Denson • Gaming and the ‘Parergodic’ Work of Seriality in Interactive Digital Environments 15
coming up with new ways to tell stories (and to sell commodities) that take advantage
of the coming-together of media in the space of the digital. This includes, among
other things, new forms of serialization. In Jenkins’s version, transmedia storytelling
is inherently serial, but much less linear than a conventional television series might
be, as it allows the reader/viewer/player/user to explore various facets of a story-
world through movies, games, textual, and other forms, and it allows in many cases a
variable order of consumption that corresponds, we might say, to the database
structures in which digital information is stored and (interactively) accessed.
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To
explore a transmedial series is not the same as reading a serialized novel from
beginning to end, because the point of this type of storytelling is to construct a
coherent world or universe in which the media consumer can traverse various paths
that will each complement one another and enrich their knowledge of the whole, thus
providing a greater number of opportunities for affective (and, of course, monetary)
investment in that world.
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And while this might appear similar in some ways to the
various entry points provided by classical serial figures’ various retellings, the smooth
consistency of transmedial serialities and the universes they construct actually
appears hostile to the plurimediality at the heart of the classical figures’ mediatory
functions. As I have been suggesting, those functions depended on disjuncture and
inconsistency between media as the pivot for the parergonal figure/ground reversals
by which they could track and foreground media changes. Predictably, then, many
once robust serial figures, like Fu-Manchu, have more or less withered and died in
this new environment; others, like Tarzan, live on, but they seem to have lost their
former edge. After Disney’s Tarzan (Buck and Lima 1999) and Phil Collins’s
Broadway musical Tarzan (2006), Tarzan hardly has any of the threatening and
unpredictable potential left that he had in Weissmuller’s first film. This, it seems to
me, is indicative of a new drive for standardization rather than, as was the case with
classical serial figures, the activation and juxtaposition of often incompatible
associations drawn from a figure’s prolific serial career.
A figure like Batman, on the other hand, thrives in this environment. Remarkably, it
does so in such a way as to be both immersed in the medial and cultural environment
of digital convergence and interactivity and yet somehow resistant to the streamlining
forces of transmedialization. Batman has been transformed irrevocably in his
transition to the world of digital and post-cinematic media, and yet he maintains some
of the rough edges between various medial instantiations, remains unsettled in his
oscillations between films, videogames, and comics, which collectively fail to tell a
coherent story. Formally, then, Batman resembles classical serial figures in this
respect: like Tarzan or Frankenstein in the wake of the sound transition, Batman
combines the new and the old; he is quick to don bright and shiny innovation, but he
juxtaposes it with recalcitrant vestiges of the medial past. The parergonal potential
that results from this mixture is different from that of earlier figures, though, as it is
transformed in relation to the computational basis of digital mediation, by which
plurimedial distinctions (or the borders between discrete media) are effaced. Without
accounting for this computational basis, an approach like that of Jenkins only
scratches the surface of the cultural and experiential changes associated with digital
convergence. Looking at the recent history of Batman helps us to go deeper, for it
traces the transition to computation as a total or all-encompassing environment for
cultural and material life. What the figure reveals, though, is the progressive eclipse
of figurality, upon which the parergonal reversals of classical plurimedial seriality
depended; figurality, as in the figure/ground Gestalt-shifts I have described, is a