Marie Friske (Augsburg University), Tomas Novy (Augsburg University), Jeffrey Wimmer (Augsburg University)
Abstract
Video games have evolved in recent years, moving between complex cinematic narration and reflexive gameplay. To account for these developments, this article proposes a combined approach drawing on film analysis and video game analysis, centred on the concept of the antagonist. The subdivision into narration, gameplay and character analysis enables the narrative complexity to be duly considered. The study further provides an outlook on how to apply this method using the example of the antagonist Higgs from the video game Death Stranding.
1. Introduction
Computer game developer Hideo Kojima is best known for the Metal Gear / Konami series. Kojima left the computer game company Konami after 30 years in 2015 and founded his own independent studio, Kojima Productions, in cooperation with Sony Interactive Entertainment. In 2019, Kojima Productions published its first title with Death Stranding. Death Stranding can be seen as a typical Kojima game: it combines an artistic, philosophically charged, slow-paced narrative with exploratory gameplay (Higgin, 2010, p.252; Veugen, 2012, p.54). Kojima is known for maintaining extensive creative control and even produced the promotional trailers himself, further strengthening the auteur-like status often attributed to him.
While Kojima’s strong auteur image is repeatedly emphasised in public discourse, the production context of Death Stranding illustrates a more complex interplay between individual authorship and large-scale collaborative development. The game’s highly coordinated integration of performance capture, environmental design, systems engineering and narrative construction demonstrates that its creative identity emerges not solely from Kojima’s direction, but from the orchestration of contributions across multiple specialised teams. This tension between auteur-centred perception and distributed creative labour further underscores the hybrid character of the game and frames the antagonists’ design as a product of both individual vision and collaborative craft.
Death Stranding is a video game that is not for everyone: it appeals mainly to indie gamers and long-time Kojima fans (Egenfeldt-Nielsen & Tosca, 2016, p.16; Stobbe & Weigang, 2016, p.98–99). Another striking feature is the use of real actors through capture technology, which brings the game closer to movies, similar to Quantic Dreams’ productions (Letourneur, 2016). This raises the question of how video games characterised by complex cinematic narration and reflexive gameplay can be adequately analysed. Conventional narrative analysis alone is insufficient to do justice to these hybrid “Triple-I” titles, which combine independent aesthetics with high-budget production values.
In order to analyse Death Stranding, the study proposes an antagonist-centred analytical framework to identify the ludological, narrative, aesthetic, and dramaturgical meanings of the antagonists. Kojima’s characters are known to personify certain traits, views, or constructs, as is already very clear from their names (e.g., The Boss, Die-Hardman, or Hot Coldman) (Kojima Productions, 2019; Konami, 2004, 2010). Therefore, the antagonists also embody concepts that go beyond the game world. Another factor that makes the interactions with the antagonistic characters interesting is their deviation from the rest of the gameplay, which otherwise consists of the very uniform core loop of delivering packages.
The article proceeds as follows: Section 2 discusses research on narrative game complexity and argues for an interdisciplinary, antagonist-centred perspective. Section 3 outlines a combined film and game-analysis methodology focusing on cutscenes, gameplay, and character construction. Section 4 applies this framework to the antagonist Higgs as an illustrative case study, clarifying how the approach may extend to other characters and titles.
2. Understanding video game complexity through antagonists
In the following, different forms of narration and the linking of video games and films will be discussed. This section argues that narratives in video games can be traced through the characters (NPCs and player characters) that appear in the game. The theoretical concept of antagonist analysis, known from film studies, can also be useful for the analysis of video games, which exhibit forms of TV-like narrative complexity (Mittell, 2015). Antagonistic relationships in video games are particularly evident in boss fights. When looking at the state of the research, it becomes apparent that narrative-focused character analysis has been rarely applied to video games.
