u/PrestigiousSlide6875

So the reason why it's incorrect is due to the fact that if you look into the actual development history of Resident Evil 4, it becomes clear that the original vision was meant to be a direct continuation of the basis of RE style/structure seen in RE1, RE2, RE3, Code Veronica, and Zero. In the early prototypes, specifically the Castle and the Hookman builds from 2002 and 2003, the game retained a focus on gothic horror, slow-paced combat, and a genuine sense of vulnerability. Leon wasn’t a dynamic action super spy millitaristic hero and his behavior and the gameplay loop felt very much like an extension of his role in RE2. The entire plot revolved around Leon exploring a mysterious isolated castle while being infected by a very strange virus, which was represented by a mysterious black fog that caused terrifying projection of visions and where the arm of Leon is infected/mutated which weakened him and allowed him to shoot/defend himself with just one arm. This shows that the initial plan for RE4 was firmly rooted in traditional RE structure, rather than the fast-paced tactical shooter arcade mechanics and techno-thriller genre with terrorism and geopolitics themes with super action heroes that we eventually got in the final 2005 release. However, after the Resident Evil 1 (2002) which was a Nintendo exclusive, didn't meet Capcom's sales expectations in the GameCube a niche console system, Shinji Mikami and producer Hiroyuki Kobayashi decided to entirely change direction. They consciously pushed for a major genre shift with the final version of RE4, aiming to create a mainstream entertainment game with mass appeal focused this time on the action arcade genre and fun rather than a traditional RE experience which is survival horror in genre. This commercial and shifting genre pivot completely replaced the slow-paced, atmospheric, survival horror RE basis level design and atmosphere with a dynamic tactical combat shooting system and arcade-inspired mechanics. Here is the Shinji Mikami and Hiroyuki Kobayashi citations to prove my points: « With Resident Evil 4, I intended to make more of an action game – 5 and 6 were outside of my responsibility, of course… With Resident Evil 1, 2, 3, and all the rest of the series before Resident Evil 4, I was always saying to the staff, ‘Scaring the player is the number one thing.’ But for the first time, in Resident Evil 4, I told the team that fun gameplay is the most important thing. That’s what I said. And then the [next most important] thing is to be scary. » « "Because of the reaction to the Resident Evil remake, I decided to work more action into Resident Evil 4. Resident Evil 4 would have been a more scary, horror-focused game if the remake had sold well." » « However, our biggest goal with RE4 was ensuring that it was a fun game. Not a "fun Resident Evil game", but a fun game more generally… a top-class, mainstream entertainment experience. » so Hiroyuki Kobayashi even admitted that the final version of the 4th entry was made to be a general mainstream game to appeal large public not really strictly RE, the game being RE was a secondary thought that why the final version of RE4 is a shifting genre and not really a continuation to the RE structure/gameplay loop and atmosphere!

Also the gameplay loop of Resident Evil 4 completely abandoned the core mechanics of the survival horror genre to adopt a pure action-adventure structure with heavy RPG and arcade elements. In the previous entries, killing a monster was a net loss of resources because enemies dropped nothing. RE4 completely flips this philosophy by encouraging the player to kill absolutely everything in tight, designed arena fights. Enemies now drop glowing money, ammunition, and items upon death, meaning combat is always profitable. This loop is further driven by a deep treasure hunt system where you explore areas specifically to collect gems and spinels to sell them. This leads into a quasi-RPG progression model centered around the Merchant, an entirely new shifting genre gamepley system concept. Instead of just finding weapons on the ground, you collect cash to buy an extensive arsenal and upgrade their power, firing speed, and reload time. The tension of RE puzzle items and inventory restrictions disappears. There are no more item boxes or stressful backtracking across interconnected maps just to store a key item. Instead, you carry an massive briefcase that can be expanded, transforming inventory management into a simple organization mini-game rather than a survival horror vulnerability limitation. Furthermore, the game is linear in structure. Unlike the pure RE experience of the previous games where the level design was completely interconnected, RE4 moves forward in a straight line through sequential chapters. Exploration no longer serves the purpose of finding essential progression items like specialized keys or hidden tools to open new paths. Progression is straightforward, and the files or notes you find are no longer mechanical tools designed to help you solve riddles or figure out how to advance or the situation that you are in. Instead they are just narrative flavor text. The combat itself functions as a dynamic crowd control shooter rather than a fight for survival. Heavily inspired by early tactical third-person games like WinBack and Kill Switch, RE4 introduces a precise red laser sight for surgical aiming. The gameplay relies on stunning enemies by shooting their heads or knees, then rushing in to perform highly choreographed melee attacks like suplexes or roundhouse kicks. When you remove the puzzles solving as a core part, remove complex backtracking, remove non-linear progression, remove non-tactical slow paced combat and resource scarcity/item box + resource/inventory management + exploration for finding weapons and resources like ammo, health items, ect and replace them with linear arena combat, reward systems, and weapon upgrades, linear progression structure, tactical dynamic combat system, ilimited inventory, and where you can buy every resources and weapons at your merchant partner. You are no longer playing a survival horror escape game, but you are playing a tactical action shooter.

