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The Stanley Parable As a Theoretical Object

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The Stanley Parable As a Theoretical Object Translation at Play Approaching The Stanley Parable as a theoretical object A.I.M. van der Burg 10 april 2019 Masterthesis Europese Letterkunde Faculteit der Letteren Radboud Universiteit Nijmegen Supervisor: dr. Frederik Van Dam Abstract This thesis approaches the videogame The Stanley Parable from the perspective of translation as characterized by George Steiner. This approach considers in which way the process of translation, which Steiner compares to the process of interpretation, could be connected to the act of playing a videogame. Various layers of translation within The Stanley Parable are discussed and analysed, which ranges from the implied script the game’s Narrator uses to frame the game and influence the player’s decisions, to the process of inscription visible in the attempt to shape the digital environment after the linear narrative of the script. In order to do so, The Stanley Parable is approached as a theoretical object as described by Hubert Damisch. This allows for a broader theoretical reach, as well as a critical consideration of both the object and the theory applied to it. Roland Barthes’ notion of intertextuality and his five intertextual codes are utilized as a method of analysis, which leads to a wide-ranging discussion of concepts such as postmodernism, postcolonialism, environmental storytelling, linear versus non- linear narrative, interactivity, responsibility, artificiality and the notion of agency in relation to predetermined code. Throughout this discussion, various intertexts ranging from the film Groundhog Day to Franz Kafka’s In the Penal Colony are connected and compared to what happens within the branching paths of The Stanley Parable. This thesis also reflects on the ludology-narratology debate and considers how this debate can be recognized within The Stanley Parable. It discusses how the process of translation can be compared to the act of playing due to its experimental approach and active attitude toward the unknown. Thus embedding the notion of translation as a way of thinking into the act of gaming, the process of play is likened to a more interactive process of interpretation. ‘The man was named Stanley. This was his real name: Who on earth would want to change his name to Stanley unless he planned on becoming a dentist?’ - Ed McBain, Vespers (1990) Table of Contents Introduction ............................................................................................................................................. 5 Chapter 1 – Status Questionae .............................................................................................................. 13 1.1 - Status Questionis: Video Game Theory ..................................................................................... 13 1.2 - Status Questionis: how has The Stanley Parable been interpreted? ........................................ 16 Chapter 2 – Theoretical framework ...................................................................................................... 20 2.1 The Theoretical object ................................................................................................................. 20 2.2 Translation and inscription .......................................................................................................... 24 Chapter 3 - Stanley’s Parable ................................................................................................................ 27 3.1 The end is never the end ............................................................................................................. 27 3.2 - Stanley, the Faceless Hero ........................................................................................................ 30 3.3 - Defining the Kafkaesque ........................................................................................................... 31 3.4 - Is this the real life; is this just Stanley ?..................................................................................... 33 Chapter 4 – The Narrator: Narrative structure and inscription ............................................................ 37 4.1 - Humanity and artificiality .......................................................................................................... 37 4.2 - The Value of choice, and choices .............................................................................................. 40 4.3 - Mutual dependency and unreliability ....................................................................................... 42 4.4 - The Pleasure of the Text ............................................................................................................ 45 Chapter 5 - Environmental storytelling: translation across media ....................................................... 48 5.1 - Jenkins and Muscat: theorizing environmental storytelling ..................................................... 50 5.2 - Environment as obstruction of narrative .................................................................................. 55 5.3 - Environmental artificiality: The Stanley Parable Adventure line .............................................. 57 5.4 - The Stanley Parable as Kafkaesque space ................................................................................. 61 Conclusion ............................................................................................................................................. 64 Sources .................................................................................................................................................. 68 Appendices ............................................................................................................................................ 71 Appendix A: The Stanley Parable flowchart ...................................................................................... 71 Appendix B: Synopsis of all endings .................................................................................................. 72 4 Introduction The Stanley Parable (TSP) is a videogame developed by Davey Wreden and William Pugh under the name Galactic Café. Previous to its official release, TSP existed in 2011 as a mod1 for the ‘FPS’ Half Life 2, which received so much attention and praise that in 2013 it was expanded and released as a standalone video game. The fact that the game is difficult to characterize is apparent in the summary it has on the online gaming platform Steam. The Stanley Parable is listed as follows: ‘The Stanley Parable is a first person exploration game. You will play as Stanley, and you will not play as Stanley. You will follow a story, you will not follow a story. You will have a choice, you will have no choice. The game will end, the game will never end.’2 This listing of contradictions seems conflicting and confusing at first, but it actually emphasizes some of the main themes of the game: the concept of identity and identification in videogames, non-linear narrative structure, the question of agency and the absence of definitiveness. While this does not clarify the concrete structure and premise of the game, it does allude to the reason why public opinion, if the Steam player reviews are any indication, call for discretion regarding this game, suggesting that any discussion of its contents would ‘spoil’ the experience for others. Hopefully, it is clear that this thesis will not attempt to maintain this discretion, as remaining ‘spoiler free’ would lead to an impossibly vague analysis. The main message that can be taken away from the game’s reputation is the notion that this game is grounded in individual experience; encouraging thought and reflection, varying from the question of identity to the artificiality of video game environments. As a game, The Stanley Parable functions differently from most popular narrative videogames such as RPG’s (Role Playing Games) and FPS’s (First Person Shooters). TSP is controlled through an altered FPS-system with restricted controls. Whereas FPS games usually allow (even emphasize) fast- paced navigation through the game-environment, combat, an extensive interface and the possibility to keep an inventory, TSP offers a more dialled down version. It maintains the same navigation controls and first-person perspective, but foregoes game ‘essentials’ such as a map, interactive and moveable objects or health bar. The game’s menu screen (Figure 1) further sets the game’s tone with a mise-en-abyme, which shows a computer monitor with the same menu which also mimics the player’s mouse movement. This presentation of the game’s menu foreshadows the game’s emphasis on framing and self-reflectivity. The menu screen also starts the implication the player taking Stanley’s place, which is further implied through the opening monologue. Starting the game launches the first bit of narration, in which a voice credited as the Narrator introduces the player with the main character of the game; Stanley. 1 ‘Mod’, in this sense, is short for modification, and refers to the process of modding, in which either players or developers add in extra elements or options into either single-or multiplayer game-modes in order to alter gameplay or experiences. These bits of code are referred to as ‘mods’ or ‘modpacks’, which are to be installed in order to influence the base game with extra accessible area’s, items, characters, texture packs and other visual modifications. The game Gary’s Mod has made of this practice of modding its base premise, offering
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