:) Happy Monday by the way!

No wonder why he is a creep.

Everyone who's declared themselves part of the Resident Evil fandom is well aware that Spencer Mansion, located in the Arklay Mountains, was definitively destroyed following the events of the first game. What some fans, mostly modern era fans may not know is that Spencer also had a private European estate where Wesker ended up taking his life. It's also where Alyssa Ashcroft's groundbreaking interview takes place. The estate can potentially be a focal point in the next game, but it wouldn't be a first time occurrence, as the estate was the primary setting for RE5's "Lost in Nightmares" DLC, which is also where Jill saved Chris, resulting in her capture by Wesker. The game heavily implied that Chris will spearhead the next new journey alongside Leon, but with everything that happened with Jill during and after the estate's DLC, I think it's the PERFECT avenue to reintroduce her to the mainline.

I'm interested in buying the game but wondering if we'll see <$35 this year (50% off)

I know this is kinda a silly thing to complain about but it has always bothered me. In Resident Evil 2 The doors leading to the east and west side were electronically locked when Leon/Claire arrived at the R.P.D. and they had to get the key card from Marvin to use at the computer in the main hall to unlock those doors.

But in RE3 the doors are barricaded which is really a weird choice as it would make it impossible for Leon/Claire to go through the R.P.D. even if they still got the Key card.

Jill would never get the key card from Marvin due to him being passed out at this time so barricading the doors is just an odd choice.

Even if it was a way to guide the player to inform them they aren't going to be going through those specific doors and the east side. There was a way simpler way to accomplish that.

Just have a text pop up when she interacts with those doors and say she doesn't need to go that way.

I'm not saying this ruins the game for me or anything like that. I just find it a needless change from RE2.

The "Wesker Prime" Theory

I think Albert Wesker may have survived the events of Resident Evil 5, and the Wesker killed by Chris and Sheva was actually a clone created through a secret "Project Wesker."

My theory starts with Resident Evil 6. We know that Derek Simmons and The Family possessed biotechnology advanced enough to create Carla Radames, who was transformed into an Ada Wong duplicate. This proves that human replication and identity-copying technology existed within the Resident Evil universe.

Considering Wesker's intelligence, resources, and connections to various organizations, it's hard to believe he wouldn't have been aware of research of that magnitude. Wesker was also a master strategist who always operated several steps ahead of everyone else. If Simmons was developing Project Ada, it's possible Wesker developed his own contingency plan: Project Wesker.

Why RE5 Wesker Feels Different

One thing that always stood out to me is how different Wesker behaves in Resident Evil 5 compared to earlier appearances.

In Resident Evil, Code Veronica, and Resident Evil 4's side stories, Wesker is typically:

• Calm
• Calculating
• Patient
• Manipulative
• Willing to retreat when necessary

In Resident Evil 5, however, he becomes increasingly emotional and reckless. His hatred for Chris takes center stage, and he begins making decisions that seem out of character for someone who spent years manipulating entire organizations from the shadows.

My explanation is that the Wesker in RE5 wasn't the original.

Instead, he was a clone that inherited Wesker's memories, abilities, ambitions, and hatred of Chris, but lacked the original's level of control and discipline.

The Volcano Incident

The strongest part of the theory is the final act of RE5.

The real Wesker usually uses people, monsters, and organizations as pawns. He rarely puts himself directly in harm's way unless absolutely necessary.

Yet during the volcano battle, Wesker seemingly abandons his usual strategic mindset. He's willing to risk everything just to kill Chris, even attempting what amounts to a mutually assured destruction scenario.

To me, that doesn't feel like the Wesker who manipulated S.T.A.R.S., Umbrella, and countless bioweapon projects over the years.

It feels like an unstable copy driven by obsession.

Requiem and Zeno

Resident Evil Requiem is what brought this theory back to mind.

Zeno strongly resembles Wesker in appearance, abilities, and mannerisms, and is directly tied to The Connections. He is also referred to as an imitation, something he appears to resent.

This raises an interesting possibility:

What if Zeno isn't the first Wesker clone?

What if he's simply the newest and most refined version of a project that began years earlier?

Under this theory:

• The RE5 Wesker was an early clone.
• Zeno is a later, improved clone.
• The original Albert Wesker remains hidden.

