The representation of women in video games

First of all, before starting off this blog post I would like to make several things clear, to abolish the primary “backlash” arguments against what is, admittedly, a controversial topic amongst the gaming community.

One can be a fan of things and then go on to criticise their problematic elements – enjoying something is not mutually exclusive of realising a media product has issues, and problems. Indeed, I enjoy many television shows that have problematic elements (but seen as this is primarily a video game blog I shall not go into those). I can, and do, consider myself a gamer. However there is no denying that the gaming community, and games themselves, have significant aspects that are problematic. Be it sexism, racism, or other such bigotries, the majority of video games do not, in fact, cater to an equal audience.

Secondly there is a well-worn out stereotype amongst many gamers, who leap to the defence of their favourite games, that there are no female gamers. This is incredibly inaccurate – it is not that there are no female gamers; it is that nobody pays attention to them. In the online world female gamers are chastised and sexually harassed so it is not a case of there being no female gamers, it is more that they are demeaned, and called “fake fans” if they do speak out in favour of games. (See here for more).  Similarly, the demographic of female gamers is on the rise and many women do in fact play video games.

Thirdly, I would pose to you a question: would you, as a gamer, play a game where your gender was constantly at the folly of horny gamers, clad in a bikini whilst also expected to fight off hoards of evil? How about almost always being killed off to forward another character’s plotline? My guess is no. So apply that to female gamers. (I would also add that large, muscle-bound men in video games are part of a male power fantasy, and it is not sexist. After all, you play and enjoy these games as a gamer).

Now, to the bulk of my argument, or rather, maybe, a breaking down of a controversial topic. Sexism in video games. Yes, it exists. Yes I enjoy games. I am, however, tired of the stale stereotypes that abound about women in video games and, what’s more, their outdated representation. Women in video games are generally, as a rule of thumb, killed, raped, abused, or there to be rescued by the male heroes. This is incredibly outdated, especially as the role of women in society is constantly in flux, and changing- they have more standing than they did, say, ten years ago yet the representation stays the same. If media is seen to reflect real life then why the outdated stereotypes? Come on, people!

For as long as anyone can remember there has been a significant neglect for women in video games – just as there is in cinema, and comics, and indeed geek culture as a whole. Women in video games tend to be typecast as pretty, busty and over and above all, sexualised – in other words, women in video games exist rarely as anything but the means to provide “fan service” for what is presumed to be a male audience, and what’s more, they rarely do anything within the games but look pretty. Here, I am going to go into detail about several of the issues implicit within video games.Image[Source]

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One of the major flaws within video games is a lack of equal representation – if you look into promotional images surrounding games you will almost always see a man in a position of power, clutching a weapon or generally looking cool, suave, and in control. Now switch to a woman. She is indeed clutching a weapon, if, er, we can call that clutching. No, my mistaken, she is seductively leaning against a weapon, in a pose that fully shows off her assets, staring directly at the audience (essentially telling them she’s fair game) – whereas Dante is seen in control of both his weapon, and as a hero, she is seen as submissive, passive, and her strength is undermined both by how submissive she looks next to the weapon, and her attire. Furthermore, Dante’s positioning and the positioning of the camera underneath him in a low-angle shot affirms his dominance and strength over both the game and the audience themselves. The female character in this case is Lady and she is not granted equal standing, despite her strength within the video game – she doesn’t even get a name, she is labelled literally as her gender. Lady. Because of this she is dehumanised and thus, easier to objectify and make into an identifiable fantasy for the audience.

Of course this would, perhaps, be considered harmless but unfortunately that isn’t how sexism works. If that were a one-off example. No, therein lies the issue of representation of women in video games, the representation of that character is almost exactly the same as the representation of many other characters within video game franchises. A simple Google  will show you not only that women in video games are sexually available to their audience (as fantasies) but also, that; their role within the game is little but to add a little eye candy. There is a running pattern here: thin, busty, pouty, clad in pseudo-BDSM gear. Now, if you Google the same, but for men, the results are quite different. Bar the BDSM gear. Maybe game designers like leather? Anyway, that’s beside the point- here you see men clutching weapons, with shades and capes and muscles, looking cool, domineering and in control, a stark contrast to the simpering women shown.

