Advertisement

The Muddle Earth Journey: Brand Consistency and Cross-Media Intertextuality in Game Adaptation

Chapter
  • 592 Downloads

Abstract

In reviewing the current state of adaptation studies in 2008, Thomas Leitch argued that many scholars — even those claiming to have overcome the age of moralistic comparative novel-to-film studies that value fidelity above all else — have found it very difficult to escape the grip of literary status and the fixation with novel-to-film adaptations. Leitch argues that they should instead focus on Bakhtinian intertextuality, according to which ‘every text — adaptation or not — is influenced by a series of previous texts from which it could not help borrowing’.1 Says Leitch: ‘[D]espite the best efforts of […] virtually every other theorist of adaptation past and present, the field is still haunted by the notion that adaptations ought to be faithful to their ostensible source texts.’2 Two main and connected conclusions can be drawn from Leitch’s review: (1) ‘there is no such thing as a single source for any adaptation’; and, (2) scholars should no longer engage in value-comparative studies that persistently devalue adaptations into newer media by negatively comparing their narratives and aesthetics with typically highbrow literature source texts.3 In what follows, I take up two of Leitch’s suggested avenues of inquiry for a reinvigorated adaptation studies, investigating questions about ‘different kinds of fidelity’ raised by ‘adaptations of other sorts of texts than canonical literary works’ and about ‘relations between adaptation and other intertextual modes’.4

Keywords

Virtual World Source Text Television Series Television Text Production Context 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. 1.
    Thomas Leitch, ‘Adaptation Studies at a Crossroads’, Adaptation 1, no. 1 (2008), 63.CrossRefGoogle Scholar
  2. 5.
    Paul Stewart and Chris Riddell, Muddle Earth (London: Macmillan, 2004).Google Scholar
  3. 6.
    On the hero’s journey genre, see Joseph Campbell, The Hero with a Thousand Faces 3rd Edition (Novato: New World Library, 2008).Google Scholar
  4. 9.
    Press Office, ‘CBBC Unveils Magic of its First In-House Long-Form Animation Series’, BBC, 12 March 2010, http://www.bbc.co.uk/pressoffice/pressreleases/stories/2010/03_march/12/muddle.shtml.Google Scholar
  5. 12.
    On intertextuality in adaptations see Robert Stam, Robert Burgoyne, and Sandy Flitterman-Lewis, New Vocabularies in Film Semiotics: Structuralism, Post-Structuralism and Beyond (London and New York: Routledge, 1992);Google Scholar
  6. and Robert Stam, ‘Beyond Fidelity: The Dialogics of Adaptation’, in Film Adaptation, ed. James Naremore (New Brunswick: Rutgers University Press, 2000), 54–76.Google Scholar
  7. 15.
    Geoffrey A. Long, Transmedia Storytelling: Business, Aesthetics and Production at the Jim Henson Company (MA diss., MIT, 2007), http://dspace.mit.edu/handle/1721.1/39152.Google Scholar
  8. 23.
    Claire Dormann and Robert Biddle, ‘A Review of Humor for Computer Games: Play, Laugh and More’, Simulation Gaming 40 (2009), 803.CrossRefGoogle Scholar
  9. 36.
    Jay David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, MA: MIT Press, 1999).Google Scholar
  10. 37.
    David Buckingham, ‘Studying Computer Games’, in Computer Games: Text, Narrative and Play, ed. Diane Carr, David Buckingham, Andrew Burn and Gareth Schott (Cambridge: Polity Press, 2006), 7. Emphasis in original.Google Scholar
  11. 38.
    Celia Pearce, ‘Story as Play Space: Narrative in Games’, in Game On: The History and Culture of Video Games, ed. Lucien King (London: Lawrence King, 2002), 113;Google Scholar
  12. Katie Salen and Eric Zimmerman, ‘This is Not a Game: Play in Cultural Environments’ (Paper Presented at the DiGRA Level Up Conference, Utrecht, 4–6 November 2003), http://www.digra.org/digital-library/publications/this-is-not-a-game-play-in-cultural-environments-2/;Google Scholar
  13. Jesper Juul, ‘The Game, The Player, The World: Looking For A Heart Of Gameness’ (paper presented at the DiGRA Level Up Conference, Utrecht, 4–6 November 2003), https://www.jesperjuul.net/text/gameplayerworld/.Google Scholar
  14. 39.
    Seymour Chatman, Story and Discourse: Narrative Structure in Fiction and Film (Ithaca: Cornell University Press, 1978), 53.Google Scholar

Copyright information

© Claudio Pires Franco 2015

Authors and Affiliations

There are no affiliations available

Personalised recommendations