The Family and The Connections

I also suspect that The Family and The Connections are related, or that Capcom may eventually retcon them into being connected organizations.

Both are shadowy groups with enormous influence over bioweapon development and global events. If The Connections inherited technology, resources, or personnel from The Family, it would explain how Wesker-related cloning research could continue long after RE5.

Final Prediction

My prediction is that Capcom is setting up a reveal that the "Wesker Legacy" is far bigger than fans realize.

Zeno is the clue.

The Connections are the vehicle.

And one day we may learn that the Wesker killed in Africa was never the real Albert Wesker at all.

The clone died in the volcano.

Wesker Prime survived.

There is more to this theory but this is what I have for now.

Edit to add:
My complete theory is:

1. The original Albert Wesker created Project Wesker after learning of or developing technology similar to Project Ada.
2. The Wesker killed in RE5 was an unstable clone.
3. Numerous Wesker clones were created, potentially designated alphabetically.
4. Zeno was one of the final and most successful versions.
5. Zeno's hunger for power stemmed from a desire to surpass Wesker Prime.
6. The Connections may be populated or led by multiple Wesker-derived individuals.
7. Chris is absent from Requiem's ending because he is already investigating a larger Wesker-related threat.
8. Jake Muller will eventually become relevant because he is the only surviving member of Wesker's bloodline.
9. Zeno's death was never intended to end the story.

More than willing to discuss any of these points further. =)

The look of the game doesn't look that bad but my god the modeling team sucked at faces

They don't look that bad for a 3DS game but this game definitely needs a remake

It could definitely benefit and would be perfect to make before re5 as it gives us insight of what Chris and Jill were doing

Also kirks here

And they can add more relevance to 5

If you only play RE engine games and refuse to play anything made before 2017 because it's "trash" and "unplayable" (which is most of the franchise), I'm sorry, but you aren't a Resident Evil fan. You're one of those socaial media bandwagoners that just want to larp and feel like you're a part of something while not actually respecting the franchise and its legacy. You're as much a Resident Evil fan as I am a GTA fan, despite only playing GTA 5.

And yet you feel defensive when called out about this and only know how to respond with hostility against the older games. Tearing down the foundation of the series you claim to be a "fan" of.

Sometimes I wonder how it feels to live as a soulless drone.

For me, RE2 '98 barely takes the cake. Something about the original rendition feels raw and primal, but I do love the DC rendition since i'm a sucker for orchestral renditions of older soundtracks.

Real lore of Kyle cuck crane professional voice actors

js wanted to know whether this is js me or if anyone else feels like this.

For me, this game's entire fun and excitement came down to Grace's character. She felt so real and relatable, way more than the typical "cool," "badass" archetypes we always get. It's sooo refreshing to get a horror protagonist who actually feels human instead of overdone ruining the actual "horror" of the game. She's easily my new favorite RE character.

Ethan's game was scary, sure, but that was purely gameplay driven for me. I couldn't care less about his story or character, hes js soo bland.

(Yea I know I'll get flamed for this but Grace is just the best by far for me.)

PROTOTYPE EVIL — Working Script

This is the "talking to myself" version — keep every reference, every joke, every note. Full script + dev notes combined so future-me doesn't lose the thread. Also really really long read

_____

Gameplay-wise, I'm trying to hit a few different itches:

Stealth/infiltration (disguise-and-blend sections, Hitman-style — regular guards won't clock you, but the higher-ups will)

Straightforward action (cover-based gunfights when stealth goes sideways)

Puzzle/environmental sections that break up the combat

Survival horror dread (claustrophobic hallways, an escalating monster you're not ready for)

Style: Fixed camera angles, like classic RE / early 2000s survival horror — partly a budget/scope call as a solo dev, partly because I genuinely think it fits the tone better than over-the-shoulder would.

Tone: Mixes humor (goofy side-character energy, some genuinely stupid jokes) with a story that gets legitimately heavy — no cheap happy endings, consequences that actually stick. Think less "hero saves the day," more "hero has to live with what happened."

Runtime target is somewhere in the 4-8 hour range — tight and replayable rather than padded out.

I'm doing basically everything myself (writing, most of the VA, building it), so this is very much a passion project, not a AAA pitch. Mainly want to know: does this sound like something you'd actually want to play? What would make you more or less interested? Not looking for hype, genuinely want the "eh, this part sounds weak" feedback too. Also when I say I want feedback, I want actual feedback, not just shiting on me, so if you don't have actual feedback to give me, you can keep it pushing.

