UPDATE NOTE: This article is about the original Assassin's Creed IV: Black Flag, released in 2013. 

You know what they say about an image being worth a thousand words: the same or something similar could be said about expressions. Human expressions can be astonishingly revealing of sentiments or thoughts that may be never expressed through words; they can convey emotions and speak louder than any speech. Their subtlety is impressive; several times, micro-expressions pass unnoticed while being of the utmost importance, while other times, when appearing with calculation, they can even be misleading of a person's true feelings or intentions. The effective depiction of such detail through a three-dimensional world is extremely challenging; even in high-definition productions with absolute attention to everything, sometimes the facial expressions and the body postures may still look unnatural or stiff. Something that is not the case in the original, now classic already, Assassin's Creed IV: Black Flag, which can boast, among its many other great traits, about how cared after the design of its characters is, to a degree where they are able to convey even the subtlest of emotions, many times revealing things that are never talked about or not even hinted on the first level.

Background action is also flourishing. An early example is the start of Sequence 6, with Jack Rackham and Charles Vane making their grand entrance in the Old Avery tavern. The scene begins with the lead protagonist Edward Kenway once again studying his map of the Observatory, while at a table behind him Anne Bonny is shown having a drink alongside a man who, although we never learn officially who he is, in fact we know is her husband. (clip)

The real Anne Bonny arrived at Nassau with her spouse at a very young age, and soon became an object of gossip among the locals, because she was considered quite promiscuous. This is a historical detail about the real person, which is discreetly hinted at in the game, with the fictional Anne abruptly changing her posture as soon as the two seasoned pirates show up with a playfully aggressive attitude.

In a blink-and-you-will-miss-it moment, because the camera immediately moves to the left leaving Anne outside the frame, her husband is seen turning towards her, looking clearly annoyed and troubled. (clip)

Partly ready to fight, partly not really bothering about it, Rackham and Vane instantly switch to a much more friendly manner, thanks to Edward's diplomatic and calm response. You can see how their expressions change while he is talking to them, as they realize that the place is not hostile and that they can settle there with no problems, as long as they do not cause any problems themselves.

As the scene comes to and end and Jack makes himself obvious to all the people in the tavern, you can see how Anne leans towards him, while her husband's gaze is something between furious and baffled. (clip)

In the same scene however, there is yet one more interesting series of reactions that may pass unnoticed. After Vane and Rackham make their acquaintance with Edward, our hero abruptly moves to the background action as soon as Thatch makes his grand appearance. Having significantly changed since we last saw him in Sequence 4, Blackbeard is no more just one more pirate, but he has developed an imposing personality, highlighted mostly by rather extravagant stylistic additions the most prominent of which is the long, black beard that he had grown, which already gives him a wild, marginally demonic look. When he enters the scene, being obviously an old acquaintance of the two seasoned pirates, Edward swiftly moves to the back of the tavern's terrace, taking down what is clearly a quite big quantity of rum. For most of the time in the rest of the scene he remains at the back, silently watching, with Rackham turning to give him a curious side-look when he first does so. (clip)

This part of the scene intrigued me when I took notice, and it almost instantly became my headcanon that meanwhile, during the time that passed between the end of Sequence 4 and the beginning of Sequence 5, Edward had started to develop a growing infatuation with Thatch. It is sometimes hinted and other times clearly shown that Edward is very sentimental and has a tendency to bond strongly with people, especially his close friends. Thatch's compelling presence in this scene feels and seems quite overwhelming for him, intimidating in a way that betrays his more vulnerable side. (clip) 

This intriguing non-interaction between them comes to the foreground in Sequence 6, when they go together to explore the wreck of a ship that was rumored to have been transporting large quantities of medicine. When they arrive at the site, Edward undresses and dives down to the wreck to look for the loot in question. Back at the ship, Thatch speaks about how he plans to use more extreme means in order to be able to secure medicines for the people of Nassau, since simply searching shipwrecks is fruitless. He comments how people can get easily intimidated by a fierce, devilish persona, even if it is exaggerated or unreal. Not yet persuaded enough, Edward asks him, with a mysteriously flirty gaze and smile, if he is planning to be the devil himself. (clip)

 

 

 

Immediately after, Thatch puts a hat on his head, under the rim of which he has attached lit fuses, and starts a devilish performance, aiming at showing Edward how exactly he is going to do it, using the unsuspecting Stede Bonnet as a sample of his target group.  

