Sources and Significance (Academic Blogs)
Propp's Theory in Kingdom Come: Deliverance [Spoilers for KCD]
What is Kingdom Come: Deliverance?
In 2018, Warhorse Studios released Kingdom Come: Deliverance, an action role-playing game co-published by Deep Silver. This game places a high value on historically authentic content, as it is set in the medieval kingdom of Bohemia, an Imperial State of the Holy Roman Empire. The game is well received, with a strong reputation in the RPG genre and multiple awards to its name. The company has released five DLC packs for the basic game, and a sequel is expected to be released in early 2025.
Kingdom Come: Deliverance stays faithful to its genre, with a rich tale that is heavily influenced by the choices players make during gameplay. The fundamental ideas of Propp's theory can still be applied to this game, despite the fact that various players have varied experiences that could alter the game's plots.
Characters - Propp's Theory
Vladimir Propp (1928) stated that characters may be characterized by their role they play in the story's growth. He developed this theory after an extensive and in-depth examination of 100 distinct folktales. Since Kingdom Come: Deliverance is a very unusual role-playing game with many twists and turns, it was quite challenging to tie the characterization of various character storylines together and fit them in because this is an extremely old and out-of-date notion. However, parts of Propp's character narratives are perfectly suited to the gaming ecosystem and may still be utilized to describe character archetypes that appear regularly in both modern fiction and nonfiction.
As discussed by Dogra (2017), Propp identified these characterizations as the hero, the villain, the princess, the dispatcher, the helper, the donor and the false hero.
Propp's Theory in Kingdom Come: Deliverance
A short look at Propp's Theory of Character Narratives reveals two sub-categories for the hero archetype: seeker and victim. Whereas the seeker sets out to rectify every terrible wrong done by the villain, the victim is an archetype who suffers directly at the behest of the antagonist.
Figure 1 (Henry of Skalitz, (Kingdom Come Deliverance Wiki, n.d.))
Henry of Skalitz fills the role of hero in KCD. Henry is an intriguing character, but he is not the most ideal hero; there are far better options in other games. However, given the context of KCD, I believe Henry makes an excellent realistic hero. He easily fits the mold of a hero archetype, frequently standing up for the poor and oppressed in addition to striving to build his own character through acting on what he believes is best for his friends, family, town, and king. While players can choose to be as good as the books or as crooked as they like, which can sometimes skew the player's narrative of his image throughout the game, Henry is undeniably a hero.
Figure 2 (Bianca, Kingdom Come: Deliverance, (Kingdom Come Deliverance Wiki, n.d.))
Bianca from Skalitz is a supporting character in KCD. She was a merchant who worked as an alehouse maid at her family's pub and was Henry's true love. Her character apparently plays the role of a princess at first, until she is slaughtered alongside the townsfolks by the Cumans, led by Sir Markvart von Aulitz. This required significant introspection, and after a lot of thought, I picked another NPC that plays the role of princess in Kingdom Come: Deliverance.
Figure 3 (Theresa, Kingdom Come: Deliverance, (Kingdom Come Deliverance Wiki, n.d.))
Theresa is a key character in Kingdom Come: Deliverance and the protagonist of the DLC A Woman's Lot. The archetype does not necessarily allude to her as a regal character; rather, she is a commoner who works at her family's mill. While fleeing on horseback, the player has the option to save her from the Cumans attempting to sexually assault her by whistling, initially portraying her as a damsel in distress. She is a refreshing character because she frequently assists Henry throughout the plot and plays an active role. She is brave and provocative, and she knows more about love than Henry, who seems quite clueless. Being a devout Christian, as was required of a respectable woman in that era, she is also extraordinarily courageous, bright, and strong-willed, which makes her a dynamic, well-rounded character in the game.
Figure 4 (Sir Istvan Toth, Kingdom Come: Deliverance, (Kingdom Come Deliverance Wiki, n.d.))
Sir Istvan Toth appears as the major villain in Kingdom Come: Deliverance, posing a constant threat to Henry and his comrades, as well as the lord they serve. He was a Hungarian nobleman who resided in Sasau in 1403. Very little is known about his past, but we do know that King Sigismund of Luxembourg elevated him to the status of nobility and welcomed him to his court. During the quest The Die is Cast, Henry is imprisoned, and Istvan confesses that he and King Sigismund are conspiring to weaken the local lords and terrorize the citizens in order to bring the existing reign to an end. As Sigismund ascends to the throne of Bohemia, he will reward Istvan with all of Sasau in recognition of his faithfulness.
Figure 5 (Sir Radzig Kobyla, Kingdom Come: Deliverance, (Kingdom Come Deliverance Wiki, n.d.))
Sir Radzig Kobyla is an excellent fit for the role of dispatcher in KCD. He is the primary voice in directing Henry to his goals and rewarding him when necessary. He was the Lord of Skalitz and a devoted Hetman to King Wenceslas IV of Bohemia. A commanding, respected, and accomplished diplomat who can handle himself effectively in a fight but prefers to negotiate with his opponents, he takes a special interest in Henry when his parents are slaughtered in the aftermath of the Cuman invasion.
Figure 6 (Sir Hans Capon, Kingdom Come: Deliverance, (Kingdom Come Deliverance Wiki, n.d.))
Although Sir Hans Capon first irritates Henry in KCD, their relationship develops into something more than just a friendship later in the playthrough. Henry frequently saves him, and the two have some amusing banter. He plays the part of the helper in the later levels, helping Henry with various quests and frequently giving him useful information about enemy camps or advising him (more like teasing) on his proficiency with the bow. However, it is worth noting that there are numerous NPCs who assist our hero in some way during the game. This demonstrates that Propp's theory could potentially be adapted to emerging norms while maintaining the fundamental bases of character narratives.
