PRINT OR PLAY: VERBAL AND MULTIMODAL NARRATIVE PECULIARITIES

Abstract

This article explores the narrative representation of Nancy Drew: The Phantom of Venice in two media formats: the printed novel by Carolyn Keene and the 2008 video game adaptation. The study focuses on the transformation of verbal storytelling into a multimodal communicative experience in a quest-type video game, examining how narrative elements are preserved, adapted, or altered. Particular attention is paid to the concept of ludonarrative dissonance, where the storyline and gameplay mechanics may conflict, potentially disrupting player immersion.The research draws on J. Huizinga’s theory of play and James Joyce’s epiphanic model, conceptualizing the game as an alternative form of cultural expression and reader’s multi-existence. By comparing Nancy’s character dialogue in the novel and the game, the study highlights changes in sentence structure, communicative intent, and character interaction.Quantitative analysis reveals a shift from narrative-heavy text in the book to dialogue-driven gameplay, with the novel containing 39% of author’s narrative and 61% of char- acters’ dialogue, while the video game features only 18% of author’s narrative content and 82% of characters’ dialogue. The study also examines the illusion of choice in the game and the psychological appeal of multiple possible outcomes, contrasting the linearity of print fiction with the interactive nature of digital storytelling.Ultimately, the article argues that while the video game adaptation retains core narrative elements, its structure reflects the needs of digital communication and player agency. This shift enables a deeper form of immersion, self-projection, and cognitive engagement, illustrating how video games reshape traditional literary experiences into dynamic, player-driven narratives.