I outline the five basic hypotheses of Farca’s Emancipated Player (2016) as a dialectic meaning-production between player and implied player and connect it to Zapf’s notions about, literature as a cultural ecology and his triadic model of regenerative discourses. In this paper I discuss videogames as a form of cultural ecology using the examples of Flower (2013) and Shadow of the Colossus (2011). Interestingly, though, although the female super-narrator seems to be more empowered than the male narrator in the other endings, she is equally subject to the player's choices (and of course the game design), and as she frantically tries to prevent them from having their alter ego killed in the game world, and from endlessly perpetuating the cycle of following pre-designed paths and subjecting themselves to illusory. 6 we can see that another level of diegesis, call it metadiegesis, has been added to the ontological universe of the game, and the female narrator speaks to us directly as implied players. And here, finally, is where the player's alter ego in the game dies by being crushed by the 'metal jaws' -and after this ending players have to physically reload the game by starting again from the main menu. The female narrator comments on the paradoxical love-hate relationship between player-character and narrator and advises the player to stop the game to put an end to the endless, meaningless cycle of "walking someone else's path". here we encounter another narrator, a female voice, which seems to be superordinate to the diegesis of the initial male narrator, who now seems to have disappeared along with Stanley.
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