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The Evolving Narrative and Horror of the ‘Resident Evil’ Series [‘Resident Evil’ at 25]

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Resident Evil Village looks nothing short of haunting. Few details are known about the story at this point besides the return of Resident Evil 7 Biohazard’s Ethan and Mia, along with the iconic Chris Redfield (who may or may not be a villain). Upon the initial trailer for Village, I was instantly hooked; the cold atmosphere filled me with dread while also fueling my curiosity for what horrors were in store. 

But that first trailer and the follow up cinematic prompted a question in my mind – What is Resident Evil now? 

If you were to ask six or ten year old me to explain what Resident Evil was at the time, I’d say something like – “It’s a zombie game with different types of monsters and takes place in a creepy mansion.” A few years later, if I were to be asked about the second and third installments in the franchise, I’d say they’re similar experiences to the first. From Resident Evil two to three, the franchise displayed bits of growth, incorporating different types of creatures and expanding the game setting little by little. Most noticeably perhaps is the action approach Resident Evil 3 offered, with gamers running and blasting away at Nemesis.

Now to some, labeling those first few Resident Evil titles as “zombie games” may be too vague; to be fair, from game one, Resident Evil has been upfront with its narrative regarding the corrupt Umbrella Corporation. Whereas the first Resident Evil introduces this story point, with the second adding some additional context through new characters, the third entry brings nothing major to the lore (minus the destruction of Racoon City). Code Veronica and Resident Evil 0 bring some interesting new characters to the table, but not much otherwise to the overall story. Along with the game’s use of zombies, Resident Evil has always involved a bio-horror focus (whether it be monsters or other forms of bioterrorism). One could argue that this is the main concept at work throughout the franchise. 

The first three Resident Evil games play out like George Romero films, with one lone protagonist (working with a small group), striving to survive an evening of terror. The bio-monster angle is prominent throughout all the games, but the corporate conspiracy narrative dips and rises in focus over the course of each entry. Part of this is because of Resident Evil 4 and how much it diverts from past titles before it. Not only did this game make for the franchise’s biggest shift in gameplay, but also narrative. 

There’s still the mutant creatures, but now the iconic T-Virus has been replaced; now it is the Las Plagas, and there’s an element of vagueness as to how this virus is connected to Umbrella and past events. Furthermore, there’s the game’s tonal shift. With minor similarities to Resident Evil 3 (e.g. the action-oriented gameplay), the atmospheric presence and narrative are different. The player will stumble through a creepy castle during their playtime, but the distant, European landscape establishes a new and fresh mood compared to the closed-off innards of a mansion or that of a city thrown into chaos. Up to this point in the franchise, many were accustomed to the Umbrella storyline and zombie component of the games. Resident Evil 4 isn’t a continuation of this narrative though – it is more of an expansion. Resident Evil 4 brings up new questions for fans to mull over – With these new events, virus and characters, what do they mean for future titles?

Resident Evil’s fifth and sixth main entries place emphasis on action-driven gameplay, opting for environments where one can pump away with different weaponry. Story-wise, they make a return to the wild corporate conspiracies of Umbrella, but each also represents an identity crisis for the franchise (regarding gameplay and presentation). Some have noted frustration with these games for the tremendous lack of survival horror, as both titles play out more like a Gears of War game. However, Biohazard not only made for an awesome return to survival horror, but also flipped the script on narrative approach. 

Biohazard is more of the old creeping tension, as traveling down corridor after corridor leaves one on edge as to what may appear (or what’s following them). Umbrella and the origin of game-related bio-monstrosities are briefly hinted at, with exposition coming across as vague for the most part. Along with its phenomenal gameplay, Biohazard’s presentation is equally impressive. The Baker family makes for fascinating antagonists, given how their minimal appearance allows for startling horror when they finally track the player down. And while I’m a huge fan of the Bakers and their creepiness, I think a large element that works in their favor is the environment and tone of Biohazard.

