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The analysis explores the concept of narrative metalepsis—the transgression between distinct narrative levels—within the context of digital role-playing games, specifically focusing on the 2016 title Tyranny by Obsidian Entertainment. The central thesis posits that video games serve as a unique medium for metaleptic interaction, where player agency acts as a bridge between the extradiegetical reality of the user and the diegetical world of the game. By categorizing these interactions into descending and ascending metalepsis, the study demonstrates how player decisions can fundamentally reshape a game's narrative structure and historical context.
The research utilizes a narratological framework, drawing on established theories from Gérard Genette, Werner Wolf, and Astrid Ensslin to build a typology of metaleptic phenomena in interactive media. The primary case study, Tyranny, is examined through its "Conquest Mode," a prologue that allows players to define the political and social state of the game world prior to the start of the main campaign. This mode serves as a prime example of descending metalepsis, where player choices during character creation and historical simulation dictate future narrative paths, NPC reactions, and the overall state of the game environment.
Furthermore, the study highlights the role of ascending metalepsis, where the game provides feedback to the player through hypertext-like elements and contextualized dialogue. These features, such as color-coded text that explains why an NPC is reacting to a specific past decision, serve to bridge the gap between the player’s external knowledge and the internal logic of the game world. The analysis concludes that when developers intentionally integrate these metaleptic structures, they create a highly flexible narrative framework that allows for a personalized, reactive experience, effectively positioning the player as an active co-author of the game's history.
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Loading... The Journal of the Canadian Game Studies Association · 2015