Game Studies - Humanities

Humanities

In general terms, the humanities approach has concerned itself with the question of “What meanings are made through games?” Using tools and methods such as interviews, ethnographies and participant observation, researchers have investigated the various roles that videogames play in people’s lives and activities together with the meaning they assign to their experiences. For example, Consalvo explores how players choose to play the games they buy and negotiate how, when, and for what reasons to subvert a game’s rules (Consalvo, 2007). It turns out that “cheating” is a very complex phenomenon whose meaning is continually negotiated by players, the game industry, and various gaming sub-cultures that revolve around specific games.

Other researchers have focused on understanding videogames as cultural artifacts with embedded meaning, exploring what the medium of the videogame is, and situating it in context to other forms of human expression. Brenda Laurel’s book Computers as Theatre, while principally focused on applying tenets of theatre criticism to the design of human-computer interface design, describes how videogames are the natural result of the “capacity to represent action in which the humans could participate” (Laurel, 1991) of computers. Rather than considering the computer as a highly efficient tool for calculating or computing, she proposed understanding the computer as a medium. The thesis of her book attempts to draw parallels between drama and the computer, with computers allowing their users to play equivalent roles to both the drama performer as well as the audience member. Throughout her book, Laurel uses different videogames as exemplars of many of the ideas and principles she tries to communicate. Henry Jenkins, on the other hand, explores the role that videogames play in a broader context he refers to as transmedia storytelling. In Jenkins' view, content moves between different media, and videogames are a part of the general ecology of storytelling media that include movies, novels, and comic books (Jenkins, 2003). Similarly, Janet Murray’s Hamlet on the Holodeck, describes the computer as a new medium for the practice of storytelling (Murray, 1997). By analyzing videogames along with other digital artifacts such as hypertext and interactive chat characters, Murray explores the new expressive possibilities allowed by computers. In particular, she views videogames as part of an expanded concept of storytelling she calls cyberdrama. Espen Aarseth, in his book Cybertext, disagrees with Murray’s idea and holds, “to claim there is no difference between games and narratives is to ignore essential qualities of both categories” (Aarseth, 1997).

This disagreement has been called the ludology vs. narratology debates. The narratological view is that games should be understood as novel forms of narrative and can thus be studied using theories of narrative (Murray, 1997; Atkins, 2003). The ludological position is that games should be understood on their own terms. Ludologists have proposed that the study of games should concern the analysis of the abstract and formal systems they describe. In other words, the focus of game studies should be on the rules of a game, not on the representational elements which are only incidental (Aarseth, 2001; Eskelinen, 2001; Eskelinen, 2004). The idea that a videogame is “radically different to narratives as a cognitive and communicative structure” has led the development of new approaches to criticism that are focused on videogames as well adapting, repurposing and proposing new ways of studying and theorizing about videogames. A recent approach towards game studies starts with an analysis of interface structures and challenges the keyboard-mouse paradigm with what is called "ludic interfaces".

Jesper Juul’s Half-Real explores how videogames blend formal rules with the imaginative experiences provided by fictional worlds. He describes the tensions faced by games studies scholars when choosing to focus on the game or the player of the game. “We can examine the rules as they are found mechanically in the game program or in the manual of a board game, or we can examine the rules as something that players negotiate and learn. We can also treat the fictional world as a set of signs that the game presents, and we can treat the fictional world as something that the game cues the player into imagining and that players then imagine in their own ways (Juul, 2005).” Bogost’s comparative approach to videogame criticism also stands out as one of the more recent steps in the direction of proposing new ways of studying and theorizing about games. In Unit Operations, Bogost argues for explicating videogames through a new form of criticism that encompasses the programmatic and algorithmic underpinnings of games together with the cultural and ideological units (2006).