And, what’s more this isn’t just a trend amongst adult gamers. One of the most prolific game series’ to come out of the noughties was Naughty Dog’s Jak and Daxter, a game with the target demographic of younger children – their first game was aimed at those 7 and up. Gamers are exposed to harmful, and damaging, representations of women from a very early age,( through this they are taught that woman are all sexual objects) – all of the women in this game are scantily clad, busty babes. They all have simpering, “come hither” expressions and, bluntly put, are there purely as fantasy for anyone that way inclined. In themselves, the women are incredibly well-written and shirk stereotypes – Keira is a mechanic, and is incredibly good at working with machinery; Ashelin is an accomplished fighter and finally, Tess is another suitably well-written character. Yet, despite this, the general consensus amongst script-writers seems to be that we cannot have strong female characters without the sexualisation. In other words, in order for a woman to be strong in a video game, she must also function as eye candy. This not only means that very few gamers will take her seriously (as detailed below) but it completely demeans what little power she may have held, as she can easily be projected as nothing but a fantasy.

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Now, what, you may say, is so bad about having a little eye candy in my video games? Well, for starters, a quick browse of top-ten characters lists shows a few eye-opening things. First of all, female characters are almost always judged by their physical appeal to gamers, in other words they may well be a well-rounded, well-written character but to gamers that doesn’t matter, as long as they’re hot and available as sexual objects.
Take Yuna, from FFX, for example. She is a well-written character, arguably the hero of the story, and a strong female character – she holds her own in the game, even rescues herself (which is incredibly rare for video games). What did reviewers have to say about her?
“[…] the star heroine whose soft features, kindness, and her unique story makes her one of the better beauties to love.” [Source]
“The graceful demeanour can only mean one thing, inside is a wild, bad girl just waiting to summon some type of beast of horniness on the poor sap of her choosing.” [Source] (This entire article features one man on a mission to demean and turn every female character into a sexual object. Truly inspirational.)
“Fine eye-candy” (The IGN article this quote was featured in has since been taken down. Quote taken from this Wiki)
As you can see despite her standing as a good example of a female character, reviewers don’t care because she’s sexually attractive, and to them, that is all that matters; there are numerous mentions of her beauty, her sex appeal, and how attractive she is and yet very little about her character development, or strength. This is a direct side-effect of objectification within video games, and if you thought relatively “harmless” comments were where that ended, you’d be sorely mistaken. The representation of female characters in video games directly overlaps with sexism in real life, the audiences’ attitudes to female gamers, and gamers themselves are incredibly vitriolic towards female gamers or those seeking to criticise games from a feminist perspective (the author would like to note that anyone acting in such a way shall be blocked).

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This sexualisation isn’t limited to humans, either. Numerous examples of sexualised non-human creatures in video games exist. And, when it comes to it, would it be viable for an alien species such as the Asari to have secondary sexual characteristic of human features? Why do alien women need boobs? Especially when male aliens will be suitably inhuman, such as Garrus who is grotesque and inhuman in every sense of the word. As a side point, would it make sense for females of non-human species to genuinely have the secondary sexual characteristics of human women? Probably not. This isn’t limited to Mass Effect either – Ratchet and Clank has Angela the Lombax, another curvaceous alien and Final Fantasy has numerous dubiously-clad, and non-human summons, such as Shiva and Siren. Similarly, whilst male characters will have entirely viable armour to protect them with, their female counterparts will often be clad in what is commonly called an “iron bikini”, which would offer them no protection in the slightest.

Of course, there are examples of strong women in video games: Ada Wong, Rynn, Heather Mason, Lara Croft and numerous women in Final Fantasy. However, as previously touched upon, these women are not without their flaws. And, nine times out of ten they are nothing but sexualised, despite their strength – we need to be able to write female characters, without objectification.

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Lara Croft was a character specifically designed to be strong, and female, as displayed in the quote “He also claimed a desire to counter stereotypical female characters, which he has characterized as “bimbos” or “dominatrix” types.” Of course she succeeds at being strong, and is a well-written character in her own right- she is independent, rarely a damsel in distress, and can more than hold her own. Having said that, gamers were far too swift to relegate her to sex symbol status, because of her portrayal in video games, and the obvious anatomical issues that come with that. The writer may have intended her to be a counterbalance to the rampant sexualisation, but she was just another dominatrix to many gamers.

