Cuaderno
Palabras clave
- Cronotopo,
- Tomb Raider,
- Lara Croft,
- Bajtín,
- Espacio
- Tiempo ...Más
Resumen
En este artículo llevaré a cabo una interpretación cronotópica de Shadow of the Tomb Raider (Eidos Montréal, 2018), la última entrega de la extensa saga Tomb Raider, para explicar por qué el juego es incapaz de enfrentarse a los problemas ideológicos de la saga. Como última entrega de la trilogía de precuelas, que se estrenó con Tomb Raider (Crystal Dynamics, 2013), el juego concluye la historia del paso a la edad adulta de Lara Croft. La protagonista del juego pasa de ser una estudiante soñadora perdida en una isla misteriosa, como se exponía en el primer juego, a convertirse en una aventurera bien preparada y decidida que deja atrás la larga sombra de su padre y que triunfa sobre la siniestra organización Trinity. La ideología detrás del género que Shadow of the Tomb Raider representa está estrechamente conectada con las novelas para adolescentes escritas durante la época de mayor apogeo del imperio británico. En el presente artículo, mi objetivo es investigar cómo la arquitectura espacio-temporal del juego, con un análisis basado en las teorías de Bajtín sobre el cronotopo, contribuye a una lectura del juego que deja al descubierto su intento fallido de criticar el legado problemático de la saga Tomb Raider.
Citas
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Aarseth, E.; Günzel, S. (eds.) (2019). <em>Ludotopia: Spaces, Places and Territories in Computer Games</em>. Bielefeld: Transcript Verlag.<br>
Bakhtin, M. M. (1981). Forms of Time and of the Chronotope in the Novel: Notes Toward a Historical Poetics. In M. M. Bakhtin, <em>The Dialogic Imagination: Four Essays</em> (pp. 84-258). Austin: University of Texas Press.<br>
Bakhtin, M. M. (1986). The Bildungsroman and Its Significance in the History of Realism. In M. M. Bakhtin, <em>Speech genres and other late essays</em> (pp. 10-59). Austin: University of Texas Press.<br>
Bezio, K. M. S. (2016). Artifacts of Empire: Orientalism and Inner-Texts in <em>Tomb Raider</em> (2013). In C. Duret, C.-M. Pon (eds.), <em>Contemporary Research on Intertextuality in Video Games</em> (pp. 189-208). Hershey: IGI Global, Retrieved from https://www.igi-global.com/chapter/artifacts-of-empire/157033.<br>
Bonner, M. (2018). <em>The Open World Chronotope - On Bakhtin’s Theory and The Topology of Non-Linear Game Worlds</em>. Copenhagen, 2018.<br>
Bowman, D. (2019). Domesticating the First-Person Shooter. The Emergent Challenge of Gone Home’s Homely Chronotope. <em>Press Start,</em> <em>5</em>(2), 150-175. Retrieved from http://press-start.gla.ac.uk<br>
Breger, C. (2008). Digital Digs, or Lara Croft Replaying Indiana Jones. Archaeological Tropes And ‘Colonial Loops’ in New Media Narrative. <em>Aether. The Journal of Media Geography,</em> <em>11</em>, 41-60.<br>
Crystal Dynamics (2013). <em>Tomb Raider</em>: Square Enix.<br>
Drumm, R. (2018). Shadow of the Tomb Raider or Shadow of Colonialism? <em>HeadStuff</em>. Retrieved from https://www.headstuff.org/entertainment/gaming/shadow-of-the-tomb-raider/.<br>
Dyer-Witheford, N.; Peuter, G. de (2009). <em>Games of Empire: Global Capitalism and Video Games</em>. Minneapolis; London: University of Minnesota Press.<br>
Eidos Montréal (2018)<em>. Shadow of the Tomb Raider</em>: Square Enix.<br>
Ensslin, A.; Goorimoorthee, T. (2020). Transmediating Bildung: Video Games as Life Formation Narratives. <em>Games and Culture</em>, <em>15</em>(4), 372-393. https://doi.org/10.1177/1555412018796948.<br>
Fernández-Vara, C. (2011). Game Spaces Speak Volumes: Indexical Storytelling. In <em>Proceedings of the 2011 DiGRA International Conference</em>: Think Design Play.<br>
