Video Games as Mass Art

Videogames are one of the most significant developments in the mass arts of recent times. In commercial terms, they are now among the most prominent of the mass arts worldwide. This commercial and cultural success does not exhaust the interest in videogames as a mass art phenomenon because games such as Grand Theft Auto IV and Fallout 3 are structurally radically different from previous forms of mass art. In particular, the ontology of videogames, the nature and identity of their works, and how they are instanced and evaluated is a departure from the familiar mass arts of film and popular music. This paper explores these differences in an attempt to fit videogames into a theory of mass art, but also to provide guidance on the issues of criticism and evaluation that surely follow from their ontological distinctiveness

Definition of Videogames

Can videogames be defined? The new field of games studies has generated three somewhat competing models of videogaming that characterize games as new forms of gaming, narratives, and interactive fictions. When treated as necessary and sufficient condition definitions, however, each of the three approaches fails to pick out all and only videogames. In this paper I argue that looking more closely at the formal qualities of definition helps to set out the range of definitional options open to the games theorist. A disjunctive definition of videogaming seems the most appropriate of these definitional options. The disjunctive definition I offer here is motivated by the observation that there is more than one characteristic way of being a videogame

A Redneck Head on a Nazi Body:Subversive Ludo-Narrative Strategies in Wolfenstein II: The New Colossus

This article argues that Wolfenstein: The New Colossus, a AAA First-Person Shooter, is not only politically themed, but presents in itself a critical engagement with the politics of its genre and its player base. Developed at the height of #Gamergate, the game is interpreted as a response to reactionary discourses about gender and ability in both mainstream games and the hardcore gamer community. The New Colossus replaces affirmation of masculine empowerment with intersectional ambiguities, foregrounding discourses of feminism and disability. To provoke its players without completely alienating them, the game employs strategies of carnivalesque aesthetics—especially ambivalence and grotesque excess. Analyzing the game in the light of Bakhtinian theory shows how The New Colossus reappropriates genre conventions pertaining to able-bodiedness and masculinity and how it “resolves„ these issue by grafting the player character’s head on a vat-grown Nazi supersoldier-body. The breaches of genre conventions on the narrative level are supported by intentionally awkward and punishing mechanics, resulting in a ludo-narrative aesthetic of defamiliarization commensurate to a grotesque story about subversion and revolt. Echoing the ritualistic cycle of death and rebirth at the heart of carnivalesque aesthetics, The New Colossus is nothing short of an ideological re-invention of the genre

"Wonderful Revelations": Scottish Art at the Venice Biennale and the Strategies of Innovation and Reputation, 1897-1899

This article examines the introduction of two waves of Scottish artists at the newly-founded Venice Biennale in 1897 and 1899 and considers how the Venetian venture negotiated the need to innovate with the imperative to build up its own reputation. Using hitherto unpublished archival material, it touches upon a number of issues regarding marketing practices, art market flows and the consumption of art at the international level

Players, Characters, and the Gamer's Dilemma

Is there any difference between playing video games in which the player's character commits murder and video games in which the player's character commits pedophilic acts? Morgan Luck's “Gamer's Dilemma” has established this question as a puzzle concerning notions of permissibility and harm. We propose that a fruitful alternative way to approach the question is through an account of aesthetic engagement. We develop an alternative to the dominant account of the relationship between players and the actions of their characters, and argue that the ethical difference between so-called “virtual murder” and “virtual pedophilia” is to be understood in terms of the fiction-making resources available to players. We propose that the relevant considerations for potential players to navigate concern (1) attempting to make certain characters intelligible, and (2) using aspects of oneself as resources for homomorphic representation.Peer reviewe

The Ethics of Choice in Single-Player Video Games

Video games are a specific kind of virtual world which many engage with on a daily basis; as such, we cannot ignore the values they embody. In this paper I argue that it is possible to cause moral harm or benefit within a video game, specifically by drawing attention to the nature of the choices both players and designers make. I discuss ways in which games attempt to represent morality, arguing that while flawed, even games with seemingly superficial devices such as morality meters can attempt to promote moral reflection. Ultimately, I argue that the moral status of the actions depends on the effects of those actions on the player herself; if those actions make us less ethical then the actions are wrong. Unfortunately, it is not clear to me that players are always in a position to tell whether this is the case

How society’s negative view of videogames can discourage brands from sponsoring eSports

The purpose of this research was to identify the main motives that contribute to society’s negative view of videogames and that present a risk to the eSports sponsors’ image. To achieve this, an exploratory, qualitative, and integrative literature review was conducted. According to the theoretical data, there are four main reasons why society has a negative perception of videogames. It is commonly believed that: (1) gaming is an unproductive activity, (2) violent videogames incite aggressive behaviors, (3) videogames lead to gaming-addiction, and (4) eSports lead to eSports-related gambling addiction. However, while the literature presents convincing evidence that gaming can create addiction and that eSports can promote gambling addiction, there is no conclusive evidence to assume that violent videogames lead to aggressiveness and there is evidence showing that playing videogames can be a productive activity. Nevertheless, these four beliefs are a threat to the eSports sponsors’ image and may lead them to cancel their existing sponsorships or lead other brands to not want to sponsor eSports to prevent being associated with these negative notions. This research will help expand the minor literature on eSports sponsorships and advance the knowledge of why some eSports sponsorships are terminated and why some brands may be reluctant to sponsor eSports.info:eu-repo/semantics/publishedVersio