By Souvik Mukherjee
The potential for games as storytelling media and the deep involvement that avid gamers consider after they are a part of the tale has to be analysed vis-à-vis different narrative media. This publication underscores the significance of games as narratives and provides a framework for analysing the many-ended tales that frequently redefine actual and digital lives.
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Example text
Max Payne (Remedy Entertainment, 2001) is a classic example of such an assemblage. It combines elements of film noir (especially in the grim but hyperbolic dialogues), the graphic novel, sci-fi films such as The Matrix (Wachowski and Wachowski, 1999), from where it borrows the ‘bullet-time’ technology, numerous cleverly disguised allusions to its own ludicity as well as to other texts and it even has an ‘official strategy guide’ in print form. In this sense, like Kafka’s stories, the game is perhaps rhizomatic in that it deterritorialises and reterritorialises various lines of movement between the assemblages and it accommodates lines of flight within the intermediated assemblage (for example, when the action sequence leads to the cinematic cutscene within the game).
The modern world, in its present chaotic state, has become impossible to represent, therefore ‘the multiple must be made’ (Deleuze and Guattari, 1987, p. 7) and the root structures should be replaced by the multiple dimensions of the rhizome. According to them, the book and the world together form such a rhizome: The same applies to the book and the world: contrary to a deeply rooted belief, the book is not an image of the world. It forms a rhizome with world, there is an aparallel evolution of the book and the world; the book assures the deterritorialisation of the world, but the world effects a reterritorialisation of the book, which in turn deterritorialises itself in the world.
Secondly, the act of reading (and writing) is shown as being 48 (W)Reading the Machinic Game-Narrative 49 contingent on the act of playing. The experience of the machinic text in video games is, therefore, constituted by a complex of reading, writing and play taken together. Knowledge of the intricacies of the structure of the machinic text is required before it is possible to understand how to read it. First, it will be necessary to study the recent models of analysing the machinic text. Computer-oriented textual forms such as the hypertext and the cybertext claim to have a different set of textual characteristics than earlier textual forms and consequently, also necessitate different approaches to reading when compared to earlier media.