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The Layers of Max Payne 2 Declan Dovell The Layers of Max Payne 2 Declan Dovell The world is a dark, twisted place steeped in madness, violence and corruption. Noir; the one word used to represent a style of genre‐orientated literacy which places heavy emphasis on exposing a contorted world of negativity and paranoia for stylistic effect, Noir is a style whose traditional bleak symbols are derived from semiotic deconstructions of the “Hardboiled” subgenre of crime writing. Kerr (1995) Visual Noir texts extensively portray macabre images of contrasting dark, colours and symbols. One of their key traits includes deep semiotic representations of the flawed human psyche. Diawara (1993, p.525) Through the application of Sassure and Pierce’s theories of sign and Barthe’s theory of semiotic study as a tool the responder is able to uncover deeper meaning within Remedy’s 2003 stylistically Noir videogame Max Payne 2. Chandler (2007 p.32, 227) A television series within the realm of Max Payne 2 titled Address Unknown: Descent to Madness specifically its associated funhouse which the player explores in game, gives further insight into the world of protagonist Max Payne through vivid Noir imagery. This essay will explore and deconstruct these elements of deeper analytical meaning to understand and uncover the flawed psyche of Max Payne as the protagonist detective; it will expose the underpinning ideological concerns and values evoked by the collective and individual meanings of these symbols while concurrently demonstrating how representations derived from the setting are reflected back onto the flawed protagonist. The Address Unknown funhouse chapter in Max Payne 2; “A Linear Sequence of Scares” represents the protagonist Payne in a variety of different lights which correlate to setting transformations within the funhouse. Initially the setting is representative of traditional Noir Crime Writing, projecting protagonist Max Payne as the conventional intuitive detective. The spiralling walkway which leads into this first section of the funhouse signifies travel, pulling the real world representation of Max Payne into an intentionally created setting where he will be represented in a fashion which reflects his new surroundings and their interrelated ideologies. Plastered on a sign post are the words “Welcome to Noir York”; an intentional play on words used to represent this Noir inspired version of New York created by Remedy. The grimy street of this setting alongside the use of dark overtones and intense shadows inspires mystery and foreboding, while the shadowy “Jack the Ripper” represented figure and the brutally murdered woman signify correlated values of Noir Crime Writing; additionally promoting a sense of fear and trepidation. Max’s dress selection of a trench coat in this setting is highly representative of the traditional detective archetype enforcing order and justice. The necessity of authority is the key ideology presented in this setting and is further signified by the lack of choice the player is given in moving Max through the setting, events trigger autonomously and there is only one set path to follow forcing the player to place Max in the detective’s shoes. Nitsche (2008 p.13). However the authenticity of this setting is intentionally undermined by its reflexive construction which is artificial in nature. This further refines the setting’s represented meaning. The cardboard cut‐outs and their rigid, predictable animations along linear paths effectively mock traditional Crime Writing representing it sardonically as two sided and repetitive. The miniaturised scale of the setting in comparison to Payne’s character also undermines the seriousness of the disturbing events taking place; rendering a basic environment equivalent to a child’s play set. This refined representation clearly presents two dimensional binary values of good against evil; stereotypical surface information which hides deeper sociological flaws and imperfections within the setting and reflectively the protagonist. Chandler (1950 p.6) By means of parody this refined representation presents ideology that warns against generalisation and stereotype, that one’s true identity lies deeper than a single stereotypical representation. In order to obtain a more accurate representation of protagonist Max Payne simplistic surface stereotypes must be transcended. In contrast to the setting of “Noir York” the descent into the funhouse’s “Pink Bird Mental Institute” setting foregrounds a far deeper insight into the flawed psyche of Payne, which is another aspect commonly explored in Noir style. A prison‐like elevator locks Payne behind bars while exaggeratedly demonised medical staff threateningly closes in around the cell. The lift proceeds down the familiar spiralling room; this time the signifier of travel and re‐signification of Payne is represented concurrently with an overbearing sense of paranoia and entrapment. Payne’s representation as the flawless detective figure is immediately revised to reflect these changes within the setting. The neon sign “Going Down” on the elevator acts as a literal and metaphorical representation. Metaphorically it signifies the descent of Max Payne from the surface stereotype “good guy detective” into a deeper more Noir, sinister character whose flaws begin to unravel. On ground floor a series of extreme close up cut scene shots scan over specific details of mentally ill cardboard cut‐out figures with uncomfortable intimacy, these figures are represented as completely mad and strike a disturbing tone in the way they communicate to the protagonist. Their shaky, unpredictable movement along guide rails accompanied with a specific choice of typified “mad” language highlights their insanity while signifying them as unstable and dangerous. This is unlike “Noir York” whereby the cardboard cut‐outs moved in a predictable, boring fashion which represented total stability. Visually the Noir orientated, seedy, run down mental hospital also passes comment on the deteriorating signification of the figures within it which reflects back onto the mental unravelling of the protagonist detective Payne. However, it is imperative to realise Payne is not an absolute representation of these stereotypical figures as denoted by his trench coat dress, reasonable form and characteristics. Rather he has attained an unhinged and fractured mentality which relates partially to the extreme stereotype of these mentally ill figures and partially to the extreme stereotype of the flawless hero detective. This is seen represented in the way Payne is positioned within the mise‐en‐scene of the hospital setting. Contrasting to “Noir York” whereby Payne was scaled unnaturally larger than the setting which represented his sense of high authority; within the confines of the mental institute he is scaled realistically to his surroundings. There is no difference between the proportion of him and the proportion of the mentally ill signifiers representing the downfall of not only his sanity but also his power. This is reinforced by the larger scale of the menacing doctors who are represented contrastingly as an intimidatingly, powerful authority. Ideology signified in this setting implies the opposite of what is represented in “Noir York.” The mental institute setting stipulates the notion that authority is ineffective and malicious. This is seen reflected in Payne’s protagonist on his path to the elevator to ascend from the hospital. Similar to “Noir York” whereby there is one linear path and no other choice, the player in the shoes of Payne is again not given a choice and is forced to literally walk over a line menacing cardboard cut‐out physicians to proceed. This action has connotations to uprising and rejecting malicious authoritarian control, which complies with the ideologies presented in the setting. An amalgamation of the stereotypical figures of detective and the mentally ill “madman” derived from reflected representations within the setting fleshes out the fundamentally flawed psyche of protagonist Max Payne. The result of this fuels ideologies which represent Payne as an individual acting outside the parameters of standardised mainstream process. This is strongly represented in the final section of the funhouse “Welcome to the next level” which in contrast to the previous areas of the funhouse had no spiral transition effect; stipulating Payne’s flawed psyche will be reflected within the upcoming setting. A notion of surrealism is now seen integrated into the existing Noir setting signifying a methodical bizarreness Baldick (2008). A montage of demented anthropomorphic houses with gaping, animatedly laughing mouths in place of the door, line the filthy Noir orientated streets. This disturbing image represents unkind mocking and scrutiny directed towards the now outlawed protagonist Max Payne. Reflectively Payne is far smaller in scale than the setting surrounding him implying notions of paranoia by further isolation and separation from mainstream society. This notion of hostility towards the protagonist is reinforced violently by elements in the setting springing to life in a cartoon‐like style threatening to maim and kill. For instance the lightning bolt which pierces the sky just above Payne is an allusion to ancient mythology whereby a lightning bolt would be representative of punishment. Cerveny (1998, p.56) The setting also signifies a sense of confusion which is reflected back onto Payne. The protagonist is directed through one of the open mouths into a maze of twisting platforms and columns
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