Self-reflexivity and humor in adventure games

Abstract

This article focuses primarily on the “adventure game” genre, its metafictional humor, and tendency towards self-parody in both its formative stage and its more recent ensuing nostalgic turn, with particular reference to Zork (Infocom, 1980), LucasArts’ Monkey Island games (1990-2000), and Telltale’s parodic-nostalgic “Reality 2.0” (Sam and Max, 2007). The article highlights a tendency towards parody on the levels of intertextual allusion, metafictional self-reflexivity, and meta-mediality. Parody is discussed in its relation to players’ expectations for the genre. The limitations and possibilities available to the player are discussed in relation to their comic potential. The comic is considered as providing the basis for moments where action is interrupted (interaction becoming inter[rupting]action), and an opportunity for digression. This becomes a means of playful re-engagement in itself, sometimes in the form of a ‘joke’ on the player. This is followed by discussion of a more recent ‘nostalgic turn’, with the parodic approach intersecting with the nostalgic. Finally, the discussion will consider possible implications of the effects of such comic tactics for player engagement and “immersion”, in relation to adventure games. The theoretical framework used is indebted to literary and critical theory — particularly theories of parody, and theories which touch upon the “comic” element at play. [ This article can be accessed online from the following website: http://gamestudies.org/1501/articles/bonello_k ]