Videogames and Postcolonialism: Empire Plays Back

The storyworld of Disco Elysium emanates remains, evidence, or traces of history, from a crumbling monument of the overthrown king after the bombing of Martinaise to post-revolutionary waste depicting imperial logic and postcolonial misery.

“The storyworld of Disco Elysium literally emanates remains, evidence, or traces of history (Ricoeur 2006: 13-15), from a crumbling and shot monument of the overthrown king after bombing of Martinaise by pacification forces, to post-revolutionary waste depicting the imperial logic and postcolonial misery (Mukherjee 2017: 104).”

Objects in Disco Elysium offer traces and clues that call for an interpretative uncertainty proper to the hermeneutic circle.

“Objects offer traces and clues that call for an interpretative uncertainty proper to the hermeneutic circle”

Experiencing the postcolonial history, as a fundamental and constitutive element of the ontology and epistemology of the game world, allows us to question his privileged position in relation to the subaltern.

“Experiencing the postcolonial history, as a fundamental and constitutive element of the ontology and epistemology of the game world, allows us to question his privileged position in relation to the subaltern (Mukherjee 2017: 69).”

Objects in Disco Elysium function as evidence for the case, driving the forensic and judiciary discourse, suggesting there is an objective truth.

“while also function as evidence for the case, driving the forensic and judiciary discourse, suggesting there is an objective truth (Domańska 2017: 115-116;Mukherjee 2017: 96).”