ALL THE COMPUTER’S A STAGE: LUDO-LITERARY AESTHETICS OF
VIDEOGAME ADAPTATIONS OF SHAKESPEARE’S PLAYS
Chapter I: INTRODUCTION
In a dimly lit classroom, vibrant energy radiated from a group of students huddled
around a giant screen, their eyes fixated on the unfolding spectacle of the virtual stage in
front of them. As the game came to life, ethereal avatars materialized. For even those who
had never trodden the boards of a stage before, the classroom no longer remained a
mundane space but became a portal to a virtual theatre where the polygonal avatars turned
the room into a mesmerizing spectacle. Conversely, the quirky appearance of the avatars
and their occasional erratic movements resulting from the game's glitchy mechanics
frequently gave rise to entertaining outcomes, providing the students with a chance to
contemplate their engagement with digital technology and the moral considerations
associated with interacting with on-screen avatars distinct from themselves. As this
exhilarating gameplay session drew to a close, the students emerged from their virtual
odyssey, carrying with them a blend of elation and wonder made possible by their
willingness to suspend disbelief. They realized that videogames, much like theatre, offered
a medium through which experiences could be interpreted, using evocative visual imagery,
symbolic text, and interactive potential.
This particular gameplay session described above is based on the observation of
students engaging with (2016), a videogame developed by Gina Bloom andPlay the Knave
discussed in section 4.1 of this thesis. Along with other videogames explored in the
research, it provides a gameplay experience that offers players a glimpse into the
possibilities of storytelling and the transformative power of gaming. In a world where
technology often isolates individuals, brought these students together, Play the Knave
fostering collaboration, empathy, and creative expression. They realized that videogaming
extends beyond mere entertainment, serving as a conduit that transports them, challenges
their perspectives, and facilitates the exploration of novel facets of their identities and
contributions to the creation and moulding of their understandings of Shakespearean plays.
This thesis examines this relatively unexplored connection between videogames and
theatre, exploring the shared elements, techniques, and principles underlying videogames
adapting Shakespeare's plays.
Other than Tetris Mario (1996), (1993), and (1991), one of my earliest Road Rash
gaming memories is woven with the enchantment of the videogame (1993). Much Aladdin
like , its modest gameplay required collecting apples and climbing on camels to Mario
escape the guards. I have fond memories of playing (2000), which I had The Mummy
borrowed from a school bus friend on a CD (DVDs and USB flash drives were yet to be
popular at the time). To acquire this coveted game, I had to trade the window seat for a
considerable period of time. The game would put my ten-year-old self in absolute delight
as it allowed me (as an avatar who looked suspiciously like Brandan Fraser) to travel deep
inside the hearts of pyramids and set unsuspecting mummies ablaze.
As a child, I was very reclusive and took refuge in books. My captivation with