Narrative structures permeate contemporary media across formats. In addition to novels, comics, films, or series, digital games of various genres increasingly focus on extensive storytelling (Thon, 2015, p.104). Digital games in which there is a strong focus on narrative can be subsumed under the term narrative video game (Egenfeld-Nielsen et al., 2016, p.202). A narrative can be understood as a sequence of events that contains the following elements: a story is created by chronologically arranged events. The representation of these events, which can be translated literally or figuratively, is called “text”. narration refers to the process of telling or writing a story (Egenfield-Nielsen et al., 2016, p.202).
Beyond general discussions of narrative complexity, recent scholarship has already highlighted the distinctive narrative, aesthetic, and structural characteristics of Death Stranding. House (2020) emphasises the game’s socio-economic subtext and analyses its networked cooperation mechanics as a critique of platform capitalism and precarity, situating the game within broader debates on labour, value and interdependence in digital cultures. Further work has interpreted Death Stranding as a metamodern text that oscillates between affective sincerity and self-aware reflexivity, foregrounding thematic structures such as empathy, reconstruction, liminality and oscillation (Radchenko 2023). Kurasov (2022) likewise reads the game through cultural-studies and ideological frameworks, interpreting its reconstruction narrative as a critique of American exceptionalism and contemporary identity discourses. Together, these works demonstrate that Death Stranding has been recognised as an unusually self-reflexive, symbolically dense and structurally experimental game whose narrative meaning emerges through thematic, meta-aesthetic and player-driven processes.
The narration of a video game does not necessarily have to be set in a fixed chronological order, but can, as in Star Wars: The Old Republic or The Elder Scrolls V: Skyrim, for example, occur non-linearly (Schröter & Thon, 2014, p.47). Video games apply cutscenes and scripted events. The term cutscenes refers to sequences in which the player has no influence on the game. These non-interactive parts are clearly separated from the actual gameplay and are usually incorporated in the form of film sequences or other formats, such as still images with textual additions. In many games, they are of short duration (Thon, 2015, p.114). They can provide the player with important information that is relevant for the further course of the game or strategic decision-making. They are also often used to build tension and establish an action-packed event, which the player then enters with sophisticated gameplay (Klevjer, 2002, p.195). Scripted events are pre-programmed events that are usually played in parallel to the gameplay and, thus, remain interactive (Thon, 2015, p.114). Schröter and Thon (2014) also consider it important to mention that it is not only the elements of linear narration (e.g., cutscenes and scripted sequences) that have an influence on how the fictional world and its inhabitants are presented, but that the combination with the ludic gameplay is crucial for the representation of characters in games. This is because video game characters differ significantly from the characters of non-interactive stories in that the way they are shown can be different depending on how the game is played. While the cutscenes are designed the same for every player, the “ludic events” referred to by Schröter & Thon (2014) fall more into the realm of interactive simulation than narrative presentation and cannot be determined in advance (Schröter & Thon, 2014, pp.46-48).
A special form of narrativity appears in games such as Beyond: Two Souls, Fahrenheit, or Heavy Rain, which are seen as convergences of film and video games. These titles present innovative and original approaches to storytelling. At the same time, they employ several established narrative strategies and tools (especially from the realm of film). In the context of Beyond: Two Souls, Letourneur (2016) cites as characteristics the marketing strategies of such games, which resemble Hollywood posters and trailers foreground realistic character faces as well as the actors portraying them. Furthermore, actors from the film industry are also involved in the production process, and the game is often staged as a special work of art. Hideo Kojima’s Silent Hills project, announced in 2014 and since revised, also falls into this category (Letourneur, 2016, pp.174-175, p.190).
An important component in current video games with a narrative focus is typically the characters, who are at the centre of the narrative (Schröter, 2018, p.109). Schröter (2021) distinguishes three different types in his reception-aesthetic approach of computer game characters (Schröter, 2021, p.180). On the one hand, there is the player character, who can be directed through the fictional world by the player (Schröter, 2021, p.181). On the other hand, in multiplayer applications there are co-player characters who are guided by other recipients (Schröter, 2021, p.180). The third group consists of non-player characters, or NPCs for short. These are characters that are controlled by the computer (Schröter, 2021, p.223). NPCs help to make the fictional world more emotional and vivid and typically fulfil specific narrative and ludic roles within the story, appearing in a defined relationship to the player (Isbister, 2006, p.225, p.229; Schröter, 2021, p.223). In addition to supporting figures, such as the mentor or the guide, they also take on the role of antagonist in various forms (Isbister, 2006, p.237, p.238, p.240-246). As such, they are usually shown only in the context of their ascribed role and are connected in a certain way to the overarching game goals (Schröter, 2018, p.120).
