Abstract
The development of digital mass media has expanded the adaptation of local mythology, including the palasik myth from the Minangkabau oral tradition. This study aims to analyze and compare the representation of palasik in two different media formats, namely the film Palasik (2015) and the gameplay video recording of DreadOut 2 (2020) on the MiawAug YouTube channel, through Stuart Hall's constructionist semiotics approach and intermediality studies. The method used is descriptive-qualitative based on textual and media analysis. The findings show that the adaptation of the palasik myth in both media is not merely a transfer of folklore, but rather a reconstruction of semiotic meaning and an adjustment of media modalities. Both media retain core mythological elements such as the characterization of an elderly woman, the targeting of fetuses or toddlers, and the architectural setting of Sumatran stilt houses. The characterization of palasik as an old woman and a nanny presents a connotative inversion of the noble role of Bundo Kanduang in Minangkabau matrilineal society. The fundamental difference lies in the ecological adjustment of the narrative and the method of constructing fear. The film Palasik operates through a passive-cinematic modality emphasizing the terror of fetal predation and genealogical ritual plots. Meanwhile, the DreadOut 2 gameplay video operates through a digital spectatorial modality that constructs an adjustment of the palasik's consumption to wild animals and showcases simulated resistance using smartphone camera technology. This study concludes that the transformation of folklore from linear media to digital media does not diminish local traditional values, but rather recontextualizes the storytelling strategies of Indonesian mythology to remain relevant for modern society.
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