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Similarly, Rynn from Drakan is another strong female character – her storyline in the first game subverts traditional “damsel in distress” tropes, and she infact has to rescue her brother. She is another example of a lone female within video games who can hold her own, but she suffers from similar pitfalls to that of Ms Croft. She is curvaceous, sexualised, and her armor is less-than practical, to put it lightly (all those gaps around her navel sure look good, but they’re an adequate target for mortal blows). She also falls prey to the weary trope of having a strong female character who is only strong because of a tortured past – many female characters are only as strong as they are because they are emotionally distant, due to past traumas. There are few strong and emotional female characters.

Those are just two examples of female in video games, who are well-written. As previously mentioned, it seems that script-writers cannot write a strong female character without then making her busty, curvaceous, and clad in little more than a bikini. There are numerous women in video games, such as Trish from the first DMC, and Aerith in FFVII, who are present within the game literally only to be killed off. And, as seen, sexism in games negatively effects perceptions of women in real life, transforming the gaming community into one rife with sexism. 

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Intertextuality between video games and cinema

Although it may not at first be apparent, there are many intertextual links between films and video games – and what’s more, it goes both ways. Although many films that use intertextual links between them and video games tend to be strictly relegated to adaptions, so the link between them is obvious and used to garner more fan attention, there are intertextual links that video games take directly from films.

In the late 90s many video games began to create more games geared towards an adult audience, and with it they also began to shift towards a more adult way of presentation, and as such many games began nodding towards cinema, novelists, and other such materials. This was both to simulate the maturity that video games now wished to present – to get many of these references pre-internet; one would have to have consumed these texts in the first place. They were also a way for many game designers to nod towards their influences, inspirations, and truly, a form of flattery for those concerned. There are numerous examples of intertextuality within video games.

Many aspects of Silent Hill, for example, are direct nods towards Steven King novels – there are posters for The Shining, and one of the more obvious nods would be the ever-present mist, an obvious nod to a King work. A more obvious link towards film within Silent Hill would be the presence of Valtiel, who’s shaking head, is an obvious nod to the infamous Jacob’s Ladder scene.  There are also many other examples present within the film, many linking to popular horror culture. This would have the double whammy of also creating a sense of inclusion for the audience as many of these aspects were present directly as nods towards horror-culture, and obviously the main target audience of these films would be those who enjoy horror.

Of other PSX-era games, there are many other intertextual links. Resident Evil, whilst not directly linking towards any other texts – except, perhaps, the works of Romero in the obvious presence of zombies – used many cinematic camera angles. This was done both to emulate cinema, and to heighten dramatic effect as before the game was released, very few games used cinematic-styled cutscenes or angles. Although the fixed angle may have presented several gameplay issues, it in itself was widely praised and the games set the benchmark for years to come, especially in terms of the use of cinematic stylings for video games.  
The use of cinematic framing in Resident Evil heighten atmosphere, suspense, and deliberate inclusion as a nod to the genres that the game was alluding to. Resident Evil was in itself a tribute to American action films, and used camp dialogue, over-the-top-action and horror by the way of a tribute towards the genre. It was archetypal, but also mocked the archetypes and featured many quotable lines such as “You were almost a Jill sandwich” (although this was down to poor translation). Here are several examples of aforementioned angles, in use within the game.

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Here, in a shot from the original Resident Evil we have an example of a mid-shot being used for dramatic effect – the zombie is shambling towards the player character, and the use of a mid-shot not only aids the player who can see how close they are to becoming a zombie take-out, but directly mimics cinematic shots. It was a fixed angle, so would not move for the entirety of the scene. This angle would then zoom into the hallway from an over-the-shoulder perspective to heighten audience empathy with the character, and include them directly in the narrative.

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In this screenshot from Resident Evil 4 the angle, is again, an over-the shoulder shot although this time the camera has panned out to reveal both main characters and uses a tilt to create a sense of imposing fear, and danger, in relation to the church. This would increase suspense, alludes to the threatening state of the church and creates the sense that the church is looming over Leon – he is dwarfed by it. This creates fear and tension, and more actively makes it easier for the player to shoot any Ganados (the monster within the game) they encounter.

