This is the part five of a five part series entitled ‘Postmodernism and the Video Game’.
Pastiche, Intertextuality & Genre Hybridity
“The writers and artists of the present day will no longer be able to invent new styles and worlds – they’ve already been invented; only a limited number of combinations are possible…in a world in which stylistic innovation is no longer possible, all that is left is to imitate dead styles”
Probably one of the oldest precedents in postmodern gaming, pastiche is a type of blank parody. To paraphrase Jameson, ‘satire without impulse, parody without laughter’. Intertextuality refers to the shaping of texts’ meanings from other texts. For instance, some examples of intertextuality in literature include:
- East of Eden (1952) by John Steinbeck: A retelling of the story of Genesis, set in the Salinas Valley of Northern California.
- Ulysses (1914) by James Joyce: A retelling of Homer’s Odyssey, set in Dublin.

While pastiche and intertextuality are more suited terms for literature, many examples appear within interactive gaming entertainments. Let’s take the game Grand Theft Auto: Vice City as our archetypal example. Indeed one of the more comical aspects of the game is that much of its cutscene storylines borrow from references to popular culture. These include but are not limited to Taxi, Red Dawn, Heat, Pulp Fiction, Scarface, and Carlito’s Way. The title ‘Vice City’ alone implies not only that the setting is a place of ‘vice’ but also makes fun of the popular eighties television show Miami Vice.
So how can we apply this to video games? The answer is genre hybridity.
One of the staples of Grand Theft Auto: Vice City is its versatile gameplay. Indeed, the actions of the player (one Tommy Vercetti) include the third-person over-the-shoulder elements of shooting games; the combat system of traditional fighting games like Double Dragon and Streets of Rage; the driving elements of classics like San Francisco Rush, Crazy Taxi, and Road Rage; as well as the open-ended worldliness of Massively Multiplayer Online Role-Playing Games like Everquest and World of Warcraft that allow the participant to explore a fully flushed out gaming environment.

This genre hybridity, however, is not strict to video games genres but can indeed cross mediums altogether. Take the Max Payne series and examine what formats construct the game. Max Payne combines the traditional tropes of hardboiled detective fiction, sketch drawings as cutscenes typically seen only in comic books, the voiceover monologues of the lead protagonist during actual gamplay (a technique normally suited for cinema), and the use of flashbacks as entire levels, a common technique used in television.
Since there are only a limited number of storylines to tell, our only method of inventing new styles of gameplay is to resurrect dead genres and reconstruct them to make something new. Narration evolves, gameplay evolves. Hardware merely progresses. Long gone are the days of two-dimensional side-scrollers and linear gameplay. The future of gaming is here and now.
July 2007
To read part one click here.
To read part two click here.
To read part three click here.
To read part four click here.