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Hackers and Cyborgs: Binary Domain and Two Formative Videogame Technicities
Abstract
Through the course of Binary Domain’s action-packed narrative, it becomes increasingly unclear who is human, who is machine, and who is somewhere in between. Ultimately, such a distinction is futile when our everyday experiences are so ubiquitously augmented by technologies—even the act of playing Binary Domain by coupling with a virtual character through a videogame controller challenges any clear distinction between human and machine. While such themes are not new to science fiction, the anxieties expressed by Binary Domain’s characters are relevant to what have emerged over the past twenty- five years as two formative modes of identifying with videogames: the dominant hacker and the integrated cyborg. The hacker, an identity that the dominant and hegemonic ‘gamer’ consumer identity can trace a clear lineage from, comes to represent the masculinist, mastery-focused identity that most blockbuster games celebrate. The cyborg emerges in resistance to the hacker, pointing to a diversity of forms and identities that are focused less on mastering the machine than participating with it. This paper uses Binary Domain’s complex anxieties towards technology as a lens through which to trace the histories of these constitutive modes of identifying with videogames, and to demonstrate the influence they have on videogame forms and audiences.
... al. (2003) descrivono come la «mascolinità militarizzata» presente nella maggior parte dei giochi evidenzia una tradizione tecnologica del XX secolo, in cui è compreso il giocatore, maschio e bianco, che è il prodotto di una cultura che ha sperimentato con le macchine creando i primi videogiochi come «Tennis for Two» (1958) e «SpacerWar!» (1962) appropriandosi di conoscenze tecnico-scientifiche. I videogiochi richiedono la padronanza e il controllo di sistemi complessi (Keogh, 2016) in una gara in cui è sempre in evidenza il maschio come figura egemonica della narrazione tecnologica e che illumina allo stesso tempo le disuguaglianze di genere inerenti alla conoscenza scientifica. La sociologa Judy Wajcman nel suo approccio femminista alla tecnologia mette in evidenza come: I giochi digitali riprendono e rimediano (Bolter, 1999) un immaginario maschile e bianco rappresentando all'interno di un narrazione militarista e competitiva le relazioni di potere che operano nella realtà e guidano il ciclo di produzione e consumo (Dyer-Whiteford e Peuter 2009). ...
... La sociologa Judy Wajcman nel suo approccio femminista alla tecnologia mette in evidenza come: I giochi digitali riprendono e rimediano (Bolter, 1999) un immaginario maschile e bianco rappresentando all'interno di un narrazione militarista e competitiva le relazioni di potere che operano nella realtà e guidano il ciclo di produzione e consumo (Dyer-Whiteford e Peuter 2009). Cosicché i giochi digitali fin dal loro inizio possono essere interpretati come una trasposizione al nuovo mezzo di pratiche di gioco collegate a stereotipi del maschile come la guerra, la razza, il combattimento (Keogh, 2016). In breve, si tratta di «personaggi che corrispondono, nella maggior parte dei casi, a stereotipi profondamente radicati nella nostra cultura, riducendo le nostre possibilità -per la riproduzione del concetto di sé, l'autocoscienza etero o per la sperimentazione -alla sola riproduzione di questi stereotipi. ...
