Fragments from Elsewhere: the Weird as a Transmedia Genre

This thesis explores the transmedial versatilities of Weird fiction, tracing its evolution from early 20th century culture, to contemporary video games narratives. Starting with an overview of the Weird as a mode defined by ambiguity, ontological instability and estrangement, the first chapter traces its literary origins, comparing it to parallel genres such as the gothic, and its global influences. The second chapter investigates how the Weird has historically adapted to various media, from pulp magazines to radio, comics and cinema, emphasizing both how each platform has helped shape its aesthetic, but also the importance that the Weird community has even today on its development. Using Henry Jenkins’ ideas of transmedia storytelling, this thesis considers how the Weird lends itself particularly well to media hybridity, mostly due to its fragmentary nature and the evocation of the unknown. The third chapter focuses on video games as a particularly fertile ground for the Weird. Through an analysis of three case studies - Pathologic, I Have No Mouth and I Must Scream, and Fear and Hunger - this work argues that each title enacts a distinct model of Weird storytelling, translating it into immersive, participatory environments. Ultimately, this study’s aim is to demonstrate that video games not only contribute to the transmedial expansion of Weird fiction, but they also enhance its narrative power, by bridging together literary theory, game studies and media analysis. Hopefully, this will also be useful in a broader discussion on the understanding of how genre, platform and player interact with each other to produce new forms of storytelling in the digital age.