Dionysiac Machines: Videogames and the Triumph of The

Dionysiac Machines: videogames and the triumph of the simulacra Seth Giddings, University of the West of England, UK draft version, see: Convergence, 2007; 13; 417 http://con.sagepub.com/cgi/content/abstract/13/4/417 Abstract / This article rethinks concepts of the simulational and the simulacral for popular digital culture. It plays concepts of the modern world as hyperreal against the more modest, pragmatic, but vital, insights of game studies into the literally simulational nature of computer media and videogames. Through a reading of Deleuze’s essay Platonism and the Simulacrum, taking the GameBoy Advance game Advance Wars 2 as a case study, and proposing the significance of automata, it suggests ways of thinking about the artificial and simulacral character of contemporary technoculture and its devices, not as the implosion of reality, but of its production. Keywords /automata / computer games / cyberculture / Deleuze / game studies / simulacra / simulation / technoculture / videogames Plato, by dint of inquiring in the direction of the simulacrum, discovers, in the flash of an instant as he leans over its abyss, that the simulacrum is not simply a false copy, but that it calls into question the very notions of the copy . and of the model. (Deleuze, 1983: 47) Whomper hunted for the marmalade. ‘Perhaps jam will do just as well’, he said and tried to take the lid off a jam-pot. ‘Painted plaster,’ stated the Mymble’s daughter. She took an apple and chewed at it. ‘Wood,’ she said. Little My laughed. But Whomper felt worried. All the things around him were false. Their pretty colours were a sham, and everything he touched was made of paper or wood or plaster. The golden crowns weren’t nice and heavy, and the flowers were paper flowers. The fiddles had no strings and the boxes no bottoms, and the books couldn’t even be opened. Troubled in his honest heart, Whomper pondered over the meaning of it all, but he couldn’t find any solution. ‘I wish I were just a tiny bit more clever’, he thought. ‘Or a few weeks older’. ‘I like it here’, said the Mymble’s daughter. ‘It’s just as if nothing really mattered here’. ‘Does anything matter anywhere?’ asked Little My. ‘No’, her sister replied happily. ‘Don’t ask such silly questions’. (Tove Jansson, Moominsummer Madness, 1955: 43) The Moomins and their houseguests and acquaintances (of various species), caught up in a giant flood, have taken refuge in a floating building. It takes them some time to realise that their strange new environment is a theatre, and that the objects around them – familiar in appearance, yet counterfeit and different in essence – are theatrical props. The Whomper in particular is confused and anxious over the nature of his new environment and its unsettling objects. Introduction: Simulation Versus Representation / The Whomper’s worry, and his attacks on the screens that seem to be hiding a more familiar, more authentic world from him, are emblematic of cultural and critical theory when faced with the manufactured, the commodified and the artificial in modern culture. Nowhere is this anxiety more keenly felt than in the face of the simulational and simulacral character of post-War culture in the developed world – a culture, it is claimed, that is increasingly derealized by the screens of the mass media, the seductions and veilings of commodification, and (more recently) the virtualizations of digital culture. If only we were a little more clever (or a few weeks older), or had some incisive instrument of theory, we could cut through the objects, screens and flows of images around us and select between the truthful and the fake, the authentic and the commodified, the real and the ideological. In this essay I want to rethink the character and implications of the simulational and the simulacral for popular digital culture. By playing recent concepts of the modern world as simulational or hyperreal against the more modest, pragmatic, but vital, insights of game studies into the literally simulational nature of computer and videogames’ technological, media, aesthetic and ludic form, I hope to suggest ways of thinking about the reality of the artificial and simulacral character of contemporary lived technoculture and its devices, and to question, like the Mymble’s daughter, ‘things that matter’. A number of commentators on, and scholars of, contemporary cultural change have noted a shift from ‘representation’ to ‘simulation’ as dominant modes of the organization of cultural objects and their significatory relationships to the world. For the purposes of this essay I will identify three pertinent areas of research. The first considers the relationship (or lack, or loss, of relationship) between media simulation and the real world. This approach draws on theories that identify in recent decades profound cultural, aesthetic, economic and social shifts in the developed world. Approaches and positions within this broad trend vary considerably, but they generally share the assumption that the emergence in the post-War period of a consumption-led economy has driven a culture which is dominated and colonized by the mass