Si presenta come caso di studio la creazione del videogioco «Homozapping» da parte di
due dei suoi autori, sviluppato durante l’attività del collettivo ArsGames: Playlab
XY01. Si introducono alcuni studi accademici sulla storia della rappresentazione dell'identità di genere e della sessualità nei videogiochi. Si presenta una breve descrizione della metodologia utilizzata per la creazione del
Playlab
e delle sue caratteristiche. Il Playlab è qui proposto come un processo di ricerca aperta e partecipata attraverso cui avvicinarsi al gioco per esplorare il suo potenziale critico, la sua capacità di creare spazi sociali e le possibilità in termini di apprendimento e autoformazione. Successivamente si spiegano le decisioni di disegno prese durante il processo di creazione. Il gioco consiste in una raccolta di 16 video e 8 mini giochi che vengono presentati in ordine casuale al giocatore in successioni di due video e un minigioco. Tutti i video hanno un contenuto direttamente connesso con la sessualità, ponendo il giocatore o la giocatrice di fronte all'immaginario sessuale a cui siamo sottoposti quotidianamente in quanto consumatori di televisione e pubblicità. Si conclude presentando i dati di gioco raccolti durante i primi tre mesi dalla pubblicazione
... Although these effects are sometimes nonsocial, caused by subjectivity being empowered/impinged by its blend with technology, it is social comprehensionhow the cyborg is coded as threatening or emancipatingwhere fiction can intervene. Research can as well; one example of how scholarship interprets a gaming cyborg entity is as a figure with one hand in older, fleshy comprehensive modes and another in the warp of newer technological literacies, with James Paul Gee (2008), Brenden Keogh (2016) and Tina Arduini (2018), producing studies where video games, a cyborg subject, and new literacies collide. Plainly, sometimes the cyborg embodies a new form of learning -Neo's journey in The Matrix comes to mind. ...
This article develops Kawika Guillermo's ‘machphrasis’ (2016) as a theoretical contribution to discourse considering the deployment of video games in contemporary literary culture. After presenting machphrasis’ academic stakes, I propose that machphrasis can give explanations for some techniques and images endemic to late 20 th /21 st century writing with regards to video games represented in prose. By appending Guillermo's conceptual work with three additions, I work towards a reproducible poetics of the video game in prose writing. I will show that machphrasis may be used to understand video games in literature as proxies for anticipated technologies, as discursive tools for reckoning with new subjectivities indebted to play, and as the means for generating new ideological positions for those who play games but are excluded from the normative ‘gamer’ group. This contribution prepares current academic discourse for a future literary landscape increasingly beholden to machphrastic themes, ambitions, and language.
... I would argue that players are already adept at cyborg partiality. Games have indeed been described as cyborgian in how they transgress the boundaries of human and technology (Boulter 2015;Giddings 2009;Keogh 2016). The cyborg vision that arises from this conceptual character is not to be confused with the proliferation of cyborg characters in games but signals a partial embodied vision between character perspectives-for instance, between Night Trap's security guard and security cameras. ...
As the increasingly ubiquitous field of surveillance has transformed how we interact with each other and the world around us, surveillance interactions with virtual others in virtual worlds have gone largely unnoticed. This article examines representations of digital games’ diegetic surveillance cameras and their relation to the player character and player. Building on a dataset of forty-one titles and in-depth analyses of two 2020 digital games that present embodied surveillance camera perspectives, Final Fantasy VII Remake (Square Enix 2020) and Watch Dogs: Legion (Ubisoft Toronto 2020), I demonstrate that the camera is crucial in how we organize, understand, and maneuver the fictional environment and its inhabitants. These digital games reveal how both surveillance power fantasies and their critique can coexist within a space of play. Moreover, digital games often present a perspective that blurs the boundaries between the physical and the technically mediated through a flattening of the player’s “camera” screen and in-game surveillance cameras. Embodied surveillance cameras in digital games make the camera metaphor explicit as an aesthetic, narrative, and mechanical preoccupation. We think and play with and through cameras, drawing attention to and problematizing the partial perspectives with which worlds are viewed. I propose the term cyborg vision to account for this simultaneously human and nonhuman vision that’s both pluralistic and situated and argue that, through cyborg vision, digital games offer an embodied experience of surveillance that’s going to be increasingly relevant in the future.
... Budgets and development team sizes grew exponentially, as did the financial burden of accessing the console manufacturers' software development kits required to develop for their closed platforms. As the cost of development rose, the new videogame industry consolidated its target audience almost exclusively to teenage and young adult males (Kirkpatrick 2012;Keogh 2016), significantly narrowing the expected genres and narratives explored by the increasingly conservative and risk-adverse industry. ...
