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Returnal game psychoanalytic analysis; Visualize the game in the form of a mind

While other stories represent the minds of their various characters, Returnal plays an embodiment of one mind. The twentieth-century psychoanalytic movement, often based on the work of Sigmund Freud, paved the way for psychiatry and mental health issues, and some of these frameworks are still used today. On the other hand, many of its theories (especially Freud's) seem to be at best obsolete in the modern world. Psychoanalysis is less well known as a method of literary interpretation. Because Freud's method of understanding people focused on interpreting the psychological meanings of things like their dreams, some literary critics have adopted these interpretive methods to infer the psychology of the characters in the stories based on their behavior and view of the world. Even if people's mental comprehension is complex, it can give us a window through which to better understand the complex characters and, consequently, the stories they contain.

In this article, we intend to address the issue that How Returnal has taken the literary potential of psychoanalysis one step further. Instead of merely exposing its characters to psychoanalytic interpretations, Returnal shows how a player's world, story, character set, and agency can be used to analyze a mind. The result is a work of art that shows how video games can go beyond our common sense ideas of globalization and narcissism to provide a terrifying picture of the basic tensions that define and evoke the human psyche.

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The Three Elements of Human Personality

Returnal analysis is first performed by drawing the basic psychoanalytic model of the mind according to Freud's theory. We begin with the "id", the "ego", the "superego" and the basic principles presented to motivate them. With this background, we can show how the main characters of Returnal, namely the spaceship Helios, Celine and the astronaut, can be read as representing these psychological elements in the context of a mind. It paves the way for understanding the player's role in the game as an external force, not merely Celine's controller. In fact, Returnal provides us with a compelling model of how interactive stories can be interpreted as representing a person's psychological aesthetics. Before you read on, there are three things to keep in mind:

  • Throughout this analysis, the details of Returnal game story are revealed. It is therefore advisable not to read this article until you have completed the game.
  • Like many schools of thought, psychoanalysis itself is still debated. The purpose here is not to provide an argument to support the views of Freud or any other psychoanalyst, but the main subject of the article is how the key concepts of psychoanalysis influence retrospective storytelling. The article focuses on Sigmund Freud's theories.
  • There are many ways to analyze the details of the story and the game world, as well as the real goals of the creators when designing the story, but the subject matter of this article is different. The point here is how psychoanalysis gives us an enlightening perspective on the game that justifies the story.

institution, self, transcendental

to understand the meaning of return visualization as a psychoanalytic representation of a mind , We have to start with the basics that eventually allow us to see the whole story and the game world in new ways. To do this, we start by reviewing the main components of the human character and see how they relate to the characters in the game. There are three things on your mind: what you want, what you see, and what you are supposed to be.

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Institution (id)

Institution is the source of instincts from which the self and the transcendental are derived. It is the unconscious aspect of the mind that rules us at birth, before we can feel ourselves and our place in the outside world. The institution acts on the basis of pleasure and avoids anything that causes suffering and pain. According to Freud's theory, the institution is completely unconscious. The ego itself is the organized and logical part of this structure, arising from bodily emotions, both external and internal. It is guided by the principle of reality and takes realistic steps to satisfy the instincts of the institution. In fact, the ego, as a perceptual apparatus, can evolve over time, and its task is to strike a balance between primitive instincts and reality. Compares:

The horse provides energy and the rider has the right to set the goal and direct its movements, but often in the ego-idi relationship, we find a picture of a less ideal situation in which the rider is responsible for the horse. To direct oneself in the direction one wants to go.

Superego

The superego is a divided and specialized aspect of the ego that is identified with the concept of conscience. The transcendent is described by Freud as an observer. This is the aspect of the mind from which one's moral sense emanates and which judges or punishes the soul. This section is usually developed by parents and other role models. According to Freud, the inner world of a person tells the story of an ego that tries to satisfy the desires of three very different parts at the same time; The institution, which seeks to satisfy its desires, the external world, which represents a separate reality in which the ego must place itself, and the transcendent, which demands appropriate behaviors and beliefs.