The antagonist is a central character of the story. He/she acts within the narration as an opponent of the protagonist and, in conflict situations, personifies the antithesis of the protagonist. Often, this dualism comprises not only two characters and the protagonist usually encounters several antagonistic figures and thus a multitude of polarities on their journey (zu Hüningen, 2012, n.d.). In the context of video games, these moments of conflict are referred to as boss fights or boss battles and are an essential part of gameplay in many genres of digital games (Siu et al., 2016, p.86; Wood & Summerville, 2019, n.d.). Usually, these conflicts are designed in such a way that the encounter mechanics differ from the rest of the game and the difficulty level is increased (Wood & Summerville, 2019, n. p.). As a result, they are more likely to stick in the player’s mind. They can serve as an initial test of the player’s learned skills or appear as the final battle (Siu et al. 2016, p.86). Thus, they often serve as gatekeepers through which the player’s further progression within the game is ensured. Only if the players fulfil the corresponding skill requirements or certain conditions within the game will they be able to defeat the boss. If they succeed, they are rewarded with items, the continuation of the game and Game Achievements, i.e., awards for milestones, which are intended to create a sense of achievement (Siu et al., 2016, p.86).
The academic subject of Game Studies deals with the analysis of design, theory and philosophy, as well as players of digital games and their location within the media landscape and society. It is an interdisciplinary field of research that is interesting for academics and researchers, but also for users in practice. For a long time, there has been disagreement in international game studies about how to approach the subject (Wimmer, 2014, p.1). On the one hand, there are the ludologists, who place a particular emphasis on the simulation aspect of digital games, which is not found in the so-called non-interactive media (Thon, 2015, p.108; Wimmer, 2014, p.2). By contrast, narratologists use narrative theories from film and literature studies and apply them to the medium of computer games. For the most part, studies focus on games from the adventure or role-playing game genres, which are treated similarly to an interactive text or audio-visual material.
In game studies with a narrative focus, game characters are dealt with, but rarely analysed in depth. Looking at game studies beyond the narrative approach, some authors have already examined characters in video games (Schröter & Thon, 2014, pp.44-45). One researcher who has studied characters in video games several times (also in a narrative context) is Schröter (Schröter, 2018; Schröter, 2021; Schröter & Thon, 2014). He describes the state of research on characters in game studies as a kind of paradox. The player character especially, who is directed by the player and thus acts as an interface between them and the video game, has been considered a recognized object of research since the early 2000s. At the same time, very few studies investigate the player character with a focus on its characteristics as a narrative character (Schröter, 2021, pp.37-38). Studies on player character can be found, for example, by Beil (2010), Beil (2012), and Deuber-Mankowsky (2001). Another of Schröter’s criticisms (2021) is that previous studies in the context of media studies have scarcely involved any real separation between player characters and other types of computer game characters (co-player characters, non-player characters). Instead, studies focus only on this one category in a selective and often undifferentiated way, or characters in digital games are studied in general (Schröter, 2021, pp.37-38).
Apart from the fact that the majority of studies of computer game characters focus on the player character, meaning that NPCs (non-player characters) are barely examined (Schröter, 2021, p.224), a subcategory that is elementary for games is thus also barely taken into consideration. Despite the fact that antagonists (or bosses, as they are often called in this context) are an essential component of digital games, they are rarely the research objects in studies in this field (Wood & Summerville, 2019, n.d.). Scholars who have nevertheless addressed the issue include Siu et al. (2016), who created a programming model for boss battles in 2D action games, and Wood & Summerville (2019), who studied boss battles through an analysis of boss design in Cuphead.