Beyond the dominant North American and Japanese console manufacturers and multinational publishers, the global videogame industry is fragmenting. New audiences, distribution platforms, and development tools are expanding the videogame industry into an ecosystem that is at once broadly global and intensely localised. Taking advantage of this nebulous environment are increasingly visible fringes of hobbyists, amateurs, students, and artists that are pushing videogame development in new directions in terms of aesthetics, design process, and distribution channels. The activities of these fringe creators represent a critical but undertheorised aspect of the videogame industry. This article builds on Lobato and Thomas’s notion of ‘informal media economies’ to suggest that the work of these fringes can be usefully considered as informal videogame development practices. It provides a historical look at the videogame industry that demonstrates how it transitioned from a period of aggressive formalisation through the 1980s to the early 2000s into a more intense intermingling of formal and informal actors and processes in the early 2010s. In doing so, this article traces the shifting conduits of creative practice, commerce, and power that these emerging informal practices represent so as to more fully account for the contemporary global videogame industry.
... What is also significant is specifically the emancipatory aspect of their theory-this element was only briefly highlighted in previous work (see Kennedy, 2002), but has become another prominent feature in ludic cyborgism since then (e.g. Albrechtslund, 2007;Keogh, 2016Keogh, , 2018Welsh, 2016). As indicated in the introduction, looming contradictions within the various aspects of ludic cyborgism elaborated upon here invite for further scrutiny. ...
This article develops and critiques the concept of ludic cyborgism: the notion that playing videogames allows players a free, non-committal, yet strongly embodied pedagogical engagement with cyborg-being. The article argues that videogame play is a form of cyborgization-the act of becoming a metaphorical cyborg through participation in cybernetic feedback loops. Game Studies has so far neglected to deal with the historical and political implications of this cybernetic engagement, having chosen instead to focus on the supposedly educational and emancipatory aspects of the phenomenon. The history of videogames as simulations is intimately entangled with the development of training simulations in the military-entertainment complex of the late twentieth century United States (Crogan, 2011; Lenoir, 2000), and so what players are principally being taught through videogame play is how to operate military technologies like weapons targeting systems without critiquing the violent nature of those technologies. Moreover, the "cyborg-utopian" reading by game scholars of Donna Haraway's (1985/1991) "Cyborg Manifesto," which underlies most of the theoretical framework of ludic cyborgism, facilitates an uncritical understanding of cybernetic videogame play as an ideologically neutral phenomenon. If we wish to bring emancipatory movements into videogames, we should see the simulatory nature of videogames as an inherently conservative force with strong ties to military violence, imperialism, and economic injustice, meaning that these frameworks would require significant transformation in order to become neutral or progressive in any sense.
... These critiques of ego-centric design range from the dominance of particular action genres at the expense of other genres that focus on emotions or empathy (Dovey and Kennedy 2006), to the systemic sexism of online videogame communities (Harper 2014;Shaw 2014), to the dramatic gender inequality of the videogame industry (Dyer-Witheford and de Peuter 2009). Blockbuster videogames typically promise experiences of technology-aided mastery and concomitant domination of both opponents and space (Wajcman 1991;Keogh 2015;Giddings and Kennedy 2008). ...
In this article we discuss videogame adaptations of the Alien series of films, in particular Alien: Colonial Marines (2013) and Alien: Isolation (2014). In comparing critical responses and developer commentary across these texts, we read the very different affective, aesthetic and socio-political readings of the titular alien character in each case. The significant differences in what it means to ‘look’ at this figure can be analyzed in terms of wider storytelling techniques that stratify remediation between film and games. Differing accounts of how storytelling techniques create intensely ‘immersive’ experiences such as horror and identification—as well as how these experiences are valued—become legible across this set of critical contexts. The concept of the ‘look’ is developed as a comparative series that enables the analysis of the affective dynamics of film and game texts in terms of gender-normative ‘technicity’, moving from the ‘mother monster’ of the original film to the ‘short controlled burst’ of the colonial marines and finally to the ‘psychopathic serendipity’ of Alien: Isolation.