Helios, Celine, and Astronaut

While Celine is the most important character we deal with throughout the game; There are two other main characters in his world; Helios, the spacecraft that later emerged as an embodiment of his son, is an astronaut, a faceless, silent presence apparently watching Celine from afar on the planet Atropus.

The player's initial impression of Helios, It is a spaceship that Celine, the pilot of, uses to land on Atropus. The spaceship that returns to it every time it dies in Atropus. So it is surprising that when Celine visits for the fourth time the incarnation of her old home on the planet, the game actually shows us that Helios is Celine's son. A child who appears to be playing on his PlayStation 5 console controls Celine from her star-studded dark room full of toys and space books. The child that the player controls as his/her avatar in the home visit sequence is known as the "child" in the subtitles, but the rotation around the house gradually reveals a set of clues about his or her identity. Helios is spelled in letters on the door of his room. A voice message on the cell phone indicates that Celine has left a message and her tone indicates that she is talking to a child. We are in a car in which a woman who looks like Celine is driving and a young character, who is again in the subtitles of the child described, is sitting in the back seat, wearing the same clothes and watch that the child was wearing at home. The watch that is in the game as an artifact and its description states that it does not want to release Celine.

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Helius is actually the son of Celine, who after seeing the astronaut in the middle of the bridge in the Vanachi National Forest And the accident that happened, he drowned in the water. As Celine understands her role in this, she interprets Atropus as a form of punishment for her role in killing her child. This is in stark contrast to Celine of Atropus's comparison to the underworld of Helna, Helheim, and Tartarus. Given the fact that Celine and Helios are both named after the Greek Titans, it is appropriate for Celine to share her mental torment with Tartarus, the dungeon of suffering in Greek mythology, where the Titans were overthrown by Zeus and the Olympians. They were kept there and punished, compare. The war, known as the Titanomachy, is mentioned in a report on Helios' spaceship (AST-AL-067). Shows a full-fledged character.

  • Helios's childish nature reflects the nature of the institution as an aspect of the mind that governs the psyche before the outside world empowers the ego.
  • Limitations of reality and social expectations bury the institutional part below the mental level. The clash between Celine and the astronaut, which we will explore later, drowns Helios underwater. (A common symbol for the subconscious mind)
  • Similar to Freud's example (the rider and the horse as the ego and the entity), Helios, as the spaceship piloted by Celine, gives him the strength to steer himself, but On the other hand, sometimes Helios takes the reins.

Let's examine each of these three factors in turn.

Helios's Philosophy of Control


Our philosophy of the Helios sequence In the moment we see him go downstairs to the kitchen and find the astronaut behind the kitchen table reading a book. Helios then presents a story to the astronaut that the player can help Helios with by choosing options regarding the details of the story.

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This interaction with the astronaut is a very illuminating visual content of Helios's psychological content. He presents a flexible story of whim based on the content the player chooses. A story that has no significant impact on the wider Returnal world. The result is an image of Helios who freely produces stories and has no motive other than entertainment. At the end of the story, he wants to know what the astronaut is thinking and simply and decisively declares, "Very cool!" Helios is a creature like an entity that is aroused by desires.

It is not interesting to observe that the child's personality is driven by unrefined desires. When we add to the composition that Helios is a hidden child character, everything becomes more interesting and similar. "Subliminal" refers to something that is below a certain limit. In psychology, it usually describes what is in your mind, without you consciously realizing it. In the framework of psychoanalysis that we have drawn, the institution influences and directs the soul in the sense that it is completely below the threshold of consciousness in the mind, without the ego being able to recognize it directly. Helios seems to be subliminal in terms of space and time in the retrenal.

