Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl


2017 | 60 | 3 (123) | 111-126

Article title

Transmediation od Spatial Characteristics – Mervyn Peake’s Gormenghast Series and Philip Cooke’s Gormenghast: A Board Game set in the World of Mervyn Peake


Title variants

Languages of publication



The text discusses notable spatial characteristics of the storyworld created in Mervyn Peake’s Gormeghast literary series and relates them to the mechanics used in a paratextual board game designed by Philip Cooke. Spatiality is crucial in Peake’s series, thus allowing for a specific relationship between literary pre-text and the board game as a medium that allows participation. The text thus tries to answer the questions how the Gormenghast storyworld utilises spatial categories, how the spatiality of the novels represents certain “transfictional affinity” with board games, and how the board game utilises game mechanics to convey the affect and pathos of the pre-text.







Physical description




  • Instutut Neofilologii i Lingwistyki Stosowanej Uniwersytetu Kazimierza Wielkiego w Bydgoszczy


  • Alber Jan (2009), Impossible Storyworlds — and What to Do with Them, “Sto-ryWorlds: A Journal of Narrative Studies”, Vol. 1.
  • Alber Jan, Iversen Stefan, Skov Nielsen Henrik, Richardson Brian (2010), Un-natural Narratives, Unnatural Narratology: Beyond Mimetic Models, “Narrative”, Vol. 18.
  • Binns Ronald (1979), Situating Gormenghast, “Critical Quarterly” 21.1.
  • Berlin Brent, Key Paul (1991), Basic Color Terms: Their Universality and Evo-lution, University of California Press, Berkeley, Los Angeles.
  • Booth Paul (2015), Game Play: Paratextuality in Contemporary Board Games, Bloomsbury Publishing, Kindle Edition.
  • Cooke Philip (2013a), Gormenghast: A Board Game set in the World of Mervyn Peake, Sophisticated Games, Cambridge and The Overlook Press, New York.
  • Cooke Philip (2013b), Rules [in:] Gormenghast: A Board Game set in the World of Mervyn Peake, Sophisticated Games, Cambridge and The Overlook Press, New York.
  • Cooke Philip (2013c), Book of Ritual [in:] Gormenghast: A Board Game set in the World of Mervyn Peake, Sophisticated Games, Cambridge and The Overlook Press, New York.
  • Dróżdż Andrzej (2009), Od liber mundi do hipertekstu. Książka w świecie uto-pii, Biblioteka Analiz, Warszawa.
  • Fiedler Leslie (1990), The Substitution of Terror for Love [in:] The Gothic Nov-el: A Casebook, ed. V. Sage, Macmillan, London.
  • Gardiner-Scott Tanya (1988), Mervyn Peake: The Relativity of Perception, “Journal of the Fantastic in the Arts”, Vol. 1.
  • Gomel Elena (2014), Narrative Space and Time. Representing Impossible To-pologies in Literature, Routledge, New York–London.
  • Głowiński Michał, Okopień-Sławińska Aleksandra, Sławiński Janusz (1991), Zarys teorii literatury, WSiP, Warszawa.
  • Hocking Clint (2009), Ludonarrative dissonance in Bioshock: The problem of what the game is about [in:] Well Played 1.0, ed. D. Davidson, ETC Press.
  • Hutcheon Linda (2006), A Theory of Adaptation, Routledge, New York–London.
  • Inagrden Roman (1988), O dziele literackim, trans. M. Turowicz, PWN, War-szawa.
  • Jackson Rosmery (1981), Fantasty: The Literature of Subversion, Methuen, London–New York.
  • Jenkins Henry (2004), Game Design as Narrative Architecture [in:] First Per-son: New Media as Story, Performance, Game, eds N. Wardrip-Fruin, P. Harrigan, MIT Press, Cambridge.
  • Johnson Mark (1987), The Body and the Mind: The Bodily Basis of Meaning, Imagination, and Reason, University of Chicago Press, Chicago–London.
  • Juul Jesper (2003), The Game, the Player, the World: Looking for a Heart of Gameness [in:] Level Up: Digital Games Research Conference Proceed-ings, eds M. Copier, J. Raessens, Utrecht University, Utrecht, http://www.jes-perjuul.net/text/gameplayerworld [access: 15 Febru-ary 2017].
  • Lakoff George, Johnson Mark (1980), Metaphors We Live By, Chicago UP,
  • Chicago.
  • Lotman Jurij (1984), Struktura tekstu artystycznego, trans. A. Tanalska, PIW, Warszawa.
  • Mochocka Aleksandra (2015), Polskie gry planszowe oparte na utworach lite-rackich — rekonesans, “Biblioteka postscriptum polonistycznego”, nr 5.
  • Morgan Edwin (1960), The Walls of Gormenghast: An Introduction to the Nov-els of Mervyn Peake, “Chicago Review”, Vol. 14. No. 3.
  • Peake Mervyn (1992), The Gormenghast Trilogy: Titus Groan, Gormenghast, Titus Alone, Mandarin, London.
  • Raban Johnatan (1968), The Technique of Modern Fiction, University of Notre Dame Press, London.
  • Ryan Marie-Laure (2001), Narrative as Virtual Reality. Immersion and Inter-activity in Literature and Electronic Media, The Johns Hopkins UP, Bal-timore.
  • Ryan Marie-Laure (2014), Story/Worlds/Media. Tuning the Instruments of a Media — Conscious Narratology [in:] Storyworlds across Media. To-ward a Media — Conscious Narratology, eds M.-L. Ryan, J.N. Thon, Uni-versity of Nebraska Press, Lincoln–London.
  • Salen Katie, Zimmerman Eric (2004), Rules of Play. Game Design Fundamen-tals, MIT Press, Cambridge.
  • Sanders Joe (2001), Recognizing the Peake Achievement, „Science Fiction Stud-ies” Vol. 28. No. 3 (Nov.).
  • Schlobin Roger C., Schlobin Roger E. (2000). “rituals’ footprints ankle-deep in stone”: The Irrelevancy of Setting in the Fantastic, „Journal of the Fantas-tic in the Arts”, Vol. 11, No. 2 (42).
  • Spencer Sharon (1971), Space, Time and Structure in the Modern Novel, The Swallow Press Inc., Chicago.
  • Sussner Julia, Lohse Ludvig, Thomas Maureen, Garcia Gustavo, Alonso Isabel, Munoz Alberto (2006), 3D Navigable Interface for Interactive Movie Gormenghast Explore [in:] Proceedings of the Second International Con-ference on Automated Production of Cross Media Content for Multi-Channel Distribution (AXMEDIS ‘06), IEEE Computer Society, Washing-ton.
  • Tompkins Joyce M.S. (1971), The Gothic Romance [in:] The Gothic Novel: A Casebook, ed. V. Sage, Macmillan, London.
  • Winnington G. Peter (2006), The Voice of the Heart. The Working of Mervyn Peake’s Imagination, Liverpool UP, Liverpool.
  • Wolf Mark (2012), Building Imaginary Worlds: The Theory and History of Subcreation, Routledge, New York–London, https://books.google.pl/books?id=rc6HgH34s0wC&printsec=frontcover&dq=Wolf+Building&hl=pl&sa=X&redir_esc=y#v=onepage&q&f=false [access: 15 February 2017]
  • Zgorzelski Andrzej (1975), Kreacje świata sensów, LTN, Lublin.

Document Type

Publication order reference


YADDA identifier

JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.