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The Return of Flânerie: Walter Benjamin and the Experience of Videogames

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The Return of Flânerie: Walter Benjamin and the Experience of Videogames The Return of Flânerie: Walter Benjamin and the Experience of Videogames By Curtis Lee Maughan Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University In partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In German Studies January 31, 2021 Nashville, Tennessee Approved: Date: _________________________________________________________ ___________________ Lutz Koepnick, Ph.D. _________________________________________________________ ___________________ Gundolf S. Freyermuth, Ph.D. _________________________________________________________ ___________________ Jennifer Fay, Ph.D. _________________________________________________________ ___________________ James McFarland, Ph.D. For my father, Christopher Maughan ii ACKNOWLEDGMENTS First and foremost, I would like to express my gratitude to my advisor, Lutz Koepnick, for his tremendous support and guidance over the past years. I am especially grateful for his dedication to interdisciplinary thought in research and teaching, which inspired me to broaden my perspective and pursue this project. I would also like to thank my committee members, Jennifer Fay, James McFarland, and Gundolf S. Freyermuth, who provided me with invaluable feedback throughout the writing process. As it traveled from Nashville to Cologne and back again, this project was generously supported by the Vanderbilt Department of German, Russian and East European Studies, and the Cologne Game Lab (CGL) of the University of Applied Sciences of Cologne. Once again, I would like to thank Gundolf S. Freyermuth for inviting me to join the CGL family and for overseeing my research (and teaching) efforts during my time in Cologne. I am grateful to him, and all those at CGL, who made my time there one filled with academic growth and fond memories. And I am especially thankful for sharing an office with Federico Alvarez Igarzábal—a rigorous scholar, generous collaborator, and dear friend. Over the years I have benefited greatly from the mentorship—and friendship—of Jeffrey L. High, who is the reason I started my pursuit of graduate studies in the first place. Thank you for nudging me along the way. I would also like to thank my family for their loving support and never-ending patience with me throughout this process. I am grateful to be following in the footsteps of my mother, Helen Maughan, whose dedication to her students is truly inspiring. Finally, my deepest gratitude goes to Kathryn Marshalek, who saved this project—again and again—with her thoughtful commentary and her boundless support. I could not have done this without her. Curtis Maughan January 18, 2021 iii TABLE OF CONTENTS Page DEDICATION……………………………………………………………………………………………………………………………...ii ACKNOWLEDGMENTS………………………………………………………………………………..…………………………….iii LIST OF FIGURES………………………………………………………………………………..……………………..……..…vi-viii Chapter Introduction...................................................................................................................................1 Structure.............................................................................................................................3 I. Chapter 1: Digital Flânerie……………………………………………………………………………………………………10 Introduction …………………………………………………………………………………………………………….....10 Digital Flânerie and Open World Games ………………………………………………………………………14 Open World Games and Assassin’s Creed…………………………………………………..…....18 Digital Flânerie and Navigable Spaces……………..………………………………………………..34 II. Chapter 2: The Avatar: Walter Benjamin and Game Studies…………………………………………......41 Introduction………………………………..…………………………………………………………………..…..........41 Benjamin’s Avatarial Framework………………………………………………………………………….....…..51 The Publikum, the Apparatur, the Cyborg…………………………………………………………52 Seeing, Testing……………………………………………………………………………………………......61 Tactile Perception and Proxy Bodies……………………………………………………….………..69 Dual Control…………………………………………………………………………………………………………….…..73 Mario, the Lakitu, and Cyborgian Symbiosis ………………………………………..…………..………….74 Playing, Testing………………..…………………………..………………………………………………….82 Haptic Feedback and Camera Bodies …………………………..………………………………….88 Conclusion………………..…………………………………..…………………………………..…………………….…98 III. Chapter 3: From the Window to the Watch_Dog: Walter Benjamin, Surveillance, and Flânerie…………………………………………………………………......................................................101 Introduction…………..………..………..………..………..………..………..………..……………………..………101 The Window Interface, Surveillance, and Flânerie……………………………………..…….…………109 Watch_Dogs 2: Dual Control, Camera Hack………………………………………………….