Figure 7 (Captain Bernard, Kingdom Come: Deliverance, (Kingdom Come Deliverance Wiki, n.d.))
The donor in the KCD setting might be any number of food sellers, weapon and armor smiths, or stable boys that assist Henry in his arduous path of ascending through the ranks and defending his liege. However, conceptually speaking, there is one NPC in the game who meets the criteria. A recurrent figure in Kingdom Come: Deliverance, Captain Bernard leads the Rattay city guard. He swears loyalty to Sir Hanush of Leipa. He plays the role of a donor, teaching Henry the principles of weapon warfare, as well as how to combo attacks and launch master strikes. He also treats Henry's health issues following sparring sessions. If Henry did not receive guidance from Captain Bernard, the plot of the game would not advance because weapon battle becomes a primary part of the game and Henry would not survive a single day without it. Bernard's assistance enables Henry to enhance his weapon combat skills and work on perilous quests and objectives assigned to him by his liege.
Eventually, we arrive at the archetype of the false hero. A false hero, outlined by Propp, is a character that looks to be good at first but later reveals themselves to be working against the hero's or other characters' best intentions. This looks to be one of the few instances in which I am unable to identify an NPC who serves as the fake hero. Sir Istvan Toth is first seen visiting Skalitz as a guest, accompanied by Sir Radzig Kobyla, who shows him about. Toth was later proven to have played a critical role in the Cuman forces' invasion of Skalitz and several nearby villages. Toth, Henry, and Radzig were never on cordial terms to begin with, therefore it is difficult to distinguish him as a false hero. I strongly believe that this is where Propp's theory falls short because Toth's betrayal was not a betrayal in the least because he was simply serving his liege and doing what he was told to do, and the majority of the NPCs in Kingdom Come: Deliverance are viewed as allies for either their monarch or the other.
When compared to contemporary norms, Propp's theory is incoherent; either it fails to provide fresh character narratives or it allows for more people to play the same narrative roles. It does, however, enable adaptation to modern audiences while offering the characters greater complexity, versatility, and depth when utilized as a guide rather than as a rule. When utilized with Kingdom Come: Deliverance, this theory works well for the majority of character archetypes and narratives that serve as the framework for a story, but it needs room to accommodate new character narratives that suit new archetypes.
Propp, V., 1968. Morphology of the Folktale: Second Edition. University of Texas Press. Available at: https://doi.org/10.7560/783911 [Accessed 8 November 2024].
Dogra, S., 2017. The thirty-one functions in Vladimir Propp’s Morphology of the Folktale: An outline and recent trends in the applicability of the Proppian taxonomic model. Rupkatha Journal on Interdisciplinary Studies in Humanities, 9(2). Available at: https://doi.org/10.21659/rupkatha.v9n2.41 [Accessed 8 November 2024].
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Available at: https://kingdom-come-deliverance.fandom.com/wiki/Bianca
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Available at: https://kingdom-come-deliverance.fandom.com/wiki/Istvan_Toth
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Kingdom Come Deliverance Wiki, n.d. Kingdom Come Deliverance Wiki. [Online]
Available at: https://kingdom-come-deliverance.fandom.com/wiki/Radzig_Kobyla
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Available at: https://kingdom-come-deliverance.fandom.com/wiki/Hans_Capon
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Available at: https://kingdom-come-deliverance.fandom.com/wiki/Bernard
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The Role of Transmedia in Star Wars
Star Wars, as one of the most iconic and popular transmedia universes, causes people to light up and revert to their childhood selves. Since George Lucas first introduced audiences to Luke Skywalker, Darth Vader, and Han Solo in 1977, the Star Wars universe has become one of the most attractive franchise in entertainment history, grossing more than $10 billion worldwide (Devan Coggan, 2024). As fascinating as it seems, Star Wars has profited significantly from its ongoing comic books, animation series, memorabilia, video games, and more, establishing it as one of the world's most renowned transmedia properties.
Figure 1 (Star Wars, (wallup.net, n.d.))
Transmedia Storytelling, What is it?
According to Henry Jenkins (2007), transmedia storytelling investigates the idea that important story elements of a fiction are circulated methodically across numerous media channels, resulting in a seamless integrated entertainment experience. The essence of this method is that each tale told through those sources contributes to the main story and worldbuilding of that specific fiction, and no single media channel gives all of the information critical to understand the story as a whole. In addition to being essential for advancing the plot and providing storylines and narratives for future media releases, all of the most recent animation episodes, newly published comics, and computer games serve as original story entries that directly contribute to events in the Star Wars main universe.
As discussed by Henry Jenkins (2003), when pushing for transmedia storytelling, we end up with creations that are very redundant allowing no inclusion of a new character or a fresh story narrative and confusing contradictions with its former works that ends up disappointing the audience. Since no one wants to watch mediocre novelizations, this is one of the primary reasons why sequels and franchises in general have a poor image in Hollywood.
Star Wars and Transmedia Storytelling
As successful as it is, here is also where it becomes too confusing for the average spectator to follow the Star Wars tale. Star Wars: The Acolyte is a good illustration of how transmedia narrative works in the Star Wars universe. It is a new 2024 Disney+ series that serves as an installment in the franchise. However, in terms of historical priority sequence, this series is set near the end of the High Republic era, which precedes the entire Skywalker tale (another perplexing choice), making it difficult for a casual viewer to follow up. Jenkin's foundations of transmedia gone awry can be easily shown here, since it garnered a 4.1/10 IMDB rating and a 67/100 Metacritic rating, making it a poorly regarded transmedia. The first two episodes of the series show potential by introducing new ideas and pondering over complicated topics, but they fail to establish depth and contribute to the worldbuilding of the Star Wars universe.
