#temporary residency

[amitkakkareasyvisa]

(Amit Kakkar Easy Visa Tips)

[zeevistaadvisors]

Month of Ramadan

Since it's already the month of Ramadan, here in ZeeVista Advisors, we're offering exclusive deals to all our clients!

Whether you want visit visa, or permanent residency, this is all covered in our promo!

Hurry up and message us to avail!

[visaleafs]

How Can You Maintain Your TR Status in Canada?

[crumb-crumblet-s-crumbington]

my little residents

[nofatclips]

🎵 Between the Hawthorn and Extinction by Stuart Hyatt with Player Piano and Julien Marchal from the collaborative album Ultrasonic by Field Works

📖 Between the Hawthorn and Extinction, a poem by Cecily Parks

🎬 Documentation of Stuart Hyatt creating audio field recordings of endangered, Indiana bats. Video by Anna Powell Denton

[allthecanadianpolitics]

The federal government has officially launched its special immigration measures program for extended family members of Palestinian Canadians trying to escape the war in Gaza, allowing 1,000 of them to move here on a temporary basis. The program's website went live Tuesday afternoon. It says applicants are required to have up-to-date passports and results of biometric tests, such as fingerprints and photos for facial recognition. They must also show they will be supported by a Canadian citizen or permanent resident for a year. Successful applicants will receive temporary visas good for three years. The government has capped the number of successful applicants at 1,000, citing the volatile situation on the ground in Gaza and the obstacles it has faced in getting people out. 

Continue Reading

Tagging @politicsofcanada @allthegeopolitics

[meltymoth]

yaaaaay

[ciderjacks]

thinking about how Dulcie essentially got suspended for being a lesbian again. It’s a reoccurring theme almost, that she’s “allowed” to be a member of society, but if she steps out of line or says the wrong thing or stands her ground, she gets that permission to be an equal stripped from her. She’s allowed to be a detective, but the second she calls out Hastings for being violent and corrupt and also literally violating the fucking law, he tells her she’s “probably working alongside the women” and that her being gay makes her inherently untrustworthy to work on this case, Because she’s probably too caught up in her alleged attraction to these women that she can’t judge properly. (Yet he said that straight men would be better fit…)

She gets on the nerves of the old money people in deadloch, and it’s immediately ”your kind is ruining this place”. It’s “you dykes have no respect”, it’s “I don’t like you, you lesbian”.

(No spoilers since it’s a whole plot point but you also see this really clearly with Skye)

she’s expected to keep her head down and behave, both at her job and in her wider community. She’s expected to deal with constant little aggressions, constant lack of respect, constant abuse and ostracizing, and never stand up for herself.

And that’s not even mentioning how blatantly misogynist and corrupt Hastings and really the whole system is, the way he uses the case as an excuse to attack a marginalized group, the way he uses his power as a cop to violently raid and detain, the unnecessary destruction he causes and the way he treats Eddie and Dulcie (especially Dulcie, who he regularly screams at, forces into silence, and discriminates against)

This also intersects with the B-plot, with how Margaret makes a big show of accepting and supporting Miranda as an aboriginal woman, but really just wants to make her as close to white as she can. She targets Miranda bc she feels like she can Assimilate her, and when Miranda decides to embrace her heritage and her real family, that supposed support and acceptance is immediately burned away.

The messaging and themes of this show are so insanely well done wow

[tearsoftime0086]

Zero-Sum Escape: A Close Reading of Code Veronica’s Steve Burnside

Introduction + Disclaimers

If you’re a friend/mutual/unfortunate witness to my discovery of Steve Burnside, you might’ve seen this coming. I’ve become an avid enjoyer of the character, which has led to some interesting discussions about him with friends! I’ve decided to write a small (edit: it was supposed to be small) piece on what makes him so interesting, using quotes and cutscenes from the original Code Veronica game. A lot of online discourse around Steve has historically been negative, so I hope this can be a positive primer for folks who want to learn more about him, or even an interesting curio for folks wondering why someone would do such an in-depth read for a one-off character.

