doomed1 said:Well, it was an assignment, so I don't really have much motivation to continue on it for now. As for how it's incomplete, or at least unspecific, I'm fully aware of that. I had more material than I had time or space on the page, so I ended up not getting too specific. The Otaku reference was entirely cultural, basically a disguised "for further reading" on a concept that I didn't really want to deeply explain. The Empire reference was unfortunately a victim of how broad I was being. I was taking a concept and applying it to the medium after exploring the various *ehem* global aspects of the franchise. I'm going to keep to my Jungian (within the realm of the archetypical bosses) psycho-sexual reading of the first game, but the second game doesn't really expand on that reading. Rather it moves to the punk in it's anti-corporate globalist stance that came to in the 70s and 80s with the origin of the punk movement.
I largely agree with your examination of the conflict and interaction of global and local values as portrayed in the game, it just isn't a theme that I find particularly compelling from a narrative perspective.
I don't think it's entirely accurate to say that the second game doesn't expand on the psycho-sexual coming of age narrative of the first. There's a rather dramatic shift in focus and tone, but I attribute that to the continued forward movement of this narrative. Travis has already reached sexual and personal self-actualization and maturity of a sort - He's still a creature of libido when it comes to both sex and violence, but he's in control of this aspect of himself rather than controlled by it. He's not the same person he was at the beginning of the first game, and as a consequence the second game is quite different, even if it continues the same narrative.
I'm still not entirely sure how I want to read it, but I think that there's definitely a switch from the internal to the external - Travis is now a more mature, complete person. He's not struggling with dissatisfaction towards his own nature and identity, but now he has to come to terms with the fact that the world outside himself is not as he thinks it should be.
Also, now that he's grown up, he's built a family (of sorts). If this wasn't true,
The heads on platters bit