![]() They do so perhaps more so than linear narrative media, as game-play presents both fictional worlds, systems and a spect-actor present as participatory agent. ![]() If irony may be ebbing in fiction, it has found a vital and necessary home in videogames and we underestimate its power to challenge the informatic, algorithmic logic of cultural production in the digital age to our detriment.ĭigital games provide a fruitful comparison to ideologies because they resemble ideologies as an organizing structure entered into and because they serve as a systematic test case for alternatively organized (ideological) worlds. This essay explores the legacies of United States metafiction in videogames, suggesting that though postmodernism might be over, its lessons are important to remember for confronting the complex digital realities of the twenty-first century. Galloway and Ian Bogost, I argue that the self-reflexivity of The Stanley Parable is best understood in terms of action and procedure, as metaproceduralism. If metafiction can be characterized by how it draws attention to its materiality-the artificiality of language and the construction involved in acts of representation-The Stanley Parable draws attention to the digital, procedural materiality of videogames. When self-awareness migrates form print to screen, however, something happens. In recent years, a number of self-reflexive games have appeared, exemplified by Davey Wreden's The Stanley Parable (2013), an ironic game about games. This is not the case, however, with videogames. Most critics of contemporary literature have reached a consensus that what was once called " postmodernism " is over and that its signature modes-metafiction and irony-are on the wane. ![]()
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