Stede's reaction to Blackbeard's performance is the expected: he gets instantly intimidated, nearly paralyzed by the fierce pirate's gripping presence. 

 

Edward, on the contrary, is watching from a distance, calm and collected, with a discreet grin of fascination on his face. 

 

Then when the performace is over, and Thatch is abruptly back to his usual laid-back style, Edward seems to be in a state of rather enthusiastic tension - if you know what I mean. (clip)

 

 

A detail that is worth noting concerning the relationship between Edward and Thatch comes from the complementary book "Blackbeard's Lost Journal", a beautifully illustrated, gorgeous chronicle of Thatch's experiences in the West Indies, where a quite large portion of the memoir is naturally centered around Edward. It is supposed to contain Thatch's thoughts and reflections, and it includes scenes from the game narrated from his own point of view, as well as some extra dialogues that could have been part of the original scenario of the game but were later left out. One very specific scene is the one where Edward talks to his crew in order to have them decide about raiding the Great Inagua island. The scene in Thatch's journal is described exactly as we see it in the game - with Edward being absolutely captivating in his speech and presence, and the sailors instantly agreeing to follow him. In the journal, however, there is an additional dialogue between Thatch and Jim / Mary as soon as Edward leaves. Thatch confesses to Mary that "If I were a lass, I would be pining for this man", a comment that further highlights the undertones of the already strong bond between him and Edward, which are so masterfully insinuated by their body language - especially Edward's.

 

Another worth-noting instance of such accurate depiction of emotion is in the scene where Thatch announces to Edward that he has decided to retire. You can see how, within seconds, Edward's expression changes and all the sadness and broodiness of the world fill his gaze. (clip)

 

 

Not randomly, the lead character of the game is the one with the most interesting array of expressions and moods. Edward has a stunning physical appearance, and he is able to convey a grand variety of different emotions with his beautiful features, which are at the same time harmonious and intense. His bright blue eyes can show fury, sadness and longing with equal passion, and his hearty smile is always a sign of a golden heart in spite of how superficial or stubborn he may seem due to his decisions and actions sometimes. At the very start of the story, after he saves and then befriends Stede Bonnet, they sail together on the latter's schooner with Edward on the helm. When Stede admires him for his many talents, including him being able to pilot a ship, Edward tells him that he had learned to do it a couple of years ago, when he was a privateer. His expression when he says that clearly shows how he misses those privateering days, probably reminiscing them for a moment. (clip)

 

Then after escaping from his imprisonment on the ship with Adéwalé, as the two of them manage to steal the brigantine that will soon become his own, Edward abruptly names himself the captain of the ship and informs Adéwalé about deciding to name the brig "The Jackdaw", adding that it is to honor the sly bird that he loved back in Swansea, his birthplace. Both his own expression as he says this, and Adéwalé's as he is listening, are very telling of a complex alternation of emotions and inner thoughts. Clearly there is much more about the jackdaw than Edward says; you can tell from the deepness of his gaze and how he stares straight ahead, again as if he is recalling something that should be precious to him. At the same time, Adéwalé's side-look is slightly bitter and cautious, because it was him who first spotted the brig, yet Edward stepped ahead and claimed it as his own; but at the same time it is as if he is trying to decipher the inner psyche of the passionate young man he just met, who is obviously far from being ordinary and common. (clip)

 

 

