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Posthuman Gaming: Avatars, Gamers, and Entangled Subjectivities explores the relationship between avatar and gamer in the massively multiplayer online roleplaying game World of Warcraft, to examine notions of entangled subjectivity, affects and embodiments – what it means and how it feels to be posthuman. With a focus on posthuman subjectivity, Wilde considers how we can begin to articulate ourselves when the boundary between self and other is unclear. Drawing on fieldnotes of her own gameplay experiences, the author analyses how subjectivity is formed in ways that defy a single individual notion of "self", and explores how different practices, feelings, and societal understandings can disrupt strict binaries and emphasise our posthumanism. She interrogates if one can speak of an "I" in the face of posthuman multiplicity, before exploring different analytical themes, beginning with how acting theories might be posthumanised and articulate the relationship between avatar and gamer. She then defines posthuman empathy and explains how this is experienced in gaming, before addressing the need to account for boredom, the complexity of nostalgia, and ways death and loss are experienced through gaming. This volume will appeal to a broad audience and is particularly relevant to scholars and students of cultural studies, media studies, humanities, and game studies. Chapters 2 and 7 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
A philosophical reading of video gaming that focuses on what it means to be a player. In its intimate joining of self and machine, video gaming works to extend the body into a fluid, dynamic, unstable, and discontinuous entity. While digital gaming and culture has become a popular field of academic study, there has been a lack of sustained philosophical analysis of this direct gaming experience. In Parables of the Posthuman: Digital Realities, Gaming, and the Player Experience, author Jonathan Boulter addresses this gap by analyzing video games and the player experience philosophically. Finding points of departure in phenomenology and psychoanalysis, Boulter argues that we need to think seriously about what it means to enter into a relationship with the game machine and to assume (or to have conferred upon you) a machinic, posthuman identity. Parables of the Posthumanapproaches the experience of gaming by asking: What does it mean for the player to enter the machinic "world" of the game? What forms of subjectivity does the game offer to the player? What happens to consciousness itself when one plays? To this end, Boulter analyzes the experience of particular role-playing video games, includingFallout 3, Half-Life 2, BioShock, Crysis 2, and Metal Gear Solid 4. These games both thematize the idea of the posthuman—the games are "about" subjects whose physical and intellectual capacities are extended through machine or other prosthetic means—and also enact an experience of the posthuman for the player, who becomes more than what he was as he plays the game. Boulter concludes by exploring how the game acts as a parable of what the human, or posthuman, may look like in times to come. Academics with an interest in the intersection of philosophy, psychoanalysis, and popular culture forms and video gamers with an interest in thinking about the implications of gaming will enjoy this volume.
Problematic assumptions which see humans as special and easily defined as standing apart from animals, plants, and microbiota, both consciously and unconsciously underpin scientific investigation, arts practice, curation, education, and research across the social sciences and humanities. This is the case particularly in those traditions emerging from European and Enlightenment philosophies. Posthumanism disrupts these traditional humanist outlooks and interrogates their profound shaping of how we see ourselves, our place in the world, and our role in its protection. In Posthumanism in Practice, artists, researchers, educators, and curators set out how they have developed and responded to posthumanist ideas across their work in the arts, sciences, and humanities, and provide examples and insights to support the exploration of posthumanism in how we can think, create, and live. In capturing these ideas, Posthumanism in Practice shows how posthumanist thought can move beyond theory, inform action, and produce new artefacts, effects, and methods that are more relevant and more useful for the incoming realities for all life in the 21st century.
Palgrave Handbook of Critical Posthumanism is a major reference work on the paradigm emerging from the challenges to humanism, humanity, and the human posed by the erosion of the traditional demarcations between the human and nonhuman. This handbook surveys and speculates on the ways in which the posthumanist paradigm emerged, transformed, and might further develop across the humanities. With its focus on the posthuman as a figure, on posthumanism as a social discourse, and on posthumanisation as an on-going historical and ontological process, the volume highlights the relationship between the humanities and sciences. The essays engage with posthumanism in connection with subfields like the environmental humanities, health humanities, animal studies, and disability studies. The book also traces the historical representations and understanding of posthumanism across time. Additionally, the contributions address genre and forms such as autobiography, games, art, film, museums, and topics such as climate change, speciesism, anthropocentrism, and biopolitics to name a few. This handbook considers posthumanism’s impact across disciplines and areas of study.