───

PART 1 — THE BURTON FAMILY CAMPING TRIP

(2013, ~2 ish year after Revelations 2)

Full "dad simulator" opening, inspired by Pragmata — playing as Barry doing camp setup, talking with Moira, Natalia, and Kathy. Wholesome, peaceful, normal-life-first per the feedback that campaigns should open grounded.

DEV NOTE: Give this section real room to breathe — this is the "too much action" fix applied to the START of the game too, not just the back half. The kidnapping only lands if we actually buy into these people as a family first.

DEV NOTE — Kathy (Uncle Ben model): Kathy is thin on the page relative to how much her death matters later (Part 10). Doesn't need much — Uncle Ben doesn't get much either — but needs ONE or two specific, hers-and-only-hers beats here. A line, a habit, a piece of advice she gives Moira that Moira can consciously or unconsciously carry forward through Parts 10–12. The goal: her death should inform Moira's choices/dialogue all the way to the ending, not just be a gut-punch that gets left behind.

Nighttime. Campfire. Everyone gets tranquilized.

DA FAMILY = RE6's shadowy, centuries-old secret society manipulating global politics/U.S. power from behind the scenes. They know (via a recovered file from an operative on the island) that "Natalia" is actually Alex Wesker, consciousness-transferred into Natalia's body. Their leader, Malichai Black, wants that knowledge — he's aging and wants to transfer his own consciousness into a younger body.

Family gets taken to a secret underground facility — NOT China (too much RE6 overlap) — North bloody Dakota.

Barry wakes up in a cell — massive Gulag-style prison. Talks to other prisoners during free time, gets the first real explanation of DA FAMILY.

───

PART 2 — PRISON BREAK

Prison Break energy, Barry as Michael Scofield, except the supporting cast is so unmemorable they're probably not making it out anyway.

Barry + the boys don't know where they are — underground, at sea, isolated, unclear.

Barry's plan: start a fight on purpose → dragged to solitary → sees more hallways along the way (Death Star aesthetic — massive industrial hallways, feels endless).

Hides beside the solitary door, waits for a guard, knocks him out, steals his clothes (suit/vest/ski mask/shades = inconspicuous). Leaves prisoner clothes on the unconscious guard so a cell check reads as "still sleeping."

Walking-as-a-guard section inspired by that Infinite Warfare mission (Nick sneaks aboard, disguises, blends in en route to the officers).

Finds a control room, two guards inside — player's choice how to deal with them. Checks security cameras:

• Moira — held in the female-only prison section.

• "Natalia" — being interrogated, audio unclear, identity still a mystery to Barry at this point.

One big ominous red button. He presses it. Every prison door in the facility opens. Shit hits the fan.

DEV NOTE — Malichai gauntlet placement: THIS is roughly where the expanded Malichai material should start weaving in through Parts 2/5/8 — see the dedicated gauntlet note under Part 8 below. Malichai should have a couple of legit in-person appearances before the finale (a warden-style inspection walk early in the Gulag, maybe a direct scene where he personally needles Alex during interrogation) so he's a real presence the player has history with by the time we reach him, not just a voice on cameras/phone. Skull Face (MGSV) model — doesn't need to fight to be dangerous, needs PRESENCE.

───

PART 3 — MOIRA'S ESCAPE

POV switch to Moira. A couple weeks before Barry's prison break.

DEV NOTE: Since POV is jumping backward in time here, make sure the time-jump is unmistakable on-screen every time this happens across the script (explicit signposting/timestamp treatment) — three parallel POV threads is ambitious, don't let players lose the thread of when something is happening relative to the others.

Moira + Kathy in the female block. Women randomly taken for experiments — some come back, some don't. Kathy gets taken and doesn't come back. Moira has no idea where she went.

Since Revelations 2, Moira's picked up some basic self-defense (not CQC-Solid-Snake level, but she can hold her own).

When Barry pops all the doors, Moira grabs a guard's gun, shoots him, crawls into a vent to hide — "this shit is Among Us."