Several studies have already focused on Kojima’s Metal Gear game series. The (anti)hero metaphor in Metal Gear Solid: Snake Eater, Peace Walker, and Ground Zeroes has been examined by De Vasconcelos Guimarães (2015), while Yap et al. (2014) analysed the narrative of Metal Gear Solid with a focus on the character mirroring of the characters Solid Snake and Liquid Snake. Stamenković et al. (2017) examined the game Metal Gear Solid using multimodal discourse analysis to identify its construction of meaning and persuasive goals. Higgin’s (2010) study focuses on the thematisation of war games, digital technology, and control in Metal Gear Solid 2: Sons of Liberty. On Metal Gear Solid V: The Phantom Pain Girina (2019) addressed the representation of torture while player identity and agency were explored by Papale & François (2019). Green (2017) addressed the issue of post-traumatic stress disorder, trauma, and story in Metal Gear V: Ground Zeroes and The Phantom Pain, with a chapter focusing specifically on characters (including antagonistic ones) (Green, 2017, pp.81-104). Bumbalough & Henze (2016, pp. 28-30) also examined PTSD in computer games and dedicate a subchapter to the portrayal of trauma by the antagonists in the Metal Gear.
Regarding Death Stranding, there is a study by House (2020) on the topic of platform capitalism and the social group of the precariat and a lecture by Powers (2020) focusing on the representation of male pregnancy and female bodies. Green (2021) analyses longing, ruin, and connection in Death Stranding from a cultural-theoretical perspective. Based on the fact that there has been insufficient academic examination of antagonists in digital games (especially with a comparable approach or focus) in terms of their importance in this medium, and furthermore because Death Stranding has been poorly researched as a digital game by an influential player in the industry that creates cross-format and unconventional works (Higgin, 2010, p.252; Papale & François, 2019, p.20), it is particularly suitable for addressing this research gap.
Additionally, the cultural hybridity characteristic of Kojima’s work can be emphasized. Death Stranding blends Japanese narrative sensibilities – such as relationality, liminality and cyclical transformation – with Western cinematic conventions, Hollywood casting practices and the iconography of American post-apocalyptic fiction. This hybrid structure informs the game’s world-building and character design, including the presentation of its antagonists, and situates the title within a cross-cultural media landscape.
While existing scholarship has examined Death Stranding from thematic, socio-cultural and ideological perspectives, antagonists have not yet been analysed as structuring agents of narrative-ludic complexity. This article addresses this gap by examining the antagonist Higgs as a focal point where narration, gameplay and symbolism converge.
3. Methodology: cutscenes, gameplay, character analysis
The complex narrative of Death Stranding is strongly reflected within the game’s character concepts, especially those of the main antagonists Higgs Monaghan, Clifford Unger and Amelie Strand. Given the scope of this article, Higgs Monaghan is examined as a case study, as he most clearly exemplifies how Death Stranding organises narrative, ludic and symbolic complexity through its antagonists. The analysis of this antagonist is guided by the questions of how he is represented in Death Stranding and what meanings are attributed to him. To capture the complexity and multifaceted portrayal of the antagonist Higgs, three dimensions are considered: the cutscenes, the gameplay and the character analysis. Higgs Monaghan is analysed as a representative example to operationalise the framework, with potential transferability to other antagonists or narrative-driven titles.
First, a film analysis is conducted to study the cutscenes in which Higgs appears, foregrounding the game’s cinematic staging. This is especially appropriate since Death Stranding falls into the category of a film-like game as described by Letourneur (2016, pp.174-175). The analysis follows established film and television approaches (describe, analyse, interpret, evaluate) that can be transferred to game cutscenes (Eichner, 2017, p.526; Mikos, 2015, p.74). Faulstich (2013), Hickethier (2012) and Mikos (2015) suggest an individual combination of different approaches, which should help to cover the research material in as versatile a way as possible, but at the same time remain tailored to the specific research interest (Faulstich, 2013, p.28; Hickethier, 2012, p.31; Mikos, 2015, pp.41-42). Accordingly, the study first summarises the game’s plot (Mikos, 2015, p.45) and then examines aesthetic aspects such as camera work, lighting, editing, set design, sound and music (Mikos, 2015, p.181). Boss fights and other interactive sequences related to antagonists are examined using Eichner’s (2017) video game analysis. Here, the focus lies on the relationship between game world, player character, player agency and audiovisual design (Eichner, 2017, p.526).