A cutscene within Resident Evil 4 also directly links in with Jaws. In it, you are being pursued by Del Lago, a giant newt.  The use of a chaotic camera, and shots including the infamous Dutch Angle creates a sense of confusion, and many of the scenes themselves are direct tributes to Jaws, which obviously features another giant monster in a body of water. Initially the shot uses a point-of-view shot to show that Leon is being hunted by something, a device used here to emulate fear and to portray the perspective of the monster you will soon be hunting. It is also a dramatic example of using a POV shot to create tension, suspense, and fear and this angle is in itself a direct link to Horror films; film such as Predator have previously included similar shots.

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Yet again, another obvious link between film and gaming would be present in the form of Lara Croft, who is a female hero – one of the first to grace player screens – and an obvious nod towards Indiana Jones, another hands-on treasure hunter with attitude. Other games within the PSX era that seek to emulate cinema, and cinematic styled angles include Final Fantasy VII (and VIII), Legacy of Kain: Soul Reaver and Metal Gear Solid, which deliberately alluded to films within its text. MGS was perhaps the most obvious allusion, with its main character being Solid Snake, an obvious allusion to Snake Plissken.  He even [in later games] dons an eyepatch.

Within the PS2 era, with improved graphics and the ability to include fully animated cutscenes came more improvements to the intertextuality present, and video games widened their links to cinema. The most humorous, perhaps, was the penultimate scene of Jak 3; an obvious nod to the Wizard of Oz. Other inclusions to the Jak series also had not only cinematic allusions but dynamic camera angles which followed the player character as they walked, and mimicked tracking shots. This has the effect of drawing the player into the action and keeping the flow of the game steady and paced.

A lesser known game, Forbidden Siren 2, deliberately emulated B-Movies and horror films in particular and as such included a grainy filter upon the majority of its cutscenes. (I apologise for the god-awful dub in this video, there was no Japanese-language/English sub walkthrough available on YouTube). Much in the way that Tarantino included “pixel burn” and grainy filters in his Grindhouse films, these games included similar aspects to create a specific feel.  Although not directly intertextual with any film specifically, as many b-movies only had poor production values because of budget concerns and available equipment at the time, the grainy filters evoke a certain feel and fit in with the “found footage” aspect of this genre. Indeed, Forbidden Siren is one of the only video games to directly emulate found footage for a horrific aspect – although you do have the choice to swap between first and third person perspective within, so this in itself is a tenuous link.

Much in the vein of Resident Evil, Final Fantasy X included many fixed camera angles to focus upon character reactions, background scenery or specific events.

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In this case the camera shot is a close-up to show the reactions of the two main characters – Tidus and Yuna within a suitably emotional cutscene, intended to heighten audience empathy with the scene, as well as increasing the emotional connection between the audience and the player characters.

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In this FMV (full motion video) the shot is a mid-shot, close enough to show the reactions of the characters but also far enough zoomed out for the company to not only show off their superior graphics engine (which has always been a major selling point of the game) but heightens both setting and atmosphere of the film.

Many other examples of intertextuality are present within video games, both directly in the form of tributes to genre/inspiration, and indirectly through the use of cinematic camera angles and filters. 

Video Games as Art

The debate regarding video games as art rages on, and with both the hardcore gamer and the hardcore artist arguing their side, I am here to argue for the former. Please note that I am also an artist (although, foremost a gamer), perhaps not an accomplished one – and certainly not one who has ever had their art hung in a gallery, but an artist nonetheless. After having read this article I decided to stage a retaliation article, of sorts. Not to attack or demean, but to argue my own points regarding this issue, especially as a budding games designer.

I take fault with this article for several reasons, not least quoting papers that are nearly 200 years old. 200 years ago society was much different to the society we now find ourselves in, and with societal progression comes redefinition and change. After all, why classify games as non-artistic based in the philosophy of peoples who had no idea of what video games even are? But this is besides the point.

The debate surrounding video games as art is an ever-swirling mass of toing and froing from both sides, and the arguments are complicated and ever-going on. To begin with we should find a definition of art.
Art:
The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture,…: “the art of the Renaissance”
Works produced by such skill and imagination.
Synonyms for art include craft, skill, science and workmanship.
So, in the simplest terms, video games would then be considered as art – they are expressions of human creative skill and are the product of imagination. They also require craft, skill and science to create: they take years to write, develop, and produce. However, to look for a more defined concept of what art is would widen, and deepen, the argument for video games as art. 

