Rising Star Blog

This is a guest post by videogame journalist and Hoshi member Guan van Zoggel translated from the original Dutch

How do we perceive video games these days? Stores are crammed with them. Three enormous shelves for the current generation of consoles; next to these, there are handheld titles, somewhat less prominent. Finally, at our feet, there are the remnants of the previous generation of games. Most people who enter a game store know already what game they are going to buy. If not, they'll tend to pick something with an attractive cover or agreeable price. In this case, games can be considered as a source of amusement. For the store owner, games are the fruits of his labour. Still, games, like movies and literature, are often more than just that - more than a form of amusement or a way to earn your bread. Sometimes they contain a message, like No More Heroes.

When you play No More Heroes for the first time, you might find it an 'okay game'. But, as you progress through the game, you realise that the game is so much more than what you initially thought. Each time you believe that you're starting to comprehend the plot, everything gets turned on its head, washed away by a tsunami of plot twists. Both you and the protagonist remain filled with questions. You'll try to connect the loose points, but your resistance is futile. The player is attacked via Travis. You see, Travis is a reflection of the gamer. A virtual alter-ego, locked away in a city with no exit. What does this mean for you, as the player? What does it mean to be in a locked city? What intentions did Goichi Suda have while developing No More Heroes?

Why you are an otaku

The protagonist in No More Heroes is Travis Touchdown, 27 years old and ‘otaku' to the core. This term refers to the Japanese subculture, in which an obsessive interest in anime, manga, videogames etc. is one of the most significant features. This is manifested in Travis's motel room: a Nintendo 64, Lucha Libre masks and anime action figures. Not only in his room, but also in Santa Destroy we can find such references. For example, Randall Lovikov, who asks Travis to retrieve his 47 Lovikov-balls. For each seven balls that Travis returns, he'll learn a new, special technique. This is a reference to Dragon Ball, a manga that's been popular in Japan since the eighties. The characters in Dragon Ball are searching for the seven Dragon Balls, which summon a wish-granting dragon once all seven are collected. Also, the manual of No More Heroes claims the Lovikov-balls are part of some mysterious dragon.

Often, otaku has a negative connotation - they are thought to be without a purpose in life, the 'lifeless'. This can be considered as a reaction of the mainstream to the limited and anti-social interests of otakus. This is something that can also be found in Santa Destroy, for the city is a reflection of Travis's interests: vehicles without any details, flat buildings with no personality, and pedestrians are mere decoration. It's as if the city has been built by Travis. Or built for Travis. Or both. You only have access to the locations that have Travis's interest: the video store, the clothing store, the gym and places where one can kill. Of course, it's also possible that due to lack of time, money or interest, Suda didn't pay any more attention to the city. But if he would explain the emptiness of Santa Destroy by using the argument I just provided, critics would have to accept it.

Sociological approach

Let's approach Travis in a sociological way. From this perspective, too, he is the typical reflection of an otaku. He is determined to achieve his ultimate goal: becoming the first ranked assassin in the United Assassin's Association (UAA). His persistence is the result of an urge: Travis wants to prove himself. Prove himself to society. This is a reaction to the fear of rejection in a direct (or indirect) social environment. This social anxiety is quite common in the otaku culture. Travis is also doing his best to leave an impression on Silvia, his contact person at the UAA. This can be derived from the conversation after the boss fight with Death Metal for the tenth rank. Travis proposes to make love with Silvia "just once" after he becomes number one, at which Silvia answers with "maybe, maybe not."

Travis has a persistent weakness towards women; not only for Silvia, but also for co-assassins within the UAA. Travis is merciless to his male opponents, but if his opponent is female his conscience plays an important role at the end of the battle. After the match for the eighth rank, he decides to let Shinobu escape on the condition that she'll take revenge later on. Similarly, during the battle for sixth rank, Holly Summers detonates a grenade in her mouth before Travis can end the fight. While he is burying her he claims to love her soul. He retains a feeling of guilt.