Figure 2 (Star Wars: The Acolyte, (Klaiber, 2023))
We can also spot an intriguing tendency in the release dates of many Star Wars films and episodes. Since one came out after the other, you would think that would establish its chronological priority order, but that is completely untrue. Not to give anything away, but the plot of Star Wars Episode I: The Phantom Menace, which aired in 1999, revolves around a young Anakin Skywalker who, ideally, will be selected to restore balance to the force. Star Wars Episode II: Attack of the Clones is the second installment in the series and is set ten years after the events of The Phantom Menace. It follows an older Anakin Skywalker and Obi-Wan as they face horrific threats in the galaxy. You'd think that the next instalment would be the series' chronological trilogy, but it took two different animated series, Star Wars: Clone Wars (2003) and Star Wars: The Clone Wars (2008), before the final trilogy, Star Wars Episode III: Revenge of the Sith, concluded the prequel trilogy of the main Skywalker saga.
While the original animated series introduced versatile and dynamic characters and contributed to the plot of the original Skywalker timeline, it is already confusing enough for a fan to keep up with all of the events that occur, so we can only imagine the horror an average viewer must endure before they can concisely understand what's happening on the screen. Transmedia storytelling can help increase their audience's reach by appealing to unknown demographics, but it also breaks the line that individuals must digest the entire full content before watching the current installment just so they can understand who is whose son or who married whom or who stole the saber.
Figure 3 (A perfect representation of a new Star Wars viewer, (ChiefTheTief, 2017))
When it comes to transmedia storytelling, there is a fine line to walk. As it expands into more and more media channels, it becomes more difficult for anyone to follow and devote their time to, as people may argue that they could be doing something more productive rather than sitting on the couch and watching a plethora of movies and series for more than 10 hours. If the main timeline for a media channel is designated as the primary timeline, and other transmedia outlets for the same may be classified as supplementary storytelling, we should be able to address the issue of other transmedia affecting the main narrative. However, as Jenkins pointed out, if we did this, we would wind up with shallow worldbuilding, repeating characters with redundant cliches, and poor narrative progression.
We can see that, while transmedia storytelling is an excellent tool for strengthening story plots, worldbuilding, and defining pleasurable tales for the audience, it can also be detrimental if employed just as a money-making strategy, particularly by major Hollywood studios. In order to guarantee viewer satisfaction and allow the audience to enjoy the franchise in all its splendor, the idea of transmedia should be carefully considered and balanced while keeping in mind the dangers of oversaturating narratives, creating irregular plots, and adding new elements to the main story.
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[Accessed 10 November 2024].
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The Evolving Representation of Women in Literature: A Historical Analysis
The portrayal of women in literature holds significant power, not only shaping cultural perceptions but also influencing how individuals understand their own identities within a societal framework. Literature serves as a mirror to society as it reflects prevailing ideologies while simultaneously either challenging or reinforcing them. Throughout history, the representation of women in literature has evolved, mirroring shifts in social, political, and cultural ideals. Early literary depictions often relegated women to stereotypical roles that either uphold traditional values or punished transgressions.
Figure 1 (Illustration of the portrayal of women in early literature, (Everystory Sri Lanka, 2021))
Yet, over time, women in literature began to be represented as fully realized individuals, each with unique aspirations, desires, and conflicts. These evolving portrayals tend to reflect broader societal changes based on the time periods such portrayals were created on — women’s increasing access to education, the rise of feminist movements, and shifts in the public’s understanding of gender and power. From the simplistic, archetypal depictions of women in ancient texts to the complex, intersectional characters of modern literature, female representation has transitioned from passive objects in male-driven narratives to active, autonomous agents. As these representations shift, they offer a window into the history of gender dynamics as well as a critical platform for examining current struggles surrounding women for equality, social justice, and self-determination.
EARLY REPRESENTATIONS OF WOMEN IN LITERATURE
Historically, early literature offered limited roles to women and often reflected patriarchal values. In ancient Greek epics like The Iliad and The Odyssey, women are portrayed as either virtuous or dangerous. For instance, Penelope embodies loyalty, waiting for Odysseus to return, whilst Helen of Troy embodies chaos and temptation. These depictions align with the idea of women as being either angels or demons, with little room for any complexity or dynamics. The concept of women as tools in men’s narratives is also present in these epics, which further reinforces the patriarchal structure. Women are not shown to have their own autonomy or desires, and their fates are often determined by male characters, like Odysseus’s control over Penelope’s choices or Menelaus’s anger over Helen’s affair.
Figure 2 (Early illustration of witches, (Meghan, 2017))
Such portrayals, according to Berger’s (1972) Ways of Seeing, align with early notions of the “male gaze,” where female characters exist primarily to serve men’s narratives. This concept, later discussed by Mulvey (1975), suggests that visual and literary representation has historically positioned women as objects to be looked at, often without agency or autonomy. This representation of women as passive subjects reflects a larger societal tendency to value women based on their physical appearance or their relationship to male characters. Mediaeval literature, for example, also often casts women in similar archetypes of “virgins” or “witches,” further reflecting the moral and social ideas of the time that sought to control and define women’s roles within society.
THE RISE OF FEMALE VOICES AND THE VICTORIAN ERA
In contrast, the Victorian era saw a marked shift in how women were depicted in literature. Authors like Charlotte Brontë and Jane Austen began to challenge the era’s limited views on femininity by focusing on female autonomy and subjectivity. In Jane Eyre (1847), Brontë explores a protagonist who defies gender norms by asserting her independence and challenging male authority figures. Jane’s rejection of submission, seen in her refusal to marry Mr. Rochester until their relationship is based on equality, disputed with Victorian ideals of female passivity. This shift moves beyond mere depictions of women’s beauty or chastity and focuses instead on their capacity for self-determination, ambition, and intellectual equality.