Posthuman Gothic is an edited collection of thirteen chapters, and offers a structured, dialogical contribution to the discussion of the posthuman Gothic. Contributors explore the various ways in which posthuman thought intersects with Gothic textuality and mediality. The texts and media under discussion – from I am Legend to In the Flesh, and from Star Trek to The Truman Show, transgress the boundaries of genre, moving beyond the traditional scope of the Gothic. These texts, the contributors argue, destabilise ideas of the human in a number of ways. By confronting humanity and its Others, they introduce new perspectives on what we traditionally perceive as human. Drawing on key texts of both Gothic and posthumanist theory, the contributors explore such varied themes as posthuman vampire and zombie narratives, genetically modified posthumans, the posthuman in video games, film and TV, the posthuman as a return to nature, the posthuman’s relation to classic monster narratives, and posthuman biohorror and theories of prometheanism and accelerationism. In its entirety, the volume offers a first attempt at addressing the various intersections of the posthuman and the Gothic in contemporary literature and media.
As our ideas of the human have come under increasing challenges – from technological change, from medical advances, from the existential threat of climate crisis, from an ideological decentering of the human, amongst many other things – the 'posthuman' has become an increasingly central topic in the Humanities. Bringing together leading scholars from across the world and a wide range of disciplines, this is the most comprehensive available survey of cutting edge contemporary scholarship on posthumanism in literature, culture and theory. The Bloomsbury Handbook of Posthumanism explores: - Central critical concepts and approaches, including transhumanism, new materialism and the Anthropocene - Ethical perspectives on ecology, race, gender and disability - Technology, from data and artificial intelligence to medicine and genetics - A wide range of genres and forms, from literary and science fiction, through film, television and music, to comics, video games and social media.
This book unlocks an understanding of video games as virtual travel. It explains how video game design increasingly takes cues from the promotional language of tourism, and how this connection raises issues of power and commodification. Bridging the disciplinary gap between game and tourism studies, the book offers a comprehensive account of touristic gazing in games such as The Legend of Zelda: Breath of the Wild, Minecraft, and Microsoft Flight Simulator 2020. Traveling through video games involves a mythological promise of open-ended opportunity, summarized in the slogan you can go there. Van Nuenen discusses the scale of game worlds, the elusive nature of freedom and control, and the pivotal role of work in creating a sense of belonging. The logic of tourism is fundamentally consumptive—but through design choices, players can also be invited to approach their travels more critically. This is the difference between moving through a game world, and being moved by it. This interdisciplinary and innovative study will interest students and scholars of digital media studies, game studies, tourism and technology, and the Digital Humanities.
This book explores the representations of national Asian histories in digital games. Situated at the intersection of regional game studies and historical game studies, this book offers chapters on histories and heritages of Japan, China, Iran, Iraq, Taiwan, South Korea, Indonesia, Singapore, Turkey, and Russia. The volume looks beyond the diversity of the local histories depicted in games, and the audience reception of these histories, to show a diversity of approaches which can be used in examining historical games– from postcolonialism to identity politics to heritage studies. It demonstrates various methodological approaches to historical/regional game studies: case studies of nationally produced historical games that deal with local history, studies of media reception of history/heritage-themed games, text-mining methods studying attitudes expressed by players of such games, and educational perspectives on games in teaching cultural heritage. Through the lens of videogames, the authors explore how nations struggle with the legacies of war, colonialism and religious strife that have been a part of nation-building - but also how victimized cultures can survive, resist, and sometimes prevail. Appealing primarily to scholars in the fields of game studies, heritage studies, postcolonial criticism, and media studies, this book will be particularly useful for the subfields of historical game studies and postcolonial game studies.
This book explores the representations of Central and Eastern European histories in digital games. Focusing on games that examine a range of national histories and heritages from across Central and Eastern Europe, the volume looks beyond the diversity of the local histories depicted in games, and the audience reception of these histories, to show a diversity of approaches which can be used in examining historical games – from postcolonialism to identity politics to heritage studies. The book includes chapters on Serbia, Poland, Ukraine, Russia, Belarus, Hungary, Estonia, Slovakia, Czechia, Finland, and (a Western guest with regional connections) Luxembourg. Through the lens of video games, the authors address how nations struggle with the legacies of war, colonialism, and religious strife that have been a part of nation-building - but also how victimized cultures can survive, resist, and sometimes prevail. Appealing primarily to scholars in the fields of game studies, heritage studies, postcolonial criticism, and media studies, this book will be particularly useful for the subfields of historical game studies and postcolonial game studies.
When viewed through the context of an interactive play, a video game player fulfills the roles of both actor and spectator, watching and influencing a game's story in real time. This book presents video gaming as a virtual medium for performance, scrutinizing the ways in which a player's interaction with the narrative informs personal, historical, social and cultural understanding. Centering the author's own experiences as both video game player and performance scholar, the book thoroughly applies concepts from theatre and performance studies. Chapters argue that the posthuman player position now challenges what can be contextualized as a lived experience, and how video games can change players' relationships with historical events and contemporary concerns, ultimately impacting how they develop a sense of self. Using the author's own gaming experiences as a framework, the book focuses on the intersection between player and narrative, exploring what engagement with a storyline reveals about identity and society.