Bianca Francischini Lisita, André Pithon, Gabriel Henrique Gomes Ceschi

'I HAVE NO MOUTH AND I MUST SCREAM'

Introduction

'i have no mouth and i must scream'. Analisa "I Have No Mouth and I Must Scream" (Ellison) em literatura, HQ e games. Explore como a transcodificação e interatividade de cada mídia redefinem o horror e a narrativa culturalmente.

Abstract

Este artigo examina os processos intersistêmicos e de transcodificação do conto “I Have No Mouth and I Must Scream” (1967), de Harlan Ellison, lançado também em quadrinhos, em 1995, e em jogo eletrônico, em 1995. Ancorado na teoria dos polissistemas de cultura (Even-Zohar), midiologia (Debray) e transcodificação (Manovich), o estudo demonstra como a interferência entre sistemas culturais distintos (literatura impressa, quadrinhos e jogos) redefine a obra. A HQ expande visualmente o universo distópico e o horror psicológico do conto através de sua linguagem visual. Já o jogo, ao exigir interatividade e agência do jogador —– repertório institucionalizado do sistema de jogos —–, subverte radicalmente a narrativa: desenvolve os passados dos personagens, introduz temas morais e múltiplos finais, incluindo um desfecho positivo inexistente no conto, incorporando novos elementos através de processos transcodificação. A análise evidencia como diferentes mídias ressignificam a mensagem, impondo transformações sistêmicas, enquanto a coexistência das versões forma um ambiente que realimenta o polissistema cultural. O caso ilustra a dinâmica intersistêmica, onde repertórios específicos remodelam a obra ao transcodificá-la.

Review

The article titled 'I HAVE NO MOUTH AND I MUST SCREAM' offers a compelling and robust analysis of the intersystemic processes and transcodification involved in adapting Harlan Ellison's seminal short story across different media. Focusing on the original literary work, its comic book adaptation (1995), and the electronic game (1995), the study effectively utilizes Even-Zohar's polysystem theory, Debray's mediology, and Manovich's concept of transcodification. Its central thesis posits that the interplay between distinct cultural systems – print literature, comics, and games – fundamentally redefines the original work, providing valuable insights into cultural evolution and media studies. The research meticulously details how each adaptation engages with and transforms the source material. The comic book version, for instance, is shown to visually expand the dystopian universe and the psychological horror inherent in the narrative through its unique visual language. More strikingly, the analysis highlights the radical subversion undertaken by the electronic game. By demanding player interactivity and agency, a core institutionalized repertoire of the gaming system, the game profoundly alters the narrative trajectory. This includes developing character backstories, introducing complex moral themes, and implementing multiple endings – notably, a positive resolution entirely absent from Ellison's bleak original, illustrating the significant impact of transcodification processes. This article's strength lies in its clear demonstration of how different media re-signify a message, imposing systemic transformations while simultaneously contributing to and enriching a cultural polysystem. The case study of "I Have No Mouth and I Must Scream" serves as an excellent illustration of intersystemic dynamics, where the specific repertoires of each medium actively remodel the work during its transcodification. The paper makes a significant contribution to understanding the adaptive potential of cultural texts and the ongoing dialogue between various artistic forms, underscoring the dynamic and iterative nature of cultural production and reception.

Full Text

Comments

You need to be logged in to post a comment.