Effective Horrors

When it comes to movie genres, I find it that people's opinions are most polarized with regard to horror movies: they either hate them or truly enjoy the experience. And I believe these movies are among the hardest ones to get right, to skillfully fiddle with one of our fundamental feelings: fear.

Let me start with a brief detour, a little story that I find very relevant to the subject at hand.

When I was in middle school, I had a very eccentric art teacher. I did not approve of his teaching methods, he did not approve of my attitude. Needless to say, a small conflict of opinions ensued at the time, partly due to his eccentricity and personal views but mostly due to my stubbornness and inability to appreciate his genius: little did I know that many years later, I would recall him as one of the greatest personalities I have ever met in person in my life.

One day, at the beginning of the class, he started complaining about something. He was outraged about the fact that lately, more and more books of fictional literature had started including illustrations in them. He went on to say that this was the most absurd thing, because by imposing an artist's visual depiction of elements in the story, the reader's own imagination is practically killed! The reader, especially children and teenagers, must rely solely on their own imagination and knowledge to "visualize" the book, to imagine themselves what they would actually see as they read the book.

At that very moment, I did not give much thought to his complaint. But after a while, thinking back about the many Jules Verne novels read during my childhood, I remembered it all too well: there were exhilarating moments while reading his novels when my imagination was absolutely pushed to its limits, when I was almost desperate to coagulate in my mind an image of the fabulous contraptions, landscapes and characters that Jules Verne was so adept at putting on paper. I was so anxious to see a drawing, a sketch, anything - an almost painful curiosity was stirred inside me. But then I realized that, had I been spoon-fed with such illustrations throughout the lecture, my imagination and enthusiasm would have been greatly numbed, by comparison. But since I hadn't been shown any of it, having been left at my mind's own struggle to "see" what I was reading, it made it some of the greatest and most exhilarating reading experiences of my life.

This simple principle that my art teacher taught me can be very, very relevant in film-making as well. And since I'm talking horror films today and, in cinematography, because of its very nature, you can't not show anything, I would slightly adapt this principle to this form: the less you actually see and the more you let your own imagination do the rest, the more intense the experience.

Our brain needs just a little "push", a small spark that will fiercely light up our imagination in a matter of milliseconds: a barely distinguishable silhouette, standing still or moving in the distance. A sudden movement, of an object that is not at all what it appears to be. A play of shade and light that suddenly reveals something entirely unexpected. An eerie sound, signaling that there's something more than meets the eye. (But not those cheap types of jump scares, which come and go and exist just for a moment's sake and to catch off-guard the viewers.) And all these sometimes happening in a flash, a frame so brief that you might almost miss it if you blink. But if you do catch it, if you brain's fuse has been successfully lit up and your imagination fills up the realization of what you've just seen, then there you have it: the essence of the feeling any good horror movie should aim to give you. For me at least, this is the key ingredient that can make the difference between a good (or a bad) and an exceptional horror/thriller movie.

I'd like to recommend now some of my favourite horror movies, which fit the description above. Some are cult classics, some are lesser known, but each of them has at least a few scenes where you get that "spark" I've mentioned before (which, of course, I won't spoil below), adding up to a great viewing experience.

Signs (2002)

M. Night Shyamalan's best work, in my opinion. I can't think of a director who knew so well how to show the audience those subtle elements in a way that surprises and terrifies you so effectively. One of the best horror/thriller writers and directors, when he was in his prime years.

The Village (2004)

Again, M. Night Shyamalan combining primal fear elements with his trademark plot twists.

The Blair Witch Project (1999)

The well-known cult classic horror "mockumentary". The first movie, as far as I can remember, that introduced me to this style of imagination-based horrors - and it was surprisingly effective at doing so.

A Tale of Two Sisters (2003)

My favourite Asian horror film. It masterfully crafts suspense, while cleverly employing without overusing the well-known cliches that are common to many related Asian films.

The Descent (2005)

This movie exploits two of our basic fears, the fear of darkness and claustrophobia. Add in a lengthy suspense build-up and the occasional "suspicious" glimpses that will make you ask yourself "What did I just see there for a split second? Was there something in the dark or is my mind trying desperately to recognize shapes and figures in an unfamiliar place?" and you get a really intense ride.