Figure 3 (Woman leading a meeting brief, (Palumbo-Seidel, 2022))
Similarly, Jane Austen’s Pride and Prejudice (1813) subtly critiques the limited roles women were expected to play in marriage and society. Elizabeth Bennet is presented as a sharp, independent woman whose intelligence and wit challenge the typical “angel in the house” ideal, which praised women who were submissive and self-sacrificial (Showalter, 1977). Her refusal to marry Mr. Collins, despite the societal pressure, and her complex interactions with Darcy emphasize her autonomy and greatly oppose the limitations of the time’s marriage market. The era also witnessed an increasing focus on the emotional and intellectual interiority of women in literature, paving the way for feminist critiques of gender roles. The rise of female voices during this period brought a shift from women seen as mere objects of male desire or vessels for reproductive function, to active agents within the narrative.
MODERNIST AND POSTMODERN SHIFTS: BREAKING STEREOTYPES
The 20th century brought further transformations in how women would be depicted in literature, as modernist authors such as the likes of Virginia Woolf pushed for more psychological depth and dynamics in female characters. In her novel Mrs. Dalloway (1925), Woolf details the complex interiority of Clarissa Dalloway, who struggles with the conflict between her desires and societal expectations. Woolf’s exploration of such a female identity in a post-war society challenges traditional notions of femininity, as Clarissa wrestles with her past and her present as she contemplates marriage, sexuality, and personal freedom. The novel thus epitomizes the shifting boundaries of gender representation, as women continued to become free from simple roles, instead being depicted as multi-dimensional and layered.
Figure 4 (Female contemporary artists, (Sheets, 2016))
This period laid the foundation for postmodern representations of women in literature, where authors began to question not only traditional narratives but also the structures that sustained them. Margaret Atwood’s The Handmaid’s Tale (1985) is one such book that critiques patriarchal control by depicting a dystopian world where women’s autonomy is suppressed and their roles are rigidly defined. Atwood explores the mechanisms of power and control, showing how societal norms enforce the suppression of women’s rights and agency. Through the character of Offred, Atwood challenges the notion of women as passive objects and underlines the importance of resistance and autonomy. In this way, both Woolf and Atwood have been able to represent a radical departure from earlier, simplistic depictions of women, instead offering complex, multi-faceted portraits of female experiences.
CONTEMPORARY REPRESENTATION: INTERSECTIONALITY AND NEW PERSPECTIVES
In recent decades, literature has embraced a more intersectional approach, reflecting the ways in which race, class, sexuality, and gender intersect in the lives of women. Writers like Chimamanda Ngozi Adichie and Toni Morrison have expanded the scope of female representation, addressing how women’s experiences are shaped by multiple, intersecting identities. In Americanah (2013), Adichie tells the story of Ifemelu, a Nigerian woman who navigates issues of race, immigration, and identity in the United States. Through Ifemelu’s experiences, Adichie challenges the dominant Western narratives about African women and emphasises the complexity of identity in a globalised world. The novel explores the intersections of gender, race, and class, providing a nuanced portrayal of the immigrant experience and confronting stereotypes about African womanhood.
Similarly, Toni Morrison’s Beloved (1987) portrays the experience of Black women, particularly through the character of Sethe, a runaway slave who is haunted by the trauma of her past. The novel explores motherhood, memory, and the legacy of slavery, with Sethe’s resilience being a powerful counterpoint to traditional, passive portrayals of Black women. Morrison’s work challenges reductive narratives and explores the emotional, psychological, and cultural depth of Black womanhood. These works embody Kimberlé Crenshaw’s (1989) concept of intersectionality, which recognizes that gender cannot be separated from other categories of identity, such as race, class, and sexuality, shaping women’s lived experiences in unique ways.
Figure 5 (Women in Literature, (BAZAAR, n.d.))
The evolution of women’s representation in literature has shown both the progress and persistence of societal attitudes towards gender. From the passive figures of ancient epics to the multifaceted, autonomous women of contemporary narratives, literature will continue to reflect and contribute to the shifting of cultural understandings of womanhood. Early representations, shaped by patriarchal structures, gradually gave way to more complex portrayals of female characters which pushed back against societal constraints and flaunted the intellectual, emotional, and psychological depth of women. The twentieth and twenty-first centuries have seen these depictions continue to diversify, as authors explore the intersections of race, class, and sexuality alongside gender, offering a broader, more inclusive narrative of womanhood.
Today, literature continues to serve as a powerful tool for deconstructing outdated stereotypes and advocating for gender equality, providing a space where marginalized voices can be heard and celebrated. As the representation of women in literature evolves, it fosters a greater understanding of gender dynamics and challenges readers to reimagine the possibilities of identity, agency, and social transformation. Ultimately, these portrayals not only offer insight into the past but also inspire ongoing discussion and action towards a more equitable future for women worldwide.
Everystory Sri Lanka, 2021. Medium. [Online]
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Homer, c. 8th century BCE. The Odyssey. Translated by A.T. Murray. London: Harvard University Press.
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Crenshaw, K., 1989. ‘Demarginalizing the intersection of race and sex: A Black feminist critique of antidiscrimination doctrine, feminist theory, and antiracist politics’. University of Chicago Legal Forum, 1989(1), Article 8. Available at: http://chicagounbound.uchicago.edu/uclf/vol1989/iss1/8 [Accessed 10 November 2024].
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Cyberpunk 2077: Tarot Cards and What They Signify in Night City [Heavy Spoilers for CP2077]
Semiotics in its rudimentary form means the study of signs and how they can be utilized to relate to any hidden meanings or if it reveals a bigger picture (The Editors of Encyclopaedia Britannica, 2024). There is no limit to what can be utilized as a sign to convey underlying ideas or meanings. Signs can be a collection of random words, a well-drawn painting, or even an observable artifact.