This reading will focus strictly on Code Veronica (and not any of the Darkside Chronicles material) – with the full understanding that many aspects of the game are a product of their time, good and bad. I’ll try to cite my evidence as much as possible, but this will obviously be coming from a subjective and modern perspective as a fan of his character! I’m also a fairly new Resident Evil fan, so if anything’s incorrect, please forgive me and let me know! I’d be happy to make edits.

Anyway, this is all in good fun – and to anyone who even reads a single sentence of this, I appreciate your time!

Reference

As a way to “cite” dialogue and cutscenes, I’ll be including rough timestamps to this great video of Code Veronica cutscenes: https://youtu.be/ym46RPHqaSY?si=a6ItTpdOn3rCZq-U. Feel free to follow along, but the text should make sense without the video too.

So, who is this guy, anyway?

Let’s start with the basics. In the game Resident Evil – Code: Veronica (taking place shortly after RE:2), you start as Claire Redfield, recent prisoner of Rockfort Island. Unfortunately, Claire finds herself in the midst of another biohazard outbreak. And what’s worse is that during her escape, a stranger in a watchtower starts shooting at her indiscriminately! (0:05)

When the dust settles, Claire comes face to face with an abrasive teenager named Steve Burnside, a fellow prisoner on the island.

“Uh, sorry about that little misunderstanding…” (0:43)

This, alongside his attempts to be “smooth” – (I mean, who says “Relax beautiful…” unironically?) doesn’t do him any favors for most players. Not to mention his active derision of Claire’s skills – he leaves her with a few choice “tsks” and a “I don’t want you following me, lady. You’ll only slow me down.” (1:30).

This opening scene sets up a few key characteristics for Steve, which I’ll be referencing throughout this piece.

Steve is someone who makes numerous mistakes, ranging from purely accidental to sheer negligence.

Steve puts a heavy emphasis on reliability/dependability. He leaves Claire because he thinks she will “slow [him] down”. We’ll see more examples of his complex with “relying on others” later on.

Where do these traits leave us? A character that ends up being deeply paradoxical, and in my opinion, super fascinating because of it.

“You’ll just end up disappointed if you rely on others”

Claire finds Steve somewhat quickly afterwards, perusing information about her brother, Chris. I think it’s important to recognize Steve’s intent here. If he was purely focused on escaping (and leaving Claire behind), he wouldn’t have bothered looking for any records relating to her. Some folks may argue that he has a crush on Claire already, and is just following teenage impulses. But trust me, there’s more concrete evidence of teenage impulses later. For now, let’s give him the benefit of the doubt and assume he was trying to help her out – it ties well with point 2.

Steve’s snooping reveals that Chris is being monitored by Umbrella. Claire immediately takes action, contacting Leon about it. At this point, Steve sarcastically tells her,

“That file shows latitude and longitude of this place. Tch, why don’t you send your brother the coordinates and ask him to come help?” (2:20)

When Claire takes him completely seriously, he becomes prickly.

S: “Hey? I was just kidding? There’s no way he could get here, even if he is your brother.” C: “Yes he can; I’m sure of it.” S: “No way. He won’t come. You’ll just end up disappointed if you rely on others. Believe me, I know!”

Steve’s sudden anger and exit demonstrate how much this topic of “reliability” affects him. He’s vocal about his need for self-reliance – and yet, if we take his investigation in a positive light, it’s not like he’s completely selfish in his attempt to escape Rockfort.

Steve is someone who desperately wants to believe in human reliability, and yet has been spurned due to the circumstances of his imprisonment. We’ll see that he tries to emulate it himself, but unfortunately (and perhaps realistically) falls short.

Yet, what really nurtures this desire is Claire – someone who he can finally depend on. The pair’s next encounter comes when Steve is in trouble (if you’ve seen the “Steve is suffering” memes, it’s from this scene). The player hears him yell a pitiful “Help me!” as he bangs against a locked door – so much for relying on yourself.

If Claire solves the puzzle fast enough, Steve escapes and tells her, “That was too close. But I found something. Thanks to… you.” (3:44).

Thus begins the two’s shaky partnership – and believe me, it’s shaky. Steve runs off yet again, only agreeing to give Claire the essential golden lugers if she trades him something “fully automatic”. But Steve’s obviously on better terms with her now, as seen when he emphatically tells her, “See? This is why you need me. I got your back,” later (5:10). Quite cooperative for someone who was crowing about not relying on others.