The paper explores the history of the future in Western society, from the Renaissance to the post-pandemic present, and the media through which the shifting visions of the future are expressed. Four distinct phases are identified: the pre-modern era and its quest for a secular future focusing on the organizational improvement of worldly conditions; the modern era, which emphasized progress and the promise of better times ahead; the post-modern era, marked by dystopian scenarios of humanity’s destruction of the planet; the current period and its aspirations for humanity’s evolution through digital technology. – An accumulating number of ‘new’ media have shaped these designs of the future: First, the printed book allowed for the literary evocation of utopian and early science fiction visions. Later, the industrial media of film and television represented imagined futures audiovisually. Currently, digital games provide interactive simulations of dystopian and utopian futures, enabling immersive experiences and cyborg-like engagement. The further evolution of media may hybridize material reality and different software virtualities, thus facilitating extended experiences of potential futures. – The paper demonstrates that – as a consequence of changing cultural values and technological advances – four overarching “grand narratives” have structured the modern media history of the future: the humanistic metanarrative of secularization in pre-industrial modernity; the mass humanistic metanarrative of welfare through progress in the industrial age; the post-humanistic metanarrative of the climate catastrophe during the de-industrialization and early digitalization period; and finally, the emerging transhumanistic metanarrative of an impending digital singularity entailing a technological augmentation of the human species.
The paper is based on a study of UK gaming magazines in the 1980s and 90s. It argues that a quasi-autonomous gaming culture was established in the mid-1980s, which established the perceptions and habits that make gaming possible and create the 'gamer' identity. The analysis shows a structural break associated with the introduction of the term 'gameplay' around March 1985, after which the appraisal of games takes on a limited independence from technical, educational and other normative criteria that get applied to other objects in the computer culture. The resulting discourse explains what is and can be meant by 'computer game' in our culture. The thwarted autonomy of gaming discourse then becomes its most interesting characteristic, since it positions gaming as essentially transgressive in relation to key cultural distinctions that it cannot fully leave behind (technology/art; childhood/adulthood; health/pathology).
The demand for minority representation in video games often focuses on proving that members of marginalized groups are gamers. In turn, it is asserted that the gaming industry should focus on appealing to these players via targeted content. Being targeted as a gamer, however, does not a gamer make. Identity as a gamer intersects with other identities like gender, race, and sexuality. Negative connotations about gaming lead people to not identify as gamers, and even to not play video games. This article concludes, based on interview data, that those invested in diversity in video games must focus their attention on the construction of the medium, and not the construction of the audience as such. This shift in academic attention is necessary to develop arguments for representation in games that do not rely on marking groups as specific kinds of gaming markets via identifiers like gender, race, and sexuality.
Game studies has yet to engage with a sustained debate on the implications of its fundamentally technologically based foundation - i.e. the 'digitality' of digital games. This paper calls for such a debate and offers some initial thoughts on issues and directions. The humanities and social sciences are founded on the principle that historical and cultural agency reside solely in the human and the social. Drawing on Science and Technology Studies, Actor-Network Theory and cybercultural studies, this paper argues that a full understanding of both the playing of digital games, and the wider techno-cultural context of this play, is only possible through a recognition and theorisation of technological agency. Taking the Gameboy Advance game Advance Wars 2 as a case study, the paper explores the implications for game studies of attention to non-human agency - specifically the agency of simulation and artificial life software - in digital game play.
The technique of cutscenes, as typically found in story-based action games, is placed within a wider discursive problematic, focusing on the role of pre-written narratives in general. Within a theoretical framework raised by Espen Aarseth, Markku Eskelinen and Marie-Laure Ryan, I discuss the relations between the ergodic and the representational, and between play and narration. I argue that any game event is also a representational event, a part of a typical and familiar symbolic action, in which cutscenes often play a crucial part. Through cutscenes, the ergodic effort acquires typical meanings from the generic worlds of popular culture.
