Editorial : Creative writing and art : Green computer and video games (original) (raw)
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Videogame ecologies: interaction, aesthetics, affect
2018
This project is driven by omissions at the intersection of ecological game studies and media-ecology. Although authors have studied videogames from a variety of ecological approaches, few have attempted to develop a holistic methodology, embracing videogames' specific attributes while recognising their role within larger physical systems. This thesis is an attempt to address this, reading videogames as simultaneously about and functioning as ecologies. My methodology draws on the agential-realist philosophy of Karen Barad whose theory of 'intra-activity' is abundant with ecological ramifications. Adapting Barad's 'intra-active' framework for use with contemporary videogames, I read them as assemblages of hardware, software and their human players. I explore three significant aspects of game studies: interaction, aesthetics and affect. Focusing on interaction, I analyse the game Shelter. Emphasising the role of hardware and software, I read these processes in ...
Ecozon@: European Journal of Literature, Culture and Environment
As systems that model complex relationships, digital games encourage players to enact Morton's "ecological thought" through the actions players perform within the game world. Yet these representations, as Alenda Chang (2011) has noted, "commit at least one if not all of the following missteps in their realization of in-game environments: relegating environment to background scenery, relying on stereotyped landscapes, and predicating player success on extraction and use of natural resources" (58). In other words, the flora and fauna players find are often reduced to non-interactive set pieces, thereby stripping actions of the ecological and environmental impact they could have. Despite these problems, ecocritical approaches to digital games have sought to re-assert the significance of connections between game ecologies and their environmental representations by tracing cultural associations (Bianchi, Barton), and by investigating problems with materialit...
Videogames as Cultural Ecology: Flower and Shadow of the Colossus
Ecozon@: European Journal of Literature, Culture and Environment, 2017
In this paper, I discuss videogames as a form of cultural ecology using the examples of Flower (2013) and Shadow of the Colossus (2011). As foundation for this thesis I deploy Farca's " Emancipated Player " as a player-type receptive for representational art and as a form of dialectic meaning-production between an actual player of this type and the implied player (the game's design). This will be connected to Zapf's notion of literature as a cultural ecology. Addressing similarities in function and differences in the mediality of literature and videogames and considering recent studies in game-theory and ecocriticism, I will demonstrate that emancipated play of aesthetically complex videogames can be considered a condition for videogames to function as a form of cultural ecology and thus also as a regenerative force in the larger cultural context akin to literature. The exemplary analyses consider especially the use of unnatural anti-conventions as a self-reflexive technique for reflections about videogames themselves, which are connected to reflections about the empirical reality. The games offer perspectives creating blanks for the player to be filled with her imagination and consequently unfold arguments about the aesthetic condition and conventions of videogames as a mirror of a neoliberal society without regard for the environment or the non-human. It becomes clear that representation or procedural rhetoric alone cannot be sufficient to describe the aesthetic effect of the videogame as a Gesamtkunstwerk (an all-embracing art form). They can only function as cultural ecology, if we consider them as multimedia artworks offering a degree of openness for the imaginative power of the player. To play videogames is not either to observe or to inhabit, it is the amalgamation of both which enables their creative force to influence the discourse as cultural ecology.