psychopathic behaviour of the villain. In the other cases, the scars and disfigurements are related to the criminal activities of the villains. Physical characteristics may serve in the plot to identify a character or a group affiliation, such as the third nipple of Scaramanga (The Man with the Golden Gun), the surgical removal of earlobes to claim nobility (On Her Majesty’s Secret Service) or the blue-ringed octopus tattoo, the sign of a secret order of smugglers, in Octopussy. It is unlikely that the audience will associate such as features with the immorality of the character. In addition, Chen et al. did not specify what they considered as ‘a visual difference’. Some actors displayed their own skin features, which can also be considered as a ‘trademark’, such as Steven Berkoff’s frontal lipoma (Octopussy) or Robert Davi’s acne scars (Licence to Kill). It is noteworthy that both actors were also playing villains during the 1980s. Will the audience consider their cutaneous features as a sign of immorality or that the actor is just being an eternal villain irrespective of their features? Lastly, why did Chen et al. not include Herv e Villechaize (Nick Nack in The Man with the Golden Gun), given that his dwarfism is a striking ‘visual difference’? James Bond is far from being a hero we should celebrate; the films have been previously criticized for their excessive violence, tobacco and alcohol abuse and sexual promiscuity. However, scars in films cannot be interpreted without a context. Most scars and other disfigurements depicted in the James Bond films are the result of the delinquent activities of the protagonists or their environment, and the audience is able to understand these clues.
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