In the midst of these scenes is a growing desire to look good to Claire – to be someone she can count on.

The knight fantasy – and bitter reality

Steve ends up describing his own motivation pretty well. Claire finds herself stuck with a nasty Bandersnatch, before Steve dramatically comes to her rescue (more on this in the next section). Afterwards, he eagerly proclaims the following:

S: “Oh yeah, that felt good! Don’t worry Claire, your knight in shining armor is here!” C: “You wish – but thanks for the help.” S: “See? This is why you need me. I got your back.” (4:54)

Steve wants Claire to see him as someone she can rely on – as a self-proclaimed knight to save her from the influx of zombies. It’s why he tells her to wait as he clears out the following area with his “new toy” (6:35). He wants to be the hero who saves the day – Claire might not be able to count on others, but she can sure count on him. He even states it outright afterwards:

“See? You can depend on me.” (6:58)

But maybe this is too blatant of a turn even for him, because he immediately backs off and instead mentions his guns instead:

“You see? This thing is a lot more reliable than any person.” (6:59)

Claire takes immediate suspicion of this, however, and starts to ask questions.

C: “Than people?” S: “…” C: “Steve, what were you doing here? Who brought you here, and where’s your family?” S: “Shut up – I don’t want to talk about it!” *shoots his gun at the wall* C: “Steve…” S: “Never mind. Let’s get going.” (7:04)

Note that he punctures this conversation with an angsty emptying of his gun magazine at the wall. This is no knight – this is volatile, teenage behavior. Claire can tell there’s something on his mind, but Steve doesn’t seem to be in the condition to explain anything.

Steve does the same thing four times – aka, analyzing entrances

As a brief interruption (but it ties into the rest, I promise), let’s take a chance to look at the different ways Steve barges into a cutscene. Humor aside, Steve’s physical actions vary across the four different times he comes to Claire’s “rescue”.

Bandersnatch (4:30)

The first rescue is all cliches and edge. Claire’s “knight in shining armor” breaks through a window dramatically. He shoots at the Bandersnatch without even directly aiming at him, walking forward as he shoots with his dual wielded lugers. It’s almost comical as he walks straight up to the Bandersnatch, delivering a kick and single killing shot for good measure.

It’s all impractical – Steve’s incessant wish to dual wield would hardly be effective in real life, let alone everything else here.  But this scene, cliche as it may be, reflects what Steve wants to be in front of Claire. He’s the action hero, the knight – the one who can be counted on to swoop in and save the day.

The Infamous Father Scene (8:13)

These heroics fail him once the two encounter his father. No longer is this a fantasy but bitter reality – and Steve can’t find it in him to shoot his infected dad. It’s only when Claire is in peril that he takes action – and this time, it’s impulsive and rough. He unloads all his ammo in a single, shaking shot, continuing to press the trigger even when it’s all gone.

It’s now that Steve tells Claire the full story – his father was caught trying to sell confidential Umbrella information, leaving his mother dead and the two of them locked up here. He morosely tells Claire, “He was a fool to do something so reckless! So stupid…” (10:15). We can see how much his father’s actions have impacted him – his desire for consistency comes from having his familial life ripped apart by the actions of someone he trusted dearly. And now, at the end of it, he is truly alone – the last one left in his family.

Alfred (11:07)

The next time we find Steve, we see a little bit of the Bandersnatch energy back in him – there’s the same aim, the same kick (to open the door) – but it’s less dramatic this time. There’s no slow-motion focus on shattered glass, no cocky final shot. In fact, this encounter leaves Steve visibly hurt – a crack in his armor. Steve’s still trying to be Claire’s dependable rescuer, and yet this encounter shows that he’s not the infallible knight he wishes to be. Far from it, considering the mistakes he'll make later on.

Alfred in Antarctica (21:30)

This cutscene skips forward a little, but it’s a nice final reminder that Steve does genuinely try his best to protect Claire, and succeeds! We see him take two stylish leaps and then shoot a quick few bullets to rescue her from Alfred. He’s still trying to emulate that knight image, but it’s more efficient than his Bandersnatch moment.

