‘Resident Evil’ And Post Apocalyptic Nihilism

Part four of a five part series. A film series based on the renowned video game franchise, this essay aims to explore the representation of “passive nihilism” within Resident Evil. 

This spine-tingling horror series has spanned almost 12 years, soon to welcome the franchises sixth installment in 2015. Set in a post-apocalyptic “Racoon City,” Resident Evil follows a story of salvation through the key character of Alice; the epitome of a “Martyr” within the post-modern condition. She opposes Nietzsche’s view to live a life based on impulse by instead existentially choosing to make amends for the chaos she feels she has created.

RESIDENT EVIL (2002)

*Main character Alice as female “Ubermensch” with near-impossible combat skills. Feminist perspective indicates she is somewhat objectified, as red dress connotes seduction and lust. (1:40)

*Genetically mutated beasts as represented evil, referred to as ‘Lickers’ on account of their lengthly, outstretched tongues. (1:50)

*Metallic typeface connotes a sharp, edgy, clinical feel, derivative of destination ‘The Hive;’ an underground laboratory/“empty vessel serving as a vehicle for the desires of the sacrificer.” (30, 2 minutes)

*‘The Red Queen’ assumes control of the facility through technological advancements. Computer has been humanized; modelled on the daughter of an ‘Umbrella’ scientist. (2:05)

With its release, Resident Evil offered the audience genetically enhanced mutants through metaphysical means. Humans were developed as weapons-in-themselves with Alice, a rather Croft-like figure, becoming the exception to the rule as she successfully overcomes her newly found “superhuman” capabilities. As former head of security at totalitarian establishment “The Hive,” Alice represents Locke’s “blank slate” as she attempts to regain control; battling against modern humanized technology. “A human being, like a god, could be strongly or weakly charged, depending on how perilous, how respected he or she was.” (24) In Heideggerian terms, humankind attempts to overcome all in a battle against the rise of science and technology, even in death.

*WRITTEN AS PART OF THE UNIVERSITY OF WINCHESTER'S PHILOSOPHY MAGAZINE. READ THE REST OF THIS ARTICLE HERE. 

BioShock Infinite In Regards To Religion

The third of a five part series. This essay aims to explore the correlation between nihilism and religion within the world of BioShock Infinite. 

Socialism; “The harder this de-alienation of work tries to escape from the idealization of ‘artistic’ production, the more it must define itself.” (22)

Descartes; “aesthetic consciousness’ may be recuperated as an experience of truth precisely insofar as this experience is substantially nihilistic.” (114)

A floating city in the sky, idealistically “the city of dreams” forms the basis of the franchises 2013 installment. Much like its predecessors, destination ‘Columbia’ is a city in revolt, violently called for by revolutionary Daisy Fitzroy; who could be viewed as a Sartrean type figure. Father Comstock dominates as the so-called ‘prophet,’ dictating with the appearance of a Marxian character. He is however, counteracted by the otherwise controlled Booker DeWitt; labelled the ‘False Shepherd.’ This hermeneutic interpretation is wholly Christian with a Kantian outlook; if you can’t see it then it doesn’t exist. A theory mostly demonstrated in the games epic conclusion, with Elizabeth envisioning a key to open the door to the lighthouse. On a similar note, the quote (above) suggests existential ‘choice’ as a way to progress; old values become forgotten and thus replaced with modern ones.

*WRITTEN AS PART OF THE UNIVERSITY OF WINCHESTER'S PHILOSOPHY MAGAZINE. READ THE REST OF THIS ARTICLE HERE. 

A Philosophical Review Of "Tomb Raider"

The second part of a twelve part series. This essay aims to explore the 'nihilistic devolution' of Lara Croft following the franchises 2013 reboot. 

Since the birth of Tomb Raider in 1996 we have seen Lara battle new heights, embarking on a journey of self-affirmation in an attempt to rediscover her "true" being. She constantly shifts perspective, thus being transformed according to Nietzsche, from a weak and inexperienced 'child' to a fierce and feminist 'lion.' The well renowned game, developed by Crystal Dynamics, acts as a prequel to the previous original series as we see Lara break with tradition and slowly develop into the female equivalent of Nietzsche's "Ubermensch." She represents great physical vigor, courage and strong will; pushing the limit of her comfort zone in order to demonstrate the highest moral standard for the good of the community. A hardcore heroine trapped inside a condemned world; destined to overcome it. 

Screenshots From Personal Gameplay. Image Rights Owned By Crystal Dynamics. 