As much as Edward is able to convey complex and dark emotions, the same way he can show hints of his lighter, humorous and feel-good self. Towards the end of the story, his is tasked by Anto, the Assassin who is in charge of the bureau in Kingston, to track down and kill Woodes Rogers. To be able to even approach him, Edward must find a disguise that will allow him to enter a private party that the ex-governor of the West Indies will also be attending. The plan is to find and kill an Italian diplomat who also happens to be a Templar, and take his clothes so that he can pass for him and be able to bypass security and subsequently enter the area where the party is being held. After Edward kills the diplomat, he takes his coat and wears it over his own clothes. At this moment, a hilarious moment of plot complexity takes place: the standard outfit that Edward is wearing is a modified version of his original one, which was in fact the uniform stolen from Duncan Walpole. So Edward had been walking around wearing not only a dead man's clothes, but additionally the clothes of a dead man that he had killed with his own hands. So now that he puts on the diplomat's coat over his outfit, it is a double score: for a few minutes, he is wearing a dead man's coat over another dead man's clothes, and both men had been killed by him. You can tell by his half-acknowledging, half-cunning smile that this is more or less the thought that crosses his own mind at that moment. (clip)

 

 

The subtlety of expressions and body movements that is so characteristic of the game's design adds a lot of spice not only to the lead characters, but also the supporting cast - like in the case of Anne Bonny that I mentioned earlier. There is also one more such instance involving Anne, even more brief and passing that the previous ones. Before leaving to find the diplomat, Edward hands over to Anto a letter, which is addressed to Caroline, his estranged wife back in England, asking him to make sure it reaches its destination. Obviously unaware of Edward's family status or his relations with his home, Anto simply takes the letter, but Anne, who is present in the scene, watches curiously as Edward gives over the letter. 

 

Then as Edward is leaving, you can see how she leans slightly over the desk, most probably to gossip a bit with Anto about her captain's family issues. Literally a blink-and-you-will-miss-it instant. (clip)

 

Edward's good looks don't pass unnoticed from anyone; his striking physique and bright personality are guaranteed to catch everybody's attention, even if they do not always show it clearly. Laureano Torres's reaction in the scene where Edward invades the War Room of the Punta Guarico fort is quite indicative of this. After capturing the fort by destroying its defences, Edward bursts in the War Room with his men, in order to threaten Torres and make him hand the Sage over to him. The last time that Torres had seen Edward was back in Havana, where his scam was revealed and Torres had him imprisoned in the ship from where he eventually escaped. Although he was anything but intimidated back then, he is now far more self-confident, with his imposing figure showing even more now that he has established himself as a intrepid and occasionally relentless pirate captain. Torres is clearly taken by surprise, but the most decisive moment is when Edward threatens him directly and gives him a fearless look with an audacious, mischievous smile.

 

 

Just then, the old man stays speechless for a moment and gazes Edward in amazement. I always suspected that Torres secretly loved a bit of rough, but after noticing this detail, I was sure. (clip)

 

 

For last, I saved my favorite scenes on this theme of expressive facial reactions and body language. I had included a mention in a past article about Edward Kenway, but they do deserve to be more analyzed here, since they are so fascinating. 

 

There is a very subtle subplot of sorts going on, nearly impossible to notice if you do not pay close attention to certain interactions and reactions. It can be traced back to Edward's first time at sea as a privateer, but since there is very little information in the game's scenario about those early years, most facts can be retrieved from nuanced dialogues and expressions of the characters and the complementary book that I referenced earlier, "Blackbeard's Lost Journal". In his notes, Blackbeard narrates how he first met this young and fearless boy who joined him on board and became his mentee, vividly reminiscing several adventures where Edward eventually triumphed with his skills, charm and genious. There are several sketches of Edward in the pages where he is mentioned, the most impressive of which is one that depicts him catching a giant sea turtle underwater. On the occasion of this incident, Blackbeard praises Edward's bravery and solidarity, clearly impressed by his ability to adapt to tough situations and think on his feet. Soon after, he narrates how he brought Edward to Nassau to meet his own mentor, Benjamin Hornigold. Although Blackbeard does not talk much about Benjamin throughout his journal, it is notable that there is a stunning portrait sketch depicting him, accurately highlighting his character and mysterious personality with its rough lines. As a side note here - I cite the Journal as a source of reference rather than the novelization of the game, because I found the Journal to be more faithful to the development of the game's scenario, and much more accurate in its historical details. Specifically, it is stated in the novel that Hornigold was older than Blackbeard, when in reality they were the exact same age (according to some sources, Hornigold was younger even); and although this may seem like a minor detail, in fact it is very important: Hornigold was a mentor to Blackbeard and several other pirates who later became notorious for their deeds, while himself was very young, and this is quite indicative of his skills, his strategic mind and his overall perception of privateering and piracy. And it is also important because he was not even 40 years old when he died. The way the Journal portrays him both in image and in words, does him justice, as does his depiction in the game. 