Fuchs, M.; Erat, V.; Rabitsch, S. (2018). Playing Serial Imperialists: The Failed Promises of BioWare’s Video Game Adventures. <em>The Journal of Popular Culture,</em> <em>51</em>(6), 1476-1499. https://doi.org/10.1111/jpcu.12736.<br>
Fuller, M.; Jenkins, H. (1995). Nintendo and New World Travel Writing: A Dialogue. In S. G. Jones (ed.), <em>Cybersociety: Computer-Mediated Communication and Community</em> (pp. 57-72). Thousand Oaks: Sage Publications.<br>
Galloway, A. R. (2006). <em>Gaming: Essays on Algorithmic Culture</em>. Minneapolis: University of Minnesota Press.<br>
Günzel, S. (2007). ‘Eastern Europe 2008’: Maps and Geopolitics in Videogames. In F. von Borries, S. P. Walz, M. Böttger (eds.), <em>Space Time Play</em> (pp. 444-450). Berlin: Birkhäuser.<br>
Günzel, S. (2019). What Do They Represent? Computer Games as Spatial Concepts. In E. Aarseth, S. Günzel (eds.), <em>Ludotopia: Spaces, Places and Territories in Computer Games</em> (pp. 14-40). Bielefeld: Transcript Verlag.<br>
Hammar, E. L. (2017). Counter-Hegemonic Commemorative Play: Marginalized Pasts and the Politics of Memory in the Digital Game Assassin’s Creed: Freedom Cry. <em>Rethinking History,</em> <em>21</em>(3), 372-395. http://doi.org/10.1080/13642529.2016.1256622<br>
Hanson, C. F. (2002). Lost Among White Others: Late‐Victorian Lost Race Novels for Boys. <em>Nineteenth Century Contexts,</em> 23(4), 497-527. http://doi.org/10.1080/08905490208583555<br>
Harrer, S. (2018). Casual Empire: Video Games as Neocolonial Praxis. <em>Open Library of Humanities</em>, <em>4</em>(1). http://doi.org/10.16995/olh.210<br>
Hirschkop, K. (2001). Bakhtin in the Sober Light of Day. In K. Hirschkop, D. Shepherd (eds.), <em>Bakhtin and Cultural Theory</em> (pp. 1-25). Manchester: Manchester University Press. <br>
Holquist, M. (2002). <em>Dialogism: Bakhtin and His World.</em> London and New York: Routledge.<br>
Jameson, F. (2006). Businessman in Love. In F. Moretti (ed.), <em>The novel. Forms and Themes</em> (pp. 436-448). Princeton: Princeton University Press.<br>
Jenkins, H. (2004). Game Design as Narrative Architecture. In N. Wardrip-Fruin, P. Harrigan (eds.), <em>First Person. New Media as Story, Performance, and Game</em>. Cambridge: MIT Press.<br>
Juul, J. (2004). Introduction to Game Time/Time to Play: An Examination of Game Temporality. In N. Wardrip-Fruin, P. Harrigan (eds.), <em>First Person. New Media as Story, Performance, and Game </em>(pp. 131-142). Cambridge: MIT Press.<br>
Karhulahti, V.-M. (2013). A Kinesthetic Theory of Video Games: Time-critical Challenge and Aporetic Rhematic. <em>Game Studies,</em> <em>13</em>(1). Retrieved from http://gamestudies.org/1301/articles/karhulahti_kinesthetic_theory_of_the_videogame.<br>
Karhulahti, V.-M.; Bonello Rutter Giappone, K. (In Press). Punchline Behind the Hotspot: Structures of Humor, Puzzle, and Sexuality in Adventure Games (with Leisure Suit Larry in Several Wrong Places). <em>Journal of Popular Culture</em>.<br>
Katz, W. R. (2010). <em>Rider Haggard and the Fiction of Empire: A Critical Study of British Imperial Fiction.</em> Cambridge: Cambridge University Press.<br>
Klevjer, R. (2006). Dancing with the Modern Grotesque: War, Work, Play and Ritual in the Run-And-Gun First Person Shooter. In M. Bittanti (ed.), <em>Gli strumenti del videogiocare. Logiche, estetiche e (v)ideologie</em>, (pp. 223-249). Milano: Costa & Nolan.<br>
Kłosiński, M. (2018). <em>Hermeneutyka gier wideo. Interpretacja, immersja, utopia</em>. Warszawa: Instytut Badań Literackich PAN.<br>