The otaku subculture is often regarded as a group of anti-social people. A group which secludes itself from society - in other words, otakus are considered some kind of modern hermit. When these otakus are outside, they are shy and quiet. But it's also possible that they feel a bit strange and unfamiliar. Travis is also such a modern hermit: one moment he's naive and premature, while he proves to be intelligent at other moments, such as copying the complex moves from wrestling matches.

Illusions and family drama

killer7, the spiritual predecessor of No More Heroes, was aimed at political problems; No More Heroes is focused on social issues. But these games have also many similarities, like their status as cult video game. In No More Heroes, the intriguing story is the most significant reference to this status. The closer the player gets to the first place of the UAA, the more difficult it becomes to keep track of everything that's actually happening. Initially, the game suggests that Travis has neither parents nor other family members. Later on, it becomes clear that Travis' parents have been killed by Jeane, his childhood 'love interest'. In the final moments of the game, everything should become clear. While the story advanced, the player made his own imaginary illustration of the plot and filled in the missing gaps with either question marks or own assumptions, but this carefully crafted image will be shortly destroyed. Shattered by a gigantic rock thrown by the insane mastermind of Goichi Suda. It appears the roles in the game are mostly filled by Travis's family.

Before the final battle starts, Jeane helps to clarify Travis' background. This comes as a surprise to both Travis and the player. Travis's father left Jeane's mother, which drives her to suicide. Travis's father abused the situation by taking Jeane into custody and using her as a (sex) slave. This dereliction was Jeane's motivation to take revenge. She prostituted herself to pay for her training as an assassin. As Travis's father was always normal in front of Travis, she decided to kill Travis' father in front of Travis' eyes. Unaware of the situation, in short, Travis has been in love with his half sister.

After the fight with Jeane, Travis asks Silvia whether this is the end. The blonde, however, still kept the biggest surprises up her sleeve. It appears that the UAA is a fictitious organisation, her means of a higher income. For over ten years, she's been married with Henry, the very final boss in No More Heroes. He appears to be the twin brother of Travis. Silvia and Henry have a daughter, named Jeane. Travis' pet, a cat, is also named Jeane.

The final dialogue between Travis and Henry confuses many players. This is because the fourth wall is broken - within the context of the game. In other words, the characters aren't talking directly to the player, but via Travis, who serves as a medium between Henry and the player. The following conversation happens while the brothers are running through Santa Destroy:

Henry: Let me ask. How do you plan to put an end to all of this?
Travis: Wait a sec. You want me to tie up all these loose ends? I don't think so.
Henry: You're the protagonist. I'm just a cool, handsome foil who happens to be your twin
brother. Hate to say it, but it's your job.
Travis: I want to bail, but where the hell's the exit? There's no way out, is there? No getting
out... Right, bro?
Henry: That's right. All we can do is keep running.
Travis: Then let's find that exit they call Paradise.

If we take his conversation out of its context, it can be considered as a point of criticism towards gaming in general. Travis' goal in No More Heroes could be achieved in one mere way: killing all assassins that blocked his way. Once he reached his goal, he turns around and looks back at the bloody trail he has left behind. He realizes it all has been pointless and that he's been set up by Silvia, his sister-in-law (NB). I mean, what did Travis gain by achieving the first rank?

The point made by Goichi Suda

We could ask this very same question to most contemporary gamers. What does the player achieve in games? Let's take a popular genre, like the multiplayer modes in first-person shooters, as an example: often, the main point in these matches to kill as much as possible enemies without getting shot yourself. At the end of a match, either a party or player is victorious. The scores are shown, erased shortly after and it starts over again. On the long term, what are the benefits of these repetitive experiences? The feeling of sensation will soon lose its uniqueness. Right?

In No more Heroes, this is being portrayed by Travis and Henry: running around through Santa Destroy for eternity without a goal. No real winner and no real ending. Travis mentions the "exit they call Paradise", which can be considered a satirical metaphor aimed at video game addicts. There is just one way to get out of the vicious circle of gaming and achieve the exit they call Paradise: turn off your computer or console and step outside. Paradise: the world outside.

And that is the very message Goichi Suda wants to provide to the players who finish No More Heroes. In the real world, your deeds and choices are significant; what makes a human a human, and not a video game hero.

Thank you for reading,

Guan van Zoggel

 

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