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I would also argue that art is interpreted through user interaction and integration – how an audience may view a piece, much art is open to interpretation and brings into play wider themes. There is art regarding sexuality, feminism, politics and philosophy and it takes many, many forms, not just a painting. Writing, poetry, even now visual cinema are all considered viable art forms. In this case, video games would again be consider an art if you were to take these aspects into play – video games are the ultimate interactive art form, as you take on an avatar and guide them through whichever scenarios take place within the narrative. Video games too, bring into play politics, philosophy and many other wide-reaching themes; games such as Fallout tackle war, and the standout phrase of that series is “War. War never changes.”  This isn’t even a modern development- in the mid-nineties, Final Fantasy was tackling themes of war and human slavery in their epic RPG Final Fantasy VI and in the late 90s, survival horror was born in the form of Silent Hill which tackled mature themes such as bullying, social alienation, and religion. These may, initially, not be considered artistic themes but these themes have been tackled in literature, painting, and cinema for decades, years even. Whilst they may not themselves, specifically, be artistic themes, the fact that they appear within an art piece is enough to define them as such.

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So, in the basest terms of what the generalised definitions of art are, you could in this case, consider a video game a form of art. I would, however, like to back up my argument and put forward several other arguments, and considerations, not just personal opinions. For example, video games are not a simplistic process, simply putting words into a computer to form a finished product. Months, if not years, of writing, developing, and designing will go into a game before it is a finished product. This includes writing, scoring, developmental designing and a whole host of other aspects which produce a finished product that could, in itself be considered an art-form.

Indeed, many video games are in themselves comprised of many different art forms, put together into a larger art form. Concept art is much like the art you may find in a gallery, and is eventually animated and put into a game in the form of characters, settings, and scenarios. The music of a game has long since changed from chiptune to include full orchestral scores – such as BioShock and Shadow of the Colossus. Then of course there are cutscene and full motion videos, which in themselves seek to emulate cinema and often do.  As is evident, there are many aspects that go towards putting a game together and not only this, these individual elements are often considered an artform in themselves – so why is it that video games carry such stigma? Personally I believe it is to do with the old stereotypes and the personal stigma many people hold towards gamers.

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A piece of concept art from Final Fantasy XII.

One of the foremost arguments against video games being classified as art is that games such as The Sims exist. This, in itself, shows ignorance to what video games are – The Sims are, infact, one of the most successful franchises, yes. But they are not the only example of a successful game franchise – BioShock, Fallout, Devil May Cry, Final Fantasy and Mass Effect are all examples of well-made video games, well-received by critics and audiences alike, that encompass many more adult themes. In this, the stereotype of the teenage boy sat alone in his bedroom playing video games is far from accurate –it may have been accurate 10, 20 years ago but these gamers grew up and with their ageing, so their tastes too developed. An ageing audience requires games more suited to their demographic, just as comics in the 80s became an adult market, so to have video games now become a more grown-up market. By including games such as The Sims and Call of Duty, many people arguing against video games as art are infact manipulating their audience and perpetuating old stereotypes as to what games are. They not only ignore that the industry has evolved and produced some stunning works of art, but neglect to mention the wider range of video games in the first place. I am a firm believer in the fact that one cannot argue against something without being fully aware of both sides – and by neglecting to even learn of video games, some people face a downfall.

Now, onto some of the very games themselves. I may hear you ask just what games could be considered art – why, I have mentioned several of them on this blog alone. Silent Hill and Shadow of the Colossus are two such games which contain adult themes, open to interpretation, and beautifully put together. But there are many such games besides that could be considered art. Perhaps my favourite here is Okami, a game based in Japanese folklore and telling the tale of a Japanese god, Amaterasu. She is the Mother of All, God of the Sun, and in the game you seek out to banish evil from the land- and in doing so, much of the game’s beautiful scenery comes to life. What sets this game out from the rest is that the art style emulates traditional Japanese brush art, so the entire world is literally put forward as a painting. This brings into play an interesting dynamic, wherein you “paint” the world; you in a sense become an artist, shaping the world for the better, around you. Not only is the art in Okami beautiful but the score, too, and the adherence to traditional mythology and wide themes such as environmentalism, love, and heroism.