 

With this background in mind, nearly all the interactions between Edward and Benjamin become much more interesting than what they may seem on first look. And even without it, because when I first took notice of what was going on in the background, I did not know about the existence of the Journal. It just confirmed some of my thoughts when I studied it; also it helps highlight some facts even more. And here is where the game's attention to detail when it comes to facial expressions and body language comes into play. 

 

Edward reminscing his privateering days while talking to Stede, which I mentioned earlier, is a first hint; as is, much later, his very apt mention of the jackdaw to Adéwalé. Then when they arrive at Nassau, Benjamin welcomes his friend, obviously overjoyed to see him after a long time, with the rather spicy greeting "You are a sight for salty eyes", which may seem like a phrase that would be expected among seasoned seamen, but coming from Benjamin at this specific point feels anything by random.

 

Equally not random is Edward's response, which may be a neutral greeting addressed at everyone there, but his subtle smile and pleased gaze convey something not general at all, as at just the last moment he turns his eyes towards Benjamin. (clip)

 

 

Minutes later, when Edward mentions the name of his newly acquired ship, Benjamin does not make any comment, unlike Blackbeard who teases Edward about naming the brig after a poxy bird. In his turn, Edward does not reply to this comment, but instead turns slightly to look at Benjamin, and for a fraction of a second, in a blink-and-you-will-miss-it moment, they exchange a furtive look at each other, both with a very slight, knowing smile. 

 

Then Benjamin leans back with a calmly satisfied look on his face, as if being very content about the name of Edward's ship. (clip)

 

I had mentioned in the aforementioned article how much Benjamin resembles a jackdaw; in the novel, his description says that he had a nose like a hawk, but it is pretty obvious that he has much more of the overall look and feel of a raven. The hawk references a predatory creature, but a raven hints at something - or someone, in this case - who is mysterious, watchful and maybe hides secrets; a perfect description for Benjamin as we see him in the game's story. Ever since I noticed that his features resemble those of the jackdaw, I felt it was a deliberate design choice, and that Edward mentioning that he loved the "sly bird" in Swansea was part red herring, part half truth. Jackdaws are very common in Wales, where Edward was born and raised as a child. Naturally he could see them every day, and somehow he got attached to them. Leaving home, they were among the memories that he brought with him. Then he met Benjamin who somehow must have gotten related to this memory, at the same time taking it to an elevated level. Thatch might have been Edward's original mentor and closest friend, but Benjamin was the one who further taught him the secrets of piracy and, moreover, how to take what he likes but at the same time be a gentleman. Benjamin was not like the other pirates; he would put more thought into his decisions and actions, and calculate things and chances before actually doing anything. Just like the jackdaw - any bird of this kind, for that matter, which is extremely smart. So in that sense, Benjamin was to Edward much more valuable as a guide and mentor. 

 

What may or may not have been going on between them remains generally vague, but at instances such as those described above, their facial expressions and body language speaks volumes. Near the end of the same scene, as Edward is about to leave, Benjamin's gaze abruptly - and not so discreetly - gets fixed on him as he speaks and moves, and even follows him as he departs. (clip)

 

The looks they are not exchanging but somehow share during the subsequent scene, where Edward tells his friends about the Observatory, are also quite interesting. (clip)

 

 

The next instance is the start of memory "Prizes and Plunder" where Edward sets off with Benjamin so that the latter will teach him how to attack ships and subsequently plunder them. Before they do so, Edward finds Benjamin and Thatch at the beach, where he exchanges teasing comments with Benjamin concerning the size of their ships. Edward's ship is a Spanish brigantine, a considerably large ship which cannot go very fast but looks quite elegant, while Benjamin's ship is a schooner, a rather small vessel which however can sail with high speed. In yet another blink-and-you-will-miss-it moment, Benjamin seems to momentarily fix his gaze on a very specific spot while mentioning that he prefers the Spanish stuff; a comment that comes to contrast with the choice of his own ship, which is Jamaican, while it is actually Edward's ship that is Spanish. (clip)

 

Then as Edward walks towards the shore, Benjamin follows him with his gaze without making the slightest attempt to hide it, although they are not alone on the beach. 