"Millennium" series (1996 - 1999)

"Millennium", the brainchild of "The X-Files" creator Chris Carter, is my favourite TV series of all times. Many of its episodes are true masterpieces, revolving around the question of what evilness actually is, if it's an innate human trait or if there's something more to it. And this question gave birth to some very atmospheric and suspenseful episodes that can be regarded as true horror movies themselves. Speaking of which, "The X-Files" series also had their fair share of great horror episodes, combined with the supernatural or sci-fi themes that the show is so renowned about.



Before I "sign off", I'd like to mention - as a habit continued from previous posts - my 2 favourite horror video games. Like I've said before, the line separating films from modern video games is getting slowly blurred on many aspects. The interactivity that is still specific to games can have a great impact for horror storylines, where all of a sudden you, the player, are the character of the story, so the experience can get a lot more personal and intense.

Amnesia: The Dark Descent (2010)
"Amnesia" is widely regarded as the scariest game ever made, an opinion that I completely agree with. It's a terrifying survival horror experience, where you don't get to defend yourself, you're just a confused human being, bordering insanity, having to rely on your wits to hide from and overcome the dark presences in your path.

F.E.A.R. (2005)
F.E.A.R. masterfully combines modern horror elements from Asian cultures with supernatural happenings, military action and shady corporations. The result is one of the most atmospheric first-person gaming experiences you can ask for.

Inspiring Soundtracks

I am one of those moviegoers who, no matter what, always prefer to watch a good movie at the cinema instead of anywhere else. I doubt there are many other options that can match the feeling you get inside a true movie theater when it comes to audio and video quality, without sacrificing affordability. I believe watching an audio-video spectacle inside a good cinema is one of the finest experiences that modern technology can provide. This time, I'd like to focus on the audio part of that experience - the soundtrack, the music of the films.

I would say there are three categories of movies with respect to their soundtrack: first, there are movies that have little or no music at all. Although rare, the best example that comes to mind is "No Country for Old Men" (2007), which has no soundtrack at all, but it's an omission that doesn't impair it in any way. Then there are the vast majority of the movies, those that use music moderately frequent, in order to emphasize certain portions or moments of the story. Here, the soundtrack is usually not the main focus of the experience - not to imply necessarily that the quality and the efforts involved are not extensive - and probably a large part of the audience will remember little if any of the music heard throughout the view. And finally, there are the movies for which the soundtrack is an integral part of the experience, an essential element that gives an extra dimension and impact to the story, a piece that, if stripped from the movie, would probably make it unrecognizable. For these films, most if not all of the audience will remember the soundtrack long after the view and identify it as one of the key and most powerful characteristics of the film. It is this type of films that I want to discuss about in today's blog post. So, without further ado, I'd like to list my favourite movie soundtracks:

1. Tron: Legacy

If I had to name my top favourite movie soundtrack, it wouldn't be very easy, but this would be it: "Tron: Legacy", a top-notch sci-fi audio-visual spectacle that looks and sounds incredibly good. The soundtrack is the main reason why I've been to the cinema 3 times to re-watch this movie: it's the greatest combination of symphonic and electronic music I've heard so far. I had no idea the Daft Punk duo were capable of approaching this direction - boy, I couldn't have been more wrong. Together with an 85-piece orchestra and influenced by Hans Zimmer, they've managed to create a soundtrack that I have absolutely no reluctance at all to call a masterpiece. It's a really successful experiment of blending two different styles of music, not by simply superimposing one on the other, but by creating a perfect synergy that gives a whole new dimension that probably neither of the two styles could attain on its own. It's still a relatively rare new breed, but it's a direction that I would absolutely love to hear more and more in modern music.

Soundtrack highlights:
The Game Has Changed
Encom - Part I
Disc Wars

2. The Dark Knight Rises

Hans Zimmer. I first became familiar with his work after the 2nd part in Christopher's Nolan relaunch of the new Batman series - "The Dark Knight". Then I got really impressed by his work on the "Inception" soundtrack. And then, last year, I was struck by what I consider to be his ultimate masterpiece: the soundtrack to the series' conclusion, "The Dark Knight Rises". His inimitable blend of sharp, flawless electronic music (which puts most of electronic music producers out there to utter shame) and orchestral music is definitely one of my favourite listening experiences, an amazing symphony of emotion which perfectly fits and greatly enhances the impact of the movie, which is an extraordinary achievement itself.

