Reprehensible gods, my dear Titus Vilius. The circle of thick skulls expands around us. Moreover, it employs the tradition of Polish Romanticism to establish itself as a bridge between Slavdom and Western culture, and strengthen the colonial idea of Poland being the proper ruler over Slavs. Mignolo’s concept of decolonization through epistemic disobedience, this article aims to demonstrate paradoxical qualities of the game, which tries to simultaneously distance itself from the established, West-oriented ways of knowledge production and gain recognition as an artifact of modern Western pop culture. By referring those three issues to postcolonial analyses of Polish culture, as well as Walter D. It departs from an analysis of an online debate on racial representation in the game as a possible act of epistemic disobedience, and moves on to a consideration of three narrative aspects of the game itself: its representation of political struggle, the ideological stance of the protagonist, and ethnic inspirations in worldbuilding. This article is a reading of The Witcher 3 in relation to postcolonial approaches to Polish culture.
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