 

And he keeps staring as they push the boat on the water to reach the ship. (clip)

 

Incidentally, Edward's posture during most of those instances does not look like he has not taken notice, but more like he chooses to pretend that he hasn't noticed.

 

Then in memory "Raise the Black Flag", after having successfully plundered a couple of merchant ships, Edward and Benjamin stop by at the Salt Key Bank for the necessary ship repairs and resupplies. Benjamin looks quite satisfied with how things have turned out and also content with Edward's skills. He mentions how if things keep going on like this, everyone will be able to live a free life in Nassau. Including them, of course, with whatever connotation this may have. Again the look in his eyes says a lot more than words while staring at Edward.

 

Minutes later, as Thatch also get involved in the scene, he affectionately touches Edward on the shoulder while making a brief but very touching speech about the black flag symbolizing the essence of a pirate's life. This innocent and clearly friendly move seems to alert Benjamin, who immediately turns towards him, with his countenance completely changed.

 

Subsequently he asks Thatch to give him a docket, essentially forcing him to take his hand off Edward's shoulder so as to hand Benjamin over the list in question.

 

Then Benjamin rushes to take Edward away again, by leading him over to the Jackdaw so that they embark on the next activity, which is a lesson of attacking and plundering military ships, with his stare again fixed on Edward. (clip)

 

When they are back at shore, Edward informs his friends that he plans to stay at sea for as long as needed in order to gather enough wealth and influence to give him a status and a legacy back in England. Benjamin then essentially urges him to stop thinking about Caroline and focus on the West Indies, where he can have any girl that he wants, anytime. His expression when he says that is more than revealing about what he truly might mean. (clip)

If Benjamin's face and body language is unveiling and indicative of a much more complex connection between himself and Edward, Edward's body language towards him is equally telling, in fewer situations but which are quite intense. The first of course is the scene where he is reminiscing his days as a privateer, during the course of his chat with Stede Bonnet, after their eventful first meeting. It is very obvious there that he misses those days, bringing them back to his mind with nostalgia. Then it is his reaction towards Benjamin's compliment upon seeing him in Nassau.

 

Then comes a period of time when Benjamin's presence is very limited, and we do not know why. When he shows up again, he starts making it clear that he does not wish to fight for Nassau anymore, although the Republic of Pirates was mainly his own vision which he, moreover, managed to make real; this, together with his insisting upon not attacking British ships, gradually estrange him from his once bosom friends. As Edward and Thatch seem to be taking a separate, far more risky path, culminating in Thatch's violent death during the attack in North Carolina, Benjamin accepts the pardon, allies with Woodes Rogers and becomes a Templar and a pirate hunter, going as far as hunting down his former partners. Edward watches from a distance as this shocking transformation takes place, unable to explain it and finding it very hard to accept. As Benjamin takes on a mission assigned by Woodes Rogers and Laureano Torres to find and deliver them Bartholomew Roberts, Edward manages to locate the latter first, and agrees to help him get away from the Templars as an exchange for Roberts leading him to the Observatory. Eventually Roberts takes notice that Benjamin is after him, and sends Edward off to kill him in what is essentially a mercenary assignment. Frustrated by his old friend's betrayal, and feeling closer than ever to what has been his goal from the start - the supposed treasure of the Observatory - Edward rushes off to track down and kill Benjamin. While at the start of the hunt he sounds determined to kill his friend with no remorse, then as he watches Benjamin's ship crash on the shores of an island he is suddenly overwhelmed with his own emotions. When Adéwalé asks him if he can really do it, he replies that he wishes that the sea would swallow Benjamin and his ship, so that he wouldn't have to kill him with his own hands. He does not stand back however; instead leaves the Jackdaw so as to go find Benjamin on the islandl but the darkness and gloominess of his stare at that moment says all that he does not speak with words. (clip)

 

Then the time comes for him to do the painful deed, and as soon as he does so, his frustration and inner struggle are more than obvious.