Figure 1 (Image of a prism with an eye, (Jacob-Puchalska, 2020))
To better understand signs, consider a simple speed limit traffic sign. It is typically a sign with a number written on it that indicates the maximum speed limit that a driver must adhere to. We grasp the meaning of a speed limit sign because we see them virtually every day. However, if we were raised without ever associating numbers with a physical action of reducing a vehicle's speed, we would never be able to connect the sign with its meaning. Only after attaching meaning to those numbers and words will we be able to properly understand and express them to the audience.
Ferdinand de Saussure, a well-known linguist, developed a dyadic model for signs to help people grasp what they mean (Chandler, 2006). He defined two events: a signifier, which represents the form of the sign, and a signified, which expresses the concept of the sign. In our previous example, the speed restriction is the signifier, and the action required to maintain the car inside the speed limit is the signified. Saussure claimed that the meanings associated with signs are defined by societal standards and cultural references rather than their physical structure (writing commons, n.d.).
Figure 1 (Cyberpunk 2077, (Parthsarthy, 2020))
Cyberpunk 2077 is an open world action RPG, developed and published by CD Projekt RED released in December 10 of 2022. The original launch of the base game was extremely unsteady. It was filled with flaws and was not optimized for modern consoles and computers. However, the creators gave it their all by publishing optimized builds and giving new patches and upgrades to the game. As a result, CP2077 is one of the most visually appealing videogames ever created, with engaging storylines and unique characters set in a technologically advanced future.
Set in the dystopian metropolis of Night City, we meet V, the protagonist who is determined to struggle against all odds from the bottom in order to leave their mark on Night City history. V accepts a variety of mercenary jobs in the hopes of acquiring favor and expanding their reputation among the city's infamous. After a significant heist goes horribly wrong, V discovers that they have a biochip within their mind that contains an imprint of Johnny Silverhand, a long-dead rock star who holds anarchist views. As mayhem spreads around V, the rockstar's construct begins to fuse with their own consciousness, and Johnny takes over V's mind and body. As time passes for V, they must discover a cure and separate their constructs.
Semiotics in Cyberpunk 2077
As with any RPG, Cyberpunk 2077 is full of exciting quests that need the players to complete a variety of jobs in order to achieve their respective goals. There is a fascinating side quest in which players search for tarot cards spread throughout Night City. These cards emerge as glitchy (and often trippy!) murals that Johnny can also view. As the cards are acquired, V can pay a visit to their friend Misty Olszewski, a tarot reader. Misty can then explain the importance of the cards and what they imply for V and others around them. Aside from the events depicted by the tarot cards, they also represent key personalities encountered by V during their journey through Night City.
Figure 2 (Tarot card in CP2077, (enricofairme, 2020))
The Fool is a tarot card found outside V's apartment that displays a red industrial background of metal structures, wires, and greebles, as well as a punk wandering on a rooftop with a starved dog by his side. He is seen hovering over the brink of the building, as if he is ready to walk off unknowingly.
This card mostly represents the protagonist V and their voyage into the unknown. Regardless of what happens throughout their trip, their character will alter as they earn crucial experience drifting through the dangerous alleys of the Night City. This card represents V's determination and hope, which propels him to his ultimate objective of finding a cure and separating their creations.
The Magician is a tarot card at Lizzie's Bar that depicts a gold-jacketed Magician with a skull for a face behind a table with multiple knives, a cup, and a wall of red masks in the background. They also have a shiny gold-tinted infinity sign below their chest.
This card represents the NPC Evelyn Parker, who is one of the main characters proven to be highly swift at adapting to situations using their intellect and sheer desire to live. She employs many methods to avoid difficult situations, implying Magician as a schemer who, despite obstacles, manages to stay afloat.
The High Priestess is a tarot card found in Takemura's hideout. It depicts a fully clothed white-robed priestess standing in a T-pose, looking at the viewer through a single red eye, wearing horned headwear, and standing between a dark pillar on her left and a light pillar on her right.
This card represents NPC Hanako Arasaka, Saburo Arasaka's only daughter and the head of the Arasaka Corporation. She is a self-taught Netrunner and a popular personality among the general public and Arasaka personnel. However, as the card indicates, she is a complete mystery to everyone in Night City, and she remains cool and composed when making critical judgments.
Near the notorious club Afterlife, there is a tarot card called The Empress. It features a single woman wearing a kimono with her eyes closed and facing up, surrounded by flowers, and red-tinted skyscrapers in the distance. Additionally, she is holding an unsheathed katana.
The famed Night City mercenary and former lover of Johnny Silverhand, Rogue Amendiares, is represented by this card. Rogue commands respect and knows exactly what she wants. She has a dominant presence among others in her social circle despite being feminine as well. She is a legend and a successful mercenary in Night City because, as the card implies, she is extremely tasteful and meticulous and relies on her instincts to lead her to success.
The Emperor is a tarot card found near Konpeki Plaza during the vital time of the murder of a key figure, which controlled the game's plot later on. It features a yellow background with numerous machines and wires in the foreground, connected to a throne. On the throne is a humanoid with crimson eyes peering at the spectators, wearing a loose robe, and attached to the cables.
This card represents the NPC Saburo Arasaka, who leads the Arasaka Corporation, one of the greatest corporations in the Night City. Despite his age and physical infirmity, he is Arasaka's main brain and heart. As the card implies, he is an Emperor who wields absolute power and authority over everyone else. To accomplish his goal, he is willing to be cruel and dominant.
The Hierophant is a tarot card found on the Japantown waterfront. It depicts a person sitting cross-legged with a staff and two keys on his chest that are crossed against each other in front of a purple-colored background full with machinery, wires, and damaged buildings. The figure is attached to wires and tubes and appears to be hovering above the ground.
This card represents the NPC Sandayu Oda, a cyberninja employed by Arasaka Corporation who serves as Hanako Arasaka's personal bodyguard. He is a great martial artist and one of Arasaka's most prized assets. His card represents reverence for tradition, which we see right away when V first meets Oda since he believes he is at his best when he believes in Arasaka Corporation's traditions and culture. Despite learning that his senior Takemura was framed, Oda refuses to assist him because of his faith in Arasaka.