Lacina, D. (2018). ‘Shadow of the Tomb Raider’ Tries, but Fails, to Tackle Its Own Colonialism. <em>VICE</em>. Retrieved from https://www.vice.com/en/article/d3jgeq/shadow-of-the-tomb-raider-review-tries-but-fails-to-tackle-its-own-colonialism, checked on 1/16/2021.<br>
Lammes, S. (2010). Postcolonial Playgrounds: Games and Postcolonial Culture. <em>Eludamos. Journal for Computer Game Culture,</em> <em>4</em>(1), 1-6. Retrieved from https://www.eludamos.org/index.php/eludamos/article/view/vol4no1-1/149<br>
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MacDonald, K. (2018). Shadow of the Tomb Raider makes Lara Croft Look Boring. <em>The Guardian</em>, 9/10/2018. Retrieved from https://www.theguardian.com/games/2018/sep/10/shadow-of-the-tomb-raider-review-lara-croft.<br>
Magnet, S. (2006). Playing at Colonization: Interpreting Imaginary Landscapes in the Video Game Tropico. <em>Journal of Communication Inquiry,</em> <em>30</em>(2), 142-162. http://doi.org/10.1177/0196859905285320<br>
Majkowski, T. (2016). King Solomon’s Mines (cleared): Cartography in Digital Games and Imperial Imagination. In S. Lammes, C. Perkins, S. Hind, A. Gekker, C. Wilmott, D. Evans (eds.), <em>Charting the Digital: Discourse, Disruption, Design, Detours</em> (pp. 55-72). Wenecja: University of Warwick.<br>
Mathison, Y. (2008). Maps, Pirates and Treasure: The Commodification of Imperialism in Nineteenth-century Boys’ Adventure Fiction. In D. Denisoff, <em>The Nineteenth-century Child and Consumer Culture</em>, (pp. 173-185). London: Routledge. https://doi.org/10.4324/9781315238074.<br>
Michael, N. (2008). <em>Video Game Spaces: Image, Play, and Structure in 3D Game Worlds</em>. Cambridge, London: MIT Press.<br>
Mignolo, W. (2003). <em>The Darker Side of the Renaissance: Literacy, Territoriality, and Colonization</em>. Ann Arbor: University of Michigan Press.<br>
Morson, G. S., Emerson, C. (1990). <em>Mikhail Bakhtin: Creation of a Prosaics</em>. Palo Alto: Stanford University Press.<br>
Mrugalski, M., Pietrzak, P. (2004). Spory o Bachtinowską koncepcję karnawału. <em>Pamiętnik Literacki, 95</em>(4), 160-176.<br>
Mukherjee, S. (2015). The Playing Fields of Empire: Empire and Spatiality in Video Games. <em>Journal of Gaming & Virtual Worlds,</em> <em>7</em> (3), 299-315. http://doi.org/10.1386/jgvw.7.3.299_1.<br>
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Mukherjee, S. (2018). Playing Subaltern. <em>Games and Culture,</em> <em>13</em>(5), 504-520. https://doi.org/10.1177/1555412015627258.<br>
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Aarseth, E.; Günzel, S. (eds.) (2019). <em>Ludotopia: Spaces, Places and Territories in Computer Games</em>. Bielefeld: Transcript Verlag.<br>
Bakhtin, M. M. (1981). Forms of Time and of the Chronotope in the Novel: Notes Toward a Historical Poetics. In M. M. Bakhtin, <em>The Dialogic Imagination: Four Essays</em> (pp. 84-258). Austin: University of Texas Press.<br>
Bakhtin, M. M. (1986). The Bildungsroman and Its Significance in the History of Realism. In M. M. Bakhtin, <em>Speech genres and other late essays</em> (pp. 10-59). Austin: University of Texas Press.<br>
Bezio, K. M. S. (2016). Artifacts of Empire: Orientalism and Inner-Texts in <em>Tomb Raider</em> (2013). In C. Duret, C.-M. Pon (eds.), <em>Contemporary Research on Intertextuality in Video Games</em> (pp. 189-208). Hershey: IGI Global, Retrieved from https://www.igi-global.com/chapter/artifacts-of-empire/157033.<br>
Bonner, M. (2018). <em>The Open World Chronotope - On Bakhtin’s Theory and The Topology of Non-Linear Game Worlds</em>. Copenhagen, 2018.<br>
Bowman, D. (2019). Domesticating the First-Person Shooter. The Emergent Challenge of Gone Home’s Homely Chronotope. <em>Press Start,</em> <em>5</em>(2), 150-175. Retrieved from http://press-start.gla.ac.uk<br>