 

Then as he tries to make Benjamin see the weightiness of his betrayal, both his moves and his expression show how he feels furious and devastated at the same time. Furious for Benjamin's betrayal, and devastated for being forced to kill him. (clip)

 

 

And then near the end of the story, during his brief but painfully emotional speech, as he acknowledges that, after having lost all his friends, there is not a man or woman that he loves left standing beside him, both his posture and his expression highlight his words with exceptional accuracy. (clip)

 

Of course there are a lot more instances in the game where the accuracy of expressions and body language is stunning; and this includes even all that is going on in the environment which involves characters that are simply part of the surroundings. But I think all instances described above are the most indicative of how the game manages to convey the emotions of its lead and supporting characters, highlighting elements of their temperament and psyche in a most sensational way. Although the game was released 13 years ago, its attention to detail is impressive; and it is one of the many reasons why Edward Kenway's story is and will forever be one of the most fascinating ever told. 

 

Life Is Strange 2' s "Faith" As A Major Turning Point Of No Return

Most of us old school video game lovers are quite familiar with the term "point of no return" which, in the games that we played in the past (and still play, for that matter!), was used to describe a pivotal moment in the course of the gameplay that marked the final one-way route towards the culmination of the adventure. This practically meant that, from that point and on, it would be impossible to go back to areas you had visited or explored up to then, and it could happen equally in both adventure and action games. Simply put, it is a gameplay - and sometimes plot - device which warns the player that they are moving towards the end of the game, and if there is something that needs to be done in stages visited before, it has to be done now, before passing the point of no return as after that, going back will be impossible. As a gameplay device, it is still being used quite extensively, although in open world games it is not always terminal: in the new generation of the Tomb Raider games, for example, you reach a point of no return after which you cannot go back to previously explored areas, but when you complete the game you can roam the full map as much as you want. In the remake of Resident Evil 2, you reach a point of no return when you leave for the secret NEST lab: up to that point, you can explore the sewers and go back to every single area of the Raccoon Police Department as many times as you want; but once you get on the funicular that leads to the lab, you can never go back. Resident Evil 4 and its recent remake feature several points of no return, each one corresponding to an extended area of the map, progressively locking previously visited stages. 

Life is Strange 2 has a very different logic as far as its gameplay is concerned, as it features separate chapters that get completed within their own map, and the limitations that may affect the outcome of each episode stem from the different decisions that we are called to make in order to proceed. In each chapter, there is a dramatic event that causes the initiation of the next episode, but there is a specific one, namely the fourth chapter with the title "Faith", that is, in practice, the story's actual point of no return. As an episode, "Faith" may not seem too impressive at first, especially if you consider the terrific "Wastelands" that precedes it and the emotionally wrenching "Wolves" that follows it. Excluding the agonizing finale, on first look it feels rather slow-paced, and even the appearance of Karen, the long-lost mother or the protagonists, is set up and presented as quite toned down and neutral. All this on a first level; because on a second level things are much more complicated and interesting.

After being separated from Daniel during the dramatic events at the end of "Wastelands", Sean finds himself heavily wounded but still alive in a hospital, under guard and getting regular visits from a therapist, all in an attempt to make him recall and describe what actually happened in Merrill's farm where Daniel, in a state of uncontrolled confusion, let loose the full extent of his power. Devastated for not knowing Daniel's fate, Sean refuses to co-operate, mainly because he cannot tolerate the one-sided views of the people who oversee him, but most importantly because he is unable to bring himself together - and naturally so - to reveal Daniel's power which was the cause of everything. Regardless, Sean gets his sketchbook back, and while going through it, he notices a cryptic message from Jacob, one of his companions of the previous chapter, which basically gives him a valuable clue concerning Daniel's current whereabouts. He manages to escape without being noticed and begins a long journey so as to reach the place where Daniel hopefully is and get him back.

