Abstract

Within the framework of Viewpoint Spaces (Dancygier, Barbara. 2012. The language of stories: A cognitive approach. Cambridge: Cambridge University Press), this paper investigates viewpoint interactions in a mobile game’s plot to show how the game’s structural framing leads to meaning construction, specifically the construal of irony. The notion of (meta-)Ground Viewpoint Space is proposed not only to provide a generalized account of a global mental space where local spaces and viewpoints relate to one another, but also to elucidate how the invoked genre-specific expectation makes a significant meaning contribution to the player’s overall construal of the game. This study presents a case study of the mobile game Liyla and the Shadows of War (Abueideh, Rasheed. 2016. Liyla and the Shadows of War) as a viewpoint phenomenon whose construal involves the interaction of multiple viewpoints. The game depicts the consequences of the 2014 Gaza conflict from the perspective of an unnamed Palestinian father struggling to escape the war zone with his daughter Liyla. It deviates from prototypical games in that it is impossible to complete the expected narrative, regardless of the player’s skill, although its ostensible goal is to let the protagonists survive and escape to a safer place. The mismatch between the player’s goal to clear all the stages, the character’s goal to survive, and the developer’s goal to convey a message is a source of ironic meaning, and this study focuses on how the network of multiple viewpoints – of the game developer, the character, and the player – constructs the intended meaning for players.