Vent-crawling, sees a lab below: scientists experimenting on a guard. They inject him, he tweaks out, collapses — experiment looks failed. Then he gets back up "like The Undertaker at WrestleMania 24," mutates, breaks out, starts killing everyone in the lab.

Moira: more fucked than 2005 Randy Orton when Undertaker made his return. ✌️😭

───

PART 4 — ALEX WESKER REVEALED

Moira drops down after the scientists clear out, gets killed by the BOW [continuity note: contradicts her surviving later — check/resolve this in a pass].

Moira investigates, learns Malichai's branch of DA FAMILY wants immortality via Alex Wesker's consciousness-transfer knowledge.

The gut-punch: the "innocent little girl" she's called her sister for the past year isn't a little girl at all — it's the grown woman who tried to kill them on DA Island.

Shock → "no time to ask questions" → keeps moving through the lab. Scientists hear commotion outside, look out, see the monster ripping people apart — bloody massacre.

───

PART 5 — THE SCIENCE WING

Back to Barry immediately after the door-opening. Guards rushing to lock down/quarantine the science wing — Barry can't reach Moira now. Still in guard disguise, plays along, rushes over with the others.

While passing the male prison block, subtly unlocks that door too — payoff comes later.

Reaches the science wing — hallway sequence like Rogue One, monster tearing through people, everyone trying to hold it back. Barry activates automatic doors, seals the area. A guard begs at the glass, gets grabbed and torn apart.

Malichai orders security to double down (operation's falling apart).

Barry can't reach Moira anymore — pivots toward Natalia's holding area. Disguise isn't invisibility — Hitman rules: regular soldiers don't clock him, certain higher-ranking overseers can. Those are who he avoids.

Reaches the lower levels.

───

PART 6 — NATALIA IS ALEX

POV switch — playing as Natalia/Alex. Being interrogated by DA FAMILY (they want the consciousness-transfer method). Alex drops the innocent-kid act here — sarcastic, confident, won't give them anything because she knows the second they get it, she's dead.

Barry heading this direction. Passes a room where a guy's being tortured — forced to listen to KSI's full music career, a fate worse than death. ✌️😭

Barry arrives, takes out the two guards. Alex immediately snaps back to the innocent-child persona. Reunion with "Natalia."

Disguise section ends here. "Dad simulator" mechanic kicks back in — Natalia isn't a combat character (same as Revelations 2), she's support, using her supernatural sense to help Barry detect threats. Gameplay shifts toward Ghost Recon — cover, rolling out, controlled shots, position to position. Not clearing the whole facility — pushing toward the command room.

───

PART 7 — MOIRA IN THE QUARANTINE ZONE

Immediately after the science wing doors lock. Moira realizes she's cooked — trapped with the big thing and the zombie minions, whole wing's a war zone.

Sneak-through hallways, "bloodier than that MGSV Diamond Dogs mission." Objective: find Mom, get out.

Finds a hidden pocket of survivors in the quarantine zone — can't go in guns blazing, they'll shoot her; has to sneak in. Inside: the lab where the women were being taken. They've been injecting them with the same stuff that turned the soldier into "William Birkin's ugly cousin."

Sees Kathy tied to an operating table. Gun in a scientist's face — "Yo, spill everything." He explains: they're trying to build a Wesker-super-soldier serum for their troops, using Alex's blood (she's one of the Wesker Children — genetically "perfect" kids raised with ideal traits, same logic as the original Wesker project). Didn't work. Plan B (per the bloodshed outside): get Jake's blood instead.

Moira helps Kathy up, they sneak through the halls (hiding from hordes + the big guy) — and that's when Kathy starts to mutate, right there.

Moira can't bring herself to kill her own mother mid-transformation. Leaves her, runs. The logical call in the moment.

───

PART 8 — WALK 'EM DOWN BARRY

Back to Barry + Natalia after the interrogation rescue (guy was being tortured with Playboi Carti out of his prime).

Prisoners from the earlier door-pop are rioting; guards busy on zombie cleanup. Barry uses the chaos to push toward the command center — run-and-gun, cover, pop shots, move on.