The Lovers is a tarot card found behind the screen of the Silver Pixel Cloud drive-in. It features an abstract background with a gradient orange and two pink-tinted skeletons with tongues in contact. The skeleton on the left has a snake wrapped around its body, while the skeleton on the right has a little tree growing from its ribs.
This card represents the two NPCs Johnny Silverhand and Rogue Amendiares and is simple to connect to because they were past lovers while Johnny was alive as his own person. However, Johnny was unable to make the decision to remain with Rogue. Additionally, as their card implies, they are living opposites of one another because Rogue is a pacifist and Johnny is an anarchist, and it would always be difficult to strike a balance between the two extremes.
The Chariot is a tarot card found near Tom's Diner that features an abstract purple background with a figure in the foreground riding a metallic bike with only its body visible. The figure wears a helmet that curves around its nose and has ghoulish skin.
This card represents NPC Goro Takemura, Saburo Arasaka's formal personal bodyguard. He is a stoic man who is fiercely loyal to Arasaka Corporation, even after being betrayed. As the card says, Takemura has gone from being one of Arasaka Corporation's most valuable assets to being betrayed and falsely accused of Saburo Arasaka's murder. Despite everything, he continues to drive on with a spark of optimism in his eyes, unsure of what lies ahead.
The Strength is a tarot card found at the Rancho Coronado Freight Station. It features a hooded female figure with metallic beams, greebles, and a chassis for a face. The figure still has a human chin and bottom lip, as well as a woman and wolf tattoo on her chest.
In the story, Panam Palmer, the NPC represented by this card, was a former member of the Aldecaldos nomad clan who decided to live a life of independence as a mercenary after a disagreement with her family. Panam is a highly resilient woman, despite her inner anguish. Panam, as the card says, is a very strong woman who is determined to achieve her goal.
The Hermit is a Tarot card found near Pacifica Serenity Bible Church. It shows a cloaked individual holding a staff in the right hand and a torch in the left. The background is packed with towers and support beams, and the individual is wearing a barely apparent gas mask.
This card represents the NPC Alt Cunningham, the finest netrunner in Night City from the 2000s to the 2010s and creator of the Soulkiller program. She was also the girlfriend of rockstar Johnny Silverhand, and as her card suggests, she likes isolation, which is understandable given her reputation in the city. She is kidnapped by the Arasaka Corporation and used as a test subject for a Soulkiller replica, which murdered her. However, as the plot progresses, Johnny discusses how she escaped to the Net while retaining her awareness, illustrating how she left the harsh atmosphere of the City and found refuge in the Net.
The Sunset Motel's Wheel of Fortune tarot card features a background pillar with bullet holes and an engram of the Wheel of Fortune etched on the wall. There is a dead figure against the pillar, bleeding from the neck and mouth and holding an open briefcase full with credit cards.
This card foreshadows a significant change, whether for the better or worse. Many significant events that determine the characters' long-term fates take place in this motel, reminding us that no one stays at the top while simultaneously indicating that not all circumstances are hopeless.
Justice is a tarot card found near the Electric Corporation powerhouse that portrays a humanoid with a skeletal design on their back in the shape of scales and the right hand carrying a sword. Several wires, tubes, and cables sprout out from the back of the skull.
This card represents the reality that without order, nothing in the world functions well. To see through falsehoods and deception and restore the world to its natural state, justice is required. As the player learns about Night City in its totality, they will realize that justice is a critical component of the story narrative and revolves around every decision that the player takes.
The Hanged Man tarot card is found beside Johnny Silverhand's grave in the Northern Oilfields. It shows a man hanged upside down, with four others in the backdrop wearing cybernetic eyes. The man is wearing a business suit and is bald, with his face removed, displaying a gold-plated skull.
This card represents the need for a sacrifice to attain rebirth and is directly related to Saburo Arasaka murdering Johnny Silverhand in the cause of enlightenment in order to usher in a new age. Johnny was a significant figure in the bombing of the Arasaka building because he was fed up with Arasaka's corporate control over the people. This one development set off a chain reaction that resulted in a series of significant events in Night City. Following his death, Night City entered a new period of technological advancement, with new mercenary gangs and an even more powerful Arasaka.
Death is a Tarot card found near Embers. It shows a robotic figure with a skull and several cables sprouting from it. The skull has bright yellow eyes and is depicted licking a short, angular blade held in its right hand. It is shown wearing samurai-plated armor.
This card represents the end of life and how everyone faces death at some point in their lives. Everyone, notably V, faces an impending fate as he meets Hanako Arasaka for one final job. Regardless of the endings you choose in the game, one thing is constant and unchangeable: death.
An in-depth study of the tarot cards in Cyberpunk 2077 and how they symbolize characters and concepts in the game provides a very deep insight of each NPC's motivations, backgrounds, and the theme that binds it all together. It's really refreshing since it gives the characters and concepts an edge, as well as adding a refined layer to the underlying story of what makes Night City and Cyberpunk 2077 so legendary.
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Intertextuality, a Literary déjà vu?
Almost everyone has had the experience of reading a novel or watching a movie and realizing halfway through that it is quite familiar. It's not as evident as plagiarism, but it's always a callback in the form of a parody or a reference that's so subtle that you could miss it. We call this literary déjà vu intertextuality. Intertextuality, as first coined by Julia Kristeva in 1966 (Alfaro, 1996), suggests that no text exists in isolation because it always has ties and traces to other types of texts.
