The Object Gives Rise to Thought: Hermeneutics of Objects in Disco Elysium

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

The mechanic of time being still outside dialogues is common to adventure and detective games and functions as an inter-ludic element of the genre pattern.

“This mechanic is common to adventure and detective games (Hansen 2018: 139), and functions as an inter-ludic element of the genre pattern (Denson, Jahn-Sudmann 2013;Heilmann 2014).”

• cites Hansen 2018Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Denson, Jahn-Sudmann 2013 sourcePartly supported

  Section 4a, “Serial Interfacing” (page unavailable), describes inter-ludic repetition and variation of game effects across games, which supports the conceptual use of “inter-ludic.” It does not identify time standing still outside dialogue as a genre pattern. The preceding claim that the mechanic is common to adventure and detective games is cited to Hansen, not to this source. (LLM, conf=0.79)

  Experimental — accuracy not yet measured
• cites Heilmann 2014 sourcePartly supported

  The “Ludic Seriality” section (page unavailable) describes inter-ludic seriality as occurring between games and says patterns of repetition and variation characterize genres. It does not discuss time standing still outside dialogues or identify that mechanic as an inter-ludic element. The claim that the mechanic is common to adventure and detective games is cited to Hansen, not Heilmann. (LLM, conf=0.82)

  Experimental — accuracy not yet measured

Classified as probably not a substantial claim. May combine two claims.

In Disco Elysium, the relationship with objects is reversible, mutual, and cannot be reduced to a simple one-sided investigation.

“Similarly, to Doyle's stories, object gives rise to thought, but Disco Elysium supplements this notion with another dimension, as the relationship with the objects turns out to be reversible, mutual (Sendyka 2017: 88), and cannot be reduced to a simple one-sided investigation.”

• cites Sendyka 2017: 88 sourcePartly supported

  In section 3 (p. 8), Sendyka says forensics is not merely a relationship between science and an object, which supports the rejection of a simple one-sided investigation. But her discussion of material witnesses in section 3 (p. 7) does not describe the relationship with objects as reversible or mutual, and it does not address Disco Elysium. (LLM, conf=0.74)

  Experimental — accuracy not yet measured

• AssumptionRests on an assumption: In Doyle's stories, objects give rise to thought.

Probably not a substantial claim: may not pass S3 (load-bearing).

The poetics of Disco Elysium remind us of hypermodern retrospective proper to retro criminal stories engaged in fictional explorations of memory and history, especially in post-communist Poland.

“But the poetics of Disco Elysium also remind us of hypermodern retrospective proper to the retro criminal stories engaged in fictional explorations of memory and history, especially in post-communist Poland (Buryła 2018: 113;Darska 2018: 131-132).”

• cites Buryła 2018: 113 sourcePartly supported

  In the concluding discussion (paragraphs 65–66), Buryła describes Polish retro crime fiction as a contemporary form of writing about the past that engages with historical and social complexity. The discussion of knowledge and memory (paragraph 51) also says these stories reconstruct the historical setting. The cited passages do not characterize their approach as a “hypermodern retrospective”; the comparison with Disco Elysium is the citing authors’ own. (LLM, conf=0.82)

  Experimental — accuracy not yet measured
• cites Darska 2018: 131-132Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.

In the murder-mystery that Harry must solve, the victim is a mercenary sent by the pacification forces, supposedly lynched by the local workers, striking against their exploitation by foreign capitalists.

“In the murder-mystery that Harry must solve, the victim is a mercenary sent by the pacification forces, supposedly lynched by the local workers, striking against their exploitation by foreign capitalists.”

Classified as probably not a substantial claim.

Specific objects, among them abilities such as 'perception' or 'encyclopaedia', become the interlocutors in Disco Elysium.

“Moreover, specific objects, among them also abilities such as 'perception' or 'encyclopaedia' become the interlocutors, which produces a narrative paradox fragmenting Harry's subjectivity so that, in this entire dialogue sequence, he gets to ask just one question.”

May combine two claims.

In Disco Elysium, time flows only when we initiate and pursue dialogue, phenomenological interaction with objects, or when Harry gets sucked into those by his intuition, awareness or scripted in game events.

“Time flows only when we initiate and pursue dialogue, phenomenological interaction with objects or when Harry gets sucked into those by his intuition, awareness or scripted in game events.”

Classified as probably not a substantial claim.

In Disco Elysium, one can roam the space available in game as if it was ripped out of the stream of time.

“one can roam the space available in game as if it was ripped out of the stream of time”

Probably not a substantial claim: may not pass S4 (based).

If Harry is unable to solve the case, the Board will use extreme force against the workers and level the town which still remembers recent warfare.

“If Harry is unable to solve the case, the Board will use extreme force against the workers and level the town which still remembers recent warfare.”

Classified as probably not a substantial claim. The quote only partly states this claim.

The interaction with the statue of Fillip the III presents the situation of meeting and conversing with objects, in which the different cognitive abilities of Disco Elysium's protagonist are set in motion.

“This presents the situation of meeting and conversing with objects, in which the different cognitive abilities of Disco Elysium's protagonist are set in motion.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

The investigation in Disco Elysium is conducted in the atmosphere of political, social, and economic tensions in postrevolutionary (42 years), nationalistic city of Revachol under outside governance of 'the Board.'

“the state of the world as the investigation is conducted in the atmosphere of political, social, and economic tensions in postrevolutionary (42 years), nationalistic city of Revachol under outside governance of 'the Board.'”

Probably not a substantial claim: may not pass S3 (load-bearing).

The objects in Disco Elysium include, but are not limited to, phantasms, people, animals, and tools.