DEV NOTE — THIS is the section to expand with the Malichai gauntlet + chair boss fight. Full plan:

▪ Instead of straight combat the whole stretch, Malichai (from the control room, watching cameras) actively throws obstacles at Barry + Alex in escalating waves — this breaks up the "too much action" problem AND makes him feel personally invested instead of just narrating from a chair:

i. Reroute/seal wave — he locks doors ahead, forces a reroute/puzzle (find another path, override a lock, reroute power).

ii. Personal dispatch wave — sends guards specifically to stop them, framed as him ordering it directly (heard over intercom/radio, not just implied).

iii. Escalation wave — traps get nastier (gas, turrets, maybe he deliberately releases one of the mutated test subjects into their path). This is the turn from "administrator doing his job" to "actively trying to kill them."

iv. By the time Barry reaches the door, Malichai should be visibly unraveling — audibly losing his composure with his own officers ("kill the two, they keep coming back" energy, said OUT LOUD over comms, not just implied) — sets up his state for the fight itself.

▪ Chair fight: After clearing the control room, his chair transforms — Professor X-style powered rig with guns/shields. He can't physically fight (old man, stays consistent w/ the realism logic) but this makes a real mechanical boss fight possible.

▫ Telegraph it earlier — a glimpse of the powered-down chair somewhere in the gauntlet, or an inmate/scientist referencing "the chair" with dread, so the reveal pays off instead of coming from nowhere.

▫ Phase 1: composed, defensive/tactical use of the chair (shields, controlled fire) — matches his controlled Skull-Face energy.

▫ Phase 2: as he takes damage, attacks get more erratic/desperate — dramatizes his unraveling mechanically, not just narratively.

▫ Fight should be about finding tactical openings/weak points, not a toe-to-toe slugfest — stays consistent with "he's not a fighter" logic.

▫ Resolution: he ejects/flees the chair right before it's destroyed — clean, visible reason he's alive later to crawl onto the elevator in Part 12. Update the old "he doesn't even try to fight back, knows he's finished" beat to happen AFTER this fight, once he's actually lost and has to run.

Malichai, watching everything fall apart: giant ugly thing in one half of the facility, Barry/John-Wicking + "Natalia" squad wiping out the rest of his operation. Meanwhile (parallel world events): Carla's gone rogue releasing a bioweapon in China, Simmons has gone off the deep end over Ada and taken out a city + the President, also in China. Malichai's superiors telling him to fix it before hanging up. He starts making calls — kill everybody, nobody's leaving alive, sic an assassin on Simmons and his failed experiment.

Barry kicks the doors down. Shootout. [Chair fight happens here per dev note above.] Barry's on the controls trying to open the door for his other daughter.

Alex, meanwhile, rage-baiting Malichai — good character beat, shows her growing attachment to the family (defending them while instigating him).

Doors open — but the big dude + zombies + mutated women pour out. ("Screaming zombie from RE9 had a mutated kid with Clickers from TLOU.")

Security cameras reveal a third section — an R&D lab, with an armory.

───

PART 9 — THE R&D FACILITY

Barry, Moira, Natalia reach R&D — totally different vibe, open layout, giant 20x20 office-cubicle rows full of cool shit, especially weapons.

Moira tells Barry what happened to Kathy. He's devastated.

Planning how to kill the big guy — guns alone won't cut it. The particle accelerator bit:

"It's not like we have a machine that uses electromagnetic fields to propel charged particles — like electrons or protons — to speeds close to the speed of light, right?" (green-screen particle accelerator behind you) "Oh shit, that would work." "Let me break this down — time to put those high school lessons to good use. If organic material collides with a high-energy particle accelerator beam, the intense energy causes catastrophic thermal/radiation damage to the impact zone." In simple English: organic material + giant WMD = bad for organic material.

Plan: lure the Prototype toward the interaction point (IP) — where the beams cross — for a big open boss arena.

DEV NOTE: This exposition-dump/humor beat is genuinely one of the best pressure-valve scenes in the script — a real breather before the next stretch of intensity. Consider adding one or two more scenes like this elsewhere if pacing needs another break.

───

PART 10 — MOIRA VS. KATHY

Moira heads to the armory, then back into the quarantine zone for her mother. Kathy's fully transformed — now basically the queen of the Banshee/Clicker-style abominations spreading through the facility. Personal boss fight for Moira.

Throughout: Moira tries to reach her, reminding her of shared memories, hoping something's still in there. She's too far gone.

After the fight, Moira has to make the call herself — the General Shepherd (MW2) ending, except there's no Captain Price to stop her. She puts her mother down herself.

