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Playing Dystopia: Searching for the Neganthropocene in Papers, Please and Orwell The way we play games and the way games play us is constantly changing. The physical shrinking of space can no longer be compensated by expansive gamescapes which otherwise provided a reprieve from diminishing access to space in 20th and 21st century childhood (Mayra, An Introduction to Game Studies). Gamescapes, increasingly, are becoming neo-explorations of “other people simulators” characterized by a suffocating hypernearing of the experience of the dystopia (Lucas Pope). Often ‘mundane’ mirrors of real-life situations, these dystopian games place the player in movement-limiting, choice-limiting challenging scenarios from where a fulfilling ending is more often than not impossible. I look at two of these dystopian games that offer covertly disruptive gameplay through alienating, often disembodied, simulation as a strategy for playing dystopia: Lucas Pope’s Papers, Please and Osmotic Studios’ Orwell. Closely engaging with issues of surveillance, digital governance, neurotechnology, illegal profiling, and ultimately, survival in a dystopia of technics, these games with their multiple endings caused by the smallest, seemingly most insignificant of differences in gameplay become crucial in their playing out of the possibilities of the neganthropocene.
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First Person Encounters is a series of podcasts presented by Games Studies India, about our first experiences with Games while growing up in India. This our third podcast where we talk with Poornima Seetharaman. She is the first Indian to be inducted in the Women in Games (WIGJ) Hall of Fame and is also the lead game designer at Zynga. Hear as we talk about her foray in the world of gaming.
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Independent Videogames investigates the social and cultural implications of contemporary forms of independent video game development. Through a series of case studies and theoretical investigations, it evaluates the significance of such a multi-faceted phenomenon within video game and digital cultures. A diverse team of scholars highlight the specificities of independence within the industry and the culture of digital gaming through case studies and theoretical questions. The chapters focus on labor, gender, distribution models and technologies of production to map the current state of research on independent game development. The authors also identify how the boundaries of independence are becoming opaque in the contemporary game industry – often at the cost of the claims of autonomy, freedom and emancipation that underlie the indie scene. The book ultimately imagines new and better narratives for a less exploitative and more inclusive videogame industry. Systematically mapping the current directions of a phenomenon that is becoming increasingly difficult to define and limit, this book will be a crucial resource for scholars and students of game studies, media history, media industries and independent gaming.
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Playing back to the Empire, in videogames, is rife with tensions. The imperialist sentiment inherent in reverse-colonist discourse featured in most strategy-based videogames like Europa Universalis IV, where the player could conquer Europe playing for the Marathas, has been noted by Souvik Mukherjee (2017) as playing into the colonial logic while futilely trying to challenge it. Studio Oleomingus, an Indian two-man game studio, is one of the few involved in a different experiment. Their mythical game Somewhere, chronicling a postmodernist search for identity and narrative in the forgotten city of Kayamgadh, has generated significant spin-offs into its universe. With attention to one such spin-off, I will focus critical attention on the issue of the postcolonial gaming of the Museum in A Museum of Dubious Splendors. I will examine the New Museological implications of A Museum of Dubious Splendors, keeping in mind Museologist Eilean Hooper-Greenhill’s assertion of museums embodying “the power to name, to represent common sense, to create official versions, to represent the social world, to represent the past” (Hooper-Greenhill 2001: 2). Oleomingus’ own description of A Museum, as an adaptation of edited, mangled, contested short stories by a fictional Urdu writer, Mir Umar Hassan, eschews the linear narrative production of the colonial museum for a game of meanings, where the player enters rooms according to his choice and constructs his/her own “quiet game about prosaic objects and spurious histories.” ("A Museum" 2018) The paper would take this into account and examine the reconceptualization of the museum space with respect to James Clifford’s sense of museums being “contact zones”: A Museum’s lack of any curator, with its curious blend of colonial and native tales and banal objects defamiliarised by “spurious histories” lends itself to questions of playing the Empire back according to a different episteme, through subaltern histories that the colonial museum space silenced. Paying close attention to the question of postcolonial spatiality in this game, I will analyze the historiographical implications of these identity-scatterings and recuperations at constant play in the structure of the game. Keywords: Museum Studies, Thing Theory, Game studies, Marginal identity, Postcolonial Studies
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Redefines games and game culture from south to north, analyzing the social impact of video games, the growth of game development and the vitality of game cultures across Africa, the Middle East, Central and South America, the Indian subcontinent, Oceania and Asia.
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Interview with With Kurt Prieto, Games Designer Of Boo! Dead Ka! Game
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This study compared the effects of episodic framing of the Checkpoint scenario and the Military Raid scenario in Global Conflicts (2010), a computerized simulation of the Israeli-Palestinian conflict, on developing impartial attitudes towards this conflict. The former presents a more human, individual and personal framing of the conflict than does the latter. Two hundred and ten Israeli-Jewish and Palestinian undergraduate students participated in the experiment. They filled in questionnaires measuring attitudes towards the Israeli-Palestinian conflict before and after playing the scenarios. Results suggested that participants playing the Checkpoint scenario became more impartial toward the Israeli-Palestinian conflict, unlike those playing the Military Raid scenario. The results show that computerized simulations of the Israeli-Palestinian conflict can be used for attitude change intervention, but the framing of the story in the game may be crucial in determining whether the players become impartial regarding the situation or not.
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This collection explores the relationship between digital gaming and its cultural context by focusing on the burgeoning Asia-Pacific region. Encompassing key locations for global gaming production and consumption such as Japan, China, and South Korea, as well as increasingly significant sites including Australia and Singapore, the region provides divergent examples of the role of gaming as a socio-cultural phenomenon. Drawing from micro ethnographic studies of specific games and gaming locales to macro political economy analyses of techno-nationalisms and trans-cultural flows, this collection provides an interdisciplinary model for thinking through the politics of gaming production, representation, and consumption in the region.
Explorer
1. Approches
- Humanités numériques
- Analyses formalistes (1)
- Approches sociologiques (5)
- Étude de la réception (3)
- Étude des industries culturelles (6)
- Étude des représentations (3)
- Genre et sexualité (3)
- Histoire/historiographie critique (1)
- Muséologie critique (1)
- Théorie(s) et épistémologies des médias (2)
- Théories postcoloniales et décoloniales (3)
2. Auteur.rice.s et créateur.rice.s
- Auteur.rice LGBTQ+ (1)
- Auteur.rice PANDC (6)
- Autrice (6)
- Créateur.rice LGBTQ+ (1)
- Créateur.rice PANDC (3)
- Créatrice (1)
4. Corpus analysé
- Afrique (1)
- Amérique centrale (2)
- Amérique du Nord (4)
- Asie (6)
- Europe (2)
4. Lieu de production du savoir
- Asie
- Amérique centrale (2)
- Amérique du Nord (2)
- Europe (3)