The place in question turns out to be a private church, run by Lisbeth Fischer, a charismatic but intimidating Pastor with a dubious past, who exploits Daniel's powers, presenting him to her flock as some kind of modern prophet and healer. Sean painfully discovers that Daniel has been brainwashed by Lisbeth, which means that the process of freeing him from her and getting him back will be anything but easy. Karen shows up at just the right moment, but instead of stepping forward to resolve things, she only offers Sean moral support in a twist that may seem strange at first, but in reality it is just the right option: Sean needs to do everything himself, and Daniel needs to realize how harmful Lisbeth is for him and see it with his own eyes. For both brothers, it is a complicated and tough process that will, however, help them find themselves and grow up emotionally and spiritually.

Karen's role as the mother is, in this episode, mostly a typical one, highlighting the figure of the parent who might have been absent throughout the lives of her sons up to that point, but is still holding some degree of moral and emotional power that can affect them, even indirectly. Even so, I admit I initially expected her to take action and save Daniel from Lisbeth, subsequently rescuing both her sons and offering them the protection that she failed to provide all these years. Karen however chooses to stay back and give Sean all the space to act on his own. A rather unexpected development - given that Sean, in spite of being more mature than his age, is still a young boy - but in the full course of the events, it turns out to be the right one. With her stance, Karen allows Sean to follow his instinct and employ his inner strength, because she believes in personal freedom and will. Partly, though, she may feel inadequate to handle things because family life was never her forte; she literally does not know her sons, she would practically be unable to bring Daniel back the way Sean eventually does. At this point, her maternal instinct is only mildly developed, and she too follows her intuition in simply supporting Sean and his choices. On another level, script and plot-wise, it would have been quite unfair for Sean to have Karen save the day, after all the tragedies and troubles that he had to go through up to that point.

The church environment, prominent and looming throughout the whole episode, proves to be a setting of major importance, both as an actual setup and as a symbolic feature. Lisbeth herself carries a dark past, possibly hinted as early as in episode 2: in one of the documents that are scattered around in the cabin where Sean and Daniel have taken temporary shelter in the forest, there is a letter signed by a certain Dr Fischer, reminding a patient of a programmed chemotherapy session that would take place at a clinic named Hope Patient Center.

Whether it is actually Lisbeth herself who wrote the letter is not made clear at any point throughout the development of the plot, however since stuff that we find in games of this kind is rarely (if at all) random, this document is most likely connected to the Pastor's past, revealing that she may have been a doctor once, quite possibly having failed to save a patient and thus losing her faith in science and resorting to other means to try and save people, subsequently losing her mind and becoming obsessed with her newfound faith. With these facts under consideration, the subject of faith becomes a factor of high importance in this part of the story, that goes a lot deeper and further than the chapter's title, applying to nearly all the characters who appear in it.  

 

First of all it is Lisbeth's obvious faith in her calling, which however is distorted and pretentious. Contrary to it, is Jacob's innocent and sincere faith in the divine power, which in turn gets shattered as he gradually opens up to Sean, revealing shocking details about his "treatment". Then it is Daniel's controlled faith which is a result of severe brainwashing. There is also Karen's faith in Sean's will and power of mind and, most prominently, Sean's faith in himself and all that he can achieve. In an unexpected twist of the plot, the key phrase that subsequently unlocks Sean's decisiveness and gives him the ultimate urge to do whatever it takes to save Daniel comes from no one else than Lisbeth herself: when they first meet, and realizing that Sean cannot get tricked like Daniel did, the Pastor turns him away, refusing to accept him in her church. As her goon Nicholas throws him out, she yells "You need to have faith!", hinting that she may allow him in her church if he admits her divine gift and does not interfere with her handling of Daniel. At this point, all seems lost; but Sean is able to turn this phrase around and make it work to his own benefit: he regains faith in himself and moves forward instead of stepping back, determined to never stop until he brings Daniel back, achieving it with his own human power of mind and heart.

