Fiction

Digitalizing the Narratives: Structural Analysis of Far Cry 3

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Eeshan Ali , Indian School of Mines, Jharkhand, India

Arijit Karati, Indian School of Mines, Jharkhand, India

Abstract

Every form has its own structure. Technically, though there is a difference between computer games and literature, but structurally both reflect same modes of the presentation which is carried out by certain codes. The present paper looks into the structural analysis of computer games with technical aspect as well as literature aspect with special reference to Far Cry 3, a first person action adventure computer game which received several awards and critically acclaimed for its graphics, story line, features etc. Besides this paper relocate Vladimir Propp’s theory of narrative function in Far Cry 3 and decode how the computer game with the help of certain binary opposition and codes have become one of the fundamental tools of getting entertained in the popular imagination.

[Keywords: Vladimir Propp’s theory, Computer Game, Structural analysis of adventure game, Far Cry 3]

In the twenty first century, technology has gripped every aspect of the society with the increment of the influence of technology, people started seeking the pleasure and even consolation from the digital world. Earlier, when the technology was in developing phase people gratified from folk tale, short stories, fiction and moreover from literature. But now people get his ultimate satisfaction from the digital world. This digital world comprises all sorts of genre which have been carried out by the people till now. It has started pampering the mind of the people. Computer game is one of those thousand technologies on which todays’ teen get much pleasure than reading a book or fiction. It has become a kind of addiction to the young generation. But a close and critical observation of the recent computer game also offers a way out to the narrative structure which is there in any literary work.

Before we go deep into the article, there are some points which are quite necessary to clear. There are various genres in literature, like poetry, fiction, short story, drama etc. The computer game also bears the same quality of having various types, for example action game, strategy game, adventure game, racing game etc. Like any literary text where literariness is necessary, the computer game also bears some kind of reflection of the literariness, which bears the plot and a specific storyline. Moreover, like any literary text the computer game can analyze from any theoretical point of view. Let’s analyze how the narratives have been given a digital frame with special reference to Far Cry 3.

 Storyline

Far Cry 3 is a game about the exploration, exploitation and experimentation. It is an advanced action-adventure first person game, which is set on the Rook Island between the Indian and Pacific Ocean. This game has earned the fame for its storyline and its presentation throughout the world. It was honored with the several awards, including British Academy Video games Award and National Academy of Video game Trade Reviewers Award in 2013. According to Jeffrey Yohalem, the writer of the game the plot is about “what shooting means and what it does to humanity” (Far Cry 3, 2014). The protagonist of the game is Jason Brody, who, along with his elder and younger brothers Grant and Riley and some of his friends, come to Bangkok on vacation to celebrate Riley’s getting license. They come down to the Rook Island, during their skydiving. Rook Island is captured and controlled by the pirates under the control of Vass, one of the most notorious antagonists in the game world. Vass imprisons all of them and tortures them brutally. Jason and Grant are kept in the same cell when the others are taken for the ransom. Grant, the elder brother of Jason, makes a plan to escape and finally they manage to free themselves, but unfortunately Grant is killed by Vass and somehow Jason successfully escapes from that place and takes shelter in the jungle. Shortly thereafter, Jason meets a member of the Rakyat tribe named Dennis, who wanted to help him as he finds Jason has the ability to obey the “path of the warrior”. Rakyat tribe also wanted to take over Vass as they are also exploited and tortured by that psychopathetic villain. Citra, the leader of the Rakyat tribe and the sister of Vass, is agreed to help Jason in rescuing his friends, but in a condition, i.e., if he can manage Silver Dragon, a knife which the Rakyat tribe revered. Buck Huges buys Keith, one of the friends of Jason as a human slave but he promises to give him back to Jason if he is able to manage the Silver Dragon. The Silver Dragon is managed but Buck refuses to give Keith back, so the fight takes place and Jason kills Buck. Jason manages to rescue Lize, Keith and Oliver to Dr. Earnhardt, who helps them a lot in that island. They have been given a boat to escape from that island, but Jason refused to leave as he wants to free his younger brother Riley from Vass. Keith tries to convince him that Riley has been shot dead by Vass and he witnessed it. Still Jason wants to take revenge on that and wants to kill Vass.