“Time flows only when Harry is in dialogue with the world of objects, and these are also, but not limited to, phantasms, people, animals, and tools.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

The introductory dialogue's background is a black screen, which introduces the atmosphere of isolation.

“The situation of complete withdrawal from any relation has been used in the introductory dialogue of Disco Elysium: its background is a black screen, which introduces the atmosphere of isolation.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

The context for the limbic system warning is the returning memory of Harry's former lover.

“The context for this warning is the returning memory of Harry's former lover.”

Classified as probably not a substantial claim. May combine two claims.

Harry literally speaks with the dead body, which mocks and ridicules him.

“Harry literally speaks with the dead body, which -as if that was not enough -mocks and ridicules him.”

Classified as probably not a substantial claim.

The mailbox is an object with past, bearing marks of harassment, insults, and aggression.

“The mailbox is an object with past, bearing marks of harassment, insults, and aggres-sion.”

Classified as probably not a substantial claim. May combine two claims.

The black background of the screen reveals the detective film convention also adopted in the game menu; the dialogue frame is stylised as a film tape and characterized by the inscription 'FELD PLAYBACK FILM'.

“The black background of the screen reveals the detective film convention also adopted in the game menu -the dialogue frame is stylised as a film tape and characterized by the inscription: 'FELD PLAYBACK FILM' (Disco Elysium 2019).”

• cites Disco Elysium 2019Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

Harry is a workaholic-alcoholic and a victim of his own addiction, which caused brain damage and amnesia.

“Workaholic-alcoholic, Harry is a victim of his own addiction, which caused brain damage and amnesia.”

Classified as probably not a substantial claim.

The mailbox is described as an adventurous heroine, 'Poste L'Aventurier'.

“It is also described as an adventurous heroine, 'Poste L'Aventurier' (more so as the object in the eye of the beholder).”

Classified as probably not a substantial claim. May combine two claims.

Harry doesn't know who he is and what he did for the past fifty years of his life.

“He doesn't know who he is and what he did for the past fifty years of his life.”

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

In Disco Elysium, objects speak, quarrel, banter with each other, tell stories and exchange experiences.

“As Disco Elysium illustrates, objects speak, quarrel, banter with each other, tell stories and exchange experiences.”

Classified as probably not a substantial claim.

In this entire dialogue sequence, Harry gets to ask just one question.

“Moreover, specific objects, among them also abilities such as 'perception' or 'encyclopaedia' become the interlocutors, which produces a narrative paradox fragmenting Harry's subjectivity so that, in this entire dialogue sequence, he gets to ask just one question.”

Probably not a substantial claim: may not pass S3 (load-bearing).

The limbic system appears and discourages Harry from waking up and experiencing corporeality, referred to as 'the meat thing'.

“Here appears the 'limbic system,' which discourages him from waking up and experiencing corporeality, referred to as 'the meat thing':”

Classified as probably not a substantial claim. May combine two claims.

In an alcoholic rage, Harry has crashed his police vehicle and flushed the case files in the toilet.

“Moreover, in an alcoholic rage, Harry has crashed his police vehicle and flushed the case files in the toilet.”

Probably not a substantial claim: may not pass S3 (load-bearing).

The situation of complete withdrawal from any relation has been used in the introductory dialogue of Disco Elysium.

“The situation of complete withdrawal from any relation has been used in the introductory dialogue of Disco Elysium: its background is a black screen, which introduces the atmosphere of isolation.”

• AssumptionRests on an assumption: Harman's four types of tensions (time, space, eidos, essence) are applicable to the analysis of objects in Disco Elysium.

Probably not a substantial claim: may not pass S3 (load-bearing).

Disco Elysium opens with an existential soliloquy depicting the protagonist in a state of alcohol delirium and debilitation.

“The game opens with an existential soliloquy, depicting the protagonist in a state of alcohol delirium and debilitation.”

Classified as probably not a substantial claim.

In Disco Elysium, soliloquy, interactions with objects, conversations with NPCs, choosing options and navigating through game menus are all presented as enclosed by the frame of the film tape.

“That is, soliloquy, interactions with objects, conversations with NPCs, choosing options and navigating through game menus, are all presented as enclosed by the frame of the film tape.”

Classified as probably not a substantial claim.

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).”

• cites Ricoeur 2006: 13-15Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Mukherjee 2017: 104 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S3 (load-bearing).

The rite of tattoos as diaries was adopted by mercenaries to mark the history of conflicts in which they participated.

“Afterwards, this rite was adopted by mercenaries to mark the history of conflicts in which they participated.”

Classified as probably not a substantial claim. May combine two claims.

The hanged man is an object of forensic procedures, which involve probing the body, determining the cause of death, writing a report which Harry fills with data according to players choices.

“The hanged man -nekros, besides his intimate conversation with our protagonist, is also an object of forensic procedures, which involve probing the body, determining the cause of death, writing a report which Harry fills with data according to players choices.”

Classified as probably not a substantial claim.

The game environment constantly surrounds the player with broken rifles, forgotten facilities, propaganda posters, and ruins.

“Therefore, we are constantly surrounded by broken rifles hidden in cellars, forgotten facilities filled with pre-revolution junk, rags of propaganda posters and omnipresent ruins.”

Probably not a substantial claim: may not pass S3 (load-bearing). The quote only partly states this claim.

The hangman was shot by Iosef Lilianovich Dros, an officer of Le Parti communiste d'Insulinde.

“the hangman was shot by figure of a”

Probably not a substantial claim: may not pass S4 (based).

The tattoo of a map on victim's body is essential for the rituals of Oranje, a maritime culture, which used tattoos as diaries of their journeys.

