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Selective Realism: Filtering Experiences of War and Violence in First- and Third-Person Shooters

Permanent lenke
https://hdl.handle.net/10037/10829
DOI
https://doi.org/10.1177/1555412015587802
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Åpne
article.pdf (1.210Mb)
article.pdf (PDF)
Dato
2015-07-31
Type
Journal article
Tidsskriftartikkel
Peer reviewed

Forfatter
Pötzsch, Holger
Sammendrag
The present article develops the concept of selective realism to understand how design features and narrative frames of first- and third-person shooters (F/TPS) exclude attention to salient, yet unpleasant, features of warfare such as problematic forms of violence, long-term psychological impacts, or socio-political blowbacks. Identifying four specific filters that frame player experiences, I argue that the resulting selectivity is significant because it is characteristic of the F/TPS genre as a whole that, through its wide dissemination, impacts upon the cultural framing of actual warfare. The article illustrates features of selective realism, before it conducts in-depth analysis of the titles Spec Ops: The Line and The Last of Us to show how critical game design can invite a conscious unraveling of the generic frames and the ideological positions these invite. The article concludes with a reassessment of arguments regarding alleged socio-political impacts of war- and violence-themed computer games.
Beskrivelse
Manuscript. Published version available in Games and Culture 2017, Vol. 12(2) 156-178, doi 10.1177/1555412015587802
Forlag
SAGE Publications
Sitering
Pötzsch, Holger. Selective Realism: Filtering Experiences of War and Violence in First- and Third-Person Shooters.Games and Culture 2017, Vol. 12(2) 156-178, doi 10.1177/1555412015587802
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