Notebook
Redemption out of History. Chronotopical Analysis of <i>Shadow of the Tomb Raider</i>
Keywords
- Chronotope,
- Tomb Raider,
- Lara Croft,
- Bakhtin,
- Space
- Time ...More
How to Cite
Majkowski, T. Z. (2021). Redemption out of History. Chronotopical Analysis of <i>Shadow of the Tomb Raider</i>. L’Atalante. Journal of Film Studies, (31), 35–56. https://doi.org/10.63700/903
Abstract
In this paper I will use chronotopical interpretation of Shadow of the Tomb Raider (Eidos Montréal, 2018), the latest installment in the long-standing Tomb Raider series, to explain the reason behind the game’s inability to address ideological issues underlying the series. As the final part of the prequel trilogy, introduced with the premiere of the Tomb Raider (Crystal Dynamics 2013), the game concludes Lara Croft’s coming of age story. The protagonist turns from an idealistic student stranded on the mysterious island, featured in the first installment, into a fully formed and determined adventurer, casting away her father’s long shadow and triumphing over the sinister Trinity organization. The ideology informing the genre Shadow of the Tomb Raider represents is inherently tied to the novels for adolescents, produced in the heydays of the British Empire. In this paper my main aim is to present how the spatiotemporal architecture of the game, analyzed through the lenses of Bakhtin’s chronotope, contributes to the game failure as a serious criticism toward Tomb Raider series troublesome legacy.
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References
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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>
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Galloway, A. R. (2006). <em>Gaming: Essays on Algorithmic Culture</em>. Minneapolis: University of Minnesota Press.<br>
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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>
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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>
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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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