Performativity in Art, Literature, and Videogames

330 Pages·2017·7.378 MB·English

by  Darshana Jayemanne

Performativity in Art, Literature,
and Videogames
DarshanaJayemanne
Performativity in Art,
Literature, and
Videogames
DarshanaJayemanne
SchoolofArts,MediaandComputerGames
AbertayUniversity
Dundee,UnitedKingdom
ISBN978-3-319-54450-2 ISBN978-3-319-54451-9(eBook)
DOI10.1007/978-3-319-54451-9
LibraryofCongressControlNumber:2017943377
©TheEditor(s)(ifapplicable)andTheAuthor(s)2017
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A
CKNOWLEDGEMENTS
Ittakesavillagetowriteabook:manypeoplehavecontributedinvarious
ways to making this work possible. Thanks go to my family – Nagasvari,
Ranjit,Ravi,SurenandSitaJayemanne–forunflaggingsupportandlove.
TheguidanceandknowledgeofsupervisorsPeterOttoandTomApperley
has been invaluable. The editorial wisdom of Alexandra Heller-Nicholas
and Shaun Vigil, albeit in very different ways, is integral to what you’re
reading.IanGouldstone,ChristianMcCreaandDavidSurmanaredialec-
tical, as are Ben Abraham, Adam Bartlett, Helen Berends, Haylie Breen,
Seona Candy, Marcus Carter, Jason Chave, Justin Clemens, Michael
Dieter, Alistair Duncan, Amy Espeseth, Sonia Fizek, Anthony Gardner,
Seth Giddings, Dan Golding, Penelope Goodes, Huw Hallam, Simone
Hine, Samantha Hinds, William Huber, Rachael Kendrick, Brendan
Keogh, David Lewin, Ramon Lobato, Peter Wolf Lowe, Ben McKenzie,
Aaron Mannion, Sian Mitchell, Souvik Mukherjee, Alex Murray, Amani
Naseem, Angela Ndalianis, Flynn Parker-Greer, Adam Nash, Lucy Kim
Van,CristinaSaiki,LeahSchwartz,IanSeymore,B.DeakSkibinski,Luke
Stickels,EmmettStinson,NateTkacz,MelanieThomson,Thubten-Yeshe
Watson,KyleWeise.AsIhaverecentlybegunanewstageofmycareerin
Scotland, I would also like to thank my colleagues at Abertay University
andthescholarsofthePhilosophyofComputerGamesandLiteratureand
ComputerGames conferences.
v
C
ONTENTS
1 Introduction:Videogames asPerformances 1
PartI Framing Devices:Performative Loopsin Literature
andArt History
2 How toDo Things withImages 31
3 What IsRhyparography? The Ambiguityof the Framing
Device 55
4 ‘Fanciful Microscopy’ –Framing Devices andUncertainty
in Pynchon’s TheCryingof Lot 49 79
PartII AnteriorMotives: Performance inVideogames
5 Anterior Motives –From SubjectiveShotto Portal’s
Figureof Reversal 103
6 Performative Multiplicities 127
vii
viii CONTENTS
PartIII The Body Eclectic:Distortion, Distraction
andTactile Experience
7 Serial Aesthetics –Gaming’s MetamorphicBodies
and Baudelaire’s ‘ArgotPlastique’ 161
8 PhysicalWit: Games andthe ‘TactileUnconscious’ 189
PartIV Performative Multiplicities:AMethod
For AnalysingVideogame Performances
9 The Nip andthe Byte: Analog andDigital
Performances in Videogames 227
10 Time Invaders– ConceptualizingPerformative
Game Time 259
Conclusion: AComparative Methodfor Studying
Videogame Performances 299
Bibliography 305
Index 327
L F
IST OF IGURES
Fig.1.1 DragonAge:Inquisition 13
Fig.2.1 MassEffect3 43
Fig.2.2 TheElderScrollsV:Skyrim 44
Fig.2.3 TheElderScrollsV:Skyrim 46
Fig.2.4 XCOM:EnemyUnknown 50
Fig.5.1 Portal 117
Fig.5.2 Portal 118
Fig.5.3 Half-Life2 122
Fig.5.4 TheWitcher3:TheWildHunt 125
Fig.6.1 Masseffect3 128
Fig.6.2 Starcraft2 132
Fig.6.3 Planescape:Torment 153
Fig.7.1 QWOP 162
Fig.7.2 TheElderScrollsV:Skyrim 177
Fig.7.3 DiabloIII 181
Fig.7.4 Destiny 182
Fig.7.5 DeusEx:Humanrevolution 183
Fig.9.1 DeusEx:Mankinddivided 233
Fig.9.2 Half-Life2 244
Fig.9.3 Alien:Isolation 248
Fig.9.4 Bloodborne 249
Fig.9.5 Farcry2 251
Fig.9.6 Minecraft 252
Fig.9.7 Thomaswasalone 254
Fig.9.8 Cartlife 255
Fig.10.1 Masseffect3 267
Fig.10.2 Thesecretworld 274
Fig.10.3 Cartlife 295
ix
L T
IST OF ABLES
Table9.1 Performanceinspeechandvideogames–atypology 232
Table9.2 Videogameperformances:Someprovisional
correspondences 245
xi
CHAPTER1
Introduction: Videogames as Performances
Daughter:Daddy,whydothingsgetinamuddle?
Father:Whatdoyoumean?Things?Muddle?(Bateson2000,3)
Game designer Liz England describes what she does in terms of ‘The
DoorProblem’.Whileadoormayseemlikeastraightforwardenoughsort
of thing, it in fact presents many distinctive design issues. The first is to
workoutwhetherornottherearedoorsatallinthegame.Ifyes,awhole
host of questions arise. ‘Can the player open them? Can the player open
every door in your game? Or are some of the doors for decoration? How
doestheplayerknowthedifference?’(England2014,online).Thedesign
becomes more complex in multiplayer situations. ‘What if the level is
REALLY BIG and can’t all exist at the same time? If one player stays
behind, the floor might suddenly disappear from under them. What do
you do? Do you stop one player from progressing any further until both
are together in the same room?...What about co-op players? What if
player1 isstanding inthe doorway –doesthatblockplayer 2?’
England also speculated on how other workers in a studio might
describe the door problem, and people wrote in with their own sugges-
tions.TheAnimator:‘Imadethisdooropenandclose.’FortheGameplay
Programmer:‘Thisdoorassetnowopensandclosesbasedonproximityto
the player. It can also be locked andunlocked through script.’ The Level
Designer: ‘I put the door in my level and locked it. After an event, I
unlocked it.’ The Combat Designer: ‘Enemies will spawn behind doors,
andlaycoverfireastheiralliesentertheroom.Unlesstheplayerislooking
©TheAuthor(s)2017 1
D.Jayemanne,PerformativityinArt,Literature,andVideogames,
DOI10.1007/978-3-319-54451-9_1