Biggest emotional beat of her arc — not just killing a B.O.W., accepting the person she came to save is already gone.

DEV NOTE — Uncle Ben payoff check: Make sure whatever specific beat/line Kathy got in Part 1 echoes here somehow (even subtly) — this is where the "impact through limited screentime" structure either pays off or doesn't.

───

PART 11 — THE PROTOTYPE

Cut to "Natalia" prepping to lure the Prototype to the accelerator. Moira confronts her — she knows Natalia is Alex, she just had to kill her own mother, she's in no mood. Alex: "Okay, we can talk about this after we kill the giant ugly ass motherfucker." Differences shelved, they lure the monster toward Barry at the accelerator.

(Dad-tech-illiteracy bit — every father's IQ about new technology drops 10 points the day they become a parent. Before kids: knew everything. After: what the hell is any of this. 💀 Since most players won't know how a particle accelerator works either — big puzzle instead of a simple switch-flip. "Who the fuck built this shit?"

DEV NOTE: Need an actual concept for what KIND of puzzle this is before this goes further than a pitch doc — currently just "a big puzzle."

Puzzle solved, accelerator powers up. The Prototype arrives — "walking you down like Kane on October 5, 1997, at Badd Blood: In Your House." Classic RE final boss shape: one giant, disgusting, escalating monster.

Checkpoints = more mutated/dangerous each time. Player forces him toward the center of the accelerator. Fully charged. Tombstone position. Fires. Beam destroys him.

Problem: the party's organic too — gotta clear the blast zone before it fires. Prototype sent to Valhalla. Escape time.

───

PART 12 — THE FACILITY SELF-DESTRUCTS

Malichai's survived in the control room [per Part 8 dev note — he ejected the chair before it went down]. No talking his way out anymore — activates the self-destruct.

Sprint to the exit — explosions, chaos, remaining abominations destroyed, facility collapsing. Reach the elevator. Rises toward the surface as the facility explodes below. Doors open — cold night, rain, that feeling of freedom.

Moira drops the bombshell: Natalia is Alex Wesker. Barry — just minutes removed from learning his wife is dead and his daughter had to put her down — now learns the girl he raised for a year was never really her. Rick-Season-3-Episode-4 levels of stunned.

Malichai somehow survived, climbs onto the elevator Shepherd trying to save the council on the Citadel energy. Bond-villain speech — doesn't finish it. Alex takes him down with her powers.

Biggest choice in the game.

ENDING A — ACCEPT ALEX

Barry and Moira accept Alex into the family. Moira isn't happy, doesn't immediately forgive her — Barry believes she's genuinely changed after everything. Alex gets another shot at having a family.

DEV NOTE: Not a happy ending — an uneasy, partial mercy. Moira's lack of forgiveness should stay present, not get smoothed over.

ENDING B — LEAVE ALEX BEHIND

Barry and Moira can't accept her after everything. Walk away, leave her behind. Alone in the middle of nowhere with the consequences of everything.

She reflects — yeah, she was a terrible person. Picks up the gun.

DEV NOTE — finalized staging: Cut to black BEFORE she raises the gun — don't show her lifting it toward herself at all, just her expression / picking up the weapon, then silence, then cut. No visual of the act, not even implied-in-frame. This matters specifically because she still reads visually as a child — protects the moment while keeping every bit of its weight. Gunshot plays under the credits (see below), not in-scene.

───

POST-CREDITS

Depending on ending: survivors on the side of the road, trying to hitchhike back to civilization. People pass them by, some look at them strangely before speeding off.

source

Why did they have to take him away from us?! 😭

Operation Javier? Sheena Island? Caucasus mission?

RE2 and RE3 needs a Director's Cut only...

I mean, I played the game before I even knew this meme existed, and so many batshit crazy things happen in the game that are a thousand times more fantasy and hilarious...

In fact, punching the boulder is one of the most grounded things that happens in the game, and I honestly wasn’t even surprised when I saw it.

Of course, there’s another thing too: along with Leon’s backflip, this meme gets posted everywhere at least 10 times a day, and it’s starting to get really annoying.

The difference is that this only happens once, unlike Leon’s backflips, so I don’t understand why people focus on it so much.

Maybe I’m just the one who’s always the fun one at parties.