“As the investigation develops, we learn that the tattoo of a map on victim's body is essential for the rituals of Oranje, a maritime culture, which used tattoos as diaries of their journeys.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

Dros refused to lay down his weapon after the fall of revolution and for forty years lived in hiding in abandoned military installations.

“who refused to lay down his weapon after the fall of revolution and for forty years lived in hiding in abandoned military installations.”

Probably not a substantial claim: may not pass S2 (checkable).

The time mechanic allows ZA/UM to construct and properly present the stakes of the game.

“This allows ZA/UM to construct and properly present the stakes of the game”

Classified as probably not a substantial claim.

Disco Elysium offers a non-anthropocentric perspective on human being.

“the game offers a non-anthropocentric perspective on human being”

• AssumptionRests on an assumption: Object-Oriented Ontology and Ricoeur's hermeneutics are suitable frameworks for analyzing Disco Elysium.

Classified as probably not a substantial claim.

Time in Disco Elysium has been reduced to the tension between objects and Harry's intentionality.

“Time in Disco Elysium has been reduced to the tension between objects and Harry's intentionality”

• AssumptionRests on an assumption: Object-Oriented Ontology and Ricoeur's hermeneutics are suitable frameworks for analyzing Disco Elysium.

Classified as probably not a substantial claim.

The investigation turns into a race against time, as searching for clues, interviewing witnesses, constructing hypotheses, and reflecting on the shape of the world all drain the available story time buffer.

“Therefore, the investigation turns into a race against time, as searching for clues, interviewing witnesses, constructing hypotheses, and reflecting on the shape of the world, all of which inevitably drains the available story time buffer (Zagal, Mateas 2010: 7-8).”

• cites Zagal, Mateas 2010 sourceNot checked — no full text of the source

Classified as probably not a substantial claim.

The analysis highlights the role of objects in redefining the figure of the protagonist.

“This analysis highlights the role of objects in redefining the figure of the protagonist”

• AssumptionRests on an assumption: Object-Oriented Ontology and Ricoeur's hermeneutics are suitable frameworks for analyzing Disco Elysium.

Classified as probably not a substantial claim.

Disco Elysium already incorporates in its mechanics the first gift of objects, which is the reflection about temporality and oneself.

“Therefore, Disco Elysium already incorporates in its mechanics the first gift of objects, which is the reflection about temporality and oneself.”

Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based). May combine two claims.

The world of Disco Elysium literally speaks to the protagonist, innovating on and paying homage to classical Role-Playing Games such as Planetscape Torment, Baldur's Gate, or Fallout.

“The world of Disco Elysium literally speaks to the protagonist, innovating on and paying homage to the classical Role-Playing Games such as Planetscape Torment, Baldur's Gate, or Fallout.”

Classified as probably not a substantial claim.

The game problematises objects giving rise to time by relating the temporal flow to Harry's intentionality.

“which the game problematises by relating the temporal flow to Harry's intentionality”

• cites Ricoeur 1991: 13Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• AssumptionRests on an assumption: Object-Oriented Ontology and Ricoeur's hermeneutics are suitable frameworks for analyzing Disco Elysium.

Classified as probably not a substantial claim.

The analysis highlights the role of objects in offering a new existential ontology.

“offering a new existential ontology”

• AssumptionRests on an assumption: Object-Oriented Ontology and Ricoeur's hermeneutics are suitable frameworks for analyzing Disco Elysium.

Probably not a substantial claim: may not pass S2 (checkable).

Disco Elysium gives rise to questions about objects as a basis for rethinking the human condition.

“gives rise to questions about objects as a basis for rethinking the human condition”

• AssumptionRests on an assumption: Object-Oriented Ontology and Ricoeur's hermeneutics are suitable frameworks for analyzing Disco Elysium.

Classified as probably not a substantial claim.

Harry's intentional acts turn into a soliloquy, a staging of internal dialogue or monologue.

“Harry's intentional acts turn into a soliloquy, a staging of internal dialogue or monologue (Lacoue-Labarthe 1989: 249).”

• cites Lacoue-Labarthe 1989: 249Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim.

Objects pull us into time understood as the tension between what they are, what they were and what they will be.

“The objects pull us into the time understood as this tension between what they are, what they were and what they will be.”

Classified as probably not a substantial claim.

The time mechanic serves a fundamental ontological function.

“This mechanic serves a fundamental ontological function.”

Classified as probably not a substantial claim.

Disco Elysium offers a new approach to storyworld ontology, best seen in the animalisation and anthropomorphisation of objects and Harry's abilities.

“Disco Elysium offers a new approach to storyworld ontology which is best seen in the animalisation and anthropomorphisation of objects and Harry's abilities.”

• AssumptionRests on an assumption: Object-Oriented Ontology and Ricoeur's hermeneutics are suitable frameworks for analyzing Disco Elysium.

Classified as probably not a substantial claim. May combine two claims.

The game does not present time as an independent stream in which objects are immersed, but realizes the idea that time is enabled because there is a tension at the level of their sensuality when they are intended by the protagonist.

“Thus, the game does not present time as an independent stream in which the objects are immersed, but realizes the idea that time is enabled because there is a tension at the level of their sensuality when they are intended by the protagonist.”

May combine two claims.

The player's engagement with the world shapes Harry's narrative identity, especially in relation to his existential drama and suffering, as he must renegotiate his experience of selfhood and sameness.

“This engagement with the world shapes his narrative identity (Ricoeur 1992: 140) here, especially in relation to Harry's existential drama and suffering (cf.Vella 2015: 287-288) as he must renegotiate his experience of selfhood and sameness (cf.Gandolfi 2016: 724-726).”