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Helios hiding from the astronaut behind the TV screen

In the first place, Helios has a subliminal relationship with the space inside the returnal. We see this relationship when it is shown that he is in control of Celine as a player. Let's examine this relationship on our fifth visit to Celine's house:

  • Helios, trying to hide from the astronaut he now calls a "monster", hides inside the TV in the living room. He asks Octo for help finding the location.
  • After the astronaut catches Helios, Helios wakes up in the hallway and tells Octo that he must go now. He also asks Octo to stay and protect him (Celine), and before looking into the telescope, he declares that he is not afraid. Without further ado, the best impression one can make here is that Helios similarly crosses the telescope threshold to represent deep space in its representation.

In fact, it can be said Helios has a subliminal relationship with time in Returnal. The events inside the house are largely orthogonal to the events that Celine and the player experience at Atropus. However, they can not be completely orthogonal because the events of the house occur in a difficult sequence that is only accessible to Celine based on the completion of certain events in Atropus. On the other hand, some events on the planet are directly related to home events because Helios controls his mother through PlayStation 5.

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Celine's first encounter with visualizing her home on the planet Atropus

As mentioned, time at home is very different from Atropus Works. Instead of endlessly repeating time cycles each time a character dies (as in the case of Atropus and Celine), each sequence in the house only happens once. In one of Celine's first reports (AST-AL-008), which is discovered near the house after the player first encounters it, she describes the house as a museum of memories that focus more on her feelings than the facts that happened. />

I think I're reliving my memories of that house, but not completely. They are corrupt. Some memories are not available and others seem to be fake. However, I can remember the torment, I feel like I am losing my mind. There is no comfort here. There is no safe place and the astronaut is following me.

Following Celine's home visits, it is unclear whether she even has direct access to events, especially on the fourth and fifth visits. That the player experiences the game from Helios's point of view. After the fourth visit, Celine has nothing to say about Helios and the terrifying experience of the game her son is playing. His knowledge of the damage done to Helios is also unclear after the fifth visit, and seems to have focused more on Atropus' available evidence of the shipwreck than on his experiences at home. On the other hand, time at home and Atropus do not seem to be in harmony. It is quite clear that the moment the astronaut moves towards the television to reach Helios, which we experience from the point of view of Helios at home in the fifth scene, is the same moment that we observe in the scene of the third visit; When Celine walks to the TV before watching the news of her mother's car crash and landing on the moon.

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Cline and the living room TV on the third visit to the house

So, child Helios is beyond space and time, as Celine calls it In Atropus imagines. "In the institution there is no cognition of the passage of time and no change in mental processes over time," says Freud. Likewise, Helios is portrayed in the Return as an immortal child who is completely isolated from and still influencing Atropus's outer world.

Helios as Celine's guide

Finally, we come to the equation of Helios as a horse and Selenium. Helios's energy motivates and guides Celine without having complete control over her. It seems that if Sigmund Freud could have witnessed the modern age of video games, he would have exchanged the analogy of the horse and the rider for the analogy that attributes the entity and the ego to the player and the avatar, respectively. Remember that the purpose of Freud's horse-riding analogy was that the ego receives its energy from the entity and is usually able to direct that energy toward its goals, but occasionally adheres to the institution's demands and has to direct that energy toward the goals. To guide the institution, whether or not these goals are inherently meaningful to the ego. This is exactly what we see in the relationship between the player and the avatar in many stories in video games. The player's actions enable the avatar to move towards goals that advance the story, but the player may also use that energy in a way that simply achieves his desires. Consider, for example, a player who merely tries to find the most creative way possible for Celine to die for fun, without paying attention to his goal in Atropus. However, Helios goes beyond that in Returnal. Institutional impositions on the ego, in a psychoanalytic perspective, usually occur when the entity is experiencing a burden that weighs heavily on the ego. Returnal storytelling is exactly the kind of representation of stress that focuses on an octopus.

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Celine encounters a strange creature after defeating Opium in the Abyssal Scar area. It can be said that this creature is an embodiment of Octo.