Breger, C. (2008). Digital Digs, or Lara Croft Replaying Indiana Jones. Archaeological Tropes And ‘Colonial Loops’ in New Media Narrative. <em>Aether. The Journal of Media Geography,</em> <em>11</em>, 41-60.<br>
Crystal Dynamics (2013). <em>Tomb Raider</em>: Square Enix.<br>
Drumm, R. (2018). Shadow of the Tomb Raider or Shadow of Colonialism? <em>HeadStuff</em>. Retrieved from https://www.headstuff.org/entertainment/gaming/shadow-of-the-tomb-raider/.<br>
Dyer-Witheford, N.; Peuter, G. de (2009). <em>Games of Empire: Global Capitalism and Video Games</em>. Minneapolis; London: University of Minnesota Press.<br>
Eidos Montréal (2018)<em>. Shadow of the Tomb Raider</em>: Square Enix.<br>
Ensslin, A.; Goorimoorthee, T. (2020). Transmediating Bildung: Video Games as Life Formation Narratives. <em>Games and Culture</em>, <em>15</em>(4), 372-393. https://doi.org/10.1177/1555412018796948.<br>
Fernández-Vara, C. (2011). Game Spaces Speak Volumes: Indexical Storytelling. In <em>Proceedings of the 2011 DiGRA International Conference</em>: Think Design Play.<br>
Fuchs, M.; Erat, V.; Rabitsch, S. (2018). Playing Serial Imperialists: The Failed Promises of BioWare’s Video Game Adventures. <em>The Journal of Popular Culture,</em> <em>51</em>(6), 1476-1499. https://doi.org/10.1111/jpcu.12736.<br>
Fuller, M.; Jenkins, H. (1995). Nintendo and New World Travel Writing: A Dialogue. In S. G. Jones (ed.), <em>Cybersociety: Computer-Mediated Communication and Community</em> (pp. 57-72). Thousand Oaks: Sage Publications.<br>
Galloway, A. R. (2006). <em>Gaming: Essays on Algorithmic Culture</em>. Minneapolis: University of Minnesota Press.<br>
Günzel, S. (2007). ‘Eastern Europe 2008’: Maps and Geopolitics in Videogames. In F. von Borries, S. P. Walz, M. Böttger (eds.), <em>Space Time Play</em> (pp. 444-450). Berlin: Birkhäuser.<br>
Günzel, S. (2019). What Do They Represent? Computer Games as Spatial Concepts. In E. Aarseth, S. Günzel (eds.), <em>Ludotopia: Spaces, Places and Territories in Computer Games</em> (pp. 14-40). Bielefeld: Transcript Verlag.<br>
Hammar, E. L. (2017). Counter-Hegemonic Commemorative Play: Marginalized Pasts and the Politics of Memory in the Digital Game Assassin’s Creed: Freedom Cry. <em>Rethinking History,</em> <em>21</em>(3), 372-395. http://doi.org/10.1080/13642529.2016.1256622<br>
Hanson, C. F. (2002). Lost Among White Others: Late‐Victorian Lost Race Novels for Boys. <em>Nineteenth Century Contexts,</em> 23(4), 497-527. http://doi.org/10.1080/08905490208583555<br>
Harrer, S. (2018). Casual Empire: Video Games as Neocolonial Praxis. <em>Open Library of Humanities</em>, <em>4</em>(1). http://doi.org/10.16995/olh.210<br>
Hirschkop, K. (2001). Bakhtin in the Sober Light of Day. In K. Hirschkop, D. Shepherd (eds.), <em>Bakhtin and Cultural Theory</em> (pp. 1-25). Manchester: Manchester University Press. <br>
Holquist, M. (2002). <em>Dialogism: Bakhtin and His World.</em> London and New York: Routledge.<br>
Jameson, F. (2006). Businessman in Love. In F. Moretti (ed.), <em>The novel. Forms and Themes</em> (pp. 436-448). Princeton: Princeton University Press.<br>
Jenkins, H. (2004). Game Design as Narrative Architecture. In N. Wardrip-Fruin, P. Harrigan (eds.), <em>First Person. New Media as Story, Performance, and Game</em>. Cambridge: MIT Press.<br>
Juul, J. (2004). Introduction to Game Time/Time to Play: An Examination of Game Temporality. In N. Wardrip-Fruin, P. Harrigan (eds.), <em>First Person. New Media as Story, Performance, and Game </em>(pp. 131-142). Cambridge: MIT Press.<br>