The findings from film and video game analysis are then incorporated and supplemented through the figure analysis according to Eder (2014). This author’s approach lends itself as a basis because both authors who have dealt with characters in film and television analysis (Hickethier, 2012, p.124; Mikos, 2015, pp.156-157) and in video game analysis (Schröter, 2021, pp.147-151; Schröter & Thon, 2014, p.43) have repeatedly used this as a starting or reference point. Eder’s approach seeks to link interdisciplinary approaches and create a systematic basis for character analysis (Eder, 2014, p.14). He presents a basic model for the practical application of analysis, the so-called “clock of the figure” (Eder, 2014, p.131). From this model three dimensions are chosen which encompass different foci of analysis: the figure as a fictional being, artifact and symbol. While looking at the figure as a fictional being and as an artifact are particularly significant to creators when producing a medium, interpretations of the work often focus on symbolism and how it fits into a thematic framework (Eder, 2014, p.722). These methodological approaches treat narration, gameplay and character analysis not as rigid categories, but as interrelated dimensions that intersect throughout the analysis. (Eder, 2014, pp.712–713; Eichner, 2017, p.526; Mikos, 2015, pp.41–42; Schröter, 2018, p.112). Following Eder’s suggestion, the discussion starts from the most striking features of Higgs and then relates them to the other analytical aspects (Eder, 2014, p.712).
Before turning to the analysis of the antagonist, it is useful to briefly outline the narrative premise of Death Stranding in order to situate Higgs’s role within the overall structure of the game. The narrative of Death Stranding centers on Sam Porter Bridges, a courier operating in a post-apocalyptic United States where cities and communities have become physically and socially isolated. Sam’s task is to reconnect these fragmented settlements through the Chiral Network, enabling communication, cooperation, and the rebuilding of society. His efforts are opposed by Higgs Monaghan, a charismatic terrorist whose nihilistic worldview leads him to accelerate the coming “Last Stranding,” an extinction event threatening all life. This conflict structures the game’s thematic tension between connection and isolation, repair and destruction, hope and fatalism. Understanding this premise clarifies the stakes of Higgs’s antagonistic role within both the narrative and the gameplay and contextualises the subsequent analysis.
4. Analysing the Antagonist Concept in Death Stranding Based on the Figure of Higgs
Death Stranding starts with a textual insertion of Kobo Abe’s Nawa, in which the stick and rope symbolise humanity’s tools for distancing danger and drawing value closer. The player takes on the role of Sam Porter Bridges, who must rebuild a fragmented post-apocalyptic America and rescue Amelie Strand from the terrorist leader Higgs. Clifford Unger also opposes Sam in several “War Zones”, only to be revealed as his father. Throughout the game, Sam forms fragile connections that push back against isolation, while Amelie’s final revelation as the Extinction Entity reframes the entire conflict as a struggle over humanity’s continuation.
4.1 Cutscenes
Higgs is mostly shown in medium and close-up shots, which emphasise gestures, posture and menace over emotional intimacy. However, this changes shortly before the final confrontation, when Higgs appears without his mask, in tears, and framed in an intimate close-up (Mikos, 2015, pp.186-188). This abrupt vulnerability contrasts sharply with his otherwise theatrical presentation.
There are further close-ups when Higgs violates Sam’s or Fragile’s physical space, licking their faces and staring directly into the camera – a fourth-wall intrusion that positions the player as the true target of his intimidation (Kojima, 2019). Many shots track around Sam because Higgs frequently teleports or circles him. One key moment precedes the Titan BT fight: Amelie embraces Sam, the camera shifts, and Higgs suddenly replaces her. The visual deception hints at their hidden connection and subtly foreshadows Amelie’s dual role. A similar camera trick occurs in front of Sam’s mirror, where a shift masks the transition from Sam’s reflection to Higgs’ masked face.
