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A new scholarly volume, The Aesthetics of Videogames, marks a pivotal moment in philosophical inquiry into gaming.
The burgeoning field of video game philosophy has seen a remarkable surge in scholarly interest, culminating in significant works that scrutinize games not merely as entertainment but as complex cultural and aesthetic phenomena. For years, a persistent skepticism shadowed this area of inquiry, questioning whether video games could genuinely offer profound philosophical insights akin to established media like film or literature. However, with the release of edited volumes such as Jon Robson and Grant Tavinor's The Aesthetics of Videogames, this dismissive attitude is becoming increasingly untenable.
Robson and Tavinor's volume, featuring an introduction and thirteen essays, stands out for its cohesive structure and accessible prose. The editors have commendably curated contributions from both emerging and established scholars, fostering a dialogue that addresses the complexities of video game aesthetics. While common to edited collections, minor redundancies and areas ripe for further exploration are present, yet they paradoxically pave the way for future research, indicating the vibrancy of the field rather than any fundamental weakness. The impressive inter-essay engagement among authors lends a rare unity to the collection, moving beyond disjointed contributions often found in similar academic endeavors.
The initial chapters delve into the fundamental ontology of video games, broadly examining their very nature. Christopher Bartel challenges the notion that games are solely defined by their rules, arguing in "Ontology and Transmedial Games" that accounts must encompass skill sets to properly individuate transmedial titles like sports game adaptations. Brock Rough's "Videogames as Neither Video nor Games: A Negative Ontology" provocatively suggests that a true understanding of the video game category necessitates stripping away preconceptions of them being inherently 'games,' 'video,' narratives, or fiction. He advocates for an intentional-historical definition, drawing parallels with art. Shelby Moser, in "Videogame Ontology, Constitutive Rules, and Algorithms," offers a nuanced discussion on the relationship between video games and algorithms, introducing the concept of complete game algorithms to explain how a single work can encompass multiple Suitsian games despite variations in constitutive rules.
A central thematic thread in the volume explores the various facets of aesthetic and creative engagement with video games. Zach Jurgensen's "Appreciating Videogames" critiques the tendency to evaluate games solely through the lens of traditional art forms. Instead, he proposes that true appreciation lies in analyzing them as games, focusing on the aesthetic evaluation of game mechanics themselves. Robson shifts the focus in "The Beautiful Gamer? On the Aesthetics of Videogame Performances," arguing for the aesthetic appreciation of particular videogame playings or "performances," drawing comparisons to sports or theatrical performances. Aaron Meskin, in "Videogames and Creativity," critically reviews empirical research on the link between video game play and creativity. He concludes that while definitive proof of direct impact remains elusive, video game play inherently involves player creativity, which holds distinct value from creative engagement with other media.
The final cluster of chapters addresses the intricate relationship between video games and fiction. Nathan Wildman and Richard Woodward's "Interactivity, Fictionality, and Incompleteness" introduces the concept of forced choice incompleteness in interactive fictions. Unlike traditional narratives with inherent narrative gaps, interactive fictions compel players to resolve initially open fictional truths, directly shaping the story. Andrew Kania's "Why Gamers Are Not Narrators" further dissects the player's role, arguing that even if players co-author the narratives through their choices, they do not function as narrators in the traditional sense. This argument, alongside Kania's other works, contributes to a more precise understanding of player agency and the distinct nature of interactive storytelling.
The collection highlights the increasingly interdisciplinary nature of game studies, drawing on philosophy, aesthetics, and even psychology. By meticulously examining the ontological, aesthetic, and narrative dimensions of video games, the volume asserts their rightful place as subjects of serious academic inquiry. This work not only provides a robust framework for understanding existing games but also opens avenues for analyzing future interactive experiences, influencing how developers, critics, and players alike perceive the medium.
One of the most compelling aspects of The Aesthetics of Videogames is its challenge to conventional definitions of 'game.' By dissecting the core components – rules, mechanics, player agency, and narrative – the contributing scholars push the boundaries of what constitutes a game, especially in the context of digital interactivity. This philosophical interrogation is crucial for a medium that is still rapidly evolving, providing a foundational vocabulary and conceptual tools for future analysis.
Ultimately, The Aesthetics of Videogames is more than just a collection of essays; it is a significant contribution to solidifying video games as a legitimate and fertile ground for philosophical exploration. It provides a rich tapestry of thought that not only addresses current debates but also anticipates future questions, inviting further rigorous engagement with the aesthetic and conceptual depths of interactive entertainment. This volume undoubtedly elevates the discourse, setting a high bar for subsequent scholarly endeavors in the field.
Source Insight: This report was curated based on original coverage from ndpr.nd.edu.
Source: ndpr.nd.edu
