Using a combination of Henry Jenkins’ work on transmedia storytelling, Jesper Juul’s theory about the intersection between fictional worlds and game rules, and Anna Reading and Colin Harvey’s discussion of nostalgic play, my essay...
moreUsing a combination of Henry Jenkins’ work on transmedia storytelling, Jesper Juul’s theory about the intersection between fictional worlds and game rules, and Anna Reading and Colin Harvey’s discussion of nostalgic play, my essay provides an in-depth reading of Disney Epic Mickey (2010) for the Nintendo Wii. By analyzing the gameplay, integration of film and television elements (cut scenes, cartoons, etc.) and narrative positioning of the player, I illustrate how the game builds and employs nostalgia and a variety of media to recharge audience interest in all forms of Disney media.
Epic Mickey showcases the intersection of film, television, and game. The game positions Mickey as the savior of an alternate dark Disney World (“Wasteland”); he restores “a world for things that had been forgotten” including major Disney characters and storylines from the company’s early history. Not only is the narrative about redeeming Disney’s lost past but the player is also challenged to find extras such as 1930s film clips and character pins; thus, the game literally hopes to save Disney media from the cartoon Wasteland. Using player familiarity with Disney properties and icons like Mickey Mouse, the Magic Kingdom, and the Haunted Mansion to (re)introduce forgotten characters like Oswald the Lucky Rabbit and Horace the Horse, the game generates interest in itself and in a much larger transmedia story of Disney films, cartoons, and attractions. By making Disney playable, Epic Mickey highlights the potential of film, TV, and game convergence to create meaningful spatial and temporal stories, where each medium adds a different layer to the player/spectator’s understanding of Mickey’s “epic” existence.
