Blade Runners

e 1998 release of Westwood Studio's Blade Runner computer game offers a unique opportunity to speculate on a key element of new media forms: interactivity. There are two principal reasons fill' this: first, the game may be compared to the lilnl---or rather lillns--lln which it is based. Ridley Scott's Blade Runner (1982) as well as the "director's cut" released a decade later. Aside from the promise of a comparison between film and computer game for providing insight into the differences between narrative and interactive media forms, this exercise is particularly felicitous in the case of the Blade Runner films. Jean-Francois Lyotard's influential proposition in The Post modem Condition (first published in 1979) regarding a dissolution of the legitimizing force of the great narratives of European modernitythose of universal emancipation, enlightenment, and progress-precipitated a wider questioning of the nature and Iuuction of narratives in the formation of social structures and individual identity.' /3/wie Rwltla has attracted considerable critical interest in this regard as a film that imagines (and images) a dystopian, postmodern near future in which history has emptied out into a

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  Open Access•Kyle Barrett•Convergence The International…•2025

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• Terminal Identity

  Open Access•Scott Bukatman•Terminal Identity•1993

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• Critical Issues in Electronic Media

  Simon Penny•Critical Issues in Electronic Media•2015

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• The Language of New Media

  Лев Манович, Lev Manovich•Canadian Journal of Communication•2002

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• The Postmodern Condition

  Jean-François Lyotard, Geoff Bennington et al.•1984

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