The creature shown above is the main axis of Celine's journey to Atropus. He appears in Celine's dreams and watches her. In one of the game reports (AST-AL-003), Celine says about him:

The moment between death and birth that his organs ( Celine); Screaming, drowning, returning

During Celine's travels to Atropus, she appears in a spherical, twisted manner in front of her in various forms. It is the creature that awaits him in the deepest pit of Atropus, floating on a glowing surface that looks exactly like the intricate surface of the brain, waiting to reveal the secret of the car accident that caused him to collide with the player. . .

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. . . () . .

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.

. . . ( ) . .

()

.

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. . . .

. :

  • .
  • .
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    .

    . . .

    .

    . . . .

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    : . : .

    .

    . . . 5 .

    Xeno .

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    . . . .

    • (Sentients) (Xenoglyph) . . (AST-AX-018) 99 39 1 . :

    . . . .

    • . . .
    • Phrike Ixion Nemesis Hyperion Ophion . . . .

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    . . . .

    . . .

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    .

    . .

    • : (obolites) . .
    • (Parasites): . .
    • (Xeno-Tech): . . (AST-AL-020) : . . .
    • : . . . .
    • : . . .
    BingMag.com <b>Returnal</b> <b>game</b> <b>psychoanalytic</b> <b>analysis;</b> <b>Visualize</b> the <b>game</b> in the <b>form</b> of a mindBingMag.com <b>Returnal</b> <b>game</b> <b>psychoanalytic</b> <b>analysis;</b> <b>Visualize</b> the <b>game</b> in the <b>form</b> of a mind (Childs Watch) . (Ixion) .

    . .

    . .

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    . .

    . . . . .

    (Scout Logs) . . : . : (neurotic anxiety) (objective anxiety) (moral anxiety) . . .

    • . AST-AL-017 AST-AL-034 AST-AL-049 (Selene the Explorer) . . .
    • . AST-AL-001 AST-AL-015 AST-AL-016 : (Sentients) .
    • . AST-AL-55 AST-AL-61 AST-AL-67 . . .

    .

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    .

    (AST-AL-007) :

    . . . .

    . . :

  • .
  • Returnal .

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    Sentient .

    AST-AL-007 . . AST-AL-008 . AST-AL-024 . AST-AL-040 . . . . .

    . . : . .

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    .

    . . . .

    Sunface . Sentient . .

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    .

    . . . .

    () . . . .

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    (The Battle of the Huns) .

    . :


  • .
  • .

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    .

    . .

    • AST-AL-062 The Lying Truth: ( . ) . ( ) .
    • AST-AL-063 Visions of Glory Beheld: Delphic Visor . .
    • AST-AL-064 Doorway of Glory Crossed: . .
    • AST-AL-065 Fragments of Glory Assembled: . .
    • AST-AL-066 The Truth Lying: . . .
    • AST-AL-067 Departure: . . . . . ( ) . . .

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    . . :

    . . . . . . . .

    . . . . . . . . .

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    . . .

    (Phrike)

    () (Sentients) . . .

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    Phrike . . .

    (Ixion)

    (Crimson Wastes) . . . . . .

    Severed ( ) / ( Creator/Destroyer ) . . / Abyssal Scar .

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    (Nemesis)

    Derelict Citadel . . / . Severed .

    . . . (AST-AX-009) / . .

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    .

    .

    . . . . : . . .

    (Hyperion)

    Echoing Ruins . . 15 1 Echoing Ruins .

    . . . AST-AL-046 . . AST-AL-042 .

    (The Severed) . . .

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    .

    Fractured Wastes

    Echoing Ruins . . Fractured Wastes . . Abyssal Scar .

    . . .

    (Ophion)

    . Abyssal Scar . . . . . . . .

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    . . :

    . .

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    . . . . .


    Source: With A Terrible Fate

    Tags: returnal, game, psychoanalytic, analysis;, visualize, form, mind

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