media and commodification. The rise of this commercialized, mediated culture brings with it profound anxieties about how people might know, and act in, the world. The sheer proliferation of television screens, computer networks, theme parks and shopping centres, and the saturation of everyday life by spectacular images so thoroughly mediated and processed that any connection with a ‘real world’ seems lost, adds up to a simulated world: a hyperreality where the artificial is experienced as real. Representation, the relationship (however mediated) between the real world and its referents in the images and narratives of popular media and art, withers away. For Jean Baudrillard, simulacra are signs that can no longer be exchanged with ‘real’ elements, but only with other signs within the system. This loss of the real is extended to the contemporary world at large, as reality becomes hyperreality (1983). Though controversial, Baudrillard’s versions of simulation and simulacra have proved very influential on theories and analysis of post-War popular and visual culture. The nature of the ascendency of this order of simulation over that of representation has been posited as being of fundamental importance to questions of the future of human political and cultural agency (1). Jameson works with Baudrillard’s residual Marxism to present the contemporary world as one in which all zones of culture and everyday life are subsumed by the commodifying reach of consumer capitalism and its spectacular media: a whole historically original consumers’ appetite for a world transformed into sheer images of itself and for pseudo-events and ‘spectacles’ . It is for such objects that we reserve Plato’s concept of the ‘simulacrum’, the identical copy for which no original has ever existed. Appropriately enough, the culture of the simulacrum comes to life in a society where exchange value has been generalized to the point at which the very memory of use value is effaced, a society of which Guy Debord has observed, in an extraordinary phrase, that in it ‘the image has become the final form of commodity reification . .’. (Jameson, 1991: 18) Similarly, for Sean Cubitt ‘the theory of simulation is a theory about how our images, our communications and our media have usurped the role of reality, and a history of how reality fades’ (Cubitt, 2001: 1). As reality fades, the materiality of the world around us becomes unsteady, ‘the objects of consumption are unreal: they are meanings and appearances, style and fashion, the unnecessary and the highly processed’ (Cubitt, 2001: 5). It becomes clear then what is at stake for these theorists: any sense of political agency or progressive knowledge is lost in this seductive, consumerist, apocalypse. The relationship between the real and the mediated, the artificial and the natural, implode. It is also clear how the technological sophistication and seductive/immersive and commercial nature of videogames might be seen as a particularly vivid symptom of this postmodernist condition (Darley, 2000).1 The second approach is less concerned with the implications of the simulational as marker of a new epoch in culture, history or economics, and more with the detail and texture of specific computer- and network-based simulational technologies and the interactions and experiences they bring into being. Studies of cyberculture in the late 1980s and 1990s described the new simulational machines (Rheingold, 1991; Woolley, 1992; Turkle, 1996). There are significant overlaps between these two approaches; much of these ‘optimistic’ cybercultural studies draws on postmodernist concepts and frameworks, whereas other theorists of technocultural change and digital culture echo their ‘pessimist’ diagnosis (e.g. Robins and Webster, 1999). Thirdly, in recent years, game studies has adopted analytical, formal and descriptive approaches to the specificity of computer simulation software. ‘Simulation’ here refers to the particular character and operations of games, particularly computer and videogames, as processual, algorithmic media. Distinctions are made between simulation as a media form that models dynamic, spatio-temporal and complex relationships and systems (for example, of urban development and economics in SimCity) and the narrative or representational basis of other, longer-established, media (literature, film, television, etc.). Ostensibly, these two positions have quite different objects of concern: the computer simulation of interest to game studies is not the hyperrealism of Baudrillard’s simulation. Game studies is more modest – keen to establish the difference of games and simulations from narrative or representational media forms, rather than claiming simulation as an overarching model of contemporary culture. However, this article will argue that the two do (in some ways) and should (in others) inform one another. In broad terms each establishes a key distinction between notions of simulation and representation. Each, to a greater or lesser extent, asserts the ascendency of simulation over the established certainties and familiarities of representation or mimesis.

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