Figure 1 (Intertexuality, (Mambrol, 2016))
When people talk about intertextuality, they constantly come back to one important question: is anything genuinely unique, and can anything someone construct be truly devoid of links and ties to any other source in history? According to J.R.R. Tolkien, there are no fresh stories because every story produced has ties or links to previously written works (Cairney, 1990). There is no actual answer that balances the two sides of whether a writing free of influences and entirely unique exists.
I believe that practically all of the texts written throughout human history can be regarded works of intertextuality since they build on themes and structures that existed before to the text's creation. However, after reviewing some of the examples that use intertextuality, I believe that while some of the themes are intertextual, the remaining plot and narratives are entirely original, implying that while creating texts, we subconsciously use intertextuality, but it is also possible to create texts that are completely unique to others.
Figure 2 (The Lion King, (The Gamer, 2018))
The Lion King, a Disney classic, was significantly influenced by William Shakespeare’s Hamlet. Although the animated film is not a tragedy in the traditional sense, it does borrow heavily from the play's ideas. The protagonists on both sides have nefarious uncles competing for the thrones: Scar in Lion King and Claudius in Hamlet. In both media, the heroes are banished by their power-hungry uncles and see their departed fathers, who give knowledge and important insights. However, in terms of intertextuality, not everything in the novel is a direct reference, as there are several creative themes running throughout.
Figure 3 (The Tempest, (Henry, 2019))
Another great example of intertextuality is Aime Cesaire's play A Tempest, which is an adaption of William Shakespeare's The Tempest. Cesaire utilizes parody as an intertextual method to tell the magnificent story of Shakespeare's play from a postcolonial perspective. Cesaire also alters the vocations and races of his characters, most notably Prospero, who was a magician in Shakespeare's The Tempest, becoming a slave-owner and Ariel, a multiracial character in A Tempest. With this in mind, one may claim that by adapting an existing great literary work, Cesaire created a one-of-a-kind drama to portray the themes of slavery, colonialism, and power.
Figure 4 (Lord of the Flies, (Thomas, 2013))
William Golding's Lord of the Flies (1954) is essentially inspired by Robert Louis Stevenson's Treasure Island (1883). Drawing on the story of young boys embracing the freedom that comes with exploring an island, Golding added his own spin to the already popular treasure cliche, rejecting Stevenson's glorified tale in his novel. Golding goes a step further in grounding Lord of the Flies in bitter realism by depicting how savage human hearts become as civilization crumbles, edging closer to war, and how the boys stranded on the island are forced to accept the harsh truth and reality of life, as well as how nothing goes as planned. As Golding rejects the fun-filled story and concepts of Treasure Island, it is easy to conclude that, while intertextual, Lord of the Flies stands out as a distinct novel from others.
As one develops fresh writings, they become aware that nothing is truly original. Intertextual connection occur, even if unintentionally, as people are influenced by what they see, hear, and read on a daily basis. While this calls into question the legitimacy of how original something truly is and can be, intertextuality may be quite useful in allowing us to draw on references from other works to create wholly distinct and fresh storylines that will please the audience.
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Realism in a Choice-Driven Future
Realism in media, particularly in video games, refers to the degree to which narratives, visuals, and mechanics mirror aspects of real life. Whilst the visual elements of realism tend to garner the most attention, the concept itself extends further: realism can encompass not only what we see but also how characters interact, how stories unfold, and ultimately how choices can reflect the elaborateness of human decision-making. Philosophers like Putnam (1975) have defined realism as the belief that mental states are real and autonomous, not reducible solely to their physical or chemical embodiments, whilst scholars like Jesper Juul (2005) describe realism in games as the interplay between real-world rules and fictional settings. In video games, realism tends to bridge the gap between the player’s lived experience and a fictional world in hopes to draw them into stories that can resonate with them on an emotional, ethical, and psychological level.
Figure 1 (Detroit: Become Human, (Hunter, 2018))
Detroit: Become Human, a 2018 game by Quantic Dream, is one example that expands on this concept of realism through a narrative set in 2038 Detroit, where androids serve humans but are beginning to develop consciousness. Through the blend of advanced visuals, multi-faceted characters, and a choice-based gameplay system, the game creates a world that feels familiar yet speculative in nature and encourages players to manoeuvre ethical dilemmas that parallel real-world questions about artificial intelligence, freedom, and identity. Through the stories of three main android protagonists — Markus, Kara, and Connor — the game examines conflicts between autonomy and subjugation, compassion and control, by forcing players to make choices that reflect the complexities and difficulties of real human decisions.
Visual Realism: Bringing Detroit to Life
Detroit: Become Human uses advanced graphics, photogrammetry, and motion capture technology to create a highly realistic version of Detroit in 2038. Since the digital world of Detroit is drawn from the real-life city’s geography and urban landscape, the game’s setting feels grounded in reality, with familiar landmarks, streets, and neighbourhoods that reflect the city’s industrial past and its current post-industrial challenges. Photogrammetry allows for high-definition textures and environments, making Detroit’s streets, buildings, and neighbourhoods feel authentic and lived-in. Furthermore, the use of motion capture on the android characters brings their expressions, body language, and gestures to life, creating a resonance that is almost unsettling due to how “human” they appear.
Figure 2 (Environment in Detroit: Become Human, (Lohrteos, n.d.))
As Sicart (2009) points out, realism in games can enhance the ethical weight of gameplay decisions because it makes the setting feel closer to the player’s own world, thereby deepening the emotional and moral impact of the choices they are asked to make. The visual realism in Detroit: Become Human creates a near-future setting that is both familiar and unsettling. Furthermore, the android characters — who are designed to mimic human behaviour and emotions — raise questions about autonomy, rights, and identity. The more realistic the world appears, the more difficult it becomes for players to dismiss the struggles and injustices faced by the androids, as they seem to inhabit a world that is just one step removed from our own. This makes the ethical decisions surrounding their treatment feel more pressing and relatable.