Soundtrack highlights:
Imagine the Fire
The Fire Rises
A Storm is Coming

3. Unbreakable

"Unbreakable" is one of my favourite films. I could watch this movie daily without ever getting bored of it. And much of this impression owes to its sublime soundtrack. The M. Night Shyamalan / Bruce Willis duo "strikes" again, fortifying Bruce's position as one of my favourite actors and Shyamalan's as a very imaginative director. Throw in Samuel L. Jackson too, who I really like as well and has great chemistry with Bruce Willis, and you've got a memorable experience - at least for me. James Newton Howard cements it all with an unforgettable soundtrack, my favourite of all his work. At first, the main musical theme fades in and out throughout the movie, a bit shy and not fully shaped, much like the protagonist's knowledge about his true identity and capabilities.

But then, at the climax of the movie, it hits in full strength, mercilessly, during a scene where the hero experiences the epiphany of who he really is, in a crowded train station, where the mundane contact with random strangers reveals the true, dark side of reality. The firm, electronic tones suddenly reveal to the viewers his powers - without this touch of genius from J.N. Howard, this scene would be null. What an amazing moment! Definitely one of the most touching films I've ever seen.

Soundtrack highlights:
Unbreakable
Reflections of Elijah
The Wreck

4. The Fountain

Clint Mansell is already a legend for many. His work on the soundtrack for "Requiem for a Dream" - a cult classic -, most notably the famous "Lux Aeterna", needs no introduction. My favourite work of his is on "The Fountain": a profoundly sad and beautiful movie, and the soundtrack perfectly captures this feeling. What I find unique about this soundtrack, or at least don't recall being so well outlined in others, is the so-called "crescendo". It starts simply, with few instruments, and as the story progresses and becomes more emotionally involving the layering becomes more complex, the intensity more powerful. Then there are short interludes, followed by repetitions of the main theme together with new themes as well, each time more and more powerful than the previous episode. It's a very engaging and tensioned progression towards the climax of the movie, at the perfect pace. This is by far my favourite pattern that I look for in music. I would really love to experience something similar in other movies too.

Soundtrack highlights:
Death is the Road to Awe
The Last Man
Finish It


5. Drive

"Drive" is one of the strangest movies I've seen. By the time I finished watching it, I had realized I really like it, with no idea why. Now that I think of it, everything in it just fits together, sewing a very cohesive style. The protagonist performs some of the oddest social interactions you'll ever see, and on many occasions his thoughts, feelings and attitude are expressed through the movie's soundtrack, ranging from synth-pop tunes that emulate the '80s atmosphere to abstract, modern electronica. On the one hand, the synth-pop music suits quite well the character's style and makes me enjoy them much much more than I probably would have if hearing them first outside the context of the film. On the other hand, the contrasting abstract electronica inflicts a strange yet pleasant hint of confusion to the whole movie, as if you're actually experiencing a weird surrealist dream. A very original movie!

Soundtrack highlights:
Kavinsky & Lovefoxxx - Nightcall
The Chromatics - Tick of the Clock
Cliff Martinez - Wrong Floor

6. Inception

"Inception" OST - Hans Zimmer's modern classic, a work that sets a new landmark in film soundtracks, with already countless attempts to imitate it. Love it or hate it, the well-known "horn of doom" sound has become a trademark of this movie. But far from being the only trait of the soundtrack - Hans Zimmer is highly adept at creating diverse dream soundscapes, you could almost say he's in his natural element, skillfully playing with electronic instruments as well as with classical ones. The movie trailer also featured a great soundtrack, which unfortunately misses from the full album but perfectly fits the style of the film.

Soundtrack highlights:
528491
Mombasa
Half Remembered Dream

7. The Hobbit / Lord of The Rings series

I find it very difficult to find a more beautifully crafted film than any in the "Lord of the Rings" (and more recently, "The Hobbit") trilogy. "The Lord of the Rings" features an iconic soundtrack, whenever you hear it it brings back to memory all those spectacular landscapes and the epic adventures. And now, "The Hobbit", bringing it all back on the big screens, together with a fitting soundtrack that caught my attention as soon as I watched the trailer for the first time. I can't wait for the rest of the trilogy!