Creatures summoned by Higgs bear a golden faceplate echoing his skull mask, visually signalling allegiance. His appearances are underscored by sombre choral music, reinforcing his quasi-religious authority. Overall, the cutscenes frame Higgs as a performative, meta-aware antagonist who oscillates between intimidation, spectacle, and flashes of emotional instability.
4.2 Gameplay
There are two types of confrontations with Higgs. The first three are boss fights against BT creatures he summons – a squid, a lion, and finally a humanoid titan. The player fights using anti-BT weapons powered by Sam’s blood, risking anaemia through overuse. These encounters combine resource management with spatial navigation across tar-flooded arenas.
In online mode, a white BT (representing another player) throws items to help Sam, reinforcing Death Stranding’s theme of indirect cooperation. The BTs attempt to knock Sam down, destroy platforms, or devour him, which results in an instant voidout. The lion fight is unique: NPCs warn Sam he may flee instead of battling. If the player escapes far enough, the BT disappears. This introduces an unusual narrative–ludic option: retreat as a legitimate form of victory.
Higgs personally participates in the Titan fight, positioning himself beneath the BT’s ribs or on its arm. Sam can deal extra damage by targeting Higgs and Amelie fused into the creature – a hybridisation of narrative revelation and mechanics. The second category of confrontation is against Higgs directly, on Amelie’s beach. The arena contains tar pools that slow movement, cryptobiotes for healing, and floating whales. The fight unfolds in three escalating phases. In this final phase, both characters gradually weaken; their tar-covered faces and staggering movements emphasise exhaustion. Higgs can choke Sam or drain stamina with a “hug,” while Sam can block or counter. The camera freely pivots between them, sometimes placing Higgs closer to the player than Sam – breaking typical protagonist-centred framing and equalising both figures.
Short transitional cutscenes depict attacks in slow motion, including Higgs biting off Sam’s ear. Whereas Mortal Kombat presents violence as spectacle (Budziszewski, 2012), Death Stranding frames it as disturbing and emotionally weighty, subverting genre expectations. The choreography also echoes the final fistfight in Metal Gear Solid 4 (Kojima, 2008), reinforcing Kojima’s intertextual self-references and players’ expectations. Additional interactive sequences involve Higgs disguised as a Bridges employee delivering a nuclear bomb to Sam, which must be disposed of quickly. Side quests further expand his presence: under the alias “Peter Englert,” he sends Sam five emails requesting pizza deliveries. After revealing his identity, his bunker becomes accessible, rewarding the player with trophies and holograms. These missions embed humour and misdirection into Higgs’ characterisation while maintaining narrative stakes.
The game’s treatment of agency is closely tied to these encounters. Rather than relying on branching narrative choices, Death Stranding negotiates agency through moment-to-moment decision-making, risk management and the possibility of failure. The player’s missteps – through miscalculated routes, damaged cargo or defeat in encounters – are not merely mechanical penalties but expressive elements that shape the experience of antagonistic pressure. Higgs thus becomes a focal point through which the game articulates its understanding of agency, consequence and persistence.
4.3 Character analysis
Higgs Monaghan is played and voiced by Troy Baker, a well-known figure in the games industry (IMDb, 2021). His backstory, revealed through journal entries, includes childhood abuse, the discovery of his DOOMS powers after killing his uncle in self-defence, and a period working as a messenger. His self-consciously performative villainy not only marks him as a narrative antagonist but also positions him as a figure who embodies and exposes the tropes of boss-design and antagonistic spectacle in contemporary games. His fascination with ancient Egypt informs his later adoption of the golden mask. Meeting Amelie leads him to nihilism: upon learning of her Extinction Entity status, he chooses to accelerate humanity’s end.
His god complex is central to his identity. He calls himself a “particle of god,” possesses DOOMS level 7, teleports, manipulates timefall, and summons BTs. The biblical vocabulary of his diary (“Sodom”, “Gomorrah”) frames him as a self-appointed judge of humanity. Higgs’ makeup – black eyeliner, removed eyebrows, red formulas across his forehead – and his frequent black tears create an aesthetic of ritualistic decay. His gestures expansively and repeatedly break the fourth wall (“Let the game resume!”), openly signalling awareness of his role as a “boss.”