Where fans have ventured through abandoned mansions, creepy laboratories, city streets, African and European villages, Biohazard immerses the player in a southern gothic setting. Again, we see a brand-new Resident Evil pulling inspiration from its past (the Baker house being similar to Resident Evil’s mansion). Coming into this experience, however, there are an abundance of questions – how exactly do the Baker’s fit into the whole Resident Evil narrative? Is Umbrella involved?

Pulling inspiration from such works like The Texas Chainsaw Massacre, the gameplay has a drawl to it; the atmospheric mood is meant to exude dread. This presentation also works to further fuel the mystery of the narrative and expand upon the schemes and bioweaponry surrounding Umbrella. Through minimal context and exposition, lines begin to form connecting the events of the game to the grander Resident Evil universe; the player learns how the Bakers came to become monsters, as well as their connection to Eveline and her connection to Umbrella. The game not only further expands upon the franchise’s narrative, but it also provides a new shade of Resident Evil.

Though Capcom is guilty of dealing out action-adventure after adventure with high octane adrenaline and plots with generic sinister corporate plans, they’ve also introduced fascinating new depth to these games. Particularly through Resident Evil 4 and Biohazard, these games introduce exciting new flavors to the Resident Evil world, opting to tread new narrative paths, tones, and blends of horror. 

Returning to that thought of how I would have described Resident Evil back in the 90s, that initial answer would not fly at all today. Additionally, I couldn’t even say that these games are just about an evil corporation and viral outbreaks. These story components are still present, but they’ve been altered to provide new layers to the Resident Evil lore. 

With Village, Capcom appears to be returning to a European setting similar to Resident Evil 4; but yet, the familiarity is once again warped. There is a great gothic appeal throughout the two trailers for Village that stirs an air of fascination alongside those werewolf-looking creatures. There also appears to be a folklore element teased at (in the second trailer where Mia is telling Ethan a story about a little girl in the woods). In what ways may this creepy tale have to do with Village’s story? And with the hints of cult-like activity, there also appears to be an element of something militaristic involving Chris Redfield. As Resident Evil fans, gamers are once again made to wonder how this new setting, characters, and presentation tie into the franchise. 

Besides being excited about this new game because it’s Resident Evil, I’m also excited to see where Resident Evil’s future is heading. There has always been so much potential for these games to encapsulate an even grander array of horror; their niche in bio/zombie-related horror is very much appreciated and effective, but those outside-the-box narratives offer intrigue and excitement for all the other stories that could be told. Considering where the games began and seeing how they’ve evolved – Resident Evil has come to represent a variety of horrors and could very well continue to grow.

Michael Pementel is a pop culture critic at Bloody Disgusting, primarily covering video games and anime. He writes about music for other publications, and is the creator of Bloody Disgusting's "Anime Horrors" column.

Editorials

‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel

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leprechaun returns

The erratic Leprechaun franchise is not known for sticking with a single concept for too long. The namesake (originally played by Warwick Davis) has gone to L.A., Las Vegas, space, and the ‘hood (not once but twice). And after an eleven-year holiday since the Davis era ended, the character received a drastic makeover in a now-unmentionable reboot. The critical failure of said film would have implied it was time to pack away the green top hat and shillelagh, and say goodbye to the nefarious imp. Instead, the Leprechaun series tried its luck again.

The general consensus for the Leprechaun films was never positive, and the darker yet blander Leprechaun: Origins certainly did not sway opinions. Just because the 2014 installment took itself seriously did not mean viewers would. After all, creator Mark Jones conceived a gruesome horror-comedy back in the early nineties, and that format is what was expected of any future ventures. So as horror legacy sequels (“legacyquels”) became more common in the 2010s, Leprechaun Returns followed suit while also going back to what made the ‘93 film work. This eighth entry echoed Halloween (2018) by ignoring all the previous sequels as well as being a direct continuation of the original. Even ardent fans can surely understand the decision to wipe the slate clean, so to speak.

