Aleksandra Prokopek
Arts & Cultural Studies Review, Issue 4 (54) Playing While the World Burns: Games in a Time of Crisis, 2022, pp. 570-584
https://doi.org/10.4467/20843860PK.22.038.17092What may be considered as the greatest emergency in the contemporary world is the lack of a sense of emergency; the prevailing feeling that everything is fine, that, despite ongoing crises, we live in the only acceptable system, and it is impossible to imagine any alternative to it. Mainstream digital games, by offering repetitive, standardised, and predictable forms of gameplay, by focusing on technological advancement, and by exploiting workers in large corporations, became a part of that emergency. According to Santiago Zabala, what is needed to recover the sense of emergency and to break through contemporary complacency, is an “aesthetic force,” a disruptive artistic shock. What is proposed in this article is the possibility of considering the avant-garde as an aesthetical force in the field of videogames; a force that shocks the player and demands something more than a simple contemplation. As presented by game scholars, avant- -garde videogames (through formal experimentation and political intervention) open the medium, and propose games that object to standardised, mindless repetition. Avant-garde games proclaim new ways of playing, accept diversity that opposes the stereotypical image of a player as a white, heterosexual male, and propose new kinds of engagement with the outside world. They tend to “remove the automatism of the perception” by disrupting players’ engagement and through disclosure of the system. To achieve that, avant-garde videogames break through the category of flow, problematize notions of videogame hermeneutic and interrupt the feeling of immersion.