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And another game, BioShock, encompasses wide philosophical and societal themes, with a dash of politics. It takes place in Rapture, a city under the sea overseen by Andrew Ryan (a nod to Ayn Rand, whose objectivist themes are recurrent throughout the game) a dictator who wanted to get away from the government, and rule, to create his own land where people were free to do what they liked. However, things did not go as planned, and Rapture fell – you follow the wishes of a man named Atlas, trying to save his family, and escape Rapture. The game encompasses so many wide themes that to go into it requires its own blog post, but the themes in the game are not only adult, but bring into play an interesting dynamic when a certain act comes to pass. Do not read the following paragraph if you do not wish to have the game spoiled for you.

Within the game, the question of “what makes man a man” and free will come into play frequently – it is man’s free will that let Rapture fall, but was also the catalyst for the creation of a great city in the first place. Throughout the entire game the phrase “Would You Kindly” is repeated by Atlas, as he asks you to do certain things. You control the faceless protagonist under the guise of free will – you as a player are committing these acts off of your own back. Or are you? About half way through the game it is revealed your character has no free will, and the phrase “would you kindly” is a trigger to control you. Not only is your avatar within the game actually being controlled, but the player, as an extension of you, is also being controlled. You thought you were playing the game on your terms. You weren’t. The game itself manipulates you.

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It is themes such as these that bring into play the wider question of video games as art. Not only do some games include themes of politics, philosophy, and art – such as BioShock and Mass Effect, but some games seek to emulate cinema –such as Resident Evil. Other games tackle issues of love and morality, such as Final Fantasy, and finally some games such as Shadow of the Colossus and Okami are simply artistic in their design, execution, and presentation.

Whatever your viewpoint on this very issue, you cannot deny that video games are becoming more prominent, more developed, and are certainly leaning towards artistic direction moreso than at any other time.

Soul Reaver Introductory Scene Analysis

The entire video can be found here.

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This scene begins with an establishing shot that sets the scene, for an area of the game that will become key to the entire series – the Pillars. This acts as a link to both the previous, and future, titles in the series and familiarises both old and new audiences with the idea of the pillars. Furthermore, they loom over the the characters within the narrative, evoking the ideas of power and domination; the pillars dominate and control the characters throughout the narrative and so this brings the idea to the forefront of the audiences’ mind.

The colour palette used in this scene also serves to further set the scene, with earthen colours and a toned-down palette that link in with the historical, and dirty, settings of the game. The use of symbols, and pseudo-sigils, also links into the fantasy setting and introduces the audience to the hybridised genre – horror and fantasy, and by including themes familiar to fantasy audiences – a medieval setting, and magic, the risk of audience alienation is minimised.

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After this, the shot moves from long-shot to close up of the main antagonist (protagonist of the previous game). The shot moves slowly to a close up, tracking past several minor characters without showing their faces – showing that they are faceless, nameless, slaves to the antagonist. This, contrasts with Raziel’s introduction, showing immediately his face, and establishing him as the narrator, and hero, of this game.
Kain’s portrayal, and first introduction in the game shows him sat atop a throne of his own making – exuding power, dominance, surrounded by his minions, this is echoed in the narration, and the ominous “Kain is deified”. This is also ironic, considering the later revelation that Kain is not in control, and is, infact, a puppet to the very pillars he makes his throne. This is an example of dramatic irony, a narrative device, and introduces a key aspect to Kain’s character – that he is arrogant and egotistical. The shock of seeing Kain – who was previously good or at least neutral, as the antagonist; brooding, dark and evil, also introduces the audience to his anti-hero status. The low-angle shot also further emphasises the power Kain exudes, even putting the audience in the submissive position. This draws them into the narrative, and again emphasises the power Kain exudes.

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Raziel’s introduction is done in the guise of a tracking shot, at first from behind, concealing his identity, before jump-cutting across to his face. As the audience is aware, he is a vampire, but is portrayed as very different to the general vampires the audience is accustomed to. This subversion presents itself in the animalistic, and strong, appearance of all the vampires which further sets this fantasy world apart from others, deliberately distancing itself from cliche tropes. Raziel is shown as confident, and strong, which of course are attributes soon stripped from him. At the start of this narration he is very similar to Kain – arrogant, and self assured – but this soon changes, as he becomes almost the literal opposite of Kain, a good against Kain’s harsh. His militaristic apparel further introduces the audience to the world of the game and the power of the vampire clan.

