the end this might not even make sense to anyone else. But, I'm trying to explain, so I'll continue to regardless.

I kind of saw it as Waylon hiding in the protection of an "ideal" life. On the surface he looks like he's in that American ideal family, but it's a subversion. He's only one of them because they think he is. Because he doesn't step out of line. Unlike Miles, who's more outspoken about issues, who seemingly has no one around him. He's treated as part of this "ideal" world, while working in the background to try and stop the exploitation and immoral acts going on.

When he's caught, when he's seen as something more complicated than first imagined, he's cast out. Lumped in with the same people being exploited by Murkoff already. He isn't "human" to them anymore. He's something else. Something they don't like.

Although the violence brought upon him is by the variants, it is still in part Murkoff's doing, since they fucked these people up via these experiments to a point of heightened violence and just generally ruining their lives more than they already had been by whatever they had done prior. That being said, they are still responsible for their own actions.

the stuff with Eddie is definitely the part that most resonated with me through this lens. I remember first playing it, and he scared me the most, for a lot of reasons. One of which being what he represented. He's The Groom. He wants someone to be his Bride, and you're it, even if you don't want that. As someone who's aroace AND already knew at that point that i wasn't a girl, this guy felt like a human embodiment of the pressures to fit what was expected of you. That one day, you'll be married and have kids. If you don't, then you're worthless.

But it's interesting especially, because Waylon IS married. He has kids already. He has that family. The difference is, in this hypothetical trans lens, he's not "really" in a traditional family. He's "pretending", as some might see it, because he's not "really one of them". Being Eddie's Bride is the situation that would've been expected of him, but he said "fuck that", and did his own thing.

Plus, like, with Eddie in particular, you will NEVER be what he wants. He will try to make his perfect bride, but you'll never be it. Even before Mount Massive, no one was what he wanted, judging by all the people he killed. He's a broken man desiring something but never liking his options.

Also just fucking. these lines from eddie make me lose my mind.

That part of you the world sees, they think it's perfect. As God intended. Even these idiots and lunatics see it. There's something special about you. On the surface. But when they look deeper, when anybody with eyes to see looks at what you truly are. That's why they don't trust you. You're not what you're meant to be. Not yet. This place can see into your mind. And the things you've done. Oh, they're a sin, darling.

like HELLO??

I know it's probably just Eddie rambling but it felt like he reached through the screen and grabbed me by the throat like.

Anyway in actual relation to my point. uh. Remember the thing I said about Waylon being a "fake" typical family? This kind of relates to that. Like, on the surface, he seems like he's got this perfect typical American family, he's "as God intended" (which. bro. i swear that exact phrase has been used against trans people so many times). But if you look closer, you'll realize there's more to it than that. Also like, going from the "as God intended" line to the thing about the things he's done being a sin, like hmmm. Maybe I'm reading into that too much, considering we know Eddie wants to make you into his Bride, so of course he's gonna think stuff like that. But still. It's a bit interesting to me.

Plus, it's interesting how, despite having a wife and kids, he's still more... feminized, I guess, than any other characters in this game. Both in the game itself, and within the fandom. Like, not just Eddie literally calling him a woman and trying to make him his bride, but also stuff like a variant near the beginning calling him a "pretty flower" before threatening him, Andrew (one of the staff) licking his face at the beginning of the game... A lot of violence and sexual-ish acts that are often directed at women in media. Even Frank, who I don't have as much to say about here, has some weirdly sexual undertones to his whole cannibalism thing.

This isn't entirely related but one part of the game that still sticks with me but I don't see mentioned as much, is near the beginning. Those guys stabbing the dead staff member. One of them remarks that "there are no observers here" and "do you think you're different? Something special?", which I think helps cement the whole idea that he's treated the same as the rest of people being exploited by Murkoff now. There's no turning back to that "ideal" life you were hiding in before. Hell, that's definitely reinforced more at the end of the game, when you choose to publish your footage, knowing Murkoff will come after you for it, and probably ruin your life. Maybe there's more interesting things to glean from that, but i thought they were interesting lines nonetheless.

anyway, overall I know this is probably just the ramblings of a trans/generally queer person reading WAY too much into a character that I happened to resonate with when i played the game, but i thought maybe it would be interesting for others to understand what would lead me to this conclusion? Anyway, that's all i've got on the subject right now, so I hope it was at least a little interesting.

multi-national corps make big bucks selling merchandise with the orange&pink lesbian flag on it but the person who made it is currently HOMELESS.

emily gwen needs money. give them money. stop giving disney and faceless businesses who sell cheap, imported, low-quality crap produced with probably child or slave labour. give your money to emily gwen.

TOP BOYS by @QUEERGARDEN

what if i told you there was one user on the russian social network/ video sharing website odnoklassniki/oднокла́ссники that has uploaded nearly every movie ever from 1896 to the current day, mostly with subtitles. and including that has uploaded every criterion collection film in full hd with subtitles. for free. all hail ok.ru user fleurinna guta

they keep their films in unlisted folders so you cant just see them all on their profile unfortunately but ill provide links. also don't ask me why this user separates their films in this way, i don't know and frankly it confuses me too.

EUROPEAN FILMS (sometimes includes west asian films?)

JAPANESE FILMS

CLASSIC FILMS (aka american and British films)

"MISC FILMS" (aka films from everywhere that isn't the usa, europe, japan. sometimes films from the GDR are in here which is confusing again because communist germany was still part of europe)

this is a much better alternative to stuff like 123movies or bflix because there are no hot singles in your area or games that you wont last 5 minutes playing. hope u enjoy and let us all praise and embrace user fleurinna guta

me: *just getting up, tiredly gets some water*

the Richie that apparently lives in my brain:

HE'S SO FUCKING THIRSTY???!!?!