Character Development: Androids as People
Figure 3 (Markus, Detroit: Become Human, (Detroit: Become Human Wiki, n.d.))
The three protagonists — Markus, Kara, and Connor — each experience their own journey towards self-awareness and freedom, providing their own definition and exploration of what it means to be “human.” Markus’s storyline, which leads him to become the leader of an android revolution, explores themes of social and civil rights. His role is particularly resounding as much of his development mirrors historical struggles for autonomy and equality, such as the civil rights movements of the 20th century. For instance, at one point of the game, players, from Markus’s perspective, will have to break into a broadcast office and deliver a speech to the androids of Detroit City. Depending on the choices made by the players, Markus can deliver either a peaceful speech or a speech embedded in violence. The former is particularly interesting as it draws parallels to the rhetoric of historical figures like Martin Luther King Jr, where he advocates for peaceful resistance, equality, and the right to freedom. This makes his journey familiar to players knowledgeable in these real-world issues. As Markus moves from servitude to self-leadership, the player is drawn into questions about justice, agency, and the price of freedom, resonating with Juul’s (2005) ideas about how game worlds can reflect societal truth through fictional contexts.
Figure 4 (Kara, Detroit: Become Human, (Detroit: Become Human Wiki, n.d.))
Kara’s story, on the other hand, focuses on personal survival and protection, as her storyline is centered around her bond with Alice, a 9-year-old “human.” Initially, Kara’s role is limited to fulfilling programmed duties as a housemaid android in the house of Todd Williams, yet she turns “deviant” (which, in this context, refers to the phenomenon of androids gaining consciousness and thus deviating from their programmed behaviour) in order to protect Alice from her father’s abuse. This moment marks the beginning of Kara’s emotional revolution, as she begins to care for Alice beyond the constraints of her programming. Even later, when Kara discovers that Alice was, in fact, an android bought by Todd to replace his biological daughter, she can continue to care for her, refusing to let the knowledge that Alice is an android diminish the connection that had fostered between them. Here, Kara’s decision to continue caring for Alice after discovering she is an android reflects the game’s exploration of how deep emotional connections can develop regardless of the beings’ origins. The game thus presents the view of love as a force that fosters and grows, not defined by biological or physical connections, but by the bond and commitment between individuals.
Figure 5 (Connor, Detroit: Become Human, (Detroit: Become Human Wiki, n.d.))
Lastly, Connor’s storyline is arguably the most complex in terms of realism because he is initially loyal to his programming as a hunter of deviant androids. His interactions with Hank Anderson, a human detective with an initial distrust of androids, lay a foundation for commentary on prejudice, loyalty, and empathy with those that differ from the norm. Through Connor’s internal conflict — whether to follow his programming and eliminate deviant androids, or empathize with the android cause and let himself become a deviant — players are encouraged to explore moral choices that reflect real-world ethical dilemmas about control and autonomy. His choices also impact his friendship with Anderson — the cold-hearted detective, too, begins to feel sorry for androids and sympathizes with them — as, if players choose to progress with Machine Connor , who strictly follows his programming and eliminates deviants, Hank’s distrust of him deepens, as he sees Connor as a cold, unfeeling tool of the system; however, if players choose to progress with Deviant Connor, who evolves beyond his programming, Hank’s empathy grows, and he begins to view Connor as a complex individual capable of moral agency. This way, their bond can either develop into a deep friendship founded on mutual empathy or be torn apart by distrust, illustrating how moral choices can reshape relationships and challenge or reinforce deeply held prejudices.
Choice-Based Mechanics: The Realism of Responsibility
The choice-based mechanics in Detroit: Become Human are perhaps its most defining feature as it simulates the weight of real-life decisions. Unlike linear games, where choices might lead to clear-cut outcomes, Detroit’s 85+ different endings introduce complexity through branching paths that reflect the unpredictable nature of human life. Every decision that players make impacts each character’s relationships and the broader storyline, creating a so-called “web of consequences” that can be seen in the uncertainty of real-life choices. These choices are designed not necessarily to reward or punish, but to reflect the spectrum of real-life decisions, to show that not everything can remain black or white. This approach aligns with Juul’s (2005) views on realism, suggesting that the elaborateness of the game’s narrative choices contributes to a more authentic experience. The player’s responsibility to shape the story, coupled with the emotional weight of each decision, reflects real-life dilemmas where the consequences of our actions are often unknown until they unfold.
Figure 6 (Decisions in Detroit: Become Human, (Johns, 2020))
In Connor’s storyline, this realism is especially evident, as his role as a detective and law enforcer places him in situations where his decisions carry significant consequences for both his relationships and his identity. Each choice Connor faces — whether to obey his programming and hunt deviants or to empathise with their struggle — affects his evolving bond with Hank, a relationship that moves from distrust to potential friendship depending on Connor’s path. This extends further as later in the storyline, it influences his position within the android rebellion and determines his alignment with or opposition to its cause. Players are held accountable for Connor’s development as they experience firsthand how loyalty, empathy, and autonomy can work together to shape identity and redefine relationships. This way, Detroit: Become Human reinforces the idea that our actions and values actively contribute to our understanding of self and others.
Figure 7 (Detroit: Become Human, (Hageneuer, 2022))
Detroit: Become Human uses realism not simply to mimic reality but also employs it as a foundational tool to engage players in a nuanced discussion of humanity, freedom, and ethics. The game’s realism goes beyond visual accuracy; the blend of detailed visuals, layered character development, moral storytelling, and choice-based mechanics come together to create an experience that is both speculative and yet profoundly grounded. By encouraging players to reflect on their own values and decisions, the game affirms that realism in video games can extend well beyond surface-level fidelity by immersing players in stories that resonate with real-world societal questions and personal growth. Thus, Detroit: Become Human is a clear-cut example of how realism in gaming can be a powerful means of exploring deeper truths about the human experience.
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