• cites Ricoeur 1992: 140Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Vella 2015: 287-288Not checked — no full text of the source
• cites Gandolfi 2016: 724-726 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S4 (based).

Disco Elysium presents time, events and history as the effects of various tensions between the protagonist and the objects.

“My thesis is that Disco Elysium presents time, events and history as the effects of various tensions between the protagonist and the objects.”

• AssumptionRests on an assumption: Object-Oriented Ontology and Ricoeur's hermeneutics are suitable frameworks for analyzing Disco Elysium.

Classified as probably not a substantial claim.

Time is the name for the tension between sensual objects and their sensual qualities.

“Time is the name for this tension between sensual objects and their sensual qualities”

• cites Harman 2011: 100Not checked — no full text of the source

Classified as probably not a substantial claim.

Time flows only when Harry is in dialogue with the world of objects.

“Time flows only when Harry is in dialogue with the world of objects, and these are also, but not limited to, phantasms, people, animals, and tools.”

Classified as probably not a substantial claim. May combine two claims.

Time in Disco Elysium flows only when we experience the intentional acts of the protagonist, for it is only then that tension is produced between the things he perceives and the changing qualities of these objects.

“Time in Disco Elysium flows only when we experience the intentional acts of the protagonist, for it is only then that tension is produced between the things he perceives and the changing qualities of these objects.”

• AssumptionRests on an assumption: Object-Oriented Ontology and Ricoeur's hermeneutics are suitable frameworks for analyzing Disco Elysium.

Probably not a substantial claim: may not pass S2 (checkable). May combine two claims.

Disco Elysium stages objects as kernels of speech and participants in dialogue, giving them a place in a great dialogue of beings.

“The game stages objects as kernels of speech and participants in dialogue, therefore giving them a place in what might be called a great dialogue of beings.”

Classified as probably not a substantial claim.

The conversation with the dead body would not be possible if Harry occupied a privileged position.

“This conversation would not be possible if Harry occupied a privileged position.”

Classified as probably not a substantial claim.

This narrative formula makes Harry literally experience his own otherness.

“This narrative formula depicts Harry not as a subject using his abilities and senses, but merely as an interlocutor, which makes him literally experience his own otherness (Ricoeur 1992: 327).”

• cites Ricoeur 1992: 327Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable).

Ricoeur's existential stress on language, speech and dialogue is crucial for conceptualising the significance of conversations with objects in Disco Elysium.

“The existential stress he puts on language, speech and dialogue is crucial for conceptualising the significance of the conversations with objects in Disco Elysium.”

Classified as probably not a substantial claim. May combine two claims.

The procedure remediates cinema and literature as part of the game's dialogue with their conventions, adding to an existential metaphor of life as a cinema.

“As such, the procedure remediates cinema and literature as part of the game's dialogue with their conventions (Bolter, Grusin 2000: 56, 59-62), essentially adding to an existential metaphor of life as a cinema.”

• cites Bolter, Grusin 2000: 56, 59-62Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim.

The object gives rise to thought about shared mutual conditions.

“The object gives absolution, gives rise to thought about shared mutual conditions, and offers a reflection of the self and others.”

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

The opening sequence simulates the Heideggerian situation of being thrown into the world, building the sense of embodiment and incorporation.

“This simulates the Heideggerian situation of being thrown into the world, building the sense of embodiment and incorporation (Gualeni, Vella 2020: 40-41;cf. Calleja 2011).”

• cites Gualeni, Vella 2020: 40-41 sourceNot checked — no full text of the source
• cites Calleja 2011 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

The opening sequence depicts an ontological procedure: the fission of Harry's subjectivity and transformation of specific cognitive functions into scenic objects.

“The opening sequence also depicts an ontological procedure, the fission of Harry's subjectivity and transformation of specific cognitive functions into scenic objects.”

Classified as probably not a substantial claim. May combine two claims.

In contrast to Holmes, Harry is staged as a subject deprived of power and knowledge, symbolically castrated, having lost his weapon-phallus and the police ledger named 'ledger of failure and hatred'.

“In contrast to Holmes, Harry is staged as a subject deprived of power and knowledge (he wakes up with amnesia, without his badge), symbolically castrated (Abbott 2002: 170-172) as he lost his weapon-phallus (Kimmel et al. 2014) and the police ledger, affectively named 'ledger of failure and hatred.'”

• cites Abbott 2002: 170-172Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Kimmel et al. 2014 sourceNot checked — no full text of the source

• AssumptionRests on an assumption: In Sherlock Holmes stories, objects play pivotal roles as clues and traces, literal food for thought.
• AssumptionRests on an assumption: Holmes does not speak with objects; he reads them as an inscription left by perpetrators, frozen history of human actions written on the fabric of the world.

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

We have no experience or insight into the essence of our bird, as it is the tension between the real object and its real qualities, which always withdraws from any relation.

“Lastly, we have no experience or insight into the essence of our bird, as it is the tension between the real object and its real qualities, which always withdraws from any relation.”

• cites Harman 2011: 99-102Not checked — no full text of the source

Probably not a substantial claim: may not pass S2 (checkable).

This strengthens the narrative of a detective with shattered personality and the goal of searching for lost identity.

“This strengthens the narrative of a detective with shattered personality and the goal of searching for the lost identity (Gualeni, Vella 2020: 45-46).”

• cites Gualeni, Vella 2020: 45-46 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing), S4 (based). May combine two claims.

ZA/UM used this to bolster the detective narration and make it a prime example of interrogating and listening to objects.

