There’s often an undercurrent of existential fatigue in games that look back at their legacy. Dark Souls III’s dying kingdom, Metal Gear Solid 4’s decrepit Snake. So when Capcom showed us an ageing Leon Kennedy entering the ruins of the police station that marked the start of his journey from rookie cop to hardened veteran, it felt tinged with ennui as much as nostalgia. That self-reflective swansong for this 30-year series may still happen one day, but Requiem isn’t it. Even at its dourest and most pensive, this is less a song for the dead, more a knees-up in honour of the rocket launchers and typewriters that came before. Leon may be getting on a bit, but this is Capcom as energised, devious and goofy as ever.
I love being a parent. The thing I find most fascinating about the experience is how it throws a mirror not just on one’s own childhood, but on all of human nature. It’s an obvious point, but one that I never thought about before having kids: all newborn babies are always the same, everywhere. And then, slowly but surely, they become not the same. As cultural and family influences accumulate like sedimentary layers in these tiny personalities, you can see nurture reshaping nature in a deeply embodied, physical way.
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