Through the analysis of the videogame Alan Wake (Remedy Ent. 2010) in relation to the fantastic and its literary tradition, we find out that the use of intermediality and remediation allows a treatment of time and the fragmentation of the plotline that deliberately manipulates the narrative limits of the genre and its mechanics, in favor of a game experience coordinated with its theme and genre. In this reading of the game we have taken into account its transmedial expansions (transmedial world) and its capacity to transmit emotions.
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