In The Second Self , Sherry Turkle looks at the computer not as a "tool," but as part of our social and psychological lives; she looks beyond how we use computer games and spreadsheets to explore how the computer affects our awareness of ourselves, of one another, and of our relationship with the world. "Technology," she writes, "catalyzes changes not only in what we do but in how we think." First published in 1984, The Second Self is still essential reading as a primer in the psychology of computation. This twentieth anniversary edition allows us to reconsider two decades of computer culture--to (re)experience what was and is most novel in our new media culture and to view our own contemporary relationship with technology with fresh eyes. Turkle frames this classic work with a new introduction, a new epilogue, and extensive notes added to the original text.
Turkle talks to children, college students, engineers, AI scientists, hackers, and personal computer owners--people confronting machines that seem to think and at the same time suggest a new way for us to think--about human thought, emotion, memory, and understanding. Her interviews reveal that we experience computers as being on the border between inanimate and animate, as both an extension of the self and part of the external world. Their special place betwixt and between traditional categories is part of what makes them compelling and evocative. (In the introduction to this edition, Turkle quotes a PDA user as saying, "When my Palm crashed, it was like a death. I thought I had lost my mind.") Why we think of the workings of a machine in psychological terms--how this happens, and what it means for all of us--is the ever more timely subject of The Second Self .
Discusses the history of the zinester videogame scene and advises the reader on how best to make their own videogames.
Co-creative relations among professional media producers and consumers indicate a profound shift in which our frameworks and categories of analysis (such as the traditional labour theory of value) that worked well in the context of an industrial media economy are perhaps less helpful than before. Can this phenomenon just be explained as the exploitative extraction of surplus value from the work of users, or is something else, potentially more profound and challenging, playing out here? Does consumer co-creation contribute to the precarious conditions of professional creative workers? This article draws from ethnographic research undertaken from 2000 to 2005 with Auran games (a game development company based in Brisbane, Australia) to engage with debates about the status of user co-creation as labour. The article argues that as a hybrid and emergent social network market these relationships introduce a form of creative destruction to labour relations in the context of the creative industries.
'Feminism confronts technology' provides a lively and engaging exploration of the impact of technology on women's lives from word processors to food processors, and genetic engineering to the design of cities. Comprehensive and critical, this book surveys the sociological and feminist literature on technology, highlighting the male bias in the way technology is defined as well as developed. Wajcman sets the scene with an overview of feminist theories of science and technology: encompassing the technologies of production and reproduction as well as domestic technology.
The author challenges the common assumption that technology is gender neutral, looking at whether technology can liberate women or whether the new technologies are reinforcing sexual divisions in society.
We live in a world, according to N. Katherine Hayles, where new languages are constantly emerging, proliferating, and fading into obsolescence. These are languages of our own making: the programming languages written in code for the intelligent machines we call computers. Hayles's latest exploration provides an exciting new way of understanding the relations between code and language and considers how their interactions have affected creative, technological, and artistic practices. My Mother Was a Computer explores how the impact of code on everyday life has become comparable to that of speech and writing: las anguage and code have grown more entangled, the lines that once separated humans from machines, analog from digital, and old technologies from new ones have become blurred. My Mother Was a Computer gives us the tools necessary to make sense of these complex relationships. Hayles argues that we live in an age of intermediation that challenges our ideas about language, subjectivity, literary objects, and textuality. This process of intermediation takes place where digital media interact with cultural practices associated with older media, and here Hayles sharply portrays such interactions: how code differs from speech; how electronic text differs from print; the effects of digital media on the idea of the self; the effects of digitality on printed books; our conceptions of computers as living beings; the possibility that human consciousness itself might be computational; and the subjective cosmology wherein humans see the universe through the lens of their own digital age. We are the children of computers in more than one sense, and no critic has done more than N. Katherine Hayles to explain how these technologies define us and our culture. Heady and provocative, My Mother Was a Computer will be judged as her best work yet.
In this age of DNA computers and artificial intelligence, information is becoming disembodied even as the "bodies" that once carried it vanish into virtuality. While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" Star Trek-style, others view them with horror, seeing monsters brooding in the machines. In How We Became Posthuman, N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age. Hayles relates three interwoven stories: how information lost its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman." Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel Limbo by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems. Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, How We Became Posthuman provides an indispensable account of how we arrived in our virtual age, and of where we might go from here.
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