“ZA/UM used this to bolster the detective narration and make it into a prime example of interrogating and listening to objects.”

Classified as probably not a substantial claim.

Disco Elysium transforms the model of questioning and investigation, best seen in the dialogue with the hangman.

“Disco Elysium transforms this model of questioning and investigation, which can best be seen in the dialogue with the hangman.”

• AssumptionRests on an assumption: In Sherlock Holmes stories, objects play pivotal roles as clues and traces, literal food for thought.
• AssumptionRests on an assumption: Holmes does not speak with objects; he reads them as an inscription left by perpetrators, frozen history of human actions written on the fabric of the world.

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

By showing empathy towards the mailbox, Harry experiences catharsis and enters a community of the excluded, exploited, and reviled.

“By showing empathy towards the mailbox, Harry experiences catharsis and enters a community of the excluded, exploited, and reviled.”

Classified as probably not a substantial claim. May combine two claims.

Sequences staging objects as partners in dialogue are an allegory of cinema grammar; their initiation designates the moments of cut and action proper to film narration.

“Sequences staging objects as partners in dialogue are thus already an allegory of the cinema grammar (Galloway 2006: 106), their initiation designates the moments of cut and action proper to the film narration.”

• cites Galloway 2006: 106Not checked — no full text of the source

Classified as probably not a substantial claim.

When we reflect upon the phenomenon of the 'birdness' of the bird, we experience the tension between the sensual object and its hidden real qualities: the eidos.

“However, when we reflect upon the phenomenon of the 'birdness' of the bird, we experience the tension between the sensual object and its hidden real qualities: the eidos.”

• cites Harman 2011: 99-102Not checked — no full text of the source

Classified as probably not a substantial claim.

When we observe the bird in the sky or on the bridge, we also experience space: the tension between real bird and its sensual qualities.

“When we observe the bird in the sky or on the bridge, we also experience space: the tension between real bird and its sensual qualities.”

• cites Harman 2011: 99-102Not checked — no full text of the source

Classified as probably not a substantial claim.

Existential investigation is strengthened by the function of objects as identity mirrors, illustrated in the meeting between Harry and the mailbox.

“Existential investigation is strengthened by the function of objects as identity mirrors, illustrated in the meeting between Harry and the mailbox:”

• AssumptionRests on an assumption: The teleology of the detective story is strictly linked with personal quest for lost identity, constructing or reconstituting Harry's personality as an existential endeavour.

Classified as probably not a substantial claim.

Objects offer knowledge about the protagonist's narrative identity.

“Here, another gift of the object is revealed, as the objects offer knowledge about the protagonist's narrative identity.”

Classified as probably not a substantial claim.

By using this narrative technique, Disco Elysium makes the gameworld a scene for ontography, a process of producing detailed lists of beings.

“By using this narrative technique Disco Elysium makes the gameworld a scene for ontography -a process of producing detailed lists of beings (Bogost 2012: 38;Harman 2011: 124).”

• cites Bogost 2012: 38 sourceNot checked — no full text of the source
• cites Harman 2011: 124Not checked — no full text of the source

• AssumptionRests on an assumption: The interaction with the statue of Fillip the III is representative of how Disco Elysium stages objects and soliloquy throughout the game.
• AssumptionRests on an assumption: Harman's four types of tensions (time, space, eidos, essence) are applicable to the analysis of objects in Disco Elysium.

Classified as probably not a substantial claim.

The hangman assumes a familiarising position towards Harry when he speaks.

“This can be seen in the familiarising position the hangman assumes towards Harry when he speaks:”

Probably not a substantial claim: may not pass S2 (checkable).

The way that objects are staged serves a pivotal role in Disco Elysium.

“The way that objects are staged serves a pivotal role in Disco Elysium.”

• AssumptionRests on an assumption: The interaction with the statue of Fillip the III is representative of how Disco Elysium stages objects and soliloquy throughout the game.

Probably not a substantial claim: may not pass S2 (checkable).

The ability to hear the discreet voice of objects seems a key competence in the ontology illustrated by Disco Elysium.

“The ability to hear the discreet voice of objects therefore seems a key competence in the ontology illustrated by Disco Elysium.”

Probably not a substantial claim: may not pass S2 (checkable).

The object gives absolution.

“The object gives absolution, gives rise to thought about shared mutual conditions, and offers a reflection of the self and others.”

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing). May combine two claims. The quote only partly states this claim.

The soliloquy has a disturbing undertone because the 'ancient reptilian brain' addressing the protagonist is reminiscent of the oldest, primal elements of human brain and various reptilian fantastic races.

“The soliloquy has a disturbing undertone as the”

• cites MacLean 1990: 15Not checked — no full text of the source

Classified as probably not a substantial claim.

The dialogue tries to convince us that the hangman knows Harry better than he knows himself.

“The dialogue tries to convince us that the hangman knows Harry better than he knows himself.”

Classified as probably not a substantial claim.

This narrative formula depicts Harry not as a subject using his abilities and senses, but merely as an interlocutor.

“This narrative formula depicts Harry not as a subject using his abilities and senses, but merely as an interlocutor, which makes him literally experience his own otherness (Ricoeur 1992: 327).”

Probably not a substantial claim: may not pass S4 (based).

Soliloquy enables the staging of all ontological tensions enumerated by Harman in his The Quadruple Object.

“Therefore, soliloquy enables the staging of all ontological tensions enumerated by Harman in his The Quadruple Object.”