The Flight (and THAT SCENE)

After numerous troubles, Claire and Steve are finally able to escape the island. Needless to say, they’re elated and exhausted. Now that the coast is clear, Steve decides to get honest with Claire and apologize:

S: “Claire, I’m sorry. I know I caused a lot of trouble for you.” C: “No; it’s okay. It was hard for both of us.” S: “Well, I really hope you find your brother. I… I know what it’s like to be alone.” C: “Oh Steve…” S: *coughs awkwardly* “So, where should we go now? I can take you anywhere you want to go, Claire.” C: *laughs* “I hear Hawaii’s nice this time of year.” S: “You got it!” (14:20)

(On a personal note, isn’t this scene so cute? If only this was how it all ended…)

It’s here that Steve bares his heart to Claire. It’s clear that his mishaps and snarky remarks have been weighing on him too – he genuinely wants the best for her. When Claire is all too accepting and sympathetic, however, Steve begins to reveal his feelings (in… controversial ways).

After they find out that the plane is out of their control, the two of them take an uneasy rest. In the cutscene at 16:12, we find Claire leaning on Steve – a physical sign of how she relies on him. As if to follow his teenage impulses, Steve leans in for a kiss – only to startle as Claire begins to wake. His notion is thwarted immediately. Steve stands up,leans on the glass, slams the window and sighs.It shows signs of a “what was I thinking?” moment of clarity.

After all, kissing princesses in their sleep is something knights do in fairy tales. And Steve? Well, he’s no knight. He’s someone who’s almost hindered Claire’s escape as much as he’s helped, and he knows that. This thought is only exacerbated with his actions upon their arrival in Antarctica.

Antarctica, where more mistakes ensue

The plane decides to violently crashes into the side of the Umbrella Antarctica base. Steve kicks the door down and jumps first, reaching his arms out to catch Claire. She lands after, only to stumble and leave them both on the ground. Steve pulls her into a hug, which Claire doesn’t quite reciprocate. As she stands up, Steve lays back flat on the floor, sighing. It’s clear he’s jumped the gun, and it leaves him embarrassed. He doesn’t take Claire’s hand back up and tells her that they should split up to try and find a way out (18:55).

Steve’s love causes another mistake shortly after. The two of them try to break through the base wall with a digging vehicle, only for Steve to get distracted by Claire midway through. This causes a toxic gas pipe to burst – interestingly Steve tries to correct it through the controls – perhaps a reflection of his desires and fantasies for an “undo”. But in reality, he can’t undo his mistakes, and Claire is forced to grab him and leave the area.

This last mistake hits Steve particularly hard:

S: “It’s all my fault…” C: “Don’t say that. Listen to me – we’ll escape from here, together.” C: “Come on, we’ve got to shut off the gas. If we split up, we’ll have a better chance of stopping it.” S: *sighs* “…Okay.” C: “Steve. Don’t forget. We’ll get out of here. Together.” (20:45)

It’s not as if Steve is blind to his own faults – he knows that he’s been the one hindering their escape and takes it particularly hard. Claire has to reassure him multiple times that they’re working as a team to get out of here.

As a further blow to his ego, Steve is completely useless when the two exit the base and encounter Nosferatu, previous Alexander Ashford. Claire notices Nosferatu first, but Steve forces himself ahead of her soon after. He’s still clinging to the need to protect her.

However, Nosferatu easily knocks him off the platform, leaving him clinging to the side. Steve’s at his lowest here, and urges Claire to just leave him behind. If he can’t protect her, then what use is he?”

C: “Hold on, I’ll waste that monster and come back.” S: “Claire, forget about me. Run!” (23:50)

Claire’s resourcefulness and skill allow her to defeat Nosferatu and come back to Steve, still weakly hanging on. She pulls him back up, and Steve is left apologizing again for his rash behavior:

S: “I’m sorry. I failed you.” C: “Don’t worry about it. Let’s go.” *she leaves* S: “I swear I’ll protect you next time, Claire.” (25:15)

At this point, Steve’s all too aware of how his mistakes have left both of them in peril. It’s something that he deeply dislikes – as someone who wants to be dependable, he’s being a poor show of it. Claire’s been the one helping him out through most of this, both emotionally and physically. And so he makes himself a promise that next time, he’ll repay the favor.

