7/6/2023 0 Comments Fran bow charactersFor example, Aaron Souppouris ( 2015) points out that many games which include mental illness as a mechanic problematically attempt to quantify “sanity” or “insanity” with metres, as in Eternal Darkness: Sanity’s Requiem (2002) and Amnesia: The Dark Descent (2010). This is a difficult approach to take and can lead to mixed results. Other than being a “motivation” for villainy, madness and mental illnesses are sometimes used in games as a mechanic or affordance which influences the gameplay experience. Some famous examples are Kefka ( Final Fantasy VI, 1994), SHODAN ( System Shock, 1994 System Shock 2, 1999), Sephiroth ( Final Fantasy VII, 1997), Chai ( Shenmue, 1999), Dahlia ( Silent Hill, 1999), Sander Cohen ( BioShock, 2007), GLaDOS ( Portal, 2007 Portal 2, 2011), The Joker ( Batman: Arkham series, 2009-2013), Vaas ( Far Cry 3, 2012), and Pagan Min ( Far Cry 4, 2014).īeyond generally being inaccurate representations of mental illness, these villains underscore the offensive and dangerous association of madness with violence which prevails in Western culture. Many video games feature violent villains who cackle maniacally display extreme mood swings have severe identity crises and mental breakdowns are delusional or psychotic display sociopathic, narcissistic, or psychopathic behaviours or are simply described within the game using ableist language such as “crazy,” “unhinged,” “deranged,” “criminally insane,” etc. That “interior perversion” in games is usually evilness obsession with revenge or power or the desire to destroy the world or spread chaos. As Edmond Chang (2017) observes in his discussion of queerness, madness, and BioShock, “insanity has been stereotypically used as an outward manifestation of an interior perversion” (p. Although inclusivity is important, connecting madness (among other marginalized identity markers, such as gender deviance, queerness, and femininity) with villainy only serves to further alienate and demonize those who identify as mad or have been diagnosed with a mental illness. Video games, particularly role-playing games, have addressed madness in various ways since their inception, though usually in the form of villains and antagonists whose sole motivation for their evil deeds is their madness. Her research focuses on race and gender representation in video games and other media, with particular interest in monstrosity, hybridity, abjection, and otherness. He knows some of the same characters Fran meets throughout her adventure.Sarah Stang is a PhD student in the Communication and Culture program at York University in Toronto, Ontario.He has access to the other realms of FREE.Oswald Harrison and, seemingly, worked with him on the researching of twins. In an excerpt from the journal, he refers to himself as "one of the thousand." From this, we can infer that he is one of a thousand people (including Fran) that has access to the other realities of the F.R.E.E. Among these things is that you must be broken to enter the ultrareality.Īside from the photo in chapter five, the only physical representation of León we get throughout the game is the self- portrait from his journal. The Fran from the Ultrareality also mentions him having come and visited her and explaining things to her about the ultrareality. This photo reveals that he worked at the Oswald Asylum at some point and was perhaps even a leading member of the team researching twins. He is only known by his diary that Fran is given by the toad in the Second Chapter and his appearance in a photo, found in the final chapter of the game. León Castillo is a character in the Fran Bow universe.
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