• AssumptionRests on an assumption: The interaction with the statue of Fillip the III is representative of how Disco Elysium stages objects and soliloquy throughout the game.
• AssumptionRests on an assumption: Harman's four types of tensions (time, space, eidos, essence) are applicable to the analysis of objects in Disco Elysium.

Classified as probably not a substantial claim. May combine two claims.

The internal monologue opens up a space for simultaneous enabling and restriction of Harry's subjectivity, best seen in the distancing references to him as the addressee from the order of his own perception and encyclopaedic knowledge.

“The internal monologue opens up a space for simultaneous enabling and restriction of Harry's subjectivity, best seen in the distancing references to him as the addressee from the order of his own perception and encyclopaedic knowledge.”

Classified as probably not a substantial claim. May combine two claims.

The object offers a reflection of the self and others.

“The object gives absolution, gives rise to thought about shared mutual conditions, and offers a reflection of the self and others.”

Classified as probably not a substantial claim.

Fragmentation of Harry's subjectivity with use of soliloquy reveals the theatricality of this narrative procedure.

“Fragmentation of Harry's subjectivity with use of soliloquy reveals the theatricality of this narrative procedure (Murray 1997;Kłosiński 2018: 63-80).”

• cites Murray 1997Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Kłosiński 2018: 63-80Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• AssumptionRests on an assumption: The interaction with the statue of Fillip the III is representative of how Disco Elysium stages objects and soliloquy throughout the game.

Classified as probably not a substantial claim.

Disco Elysium illustrates a reversible relationship with an object which initiates and participates in Harry's cathartic reflection on his own identity.

“Thus, Disco Elysium illustrates a reversible relationship with an object which initiates and participates in Harry's cathartic reflection on his own identity.”

Classified as probably not a substantial claim. May combine two claims.

In Disco Elysium, the investigation challenges players to reconstruct both the story and Harry's narrative identity.

“This is the narrative dominant in Disco Elysium; that the investigation challenges players to reconstruct both the story, and Harry's narrative identity.”

• AssumptionRests on an assumption: The teleology of the detective story is strictly linked with personal quest for lost identity, constructing or reconstituting Harry's personality as an existential endeavour.

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

The enunciation ends with the first dialogue option which constitutes an existential choice to take upon oneself, the decision to keep existing as the protagonist, and thus to keep playing.

“The enunciation ends with the first dialogue option which constitutes an existential choice to take upon oneself, the decision to keep existing (Gualeni, Vella 2020: 18, 26) as the protagonist, and thus to keep playing:”

• cites Gualeni, Vella 2020: 18, 26 sourceNot checked — no full text of the source

Classified as probably not a substantial claim. May combine two claims.

Harman distinguishes real and sensual objects as well as their real and sensual qualities.

“Harman distinguishes real and sensual objects as well as their real and sensual qualities.”

• cites Harman 2011: 99-102Not checked — no full text of the source

Classified as probably not a substantial claim. May combine two claims.

Holmes is a modern subject of power-knowledge and speaks with the dead using the language of contemporary anatomy and medicine.

“As a modern subject of power-knowledge (Foucault 1998: 92-102;Kelly 2013: 134) he speaks with the dead using the language of contemporary anatomy and medicine (Wagner 2006).”

• cites Foucault 1998: 92-102Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Kelly 2013: 134 sourceNot checked — no full text of the source
• cites Wagner 2006Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim.

The use of specific objects as interlocutors produces a narrative paradox fragmenting Harry's subjectivity.

“Moreover, specific objects, among them also abilities such as 'perception' or 'encyclopaedia' become the interlocutors, which produces a narrative paradox fragmenting Harry's subjectivity so that, in this entire dialogue sequence, he gets to ask just one question.”

Probably not a substantial claim: may not pass S3 (load-bearing).

By looking at a bird in motion we experience temporality: the tension between a sensual object and its sensual qualities.

“For example, by looking at a bird in motion we experience temporality: the tension between a sensual object and its sensual qualities.”

• cites Harman 2011: 99-102Not checked — no full text of the source

Classified as probably not a substantial claim.

Harman names four types of tensions between them: time, space, eidos and essence.

“Harman names four types of tensions between them: time, space, eidos and essence (2011: 99-102).”

• cites Harman 2011: 99-102Not checked — no full text of the source

Classified as probably not a substantial claim.

In Disco Elysium, reflection on the victim does not boil down to intelligent calculation or logical deduction.

“Reflection on the victim does not boil to an intelligent calculation or logical deduction.”

Classified as probably not a substantial claim.

Their configurations form four poles of every object, or a fourfold depiction.

“Their configurations form four poles of every object, or a fourfold depiction.”

• cites Harman 2011: 99-102Not checked — no full text of the source

Classified as probably not a substantial claim.

Defiled nekros, kneeling before Harry, seems to have its own narration, if not immediate access, to historical truth.

“Defiled nekros, kneeling before Harry, seems to have its own narration, if not immediate access, to historical truth (Domańska 2017: 115).”

• cites Domańska 2017: 115Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim. May combine two claims.

Symbols always open a matrix of meanings, leading to understanding oneself via interpretation.

“Symbols always open a matrix of meanings, leading to understanding oneself via interpretation, and I argue that objects in Disco Elysium have a similar function.”

• cites Ricoeur 1969: 11Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim.

Objects highlight the problem of historical narrative.

“Objects also highlight the problem of historical narrative.”

Classified as probably not a substantial claim.

Disco Elysium deconstructs the utopian vision of scientific inquiry, based on the idea that truth is extracted from objects through objective, scientific methods.

“In this respect Disco Elysium deconstructs the utopian vision of scientific inquiry, based on the idea that truth is extracted from objects through objective, scientific methods.”