The camera tracks Raziel from the front as he walks, bringing motion to the scene, and drawing the audience into the narrative – they are following the scene, as if they are within the narrative. This again cuts to a scene with Kain in it, done to show his reaction to Raziel’s presence. The narration at this point also shows how disillusioned the vampire clan has become with their power: “over time we had become less human, and more divine” and this further emphasises the power Kain exudes, sat at his throne. The narration at this point further adds to the scene and history, introducing the audience to what has happened since the previous installment, familiarising them with the setting and environment.

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This next scene shifts the power from Kain to Raziel, and shows him as he has described – powerful, god-like – although his presentation, akin to more demon than god, asserts the vampires as beings of evil, destruction. And, although Raziel kneels, it is clearly him in power during this scene. He has overtaken Kain, and though he kneels in submission, his wings show he has grown more powerful. This scene sets into motion the events of the entire game, the event that sets Raziel off on his quest. The scene jump-cuts to Kain’s reaction, and anger, at this revelation, for the benefit of the audience. And though Kain was shown pleased at Raziel’s appearance, this quickly subsides and the audience realises how cruel Kain has become, once he rips the very wings from Raziel’s back. The narration at this point becomes much more personal for Raziel; the scene-setting has finished, now he is recounting what happened to set him off on this quest. His dialogue becomes bitter and angry, filled with hatred towards Kain – where there was previously praise, and descriptions of how powerful he was, there is vitriolic speech, spat out with anger.  By the end of the scene, the power is once again restored to Kain, as Raziel lies at his feet in agony whilst Kain stands over him, powerful once more.

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This next scene begins with another establishing shot, showing the world of Nosgoth, emphasis upon the old setting and landscape that the audience will soon be exploring. The camera then arcs across to display what happens next. In this particular shot, Kain has shunned Raziel, displaying Kain’s reaction, and his apathy towards Raziel. This scene also serves to establish another key area in Nosgoth, the realm Raziel later returns to, and the bright colours used in this scene contrast to the dull, ethereal colours used during the rest of the cutscene. This emphasises the importance of the area, and the magic present within.
The switch from non-diegetic narration (which isn’t heard by the characters in this particular scene, and is used as a means for narration), to diegetic speech (which is heard and sets into motion the events of the scene) – in which Kain resigns Raziel to his fate – brings realism to the scene. It also shows how resentful Kain has become, how paranoid he is about losing his fate and asserts his status as antagonist of this installment. This is the first time we hear Kain speak within the entire game. The entire latter part of this shot is presented from an over-the-shoulder perspective, we see Kain’s reaction to the entire scene, and this shot is used to assert his power. He has power over this scene, and he is manipulating it, shown by his presence in a thirds shot – he dominates the screen, we focus on his reactions. Raziel’s fate is merely in the background, an afterthought. This is a metaphor for the way Kain now regards Raziel, as something from his past, not of importance.

The following scene is filled with bright colours, and surreal, swirling, formless, animation. This contrasts to the very serious, angled architecture featured previously within this scene. The camera follows Raziel on his fall downward, portraying his transformation from strong military leader to wraith. The entire scene is obscured and horrific, described in his narration, leaving much of the actual process to the audiences’ mind, only seeking to heighten the horror of the actual scene. When Raziel emerges the image is a stark juxtaposition to his initial portrayal. He is no longer strong, but skeletal. No longer pale, and gaunt, but blue, a direct contrast to his white skin previously. This shows that his physical appearance has changed, as has his outlook on life – both are intrinsically linked – and is a metaphor for his rebirth as an entirely different being. Raziel’s appearance in this film also adheres more to horror tropes, he is skeletal, almost a zombie. This acts to establish the horror aspect of the game.

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This final shot ends with the ominous “Raziel, you are worthy”, which serves to establish another key character within the narrative – the Cthulhu-esque Elder God. And, just as Kain is dominated over by “his” pillars, Raziel is dominated over by the shaded Elder God. Looking up at it, from another low-angle shot, further emphasises the dominance of the Elder God over his fate, though, again, he does not yet know it.

The scene closes with a zoom-out, then a fade to black to ease the cut into a different scene.