Soundtrack highlights:
Misty Mountains
Opening Theme
The Bridge of Khazad Dum


Video Game Soundtracks

The soundtrack experience can get even more personal when it comes to video games, where you have interactivity with the player, as opposed to movies, which (at least for the moment and excluding some rare experiments) lack this element. Below is a list of my favourite game soundtracks:

Machinarium - this lovely game takes place in an 'old-school' tech universe, where everything is mechanic and the only inhabitants are robots. The music does a terrific job of imbuing soul to the robotic characters and immersing the player into the story and the universe. This game is a little gem that everyone should try.

Mirror's Edge - a very dynamic and visually stunning game. The bright, clean colors of the futuristic cityscape contrast strongly with the totalitarian regime controlling it. The soundtrack is produced by one of the most appreciated ambient/chillout music producers in the world (Solar Fields), masterfully combining action music with chilled down passages, in perfect sync with the game. Running across the rooftops and performing intricate acrobatics while being carried around by the soundtrack remains one of my favourite gaming experiences to date.

Limbo - a very intriguing artistic experiment. Both visually and sonically. The game soundtrack's creator adopts a technique known as "acousmatic music", where various objects in the environment participate together to create the musical background. Combined with abstract synthesizer sounds, it creates a very twisted and interesting image of an ethereal, irrational and menacing place.



I can not stress enough how important I feel music can and should be to a film, video game, or by extension to any visual experience. The examples above are subjectively the finest I can think of and they are my favourites. I would really like to know your preferences as well, below in the comments section, a suggestion for a movie soundtrack that I can (re-)watch or listen separately is welcome!

Mastermind Villains

I don't know about you, but when it comes to villains, I strongly believe that a movie's lasting impression owes much to a well-developed and impressive negative character. Either as antagonist or protagonist, the villain often manages to imprint a greater impact on the storyline and the viewer than the forces of good who try to stop them. It's not about condemning or condoning their acts, it's about exploring eccentric personalities which are often so skillfully shaped and then shown to us by the filmmakers.

In this post, I want to focus on a particular category of villains. At first, I thought I could only come up with singular examples, but after reviewing the list of films I've watched throughout the years I realized that's not the case. I'd describe this type of villain as the one whose two greatest assets are intelligence and charisma; they are highly manipulative and often act according to an extremely well-thought plan in order to pursue their clear goal. The defining trait, however, is again a recurrent pattern in many movies: at some point, they willingly surrender to their adversaries, a cunning move that is later revealed to be in fact an essential part of their plan. It's the highest form of deceit, feigning the loss of control just to strike harder than before, when the enemy is off guard. This awards them the status of mastermind, highly cerebral personalities, placing them among some of the most memorable villains in the history of cinematography.

Until recently, I thought this was a trademark of Christopher Nolan, the director whose already iconic "Joker" character has had a resounding impact in modern cinema. While I do believe Nolan definitely has the merit of perfecting this type of antagonist and taking it to the next step, he's not actually the one to invent it - even though more recent films give away his strong influence. I made a list of such villains, in no particular order and most probably not exhaustive, showing at the same time some of my favourite movie characters ever. Needless to say, there are spoilers ahead, so be aware if you wish to find out about a character from the movie itself and not from here! As usual, suggestions for new entries in the list are greatly appreciated. Also, what's your favourite type of villain and why?

Skyfall (2012)

Raoul Silva

Image source: James Bond Wikia

Notable deeds: Hacks into the British MI-6 network and sets himself free after being deliberately captured. Brings about the death of the head of the Secret's Service Foreign Intelligence wing.

Character's fate: death.

The Dark Knight Rises (2012)

Bane

Image source: Villains Wikia

Notable deeds: puts into practice an intricate crash and escape plan while on an airplane, in one of the most memorable sequences of its kind; seizes full control over Gotham City's downtown and temporarily overthrows the social class hierarchies. 

Character's fate: death at the hands of Batman's ally, Selina Kyle.

No Country for Old Men (2007)

Anton Chigurh

Image source: Villains Wikia

Notable deeds: murders in cold blood the police officer that takes him into custody and then sets in motion a brutal killing spree in rural Texas while ruthlessly hunting down a war veteran carrying a large amount of money.

Character's fate: gets away, with serious injuries however, sustained in a car crash.

The Dark Knight (2008)

The Joker

Image source: Batman Wikia

Notable deeds: cleverly manipulates several individuals in order to escape and wreak havoc on a police department; inflicts panic and terror in Gotham city as an agent of pure chaos and nihilism; corrupts one of the city's brightest crime-fighters and brings him down to his level.