Not only that but the narrative and thematic shift in Resident Evil 4 represents a complete departure from the storytelling style of the earlier games. The first entries RE1, RE2, RE3, Code Veronica, and Zero were grounded in a specific blend of gothic horror and macabre science-fiction, much like the classic Frankenstein tale. They functioned as dark, localized investigations where characters started in complete ignorance, slowly uncovering corporate corruption, human trafficking, and horrific biological experiments hidden beneath gothic mansions, old training facilities, or a museum-turned-police-station ect. In contrast, RE4 instantly liquidates the overarching corporate conspiracy in a thirty-second opening monologue explaining that Umbrella simply went bankrupt. The plot immediately transitions into a global espionage techno-thriller. Leon is no longer a vulnerable survivor uncovering a macabre biological secret like what the intial RE4 version was supposed to be; instead he is a highly trained government agent on a linear military rescue mission to save the U.S President's daughter. The antagonists are no longer mad scientists or organisation conducting rogue experiments in laboratories, facilities, ect but instead a medieval religious cult utilizing ancient parasites excavated from a mine. With this change, the horror itself is no longer taken seriously, and the protagonist shows absolutely no vulnerability in the face of danger. Instead, the narrative embraces bombastic, campy action tropes, such as Leon performing dramatic backflips to dodge lasers or running away from a giant mechanical statue that chases him through a castle.The final third of the game completely sheds any lingering horror atmosphere to become a military action-thriller heavily reminiscent of franchises like Metal Gear Solid. The stakes shift toward bombastic geopolitics, where the main villain openly states his goal is to infect and control the United States government. The primary antagonist of this section, Jack Krauser, is quite literally a Metal Gear villain. He is a rogue former brother-in-arms obsessed with military power, and his combat style relies on highly choreographed knife fights that mimic CQC, complete with philosophical battlefield dialogue. Leon even communicates via a radio device that functions exactly like a Codec screen, where villains regularly hack the frequency to mock him. By replacing the localized macabre science-fiction and gothic mystery with global espionage, action-movie set pieces, and tactical military tropes with geopolitics themes, the narrative framework of RE4 completely aligns with the techno-thriller genre rather than survival horror.

And the final and most glaring double standard among some action fans being mostly 4 fans is how they blame Resident Evil 5 and Resident Evil 6 for ruining the franchise by turning it into a bombastic action fest, while refusing to admit that both games are the direct, logical continuation of what RE4 established. Capcom didn't randomly change directions after 2005; they simply doubled down on the tactical action foundation. The producers themselves openly confirmed this trajectory. For Resident Evil 5, producer Jun Takeuchi stated that they naturally looked at RE4 as their starting point to refine the core gameplay mechanics and make the tactical action elements even better. Later, during the development of Resident Evil 6, executive producer Hiroyuki Kobayashi explained that because the action-focused direction of RE4 and 5 resonated with a massive global audience, their goal with RE6 was to push those dramatic action dynamics to their absolute limit to create the ultimate entertainment experience. Once a franchise introduces a combat economy, upgradeable weapons, and agile melee moves, the slow-paced horror naturally fades to make room for escalation. You cannot praise RE4 for inventing this specific action framework and then act surprised when the subsequent titles followed that exact trajectory. Here is the Jun Takeuchi and Hiroyuki Kobayashi citations to prove it: « "For Resident Evil 5, we naturally looked at Resident Evil 4 as our starting point. We wanted to take the core gameplay mechanics that worked so well in RE4 and refine them, making the tactical action elements even better and adapting them for a broader experience." » « "We saw that the action-focused direction of Resident Evil 4 and 5 resonated with a massive global audience. With Resident Evil 6, our goal was to create the ultimate theatrical action entertainment on a massive scale. The game was designed to push those dramatic action dynamics to their absolute limit." »