Although in every chapter Sean makes huge steps forward towards his full emotional and spiritual development, it is at the end of "Faith" that he literally leaves his old self behind and becomes a new person, similarly how Daniel snaps out of his false prophet persona and it is as if he is reborn. It is a dual transformation that begins simultaneously at the beginning of the chapter's final part and is established and completed as soon as the two brothers step out of the church together. Having this dramatic sequence take place inside the main hall of the church, turns it into a dramatic but unavoidable rite of passage. No matter of the actions that we need or decide to take - depending on our choices at the end of the third chapter - the essence of the outcome is the same: Sean and Daniel leave the church grounds as two completely different people, having achieved both emotional and spiritual growth. 

On another level, lies the conflict between the two mother figures, neither of which is actually a complete one. Karen, the biological mother of the brothers who is connected to them with blood ties, only now makes a physical appearance, gradually and discreetly gaining back all that she had lost during her absence. For Karen, it is mainly about her confirming her role in the lives of the boys, and much less about them connecting with her with family ties. Lisbeth, on the other hand may be a false mother figure for Daniel, but at the same time she had somehow filled a gap in his life, that of the protection and guidance that he needed during the time when he was separated from Sean. This was on a superficial level, of course; because Lisbeth's guidance was all wrong and the protection that she seemingly provided for Daniel was in reality a well masked exposure to many kinds of danger. At the end of the episode, the real mother figure defeats the false one, a development that even has a literal depiction in the version where either Sean or Daniel kill Lisbeth: this extreme twist, which essentially turns them into murderers, also symbolizes the death of their innocent selves and the painful beginning of their new life, reminding both them and us that everything comes with a cost.

While every chapter's conclusion marks the completion of a full circle, "Faith" is the one from which there is literally no turning back: after leaving the church with Karen, the brothers follow her to her camp in the Nevada desert, from where the next phase of their journey - no matter which one it will be - shall begin. The start of the final chapter finds Sean and Daniel somehow settled for a brief period of time, and about to confront the consequences of all their actions and decisions that led them there. Throughout the first three chapters, there are still connections with their past lives, but all bonds appear to have already broken with the start of "Faith". This is something that does not only have to do with the plot or the gameplay, but with the overall atmosphere, the environments and even the physical appearance of the two protagonists. We find Sean with his luscious black hair nearly totally shaved, and later Daniel shows up with a nasty haircut, courtesy of the Pastor herself. The cutting of hair in both cases, as simple as it may seem, in fact carries considerable weight: it acts as some sort of ritual that symbolizes the transition of both Sean and Daniel to new directions in their lives. It is as if they are stripped of all the elements that constituted their personalities up to that point, and in the aftermath they are both reborn.

As far as the visual aspect and the ambience are concerned, with the exception of the tumultuous finale of the chapter, everything before that point is moving at a slower pace; even the darker sequences feel more like bad dreams and less like reality. Then at the church grounds there is this suspicious serenity that cunningly conceals all the evil that lies beneath it. The finale is an explosion, not unexpected but still shocking; and the fact that Sean leads Daniel to realize what is going on by himself instead of forcing him out of the sick situation where Lisbeth had placed him, makes that sequence even more powerful, and highlights its importance for the events that will follow.

One element that foreshadows the fourth chapter's unique place in the story is the transition to it. Each episode ends with the brothers being on a means of transportation, something that indicates the urge to be constantly on the move and run away: at the finale of the first chapter, they are on a bus (notably, the chapter even begins with Sean stepping off a bus); the end of the second chapter finds them jumping on a freight train, again escaping. As episode four reaches its conclusion, they are inside Karen's car, heading to the Nevada desert; and in the game's dramatic finale they are attempting to cross the border to Mexico in a car that Sean is driving. Between chapter three and chapter four however, there is no such transition: the final scene of "Wastelands" is the aftermath of Daniel's rage in Merrill's house - a static situation from where there seems to be no way out. This change marks the start of the painful but necessary switch towards a new approach to things, especially for Sean: it is now time to stop looking for ways to escape, but instead stand on his feet and face things directly. Falling down - and literally doing so, as it happens at the end of "Wastelands" - is part of the process, as then, with the opening of "Faith", he is already on the route to take his life in his own hands, even if he does not know it yet.