Mario exe doki doki8/4/2023 ![]() Whether it be resetting the danger room by resetting the console in X-Men (Western Technologies, 1993) or the oft-cited Psycho Mantis boss fight in Metal Gear Solid (Konami Computer Entertainment, 1998), on numerous occasions videogames have transgressed the boundary of fiction to either draw the player in to the gameworld or appear to enter our own world. Videogames are no strangers to breaking the fourth wall. Keywords: metalepsis, diegesis, narrative levels, videogames. Through discussing both games, this article expands on metalepsis’ relationship with videogame affordances and the impact it can have when used as a narrative device within the medium. Both Pony Island and Doki Doki Literature Club reveal how metalepsis can be employed to disorient, either through interweaving the player’s lived reality more tightly with the gameworld, or through intentionally leaving them out of the cybernetic system that makes up gameplay and imbuing moments of inaction with narrative significance. ![]() This article considers the transgressing of different worlds, what Genette called metalepsis, as a narrative device and explores its impact on both videogame’s storytelling and player experience. Recent independent titles Pony Island and Doki Doki Literature Club are filled with instances in which the boundary between what is real and fictional is blurred. ![]() “There’s no point in saving anymore”: Diegesis and Interactional Metalepsis in Pony Island and Doki Doki Literature Club
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