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Ch 6.dmc.mdsb61h3.docx

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Media Studies
Gray Graffam

Ch 6: ethnographic criticism and video games Introduction o A video game is a cultural object, bound by history and materiality, consisting of an electronic computational device and a game simulated in software o Video games may be a pc, arcade machine, portable device or any electronic machines o Computer games are so hard to study bc they are so socially complex Video games: textual approaches o Use of control-shock controller o Mixture of psychological and physical apparatus makes possible the processes of ‘becoming’ the virtual figure o A computer game works in 5 integral areas of power 1) Agents (who have the power to catalyze transformative effects) 2) Functions (the purported and actual purposes of those effects) 3) Influences (external forces that impinge upon agents and inevitably change the transformative effects of historically situated artifacts) 4) Manifestations (ways in which transformative efforts are realized in particular contexts) 5) transformative locales (the spatiotemporal instances in which ideologies – individual, communal or societal – have specific transformative effects) o “gaming as drama”, “gaming as grammar”, “gaming as narrative” o video game players are immersed in playing the game (experiencing specific cognitive effects) An autoethnography of the game counter-strike o first, understand the narrative premise – game is based on a conflict btwn two groups of “terrorists” and “counter-terrorists” o second, figure out the mise-en-scene – game is played in a variety of settings over several rounds o third, choose your props – weapons, equipment, missions and levels o fourth, become the narrative – coming to terms with the controller o fifth, use the force Conclusion: the construct of terrorism on video game: lessons learnt from counter-strike o the “text” of terrorism in counter-strike is performative o the “text” of terrorism lacks narrative complexity o there is little in the game that creates immersive experi
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