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Sherlock holmes reloaded
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Souvik Mukherjee
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Canonical conceptions of narrative might find such a story-game equation problematic but the borders between the narrative and the ludic have always been fluid and allowed varying degrees of overlap between the two. With older games, this might not have been as obvious but with the sophisticated machinic narratives developing within and through computer games, it is clear that current conceptions about narrative have to take into account the ludic and the machinic nature of stories to be able to explain the functioning of problematic forms, like the narratives created within computer games. Such changing conceptions of narrative also need to address the participatory and constructive role that the reader has in the development of the narrative. In computer games, the narratives are formed within the game system (i.e. a base narrative) but through a complex identification with the in-game protagonists whose actions (and therefore the player’s) play the story into existence, thus establishing a constant interplay between playing and reading. Keeping the above in view, this paper will try to analyse the workings of narratives with reference to computer games and other new media as well as by identifying how older media also incorporate similar characteristics, hitherto ignored. It will therefore try to re-examine some key issues that inform essential conceptions of narratives and also show how Alice, in both kinds of texts, plays a videogame.
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Sherlock holmes reloaded
1.
SHERLOCK HOLMES
RELOADED Sherlock Holmes, Narratives and Videogames
2.
3.
The (Ab)Sense of
Endings in Prince of Persia
4.
THE MANY FACES
OF SHERLOCK HOLMES (spot me if you can)
5.
Data and Geordie
play Holmes and Watson in the Holodeck of The Enterprise
6.
7.
8.
9.
Thank you Dr
Souvik Mukherjee,
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