Classified as probably not a substantial claim.

What objects give in Disco Elysium is the allohistory, a kind of alternative history, grounded in various worldbuilding procedures ancillary to the pure act of creating a different world.

“What objects give in Disco Elysium is, therefore, the allohistory, a kind of alternative history, grounded in various worldbuilding procedures ancillary to the pure act of creating a different world (Maj 2015: 229-231).”

• cites Maj 2015: 229-231Not checked — no full text of the source

Probably not a substantial claim: may not pass S2 (checkable).

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).”

• cites Mukherjee 2017: 69 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S3 (load-bearing).

The meeting takes place in Harry's imagination, as suggested by his interlocutor.

“The meeting takes place in Harry's imagination, at least that is what his interlocutor suggests”

Probably not a substantial claim: may not pass S4 (based).

Disco Elysium reformulates the figure of the fragmented subject by using soliloquy to present a new amnesiac subject born from the fall, thrown into the world as an object, waste, who is anchored in a nostalgia for the lost love and community.

“Disco Elysium reformulates this figure by using soliloquy to present a new amnesiac subject born from the fall, thrown into the world as an object, waste, who is anchored in a nostalgia for the lost love and community.”

Classified as probably not a substantial claim.

The story of Disco Elysium is fuelled by the necrotic agency of the hangman, the dead body, nekros.

“In this sense, the story of Disco Elysium is fuelled by the necrotic agency of the hangman, the dead body, nekros (Domańska 2017).”

• cites Domańska 2017Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing). May combine two claims.

These objects produce the grim atmosphere of noir style criminal stories, presenting a rotten and degenerated world.

“These objects produce the grim atmosphere of noir style criminal stories, presenting a rotten and degenerated world.”

Probably not a substantial claim: may not pass S3 (load-bearing).

The entanglement of these characters in the allohistory finds confirmation in the hangman's answer to the question about his killer.

“Entanglement of these characters in the allohistory finds confirmation in the hangman's answer to the question about his killer.”

Classified as probably not a substantial claim.

The hangman's body gives rise to thought precisely as an object entangled in history, as its agent and its victim.

“The hangman's body gives rise to thought precisely as an object entangled in history, as its agent and its victim.”

Classified as probably not a substantial claim.

Objects in Disco Elysium have a similar function to symbols.

“Symbols always open a matrix of meanings, leading to understanding oneself via interpretation, and I argue that objects in Disco Elysium have a similar function.”

May combine two claims.

Objects in Disco Elysium give rise to the experience of allohistory, expanding our understanding and cohesion of the storyworld.

“Therefore, objects give rise to the experience of allohistory, expanding our understanding and cohesion of the storyworld.”

Classified as probably not a substantial claim.

Objects invite reflection on the fictional historical politics played as drama and experiment.

“Thus, objects invite reflection on the fictional historical politics played as drama and experiment (Pötzsch, Šisler 2019: 5-6).”

• cites Pötzsch, Šisler 2019: 5-6Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim. May combine two claims.

Objects have material identity, and sometimes multiple identities, which change in time and with context; they have a life, which begins in point A and ends at B; in this life something happens to them.

“As stated by Ewa Domańska, objects have”

• cites Domańska 2008: 14Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable).

The history behind Harry's investigation is a gift from the body hanging behind Whirling-in-Rags, body-object, corpus delicti.

“It's plausible to say that the history behind Harry's investigation is a gift from the body hanging behind Whirling-in-Rags, body-object, corpus delicti.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.

The object gives rise to a common ground, transforming ontological assumptions about subjectivity and eroding the subject of power-knowledge.

“Therefore, the object gives rise to a common ground, effectively transforming ontological assumptions about subjectivity and eroding the subject of power -knowledge.”

Probably not a substantial claim: may not pass S2 (checkable).

Objects stimulate and fuel imagination.

“which brings us to another gift we receive from objects: they stimulate and fuel imagination.”

Classified as probably not a substantial claim.

Harry's investigation problematises the history of the storyworld.

“Such positioning causes Harry to function as an agent of historical politics (Chapman 2016: 232, 245-246), as his investigation problematises the history of the storyworld, and mediates our stance on the political dilemmas presented in the game.”

Classified as probably not a substantial claim.

Imagination is the most important gift from objects.

“All in all, the imagination seems to be their most important gift.”

Classified as probably not a substantial claim.

Harry's dual role as tool and object of investigation amplifies the game's allohistorical dimension.

“Harry himself is both the tool (of power, politics, justice), and the object of investigation (of his own memory and past), which further amplifies the game's allohistorical dimension.”

Classified as probably not a substantial claim.

Hermeneutics of symbols serves demytholisation, which aims to reclaim the sacred through the critique of ideology as false consciousness of history.

“In this sense, hermeneutics of symbols serves demytholisation, which aims to reclaim the sacred through the critique of ideology as false consciousness of history (Ricoeur 1969: 353).”

• cites Ricoeur 1969: 353Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim.

In-game objects, as active participants in the investigation, tell stories in their own name.

“In-game objects do not necessarily falsify this utopian vision of sci-fi forensic realism (Domańska 2017: 116-118;Kirby 2013), but as active participants in the investigation, they tell stories in their own name.”

Classified as probably not a substantial claim.

Harry is an object of investigation of his own memory and past.

“Harry himself is both the tool (of power, politics, justice), and the object of investigation (of his own memory and past), which further amplifies the game's allohistorical dimension.”

Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

The object is responsible for opening a hermeneutic rift in subjectivity when it meets the uncanny.

“Therefore, the object is responsible for opening a hermeneutic rift in subjectivity when it meets the uncanny.”

