Ahhhhhhhhhh the more I sit with this, the more I need to scream about how Zeno and Albert Wesker were not done justice by Capcom.
I don’t think the series ever fully unpacked how deeply the “survival of the fittest” ideology must have shaped Wesker. Or the way trauma, conditioning, and choice sculpted his character over time.
He was barely out of adolescence when he saw the consequences of Umbrella’s experimentation up close. Imagine being 17 or 18 and witnessing what was left of Lisa Trevor after years of inhumane testing - not as an abstract horror story, but as corporate reality. That kind of exposure doesn’t just harden someone. It rewires them. It teaches a brutal, efficient lesson: if you are not extraordinary, you are expendable. Albert ran from weakness his whole life. And that message would have hit him differently than it hit anyone else, because he himself was a product of a eugenics program. Engineered from childhood. Raised as part of a selection process he didn’t even fully understand at first. Other candidates were eliminated. Only the exceptional endured. Learning that your entire upbringing was a competition disguised as education doesn’t simply create ambition - it creates hypervigilance. It plants the idea that your worth is conditional. (Imagine how he felt when Birkin’s research into the G-Virus was prioritized by Umbrella Corporation over his focus on the Tyrant/T-Virus projects.... he immediately transferred to Umbrella's Intelligence Bureau.)
If weakness equals death, then power becomes more than ego. It becomes protection. Failure is erased. Attachment is leverage. Hesitation is fatal. His obsession with control starts to look less like 'cartoon villain' arrogance and more like someone overcorrecting against the terror of becoming disposable.
Then there’s the emotional development side of it. Wesker wasn’t raised in a normal environment with healthy bonds or organic socialization. He was cultivated as an asset. Empathy, connection, vulnerability - those likely weren’t nurtured. So it makes sense to imagine him approaching emotion the way he approached everything else: analytically. Studying it. Observing it. Reverse-engineering it instead of naturally inhabiting it.
That’s why his dynamic with Birkin is so interesting to me. Watching Birkin have a wife and a child might not have sparked conventional jealousy, but perhaps curiosity. A fascination with something he never had access to. If he fathered Jake partly to understand that type of bond, that says something significant. Not necessarily romance in the traditional sense, but experimentation with humanity itself. I like the idea that his relationship with Jake’s mother came from that place.
And my personal headcannon that he probably sent Jake’s mother away after learning she was pregnant rather than him not knowing of it? That feels consistent with his worldview. In the world he operated in, attachments were liabilities. Weaknesses were exploited. The safest way to protect something fragile might have been to distance it from himself entirely. Not tenderness in the soft sense - but protection filtered through someone who equates closeness with danger.
He lived in a ruthless ecosystem. From childhood, he was conditioned to believe that any visible weakness would get you eliminated. That context makes his personality feel less random and more inevitable.
His god complex wasn’t just ego. It was protection. If you’re the apex, you’re not disposable.
Which is part of why Zeno stands out so sharply in comparison.
Zeno wasn’t raised in that crucible. By contrast, he enters the world with none of that formative conditioning - but all of the baggage and the existential horror.
Albert feared being disposable. Zeno fears being derivative.
And the visual coding?? It’s not subtle.
Albert is almost always in black. Black tactical gear, black trench coats, black gloves. He dresses like a void. Black absorbs light. Black dominates space. It fits his whole “inevitable evolutionary god” aesthetic.
Zeno shows up in a white suit with a black coat draped over his shoulders.
White.
That’s not accidental.
White reflects light. White is exposure. White can symbolize rebirth, blank slates, even vulnerability. And the black coat isn’t fully worn - it hangs off him, like he’s carrying Wesker’s shadow instead of fully stepping into it. Even their aesthetics reinforce that split.
Albert’s struggle was survival in a system that kills the weak. Zeno’s struggle is individuality in a narrative that reduces him to a shadow.
And agains as I said in an earlier rant, that duality pairs perfectly with the cross earring. Albert styled himself as a god of evolution. Zeno wears a symbol tied to mortality, sacrifice, and faith - concepts Albert rejected outright. Whether it’s rebellion, irony, or subconscious defiance, it frames Zeno as someone more tethered to human themes rather than transcendence.
Even their interpersonal energy is different.
Albert treated people like chess pieces. If someone pushed back, he shut it down immediately. He dominated conversations. He controlled the room. He weaponized attachment or severed it entirely because attachment was vulnerability.
Zeno? He’s patient. He lets conversations breathe. He doesn’t immediately overpower. His exchanges with Grace don’t feel like pure manipulation - there’s space there. If that had been Wesker in the same situation, it’s hard to imagine him tolerating prolonged back-and-forth. He would have controlled the situation; asserted dominance instantly (and would probably have manhandled her the way he did to Claire lol).
Even the vocal delivery reinforces the divide. Despite sharing a voice actor, the energy is completely different (I had to do a double take when I found out he was voiced yet again by Craig Burnatowski!) RE4R Wesker is clipped, surgical, commanding. Every line feels like a calculated incision. Zeno’s tone is smoother, almost contemplative. There’s a softness to it - not weakness, but restraint. It suggests internal processing rather than constant projection of authority.
One commands. Period. The other converses and listens.
Albert’s ideology was global and apocalyptic. He wanted to force evolution. He believed in survival of the fittest because his entire childhood conditioned him to believe that if you aren’t exceptional, you’re disposable.
Zeno’s conflict feels personal. It’s not about remaking humanity - it’s about escaping comparison. Escaping the label of “clone.” Proving he’s not just a sequel to a legend he didn’t ask to be born from.
So when that quieter, more introspective characterization is introduced and then abruptly cut short, it creates a kind of narrative whiplash. It feels like the groundwork for something psychologically rich was laid - and then BOOM! Gone.
Instead of letting ALL THAT breathe, we got a 'kill the bad guy' trope.
That’s what makes it frustrating. Characters like Wesker are fascinating not just because of what they do, but because of why they do it. His motivations can be read as fear conditioned into obsession, survival instincts magnified into godhood. There’s nuance there that the games only partially explore.
And with Zeno, the potential was just beginning to surface. Instead of letting his identity crisis, his restraint, his difference from Albert breathe and evolve, the story defaulted to elimination.
Capcom inadvertently added these fucking layers to these characters and then chose to discard them.
That’s the part that drives me insane.
Because none of this depth feels accidental in isolation. They built a psychological framework. And then instead of excavating it, they blew it apart. It feels like they keep brushing up against genuinely compelling character studies and then defaulting to dramatic effect before those ideas can fully mature.
It’s like Capcom keeps crafting villains who are one step away from being tragic figures - shaped by conditioning, warped by ideology, navigating questions of autonomy - and then chooses to flatten them back into archetypes at the last second.
And that flattening is what hurts me the most.
Because once you notice the nuance, you can’t unsee it.
