A new perspective on the genre of high fantasy emerges, challenging the prevalent notion that it is inherently politically reactionary and aesthetically uninspired. This re-evaluation seeks to dismantle long-held assumptions, proposing a more nuanced understanding of fantasy's intrinsic poetic and political dimensions. The work endeavors to construct a transmedial poetics of high fantasy, allowing for a fresh political assessment of its capabilities and implications.
Central to this re-conception is the argument that high fantasy, at its core, aims to cultivate a profound sense of "longing for the very other." This yearning is not merely escapist but inherently contains a challenge to the historical foundations and existing structures of any given community. It posits that the genre, through its imaginative world-building, implicitly questions the status quo and opens pathways for contemplating alternative realities.
A specific affinity is then drawn between the genre of high fantasy and the medium of the video game. It is argued that video games uniquely enable the experience of this aesthetic feeling, this "longing for the very other," by literally placing the unfolding of fantastical worlds into the hands of the players. The interactive nature of video games transforms passive reception into active engagement, allowing individuals to embody and navigate these alternative realities.
This thesis is substantiated through detailed poetological analyses of several artistically significant video games. Titles such as Dark Souls, Skyrim, and Hellblade are examined to illustrate how their design, narrative, and mechanics facilitate the player's immersion in these fantastical experiences and evoke the aforementioned longing. The exploration delves into how these games utilize their interactive elements to manifest the genre's political and poetic potential.
The study thereby opens new avenues for scholarly engagement with video games. It advocates for a genuinely aesthetic mode of thought when approaching the audiovisual images and interactive narratives of individual games, addressing a perceived lack in current game studies. Rather than merely analyzing mechanics or sociological impact, it calls for a deeper engagement with the experiential and artistic qualities of these digital worlds.
Ultimately, the work proposes that by understanding high fantasy as a genre that actively shapes a desire for radical otherness, and by recognizing the unique capacity of video games to actualize this desire, one can appreciate the profound aesthetic and political power that both possess. It suggests that these fantastical realms, far from being mere distractions, offer potent spaces for critical reflection and the imaginative exploration of societal possibilities.