It’s with this personal promise that the two climb aboard a snowmobile, hoping that they can make it to the Australia base. Unfortunately, this escape is a dead-end for them as well.

Sleep, weary knight

After Alexia awakens and destroys the snowmobile, Claire is rescued by Chris, who managed to find a way to Antarctica. She’s insistent that they must rescue Steve. She finds him cuffed to a chair in a long hallway, with an axe against his throat.

To Claire’s dismay, it seems she’s too late. Alexia has injected Steve with the t-Veronica virus. Steve’s last words before his transformation are a desperate plea for help. At this point, he’s actively asking for help from the one he loves, but fate has it that Claire is powerless. He begs Claire to save him, but she can only watch in despair as he morphs and chases after her.

In what seems to be a miracle of love, Steve manages to snap out of it just before he lands the killing blow. He instead slashes through Alexia’s entrapping vines, sparking her ire and a fatal blow to his chest. He dies in Claire’s arms, once again in human form, lamenting how he couldn’t protect her – how he couldn’t be her knight:

C: “Oh Steve…” S: *brings Claire’s hand to his cheek* “You’re… warm…” C: “Steve, you’ve got to hang in there, okay? My brother’s come to save us. We’re getting out of here!” S: “Your brother kept his promise. I’m sorry I cannot…” C: “What? What are you saying?” S: “I’m glad that I met you… I…. I love you… Claire…” C: “Steve? Steve?! Steve!” (34:15)

To players who dislike Steve, this may be a cheesy ending to a tedious character. And yet – we see Steve’s character arc complete fully in this final scene. No longer is he a volatile teenager, or a “cool” hero, or a self-perceived deadweight. He’s just Steve – utterly human Steve, who couldn’t keep his promise, and yet saved Claire in his own way. And it’s in these final, human, moments that he can confess his true feelings – only for everything – his façades, his love, everything – to all vanish.

The arm theory

As a somewhat lighter ending to this post, I’d like to discuss a little theory of mine.

People who have been following along with all the cutscenes might have noticed Steve’s right arm getting injured during the fight with Alfred. There’s no visual effect on his model, and Steve even claims, “I’m fine; it’s just a scratch” (11:30). And yet I’m convinced that it was quite a serious wound.

Note that he continues clinging to the platform in the Nosferatu battle with his left hand (24:40), not his right. Yet he keeps clutching his right arm in the cutscene after (25:44). And more importantly, Claire is the one driving the snowmobile during their escape attempt, after Steve had taken the wheel so many times prior (25:59). My theory is that the deterioration of his right arm is also why the arm is significantly skinnier upon his final transformation. If you look super closely at the bottom of the screen, you can actually see his right hand convulse as he mutates! Does this imply anything? Not really. But it would be cool to see this brought back somehow in a hypothetical remake, especially as Darkside Chronicles skipped these parts entirely. Kind of reminds me of another Resident Evil character who had arm injuries…

Anyway, if anyone made it this far, thank you! I hope this was a little insight into why I appreciate Steve so much as a character – and maybe in my wildest dreams, made you potentially enjoy him too.

[zhongrin]

for those who missed the lil selfship event, dw, i might open it again in the future when i have time!! it was super fun to make and since i now have the code i can always just add on to it hehe ᡣ𐭩

[ley-med]

Some days the hardest part of my job is convincing other people that they actually need to do their job. No you are not doing me a favour and I'm not asking for a favour either, I'm telling you to do your goddamn job.

[tosahobi-if]

i was looking at your glossary post (amazing coding btw) but does it say the mc has roommates??

ASDFJSDJ i see you caught that! the mc used to live with jinwol until they turned 10 and were moved into the main disciple dormitory. they had their own room for a few years before hyunseok and hwi joined the sect and they've been living with the two of them ever since.

they're not great roommates. hyunseok has his head up his own ass, and hwi hates everything that breathes. poor mc HAHAHA

[zeevistaadvisors]

ZeeVista Advisors FAQs

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[dustedmagazine]

Grails — Anches En Maat (Temporary Residence Ltd)

More bands should make music that sounds like Tangerine Dream. It’s hard to imagine music more evocative, precise and crisp. Their music communicates not only mood, but season. The late William Friedkin knew what he was getting when he asked them for a soundtrack.