May combine two claims.

The hanging body fuels the affective dimension of its dehumanization, which is the key factor in the revenge planned by the mercenary's team on suspected dock workers.

“The hanging body also fuels the affective dimension of its dehumanization (Domańska 2017: 43), which is the key factor in the revenge planned by the mercenary's team on suspected dock workers.”

• cites Domańska 2017: 43Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Probably not a substantial claim: may not pass S2 (checkable).

Objects give history because they open up a space for exploring memory, which is an element of their biography.

“Objects give history because they open up a space for exploring memory, which is an element of their”

Probably not a substantial claim: may not pass S3 (load-bearing).

In-game objects do not necessarily falsify the utopian vision of sci-fi forensic realism.

“In-game objects do not necessarily falsify this utopian vision of sci-fi forensic realism (Domańska 2017: 116-118;Kirby 2013), but as active participants in the investigation, they tell stories in their own name.”

• cites Domańska 2017: 116-118Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Kirby 2013Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim.

Harry is a tool of power, politics, and justice.

“Harry himself is both the tool (of power, politics, justice), and the object of investigation (of his own memory and past), which further amplifies the game's allohistorical dimension.”

May combine two claims.

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).”

• cites Domańska 2017: 115-116Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Mukherjee 2017: 96 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S2 (checkable).

In this existential drama, objects become interlocutors in dialogue.

“In this existential drama objects become interlocutors in dialogue.”

Classified as probably not a substantial claim. May combine two claims.

The game reveals the rich history of Revachol, written with encyclopaedic scrutiny alongside Harry's investigation into himself.

“This reveals the rich history of Revachol, written with encyclopaedic scrutiny alongside Harry's investigation into himself.”

Classified as probably not a substantial claim.

Harry functions as an agent of historical politics.

“Such positioning causes Harry to function as an agent of historical politics (Chapman 2016: 232, 245-246), as his investigation problematises the history of the storyworld, and mediates our stance on the political dilemmas presented in the game.”

• cites Chapman 2016: 232, 245-246Not checked — no full text of the source

Classified as probably not a substantial claim.

By problematising traces and evidence in the light of memory, history and forgetting, objects transform the subject of the investigation from truth to the ways truth is constructed.

“By problematising traces and evidence in the light of memory, history and forgetting, they transform the subject of the investigation from truth, to the ways truth is constructed.”

Classified as probably not a substantial claim.

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”

• cites Domańska 2017: 115-116Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

• cites Mukherjee 2017: 96 sourceNot checked — no full text of the source

Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

Political frustration, hunger, loneliness, and sexual fixation on a mercenary's lover led Dros to take his last shot in a private war against capitalism, ending the life of Ellis Kortenaer.

“Political frustration, hunger, loneliness, and sexual fixation on a mercenary's lover, led him to take his last shot in a private war against capitalism, ending the life of Ellis Kortenaer.”

May combine two claims.

The profaned and hanged body of the mercenary gives rise to thought about the victim and the perpetrators, and tells us about the culture, history, and the world as it fulfils a central role in building the ontogenesis of the storyworld.

“The profaned and hanged body of the mercenary gives rise to thought about the victim and the perpetrators, but it also tells us about the culture, history, and the world as it fulfils a central role in building the ontogenesis of the storyworld (Maj 2015: 257-262;Maj 2019).”

• cites Maj 2015: 257-262Not checked — no full text of the source
• cites Maj 2019Not matched

  Couldn’t be matched to a paper in Crossref, so it can’t be checked.

Classified as probably not a substantial claim.

The phrase 'between you and me' marks the space of dialogue, an exchange between objects linked by a common thread of lost identity.

“This”

Probably not a substantial claim: may not pass S2 (checkable).

In this fragment, symbol functions as a call from being.

“In this fragment, symbol functions as a call from being.”

Probably not a substantial claim: may not pass S2 (checkable).

Object gives rise to thought.

“Object gives rise to thought; new hermeneutics must take this effort.”

Probably not a substantial claim: may not pass S4 (based).

In Disco Elysium, objects are not just a pretext, food, or impulse for thought; they force Harry (and players) to produce new objects.

“Here the objects are not just a pretext, food, or impulse for thought, rather they force Harry (and players) to produce new objects.”

Classified as probably not a substantial claim. May combine two claims.

The secret life of objects constitutes the basis for object-oriented ontology, which bars intentional acts from accessing the essence of things.

“Like Harman's perspective Disco Elysium explores the secret life of objects that is inaccessible to anthropocentric perspective and constitutes the basis for objectoriented ontology, which bars the intentional acts from accessing the essence of things.”

Probably not a substantial claim: may not pass S4 (based). May combine two claims.

Ricoeur's finding is without precedent here as he states that the gift of symbol cannot be reduced to intentionality.

“Ricoeur's finding is without precedent here as he states that the gift of symbol cannot be reduced to intentionality.”

Classified as probably not a substantial claim.

Like Harman's perspective, Disco Elysium explores the secret life of objects that is inaccessible to anthropocentric perspective.

“Like Harman's perspective Disco Elysium explores the secret life of objects that is inaccessible to anthropocentric perspective and constitutes the basis for objectoriented ontology, which bars the intentional acts from accessing the essence of things.”

Probably not a substantial claim: may not pass S2 (checkable).

To think about objects in the way proposed by Disco Elysium requires the reformulation of the hermeneutic existential project around the non-anthropocentric foundation offered by object-oriented ontology.

“To think about objects in the way proposed by Disco Elysium requires the reformulation of the hermeneutic existential project around the non-anthropocentric foundation offered by object-oriented ontology.”