![]() In NieR: Automata (2017) this theme returns. Thus, although with an opposite approach, NieR (2010) also thematizes altruism, existentialism and morality.įrom left to right: Drakengard 3. In Drakengard 3, the player starts as a villain and waits for a plausible justification for his actions. Instead of the player starting from a justification, such as a daughter's desire for survival, and then having a revelation that puts their principles in check. Turcev interprets Drakengard 3's narrative as opposed to that of NieR. That was the trick, since this prejudice would later be reversed, when the Intoners would reveal themselves to be emanations of the Flower's power whose existence threatened the world." And unless you were a serial killer or a sadist, Zero's Bloody killing spree could only seem unfair and illegitimate. Source: BuffMaister (YouTube).Īlthough with some peculiarities, also in Drakengard 3 (2013), Turcev noticed a repetition of this same message: “there is no other justification for murder than the madness of humans who wage war against each other.” The author also noted that, ".by failing to place a moral anchor to base this on, Yoko purposely placed the player in the judge's situation and let his own ethical code color the narrative. Madness thus become the leitmotif of the first Drakengard, whose characters suffered all more or less from insanity, in one form or another incest, pedophilia, cannibalism, blood lust, the overstatement was intentional and exaggerated, but not totally meaningless - both on the marketing and the artistic levels." Drakengard. Surely, Yoko thought, the characters participating in such atrocities must actually go mad and should not deserve a happy ending. ![]() In Yoko's mind, it was indeed the perfect opportunity to reflect upon the tendency that video game heroes had towards killing without shame, without the slightest trace of moral distress. The strong presence of hack 'n' slash elements would serve as a foundation for this orientation. He wants to save the world." With Drakengard (2003), for example, Turcev noted that, in contrast to the Dynasty Warriors series, ".the game theme was based on immorality. By creating video games, Taro Yoko is not just experimenting. ![]() Nicolas Turcev, in his book The Strange Works of Taro Yoko (2018), emphasizes that "The director's great altruistic project is part of the portrayed opposition between games and nihilism. Yoko Taro and protagonists from Drakengard 3 and NieR: Automata.
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