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The Evil Within: el videojuego como explorador de la mente
The videogame has already touched many sticks, especially in the last fifteen years, in which its narrative has taken a turn towards deepening and dealing with more complex and reflective issues. Video-entertainment has become an instrument of social criticism, a mirror of social problems or a transmitter of deep feelings. It has long since ceased to be a simple and empty entertainment product, limited to bouncing a ball, chasing ghosts or jumping on turtles. Titles like Dark Souls, so present and recurring in the texts about videogames lately, have enhanced the treatment of deep issues in the sector press. However, Miyazaki's work is not, by any means, the first to give rise to analyzing video games in this way. For a long time there are titles with this reflexive load and that invite the most elaborate interpretation by the player. Examples of this are Silent Hill or Shadow of the Colossus, works with a powerful and original narrative that manages to enhance the mystery and intrigue of their stories.
An especially interesting topic to deal with in the plot of a video game is the functioning of the human mind. Structuring the narrative process of a video game to mold it to the ins and outs of a mind, and helping to understand the different behaviors or disorders of the psyche is a genius, a genius that Shinji Mikami has carried out in The Evil Within. Despite not being the first title to venture into the exploration of the human mind, it is the first to focus on it in this way. He is the first to support the full weight of history in this concept. Silent Hill or Alan Wake also explore this idea, and with great success, but not with the depth with which Mikami's work does.
This approach fits perfectly with Ruvik's past that the game tells us. The main antagonist of the story is defined by a traumatic childhood and adolescence, marked by a tragic event: the death of his sister. Taking into account that the symptoms of schizophrenia describe as one of the triggers especially stressful or traumatic events, Ruvik's past is the first piece that fits to build this approach. It is from the death of his sister when the world of Ruvik begins to collapse. In addition, the only way out of the pain of loss is total ostracism, and this leads directly to another trigger of schizophrenia, since isolation and disconnection with daily routines are also catalysts for this mental ailment. With this combination of factors we already have the perfect cocktail of precedents for Ruvik to suffer from schizophrenia. It is clear that The Evil Within shows us more, and that it combines that possible basis of mental ailment with large loads of fiction. However, the indications mentioned above seem to show quite clearly the presence of this base. Maybe Mikami did it without realizing it, or maybe on purpose.
In conclusion, The Evil Within takes us to know the functioning of the human mind. The effect of traumas and the dramatic moments of life. All this, of course, loaded with fiction, and structured to fit the model of a video game. With this premise, Shinji Mikami left us what for me is a masterpiece of the video game. I have only to recommend this experience to any player who appreciates deep and well-made titles.
@FUTURE
@uriel
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