…………….134 iv Epilogue......................................................................................................................................164 Appendix A. Transcript of Interview with Thomas Geffroyd …………………...……………………………………………167 REFERENCES ……….…………………………………………………………………………………………......………………..192 v LIST OF FIGURES Figure Page 1.1. Assassin’s Creed IV: Black Flag. The Kenway avatar reaches a “synchronized viewpoint.”..22 1.2. Xtreme Team Parkour tracers hold a brief demonstration in a newly ‘unlocked’ sector along the Stock Exchange.......................................................................................................................27 1.3. The audience-participants document the Xtreme Team Parkour demonstration................27 1.4. A crowd of participants follow the tracers to the front of the Stock Exchange building.......28 1.5. Parkour footage plays on the screen facing the Stock Exchange building.............................28 1.6. A spotlight shines on the tracer before they take their bow.................................................29 1.7. Citizens of San Andreas interact with one another, collide with buildings...........................32 1.8. The Community Cam swings and swivels based on its proximity to the subject...................33 2.1. Super Mario Bros. (Nintendo, 1985)……….….……….….….…….….….…….….….…….….….…….………41 2.2. The player is confronted by the reflection of the Lakitu camera……….……….….….….....….…..75 2.3. Close-up of the Lakitu camera avatar……….….….….…….….….…….….….…….….….…...................77 2.4. Screenshots from the Lakitu camera’s appearance in the opening cinematic sequence…...90 2.5. In the Lakitu’s first appearance in Super Mario 64, he directs his camera at the player…….91 2.6. The Lakitu camera tutorial………………………………….….….…….….….…….….….…….….….........…….92 2.7. Super Mario 64 HUD signaling that the Lakitu camera is unavailable for the player to control…………….….….…….….….…….….….…….….….…….….….…….….….…….….….…….….……………….…..96 2.8. Super Mario 64 HUD signaling that the Lakitu camera is available for the player to control…………….….….……….….….……….….….……….….….……….….….……….….….……….….….………..…….97 2.9. The Nintendo 64 controller, with one thumbstick….…….….….…….….….…….….….……..….….....99 . 2.10. The Playstation DualShock controller, with dual thumbsticks, introduced in 1997……..…..99 vi 3.1. The player controls Marcus Halloway’s quadcopter drone as it hovers above a NASA space center…………………………………………………………………………………………………………………….………………105 3.2. In a cut scene, Marcus beholds his newly acquired quadcopter drone, around which several key narrative strands unfold………………….………………………………………………………………………….……105 3.3. The standard third-person perspective of open world games, where the player controls the extradiegetic camera and the avatar simultaneous……………………………………………..…………………107 3.4. The first-person perspective from a hacked surveillance camera ……..………....………..………108 3.5. The static element of the camera hack consists of simply pressing and holding the “square” button. The camera hack’s dynamic element, and source of its challenge, demands that the player scan the gameworld for surveillance cameras…………………………………………………..…………138 3.6. The player spots a surveillance camera on a freight ship…………….………………………..…..……141 3.7. The player hacks the camera on the freight ship and gains a perspectival overview of the potentially dangerous area……………………………….………………………………………………………..………….141 3.8. The third-person, extradiegetic game camera is here anchored to Marcus, the avatar…..145 3.9. The view of the gameworld between the game camera and the hacked surveillance camera…..………………………………………………………………………………………………………………………….…..146 3.10. The first-person, diegetic surveillance camera affixed to a building, and pointed back at Marcus across the street.. …………………………………………………………………………………………………….146 3.11. The Dedsec blogosphere, where players can read about their in-game exploits………..… 152 3.12. The Ubisoft U-Play interface………………………………………………….….….…….….….…….….….……153 3.13. Celebrity players live stream their gameplay session on Twitch….…………………………………153 3.14. As a member of Dedsec, Marcus’s overarching goal is to “gather followers to take down Blume.” ………………………………………………………………………………………………………………………….……..154 3.15. The portal to the Watch_Dogs 2 YouTube channel……………………………………………………….154 3.16. A winning entry in the Watch_Dogs 2 screenshot contest..…………………………………………..155 3.17. Online Watch_Dogs 2 application where players submit selfies for analysis…………………155 vii 3.18. Events appear in the Watch_Dog 2 community interface and are updated on a daily basis……….…….….….…….….….…….….….…….….….…….….….…….….….…….….….…….….….…….…….….…156 3.19. The Watch_Dogs 2 personal player profile interface……………………….……………………………156 3.20. The intimate view of dual control in Super Mario 64 brings the player closer to the avatar and the action……………………………………………………………………………………………………………..…………158 3.21. The distanced three-quarters
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