               Jason hands over the Silver Dragon to Citra. Citra helps Jason to kill Vass after getting that Silver Dragon. Sam Becker, a CIA agent who is working undercover in Hoyt’s island, helps Jason to find Riley. There Jason, with the help of Sam, wins the trust of Hoyt and later through a poker game Jason kills Hoyt and successfully rescues Riley with the loss of Sam, who is killed during the game by Hoyt. Jason and Riley escape from the island to Dr. Eanhardt after seizing a helicopter from Hoyt. On the other hand, Citra kidnaps all the friends of Jason and kills Dr. Earnhardt. Citra gives two choices to Jason, one is to complete his path of the warrior by killing all his friends and allowing her to be his partner, or to abandon it and return to the life he is craving for. The choice of the player affects the mode and tone of the game. If the player chose to play as a warrior and kills the friends to be the king of the Rakyat tribe, then Jason after having sex with Citra, is killed by her with an assurance that the child which she will carry will be the new king of the tribe in the future. And if the player goes for the second option that is to deny to kill the friends and to take over the throne, then Dennis with the fury tries to kill Jason but by mistake he kills Citra. While Dennis regrets at his deed, Jason and his friends escape from that place and at last they manage to escape from the Island….Access Full Text of the Article

War on Terror: On Re-reading Dracula and Waiting for the Barbarians

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Abstract

Framed by the emerging emphasis in postcolonialism on terror and narratives of terror, this paper argues that Waiting for Barbarians (1980; hereafter Barbarians) can be read as a counter-discourse of resistance to Dracula’s (1898) representation of “war on terror” which revolves around the relationship between empire and its embattled subjects. To demonstrate this the paper examines how Barbarians deconstructs Dracula’s trope of barbarian invasion, resists the techniques of liquidating Dracula, and reimagines Dracula’s the notion of the end of history and the last man. The paper concludes that Dracula and Barbarians offer us radically different conceptualisations of the war on terror and contending visions of the future that cunningly reflect contemporary attitudes since the 9/11 attacks.   Keep Reading

Voicing Colourspaces: Colour-usage and Response as Alternative Narration in Dennis Cooley’s Bloody Jack

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Ashes Gupta, Tripura University, India.

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Abstract

Dennis Cooley has attempted to unsettle several complex issues relating to post modernity, intertextuality, mingling of genres, decentering authority et al.  His poetry is rich in complexity and in dealing with the problems of the text. He has published three books of poetry.  Leaving (Turnstone 1980), Fielding (Thistledown 1983) and Bloody Jack (Turnstone 1985).  His poetry reveals his interest in formal departures from the tyranny of orthodox running rhythm, and the left hand margin.  From Leaving to Bloody Jack, Cooley has decentred authority from its traditional formal and ideological strongholds including the author, and placed it in the mind and heart of the reader.  In his books of poetry, especially Bloody Jack, Cooley tends to deal with flexibility, knowledge and tolerance and seeks to voice the sparsely populated and neglected space of the Canadian prairie. This paper is an attempt to read Dennis Cooley’s Bloody Jack from the semiotic perspective of his use of colour as sign-code in it and the other related issues that it voices. Keep Reading

A Science Fiction in a Gothic Scaffold: a Reading of Mary Shelley’s Frankenstein

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Zinia Mitra, Nakshalbari College, Darjeeling, India

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Abstract

Frankenstein or The Modern Prometheus is a unique blend of two genres: Gothic and science fiction. While it follows the gothic convention of tale within tales, its epistolary framework and keeps intact its unrestrained lengthy articulations, it explores at the same time the innovative marvels of modern science. The fire that Prometheus stole form Zeus to help mankind is ingeniously   replaced in the novel by the spark of electricity. The novel also puts to question some traditional social assumptions. Keep Reading

The Function of Scientific Metaphor in Thoreau’s Walden

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Robert Tindol, Shantou University

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Abstract

Henry David Thoreau’s Walden has often been lauded for its philosophical advice “to simplify” and for its energetic response to the question of how human beings fit into the natural world. In terms of language, the very manner in which the author describes and metaphorizes nature in the microcosm of Walden Pond furthers the theme of simplification, and further contributes a novel approach to the very concept of seeing and understanding. Walden is not simply about reducing life to the barest common denominator of existence, but also about understanding how to debride just enough of the superfluities to provide insights into how amalgamating nature with human language can lead to a new humanistic vision of renewal. Thus, the employment of scientific metaphor in Walden is linked to the humanistic quest for guidance in the conduct of life. Keep Reading

Revisiting Untraded Paths: Literary Revisions of Eighteenth-Century Exploration Journals

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Miriam Fernández-Santiago, University of Granada, Spain