Character's fate: incarceration in an institute for the criminally insane.

The Usual Suspects (1995)

Keyser Soze

Image source: EmpireOnline.com

Notable deeds: makes up a convincing story while being interrogated by a detective, completely deceiving him about the identity of the prime suspect.

Character's fate: successfully gets away before the police realizes his true identity.

The Silence of the Lambs (1991)

Dr. Hannibal Lecter

Image source: Villains Wikia

Notable deeds: manipulates, as an inmate, law enforcement agents while cooperating on a serial killer investigation, culminating with his escape.

Character's fate: escapes from prison.

Se7en (1995)

John Doe

Image source: Villains Wikia

Notable deeds: murders people guilty of any of "the seven deadly sins" and then surrenders to a detective that will fall victim to his plan.

Character's fate: revenge execution, as planned by his own self.

Perfume: The Story of a Murderer (2006)

Jean-Baptiste Grenouille

Image source: themoviedb.org

Notable deeds: uses his superior olfactory sense to create a perfume so powerful that it makes an entire town fall at his feet and claim him innocent, right after being incarcerated and awaiting execution.

Character's fate: suicide, using his own creation.

Law Abiding Citizen (2009)

Clyde Shelton

Image source: Deadliest Fiction Wikia

Notable deeds: surrenders and gets incarcerated after a revenge murder, while systematically eliminating the actors of a corrupt and inefficient justice system.

Character's fate: death, after his plans get overturned.

Call of Duty: Black Ops II (2012)

Raul Menendez

 Image source: Call of Duty Wikia

Notable deeds: hacks into the US army network infrastructure, all while being deliberately captured, and cripples the entire USA's defense by forcing all aerial drones into self-destruction.

Character's fate: assassination / incarceration / suicide, depending on player's actions.

State as the Ultimate Oppressor

Carrying on on the same note as in my previous post - corporations as powerful antagonists in films -, I'd like to point out another "nemesis pattern" that has been given much attention in recent films (and not only) and which I can mark as one of my favourites: the state as the ultimate oppressive force and one of the most powerful adversaries imaginable. Not necessarily rigid in definition, state as a non-individual entity, an either limited or extended group of actors that in most cases hold a firm, over-authoritative control over a larger, subdued group, whose many of the human rights are severely jeopardized or brutally violated. A totalitarian regime, that is, which can go far beyond the political scope, as we'll see in some examples further on.

There are basically two types of movies that use the state as the instrument for creating the antagonist: on one side, movies based on real totalitarian regimes (including documentaries) or extensions of those regimes that can still be placed on the realm of non-fiction, while on the other side are movies that depict fictional regimes, many of them based on George Orwell's vision of a "perfect" totalitarian society and which, not surprisingly, have a strong presence of the science-fiction element, taking place in the future. 

Many of the films in the first category have become landmarks in cinematography and will probably remain so for decades to come: "Schindler's List", "The Pianist", "The Killing Fields", "The Lives of Others" are all examples of great movies that show what real fascism and communism looked like. The filmmakers' attitude is sharply pronounced, not hesitating to show the horrors endured by the victims in some of the most memorable scenes of all times. The usual outcome of the stories in these movies is rather grim, there's rarely any heroic action from the protagonists that induce severe blows to the regime (except perhaps in Tarantino's "Inglorious Basterds", which can be placed in a genre of its own). Instead, the characters take part in a survival story, in a world of helplessness, where the truth is that you, as an individual, have no chance of taking down the regime and fixing all the injustice that has been done and instead you're forced to hide and survive in whatever ways possible. This lack of "vendetta" and the inability to make things right, to punish and get rid of the evil, leaves a profound feeling of revolt in many viewers. I am myself one of those viewers, for whom this kind of films stir the most powerful emotions - and, leaving aside the financial aspect, what's the most sought-after trait that a film can hope to achieve, if not that?

As if to make up for this induced frustration, movies in the second category - fictional regimes - have a different outcome. Although not a general rule, their stories revolve around one or a few exceptional individuals who, after surpassing enormous obstacles, manage eventually to defeat the regime or at least to ignite a powerful spark that will irreversibly lead to its downfall. Two shining examples of such stories can be found in the "Star Wars" and "The Matrix" series. Both focus on a protagonist unaware of its potential but who will become, aided by rebel factions, an essential element in destabilizing the ruling structures. Although "Star Wars" features a political, human-ruled regime (a galactic empire), "The Matrix" puts in charge a much darker and subtler ruler in the form of advanced robots that keep almost the entire human race in a completely docile state, unaware of its fate. What's even more fascinating about this story is shown in the complementary "Animatrix": the robots themselves had been slaves for humanity but eventually emancipated and took their turn as rulers.