"The most powerful individuals simultaneously 'give style to their characters, organize the chaos of their passions, and create a world of beauty here and now." (134) 

It becomes pretty clear through the course of the game that Lara’s character has evolved through a process of “Philosophical Nihilism.” She is no longer the idealistic “sex object” she was initially perceived to be and instead becomes actively detached from her roots; increasing her own element of freedom and overcoming personal self-violation. It was because of this quite obvious detachment that I didn’t particularly enjoy it as a Tomb Raider game, even though Lara remained to act on impulse much like a contemporary spin on Nietzsche’s “Good Man.” It was however enjoyable as a game-in-itself once you eventually learn to cut all cognitive ties to its predecessors. 

*WRITTEN AS PART OF THE UNIVERSITY OF WINCHESTER'S PHILOSOPHY MAGAZINE. READ THE REST OF THIS ARTICLE HERE. 

HCJ Statistics #2

The (BA Journalism) Philosophy Magazine has got off to a promising start this week with my first article submitted (no. 1/12) under the subcategory of “Computer Games and the Ideology of Nihilism” The magazine also now has its own individual Twitter account (see below) which has gained around 9 followers in approximately four days. I hope to increase this number to at least 100 by the end of the semester.

Circulation figures date from 19.01.2014 via alexa.com.

WEBSITE NAME	GLOBAL RANK	UK RANK
BA-JOURNALISM.CO.UK	4,153,070	-
NEWPHILOSOPHER.COM	181,824	2,451 (AUS)
PHILOSOPHYNOW.ORG	340,814	180,451 (US)
DIALECTICONLINE.WORDPRESS.COM	14,245,084	-

From this table, we can see that the main BA JOURNALISM site has increased in global rank by approximately *478,271 compared to last week. This may partly be due to improvements made within the philosophy magazine, in particular the focus on online promotion to this sector of the site, which should grown stronger in the coming weeks.  

The Representation Of Nihilism Within "Bioshock"

The first of a twelve part series. This essay will explore the conflicting viewpoints of both Friedrich Nietzsche and Martin Heidegger in regards to nihilism. 

Since its launch in 2007, BioShock has bought a rather aesthetic feel to the gaming world that is near impossible to miss. Philosophical themes are evidently placed on a destructive path throughout the underwater city of 'Rapture' as the gamer has little choice but to become immersed in the abstract longing for a postmodern world. Players are free to alter their characters own biological structure with so called 'Plasmids' or 'Vigors' controlled by their own 'will to power' and are further encouraged to existentially determine their own good or bad ending. Amidst it all breathes the death of an Idealistic society, erupted in chaos due to its severely nihilistic outlook. 

According to the Collins Pocket English Dictionary, 'Nihilism' is the rejection of an established authority or institution. Friedrich Nietzsche, born in 1844 and a strong atheist, believed that Christianity was the root of all illustrious values that should be overcome by humankind being 'born again' Biblical references have been constructed throughout the video game, for example in "Eve's Garden" with its apple logo derivative of the forbidden fruit. But according to Nietzsche, Christianity isn't based on reason and therefore shouldn't reflect these kinds of values. 

*WRITTEN AS PART OF THE UNIVERSITY OF WINCHESTER'S PHILOSOPHY MAGAZINE. READ THE REST OF THIS ARTICLE HERE.

HCJ Statistics #1

For the remainder of my final year at university and as part of my final year project I have acquired the role of Editor for the more academically based (BA Journalism) Philosophy Magazine. 

Over the next few months I will aim to raise the viewing figures significantly by subbing lecture notes, writing and commissioning articles for the site as well as performing regular SEO checks.

A record of the most recent viewing figures will be posted on my blog.

Circulation figures date from 12.01.2014 via alexa.com.

WEBSITE NAME	GLOBAL RANK	UK RANK
BA-JOURNALISM.CO.UK	4,631,341	-
NEWPHILOSOPHER.COM	184,550	2,292 (AUS)
PHILOSOPHYNOW.ORG	362,249	218,987 (US)
DIALECTICONLINE.WORDPRESS.COM	14,291,212	-

The table above shows that the more upmarket NEW PHILOSOPHER MAGAZINE succeeds in global rank. Updated quarterly in print and more frequently on the web, it demonstrates hot topics and controversial debates accompanied by uncanny illustrations that I think would do well to spruce up the HCJ section of the website.

Although ranking the lowest globally, DIALECTICONLINE is aimed at an undergraduate audience yet does well to stand out individually. As a university based magazine (produced by students from the University of York) it is written in the initial form of a blog with the website also offering an interactive print version for readers to skim through.

Number of pageviews recorded (below) date from 5^th January 2014 to 11^th January 2014 via Slimstat.