Nephilim: The Children of Lilith: The Place of Man in the Ontological and Cosmological Dualism of the Diablo, Darksiders and Devil May Cry Game Series

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Abstract

Lilith and the Nephilim are not uncommon characters in modern day pop culture at
large and in video games culture specifically. In three video games, the Diablo
series (three games, between 1996-2012), the Darksiders series (two games, in
2010 and 212) and the Devil May Cry series (2001-2013, especially in the so called
‘reboot’ of 2013), Lilith and the Nephilim are both named and (in different ways)
connected to each other within the greater narrative of the games. In this article I
want to describe the three game narratives in which the Nephilim and Lilith have
their place, and in what way those three narratives are connected to each other.
The central question of this article is: what have the narratives of Diablo,
Darksiders and DmC in common regarding the Nephilim and Lilith, and what
theological implications follow from this common ground? I will argue that the
combination of Lilith and Nephilim in these three game narratives is key for
creating a mix of ontological and cosmological dualism in relation to a more
complex anthropological ‘holism’. The three narratives provide a more or less
psychologically convenient explanation for the existence of evil in the world, and
at the same time take into account the experience that the human beings we
encounter in our everyday life appear to us as incorporating both good and bad
deeds, intentions, inclinations, traits and thoughts.
Original languageEnglish
JournalHeidelberg Journal of Religions on the Internet
Issue number7
Publication statusPublished - 2015

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narrative
computer game
pop culture
holism
everyday life
human being
experience

Keywords

  • Games
  • kabbala
  • occultism
  • lilith
  • samael
  • dualism

Cite this

@article{89f6bdbbdfb0464790656c41d5a7d68e,
title = "Nephilim: The Children of Lilith: The Place of Man in the Ontological and Cosmological Dualism of the Diablo, Darksiders and Devil May Cry Game Series",
abstract = "Lilith and the Nephilim are not uncommon characters in modern day pop culture atlarge and in video games culture specifically. In three video games, the Diabloseries (three games, between 1996-2012), the Darksiders series (two games, in2010 and 212) and the Devil May Cry series (2001-2013, especially in the so called‘reboot’ of 2013), Lilith and the Nephilim are both named and (in different ways)connected to each other within the greater narrative of the games. In this article Iwant to describe the three game narratives in which the Nephilim and Lilith havetheir place, and in what way those three narratives are connected to each other.The central question of this article is: what have the narratives of Diablo,Darksiders and DmC in common regarding the Nephilim and Lilith, and whattheological implications follow from this common ground? I will argue that thecombination of Lilith and Nephilim in these three game narratives is key forcreating a mix of ontological and cosmological dualism in relation to a morecomplex anthropological ‘holism’. The three narratives provide a more or lesspsychologically convenient explanation for the existence of evil in the world, andat the same time take into account the experience that the human beings weencounter in our everyday life appear to us as incorporating both good and baddeeds, intentions, inclinations, traits and thoughts.",
keywords = "Games, kabbala, occultism, lilith, samael, dualism",
author = "M.J.H.M. Poorthuis and F.G. Bosman",
year = "2015",
language = "English",
journal = "Heidelberg Journal of Religions on the Internet",
issn = "1861-5813",
number = "7",

}

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AU - Bosman, F.G.

PY - 2015

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N2 - Lilith and the Nephilim are not uncommon characters in modern day pop culture atlarge and in video games culture specifically. In three video games, the Diabloseries (three games, between 1996-2012), the Darksiders series (two games, in2010 and 212) and the Devil May Cry series (2001-2013, especially in the so called‘reboot’ of 2013), Lilith and the Nephilim are both named and (in different ways)connected to each other within the greater narrative of the games. In this article Iwant to describe the three game narratives in which the Nephilim and Lilith havetheir place, and in what way those three narratives are connected to each other.The central question of this article is: what have the narratives of Diablo,Darksiders and DmC in common regarding the Nephilim and Lilith, and whattheological implications follow from this common ground? I will argue that thecombination of Lilith and Nephilim in these three game narratives is key forcreating a mix of ontological and cosmological dualism in relation to a morecomplex anthropological ‘holism’. The three narratives provide a more or lesspsychologically convenient explanation for the existence of evil in the world, andat the same time take into account the experience that the human beings weencounter in our everyday life appear to us as incorporating both good and baddeeds, intentions, inclinations, traits and thoughts.

AB - Lilith and the Nephilim are not uncommon characters in modern day pop culture atlarge and in video games culture specifically. In three video games, the Diabloseries (three games, between 1996-2012), the Darksiders series (two games, in2010 and 212) and the Devil May Cry series (2001-2013, especially in the so called‘reboot’ of 2013), Lilith and the Nephilim are both named and (in different ways)connected to each other within the greater narrative of the games. In this article Iwant to describe the three game narratives in which the Nephilim and Lilith havetheir place, and in what way those three narratives are connected to each other.The central question of this article is: what have the narratives of Diablo,Darksiders and DmC in common regarding the Nephilim and Lilith, and whattheological implications follow from this common ground? I will argue that thecombination of Lilith and Nephilim in these three game narratives is key forcreating a mix of ontological and cosmological dualism in relation to a morecomplex anthropological ‘holism’. The three narratives provide a more or lesspsychologically convenient explanation for the existence of evil in the world, andat the same time take into account the experience that the human beings weencounter in our everyday life appear to us as incorporating both good and baddeeds, intentions, inclinations, traits and thoughts.

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