A significant influence for the fictional totalitarian regimes is George Orwell's book, "Nineteen Eighty-Four", published back in 1949. If you haven't read it, I strongly recommend you to do so: you'll be amazed, shocked, furious and mind-blown at the same time. It's almost a textbook for implementing a truly dehumanizing totalitarian society, one which some filmmakers were eager to follow. There are even two film adaptations of the book, released in 1956 and 1984, respectively. My favourite two films inspired from the "1984" universe are "Brazil (1985)" (widely regarded as a classic masterpiece) and "V for Vendetta (2005)", the latter emphasizing once again Wachowski brothers' (who directed "The Matrix" as well) fascination with slavery and other forms of societal oppression. Other good examples in this category are "Equilibrium", "Dark City" and "THX 1138". These stories do not always have a happy ending: sometimes, the main character is a victim of their own delusions or futile efforts in overthrowing the system and escaping the society they hate so much, a pessimistic outcome which adds to the image of the totalitarian state as an inescapable monster which leaves no hope for the common citizen entrapped by it.

To conclude, I'd like again to list the movies that have been mentioned throughout this post and others that fit this topic. I'll split the list in two sections, real and fictional regimes. For each entry, I'll mention the character focus (whether the protagonist fighting against the regime is an individual or part of a group) and the final outcome (whether the regime is defeated or not as a result of the protagonists' actions). Since this may be my favourite movie topic, I would greatly appreciate any other suggestions, both as entries that should belong on the list and movies to watch.

Movie Title	Character Focus	Outcome
Real Regimes
Schindler’s List (1993)	Individual	Regime undefeated
The Pianist (2002)	Individual	Regime undefeated
The Killing Fields (1984)	Group	Regime undefeated
The Lives of Others (2006)	Group	Regime undefeated
The Grey Zone (2001)	Group	Regime undefeated
Shogun Assassin (1980)	Individual	Regime undefeated
The Tunnel (2001)	Group	Regime undefeated
Europa Europa (1990)	Individual	Regime undefeated
Defiance (2008)	Group	Regime undefeated
Valkyrie (2008)	Group	Regime undefeated
Train of Life (1998)	Group	Regime undefeated
La vita è bella (1997)	Group	Regime undefeated
Apocalypto (2006)	Individual	Regime undefeated
Braveheart (1995)	Individual	Regime undefeated
Fictional Regimes
Nineteen Eighty-Four (1956/1984)	Individual	Regime undefeated
V for Vendetta (2005)	Group	Regime overthrown
“Star Wars” series	Group	Regime overthrown
“The Matrix” series	Group	Regime overthrown
Brazil (1985)	Individual	Regime undefeated
Dark City (1998)	Individual	Regime overthrown
Equilibrium (2002)	Individual	Regime overthrown
The Hunger Games (2012)	Group	Regime undefeated
TRON: Legacy (2010)	Group	Regime overthrown
THX 1138 (1971)	Individual	Regime undefeated
They Live (1988)	Individual	Regime overthrown
Cloud Atlas (2012)	Group	Regime overthrown

Last but not least, video games too have their say when it comes to this topic. Many of them can rival films and books in terms of storytelling, especially since the story unfolds through the eyes of the main character, which is you, the player; it's more or less an interactive movie. Of the games in the "totalitarian state" topic that I've played, "Half-Life 2" truly stands out as one of the most beautiful and inspiring stories of its kind. The list below contains only games that I've played, so I'm sure there are plenty of other titles that belong there. As usual, your help is greatly appreciated!

Game Title	Character Focus	Outcome
Half-Life 2 (2004)	Individual	Regime overthrown
Dishonored (2012)	Individual	Regime overthrown
Fallout 3 (2008)	Individual	Regime overthrown
Rage (2011)	Individual	Regime overthrown
Outcast (1999)	Individual	Regime overthrown
Fable III (2010)	Individual	Regime overthrown
The Elder Scrolls V: Skyrim (2011)	Individual	Depends on player’s actions
Mirror’s Edge (2008)	Individual	Regime undefeated