His golden mask appears independently in several scenes, floating or teleporting. The Cheshire Cat-like grin connects him to visual metaphors used to explain the Higgs field in particle physics (Lantsman & Pervushin, 2002). The pseudonym “Peter Englert” references physicists Peter Higgs and François Englert (Hauschild, 2018).
Higgs’ dramatic, vulgar speech (“motherfucker!”) contrasts with his Shakespearean email prose and literary references (e.g., Macbeth), revealing his contradictions. Although Sam and Higgs share similar tools (Odradek, BB-Pod), functions (porters), and conditions (repatriates), they embody opposite worldviews: Sam as connection, life, resistance, Higgs as isolation, death, fatalism. Their relationship is ambivalent. Higgs both torments and courts Sam, opens his bunker to him, and obsessively tracks his routes with maps and photos. This obsession blurs the line between rivalry and dependency.
Symbolically, Higgs represents fragility, mask-wearing, performative power, and the instability of identity – traits mirrored by the metaphor of the Higgs boson, which appears and decays at the moment of creation. Heartman associates him with the “King Midas” myth, suggesting destructive greed beneath the gold. Higgs often warns Sam, “Careful, contents are fragile,” adding, “Like the world…and me.” The beach fight’s environment – broken packages, the world-split bomb icon – visually reinforces this fragility.
Ultimately, Higgs’ god complex collapses when Amelie withdraws her power, reducing him to a powerless, ageing man lying in tar. Fragile confronts him with his true weakness: “You’re already broken.” His repeated insistence on honesty, paired with his refusal to lie even when deceiving Sam, crystallises his symbolic role: Higgs embodies the fragile truth beneath apocalyptic spectacle.
These interpretive layers are also reflected in the game’s player-community reception, where Higgs is frequently discussed as a deliberately exaggerated, genre-savvy villain whose theatricality foregrounds Death Stranding’s self-reflexive stance. Community readings frequently highlight the tension between his menacing narrative role and his overtly performative behaviour, reinforcing the idea that his character functions not only within the fiction but as commentary on broader conventions of villain design in contemporary games.
5. Conclusion
Video games such as Death Stranding require an interdisciplinary analytical approach that integrates film analysis and game analysis. This is necessary because film-like cutscenes and ludic interactions jointly construct meaning, especially in works that merge cinematic and interactive design. To analyse Death Stranding, the antagonist relationship was examined through an integrated analysis of narration, gameplay and character design, using Higgs as the central case.
The three introduced areas of narration, gameplay, and character analysis often overlap and should be flexibly combined depending on the game’s design. This is especially necessary in Death Stranding, where narration and gameplay intertwine, as in other narrative-driven Indie or “Triple-I” titles. Due to the focus on the antagonist relationship the production context – Kojima’s auteur position, large-scale independence and connection to game history – remains an important but separate analytical dimension.
The game’s meta-references to genre conventions and gaming history underline its self-reflexive stance and invite players to interpret its symbols beyond narrative-ludic functions. Reception of the game benefits from literacy in gaming traditions, yet an antagonist-centred lens already exposes key thematic structures. Overall, Death Stranding demonstrates how antagonists can function as analytical anchors for understanding narrative complexity in hybrid film-game works.
Future work could apply this antagonist-centered framework to additional narrative-driven titles – such as the Metal Gear Solid series or The Last of Us – to examine how antagonist design shapes storytelling across different genres and production contexts. This would allow for a broader assessment of the framework’s analytical potential.
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Authors’ Info
Marie Friske
Augsburg University, Augsburg, Germany
friske.marie@gmail.com
Tomas Novy
Augsburg University, Augsburg, Germany
tomas.novy@yahoo.com
Jeffrey Wimmer (corresponding author)
Augsburg University, Augsburg, Germany
jeffrey.wimmer@phil.uni-augsburg.de
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.