Abstract

The present article proposes a revision of the American imperialistic, scientific, literary and historical origins as they were encoded and re-coded in the writings and rewritings of exploration journals. It theorises on the reciprocal influence that the official and the personal, the scientific and the fictional, the historical and the epical have in the production of a national referent as it is inscribed within the American travel-writing tradition. This article proposes an allegorical and literal reading of “line drawing” in its study of texts by William Byrd, Charles Mason and Thomas Pynchon, which merges experienced and reported realities into a complex multi-text. Keep Reading

Text, Reader and Metaphor: Exploring Links between ‘Disparate Domains’ in Some Novels of Charles Dickens

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Ralla Guha Niyogi, Basanti Devi College, Kolkata

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Abstract

One of the literary devices often used in a creative work is the metaphor. In my paper, I aim to analyze the reasons why a novel uses metaphors at all, the importance of the reader’s response to the text and how the use of metaphorical language creates a specific world within the text, thereby imparting a special significance to the novel as an artistic whole. I have referred to a few novels of Charles Dickens, relating them to the phenomenological theory of art and the Reader – Response Theory. I have further attempted to explore linguistic views and theories by Roman Ingarden, Wolfgang Iser, Jauss and Saussure among others, relating their views to the use of metaphor in literary works in general, and to some of Dickens’s novels in particular. I have shown how Dickens relates the metaphor of the machine as signifying mechanical human responses in the ‘disparate domains’ of the school and the home. Indeed, the metaphor serves as a bridge between the text and the reader, linking hitherto unrelated facts and endowing a literary work with an evocative quality that enhances its artistic value. Keep Reading

Dark Side of the Moon: Dickens and the Supernatural

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Soumya Chakraborty, Jadavpur University

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Abstract

Quite overshadowed by Dickens the social reformer and Victorian England’s most popular and prolific author, lay Dickens a man fascinated with the occult and the supernatural, a practitioner of mesmerism, a believer in the pseudo-science of phrenology, a man so obsessed with the Gothic that time and again he registered a covert, symbolic re-emergence of it throughout his works. Dickens harboured a lifelong attraction towards the supernatural, evidenced in his childhood fondness for the weekly magazine The Terrific Register, dealing with themes of ghosts, murder, incest and cannibalism, and in the several ghost-stories interspersed throughout the corpus of his work. Deeply involved in the 19th Century debates over the existence of spirits and the veracity of ghost sightings, Dickens oscillated between faith in the existence of the other-worldly and scepticism. Always concerned with the psychological aspect of the supernatural, Dickens’ work shows a constant engagement with the eerie, the uncanny and the grotesque. This paper attempts to explore not only the evolution of the theme of the supernatural in Dickens’ works but also his changing attitudes towards it. Keep Reading

Hard Times as a Dickensian Dystopia

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P. Prayer Elmo Raj, Karunya University Coimbatore

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Abstract

Hard Times is a dystopia. Hard Times investigates and launches the deplorable Victorian industrial society through the presentation of its setting and characters. The society which the Hard Times explores is one characterized by poverty, denial and oppression. Freedom and happiness were established by the political and economic elites. Right to think and right to fancy was determined by the dominant. The prevalent Utilitarian educational philosophy created havoc in the lives of pupils who were prepared to work in the factories. This paper is an attempt to map the dystopian account of Victorian industrial society as portrayed by Charles Dickens in the Hard Times. Keep Reading

The Reconstruction of Identity of the Gentleman in Great Expectations

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Madhumita Majumdar, Bhangar Mahavidyalaya, Kolkata

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      When people say that Dickens could not describe a gentleman, what they mean is …that Dickens could not describe a gentleman as gentlemen feel a gentleman. They mean that he could not take that atmosphere easily, accept it as normal atmosphere, or describes that world from the inside….Dickens did not describe gentleman in the way that gentlemen describe gentlemen…He described them…from the outside, as he described any other oddity or special trade.

G. K. Chesterton only put into words what was usually thought of Dickens during his life time. It was usually believed that Dickens could not describe a gentleman because he was himself not one. In 1871, Forster’s The Life of Charles Dickens reported the imprisonment of Dickens’ father on charges of debt non-payment and his own childhood employee status in the blacking factory. This revelation only gave confirmation to Dickens’ detractors that he was not the conventional gentleman. It stood ratified more by the words of Dickens daughter: ‘My father was not a gentleman – he was too mixed to be gentleman.’ (Kate Dickens Perugino, The Dickensian; 1980). When Dickens was writing his contemporary happened to be William Thackeray. Both Dickens and Thackeray were novelists of the middle-class emergence but at opposite ends of the scale. Thackeray’s area was the land between the aristocracy and the middle classes while Dickens was concerned with the lower reaches of the middle class in its most anxious phase of self-definition, struggling out of trade and domestic service. Keep Reading