Leprechaun Returns “continued the [franchise’s] trend of not being consistent by deciding to be consistent.” The retconning of Steven Kostanski and Suzanne Keilly’s film was met with little to no pushback from the fandom, who had already become accustomed to seeing something new and different with every chapter. Only now the “new and different” was familiar. With the severe route of Origins a mere speck in the rearview mirror, director Kotanski implemented a “back to basics” approach that garnered better reception than Zach Lipovsky’s own undertaking. The one-two punch of preposterous humor and grisly horror was in full force again.

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Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

With Warwick Davis sitting this film out — his own choice — there was the foremost challenge of finding his replacement. Returns found Davis’ successor in Linden Porco, who admirably filled those blood-stained, buckled shoes. And what would a legacy sequel be without a returning character? Jennifer Aniston obviously did not reprise her final girl role of Tory Redding. So, the film did the next best thing and fetched another of Lubdan’s past victims: Ozzie, the likable oaf played by Mark Holton. Returns also created an extension of Tory’s character by giving her a teenage daughter, Lila (Taylor Spreitler).

It has been twenty-five years since the events of the ‘93 film. The incident is unknown to all but its survivors. Interested in her late mother’s history there in Devil’s Lake, North Dakota, Lila transferred to the local university and pledged a sorority — really the only one on campus — whose few members now reside in Tory Redding’s old home. The farmhouse-turned-sorority-house is still a work in progress; Lila’s fellow Alpha Epsilon sisters were in the midst of renovating the place when a ghost of the past found its way into the present.

The Psycho Goreman and The Void director’s penchant for visceral special effects is noted early on as the Leprechaun tears not only into the modern age, but also through poor Ozzie’s abdomen. The portal from 1993 to 2018 is soaked with blood and guts as the Leprechaun forces his way into the story. Davis’ iconic depiction of the wee antagonist is missed, however, Linden Porco is not simply keeping the seat warm in case his predecessor ever resumes the part. His enthusiastic performance is accentuated by a rotten-looking mug that adds to his innate menace.

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Pictured: Taylor Spreitler, Pepi Sonuga, and Sai Bennett as Lila, Katie and Rose in Leprechaun Returns.

The obligatory fodder is mostly young this time around. Apart from one luckless postman and Ozzie — the premature passing of the latter character removed the chance of caring about anyone in the film — the Leprechaun’s potential prey are all college aged. Lila is this story’s token trauma kid with caregiver baggage; her mother thought “monsters were always trying to get her.” Lila’s habit of mentioning Tory’s mental health problem does not make a good first impression with the resident mean girl and apparent alcoholic of the sorority, Meredith (Emily Reid). Then there are the nicer but no less cursorily written of the Alpha Epsilon gals: eco-conscious and ex-obsessive Katie (Pepi Sonuga), and uptight overachiever Rose (Sai Bennett). Rounding out the main cast are a pair of destined-to-die bros (Oliver Llewellyn Jenkins, Ben McGregor). Lila and her peers range from disposable to plain irritating, so rooting for any one of them is next to impossible. Even so, their overstated personalities make their inevitable fates more satisfying.

Where Returns excels is its death sequences. Unlike Jones’ film, this one is not afraid of killing off members of the main cast. Lila, admittedly, wears too much plot armor, yet with her mother’s spirit looming over her and the whole story — comedian Heather McDonald put her bang-on Aniston impersonation to good use as well as provided a surprisingly emotional moment in the film — her immunity can be overlooked. Still, the other characters’ brutal demises make up for Lila’s imperviousness. The Leprechaun’s killer set-pieces also happen to demonstrate the time period, seeing as he uses solar panels and a drone in several supporting characters’ executions. A premortem selfie and the antagonist’s snarky mention of global warming additionally add to this film’s particular timestamp.

Critics were quick to say Leprechaun Returns did not break new ground. Sure, there is no one jetting off to space, or the wacky notion of Lubdan becoming a record producer. This reset, however, is still quite charming and entertaining despite its lack of risk-taking. And with yet another reboot in the works, who knows where the most wicked Leprechaun ever to exist will end up next.


Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.

The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.

Leprechaun Returns movie

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

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