So, Danny O’Dwyer decided to do a video about a favorite subject of mine: video games. In it he expounds about the way that video games have focused on the niche of religions—after all, they’re a fundamental part of our society and their portrayal fits into how games access audiences. Although he sees it as that video games don’t tend to reflect on them much at all.
Not entirely the case, but for the most part, to communicate well with mainstream culture most media meant for a broad audience does try to keep religion as a cultural backdrop and not a main theme.
In the video game Mass Effect, Commander Shepherd must mediate a dispute over religious freedom on the Presidium Commons of a space station known as the Citadel when a hanar (basically a floating man’o’war jellyfish alien) wanted to preach about the Enkindlers. In Mass Effect, the Enkindlers are essentially a dead race known as the protheans who the hanar believe seeded their homeworld and lead to their eventual evolution into the sentient race they are today. The Enkindler religious belief is important to them amid other cultural artifacts. The hanar on the Citadel is “preaching without a license,” an act a little confusing to someone in the United States where preaching wouldn’t require a license.
Later, in Mass Effect 2, a batarian can be found on the asteroid space station Omega preaching on a box about how humans (like Shepherd) are a pox on the universe. “A blight. You, sir, are a blight.” And how their gods may yet return and raise them into glory over the other lower races. (Sadly, by Mass Effect 3, the batarian race will become all-but extinct with the annihilation of their homeworld.)
That’s science fiction.
The game Eternal Darkness views religion as a sort of poorly lit scrim against the real gods, a sort of gauzy backdrop of shadowplay as they move in the dark. Charlemagne is mentioned in passing but really it’s the old gods that hold sway along with their magic and other dead and gone civilizations. Of course, that’s because the game takes some very strong influence from Lovecraft’s Mythos writings and does an excellent job of it.
Then there’s the Diablo series—and the upcoming Diablo III—that borrows liberally from ancient Jewish and modern Christian mythology. With the major boss of the series, the eponymous Diablo, is a name for the Christian character of “the Devil,” there’s also reference to ancient gods like Baal—the name of any number of ancient local deities in the Middle East—and others taken from contemporary Western, especially German sources. In the game, there are several religious orders of vague cultures such as the Horadrim, there are chapels, there’s demons, and even angels. All central vestments of modern Christian mythology repainted into the Diablo universe.
Then there’s games where players get to play as gods, such as Black & White and From Dust—all extensions of the ever popular progenitor of the style Populous.
Of course, lest we forget, there’s things like Left Behind: Eternal Forces; but I’m not about to go into how badly that one went over when Kazz already did.