This brings us to Capcom’s ultimate historical acknowledgment. By 2017, the developers themselves realized that the action path started by Resident Evil 4 had led the franchise entirely too far away from its identity. This is why Capcom had to issue a massive creative course correction with Resident Evil 7: Biohazard. For the release of RE7, the production team explicitly used the term "return to roots" during their marketing campaigns. They intentionally stripped away the bombastic military scale, the weapon merchants, and the dynamic action heroes to bring back isolated locations, first-person vulnerability (fun fact RE1 (1996) was supposed to have a first person camera system) and severe resource management. The very existence of RE7 as an apology tour proves that Capcom recognized the 2005-2012 era as a massive departure from traditional survival horror. Defending the idea that Resident Evil was always an action techno-thriller isn't an opinion; it's a denial of the franchise's mechanical history, its narrative themes, and the explicit statements of its own creators. Here is the Jun Takeuchi and Shinji Mikami citations to prove it: « After our sixth Resident Evil, we got a lot of feedback from fans. I think a lot of [people] loved the game. Of course at the same time, we know there’s feedback that people thought we’re going too far down the road of action horror rather than survival horror.

That was great timing because, internally, we also felt this is the time for us to just take a step back and re-evaluate what survival horror and Resident Evil means to us. » « "I was leaning forward to see how the creators who received the baton from me would try to recreate the experience of the first game, which was about returning to the series' roots." » so again after all those facts and evidences how you guys can deny and say RE was always a tactical bombastic action franchise?

I repeat again i'm not calling the action millitaristic games bad they are good to great games what i'm saying is that i think that they are bad RE games for multiple reasons like being different in genre, action arcadey shooter system instead of slow paced combat system, lack of tensions ect with a focus on fun action stories with geopolitics and metal gear/doom vibes (doom vibes for the hero who beat the crap out of everything without some vulnerability)

Also Grace sections in Requiem are peak RE experiences too, reason why i put Requiem in C is due to Leon sections with the overhall story feeling too much like a action thriller movie instead of a gothic thriller horror story and vibes

Robin was never a sidekick title but a independent title all his college era he grow up and didn't have a identity crisis and loved being Robin it is his identity, he had multiple solo adventures stories as a adult Robin and Bill Finger created him to be a partner and equal to Batman its a friendship/team-up relationship not a mentor/student/sidekick relationship and created him to be inspired from Robin Hood ect it his own identity and he had multiple solo stories and selled more than Batman in solo and saved Batman he was never in the shadow of Batman, he was always a icon and without him Batman will be cancelled or forgetten

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Wolfman ignored this, rewrited history, and removed his identity and lore and link to bat-lore and his relationship to babs, instead he rewrited it and made a retcon that Robin is a title of sidekick/linked to Batman and that Batman is a toxic figure and that his inspiration is Superman and picked a Superman's Kandor identity a.k.a Nightwing? This is bs

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Kingdom Come is peak for understeding this

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And that doesn't mean that no other Robin should exist

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But Dick need to be Robin it his natural identity, Super Robin, Red Robin, Night Robin, Scarlet Robin, Flame Robin, i just want him to have the Robin name

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Dickbin is my all time fav and i want him back fr

He is different from Arthur btw they just share the blonde hair trait but they are completely different in term of origins, name, and lore and personality

Even abilities

Adam is also 100% human and his abilities are due to the experimants done by his father and his strength and combat skills are all due to hard training

He is also a rival of Batman too

Has his own base in the seas and he is quite a brilliant dude