Karhulahti, V.-M. (2013). A Kinesthetic Theory of Video Games: Time-critical Challenge and Aporetic Rhematic. <em>Game Studies,</em> <em>13</em>(1). Retrieved from http://gamestudies.org/1301/articles/karhulahti_kinesthetic_theory_of_the_videogame.<br>
Karhulahti, V.-M.; Bonello Rutter Giappone, K. (In Press). Punchline Behind the Hotspot: Structures of Humor, Puzzle, and Sexuality in Adventure Games (with Leisure Suit Larry in Several Wrong Places). <em>Journal of Popular Culture</em>.<br>
Katz, W. R. (2010). <em>Rider Haggard and the Fiction of Empire: A Critical Study of British Imperial Fiction.</em> Cambridge: Cambridge University Press.<br>
Klevjer, R. (2006). Dancing with the Modern Grotesque: War, Work, Play and Ritual in the Run-And-Gun First Person Shooter. In M. Bittanti (ed.), <em>Gli strumenti del videogiocare. Logiche, estetiche e (v)ideologie</em>, (pp. 223-249). Milano: Costa & Nolan.<br>
Kłosiński, M. (2018). <em>Hermeneutyka gier wideo. Interpretacja, immersja, utopia</em>. Warszawa: Instytut Badań Literackich PAN.<br>
Lacina, D. (2018). ‘Shadow of the Tomb Raider’ Tries, but Fails, to Tackle Its Own Colonialism. <em>VICE</em>. Retrieved from https://www.vice.com/en/article/d3jgeq/shadow-of-the-tomb-raider-review-tries-but-fails-to-tackle-its-own-colonialism, checked on 1/16/2021.<br>
Lammes, S. (2010). Postcolonial Playgrounds: Games and Postcolonial Culture. <em>Eludamos. Journal for Computer Game Culture,</em> <em>4</em>(1), 1-6. Retrieved from https://www.eludamos.org/index.php/eludamos/article/view/vol4no1-1/149<br>
Leino, O. T. (2012). Death Loop as a Feature. <em>Game Studies,</em> <em>12</em>(2). Retrieved from http://gamestudies.org/1202/articles/death_loop_as_a_feature<br>
MacDonald, K. (2018). Shadow of the Tomb Raider makes Lara Croft Look Boring. <em>The Guardian</em>, 9/10/2018. Retrieved from https://www.theguardian.com/games/2018/sep/10/shadow-of-the-tomb-raider-review-lara-croft.<br>
Magnet, S. (2006). Playing at Colonization: Interpreting Imaginary Landscapes in the Video Game Tropico. <em>Journal of Communication Inquiry,</em> <em>30</em>(2), 142-162. http://doi.org/10.1177/0196859905285320<br>
Majkowski, T. (2016). King Solomon’s Mines (cleared): Cartography in Digital Games and Imperial Imagination. In S. Lammes, C. Perkins, S. Hind, A. Gekker, C. Wilmott, D. Evans (eds.), <em>Charting the Digital: Discourse, Disruption, Design, Detours</em> (pp. 55-72). Wenecja: University of Warwick.<br>
Mathison, Y. (2008). Maps, Pirates and Treasure: The Commodification of Imperialism in Nineteenth-century Boys’ Adventure Fiction. In D. Denisoff, <em>The Nineteenth-century Child and Consumer Culture</em>, (pp. 173-185). London: Routledge. https://doi.org/10.4324/9781315238074.<br>
Michael, N. (2008). <em>Video Game Spaces: Image, Play, and Structure in 3D Game Worlds</em>. Cambridge, London: MIT Press.<br>
Mignolo, W. (2003). <em>The Darker Side of the Renaissance: Literacy, Territoriality, and Colonization</em>. Ann Arbor: University of Michigan Press.<br>
Morson, G. S., Emerson, C. (1990). <em>Mikhail Bakhtin: Creation of a Prosaics</em>. Palo Alto: Stanford University Press.<br>
Mrugalski, M., Pietrzak, P. (2004). Spory o Bachtinowską koncepcję karnawału. <em>Pamiętnik Literacki, 95</em>(4), 160-176.<br>
Mukherjee, S. (2015). The Playing Fields of Empire: Empire and Spatiality in Video Games. <em>Journal of Gaming & Virtual Worlds,</em> <em>7</em> (3), 299-315. http://doi.org/10.1386/jgvw.7.3.299_1.<br>
Mukherjee, S. (2017). Videogames and Postcolonialism: Empire Plays Back. In <em>Videogames and Postcolonialism</em>. Cham: Palgrave Macmillan. https://doi.org/10.1007/978-3-319-54822-7_2 Springer.<br>
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