Anches En Maat is the latest from Grails, the band’s tenth album but the first in five years. They’ve undergone quite an evolution from their early days at the margins of doom-inflected drone and folk, the sounds drummer Emil Amos would pursue with the legendary Om. Their new album is focused, meticulous and unlike anything they’ve done. It’s one thing to try to sound like Tangerine Dream; it’s another to actually do it.

What makes this so special is how unexpected it is. If you’ve been following Grails for the last 20 years or so, you’ll be surprised how polished this album is. When “Sad and Illegal,” begins, you can picture a wet, reflective streetscape, lit by mercury vapor lamps. The music envelops you in its world. Anches En Maat distills and synthesizes their earlier work into an electronic prog masterpiece.

If you follow guitarist Ilyas Ahmed on Instagram, you get a behind-the-scenes look into where his interests and influences are taking him, but unlike his more ambient solo work, the scope here is vast and expanding. A sonic universe explodes during “Sisters of Bilitis.” Likewise, Amos has always exercised restraint on drums, but this is different, more subtle and nuanced. It’s not simply a tribute to Amos’ talent, but also a reflection of the band getting together to record the album, versus piecing everything together separately.

It’s not an indulgent album. There’s a discipline to every song. No note sounds wasted or out of place. It so perfectly captures the spirit of those gritty 1980’s psychosexual thrillers, at once lush and foreboding. Nowhere is that more apparent than on the aptly titled “Black Rain.” The song pulsates in rhythms that play up the tension and paranoia that characterize the late 1980s and 1990s neo-noir period in cinema. The album closes with the crystalline sounds of the title track, guitars fading into the night.

It’s a soundtrack to summer becoming autumn, rain blanketing cities everywhere, with wet leaves papering the streets beneath your wheels.

JT Ramsay

[blackjack-15]

no you know what let's keep going

TINA MY BELOVED

EBRA MY BELOVED

every second counts, huh? alright what's gonna waste our time this ep

RICHIE FATHERHOOD MOMENTS LET'S GO

and look at that! he respects the other parent, he talks her up to his daughter...and of course the ex-wife is talking about child support to/around the child. fabulous.

richie, despite his faults as a person, is a really good dad. let's have more of that? please?

"i just needed a break [from taylor swift]" and oh, do we all. tumblr blacklist can only do so much

syd calling? he spending too much time cleaning?

NOPE

"did you really give me a fake number?" oh. what a delight.

oh this little passive aggressive "should my feelings be hurt" thing? yeah what was she, the mean girl in school who just thought of herself as "friends with everyone"?

"mm. no no no. that must have been a mistake" he leads with the truth (the affirmative mm), then corrects to a lie -- a lie in the passive voice, no less. if he was any more removed from her there'd be a court order involved

wow, pulling the "i know where you sleep so you can't run from me" card. Romance. sparkle sparkle.

this conversation is like my local high school. no chemistry.

"just walk me through giving me a fake number" so she's got issues with being told "no". definite high school mean girl

"it wa a mistake. i'm sorry. *beat* i'm sorry" "thank you. i really appreciate that" we've reached the point in the evening where i tell claire to go to hell. earlier than expected!

"is it okay that i have your number or did you really not want me to have it?"

sigh.

see, this is a question best answered by the fact that HE GAVE YOU THE WRONG EFFING NUMBER. millions of drunk dudebros at bars have managed to parse that information and figure out what it means. it's either escaping her -- unlikely -- or she absolutely doesn't care, and is asking now, after she's beat acceptance into him, to be like "see i asked i'm a good person"

also his pause before he agrees apologetically? mm.

"okay say that one more time" a second go to hell! she could enter the hall of fame if she keeps this up.

"are you busy today?" *various carmy noises of hesitation, unsure how to say 'yes' now that she's very neatly placed him a position of apologizing for the guilt of disappointing her* "okay can you like not make this weird?"

i want y'all to know i had to actually step away and breathe. further post to come i need to scream about this, and not in the fun way

[nofatclips]

Echo Affinity by Field Works (featuring Taylor Deupree) from the free TRL 25 compilation