Video Game “Immersion”: in which we Contemplate a return to Enjoyment

I am in the midst of reading a recent article in the inaugural issue of the Journal of Games Criticism by Brendan Keogh entitled “Across World and Bodies: Criticism in the Age of Video Games.” This article has made quite stir, apparently, making the rounds (assuming one pays attention to the right circles—Dan Golding, Daniel Joseph, Ian Bogost, Zoya Street, Felan Parker; I imagine there are others too, but hat tip to Dan Golding for this particular list).

One of the things Keogh says in his introduction reminded me of another recent read completely unrelated to game studies. (Although, as a good votary of the liberal arts, I should never say “completely unrelated,” as we shall see.) In an earlier post, I reflected, as I am wont to do, on C. S. Lewis’s essay “Meditation in a Tool Shed,” which was, in turn, much influence by philosopher Samuel Alexander‘s Space, Time, and Deity.

This excerpt is what got me thinking:

The first of these sections observes how the concept of ‘immersion’ obscures critical analysis of video games [sic et cetera] as cultural forms that actually exist, as it leads to the same separation of form and content that Susan Sontag (1964) so completely dismantled half a century ago. The videogame critic, I argue, must avoid immersion to understand how videogame play functions across worlds. . . In my conclusion, I argue why a shift towards close, critical analyses of specific videogames is inevitable and, indeed, is already emerging as a younger generation of theorists with a more everyday relationship to videogames begins presenting and publishing research. These scholars have grown up in a time where playing a videogame is as mundane as watching a film or listening to pop music; they do not require all-encompassing formal methods to understand what videogames are, but critical toolkits to deploy and alter as they build a stronger understanding of videogames as a cultural form.

—Brendan Keogh entitled “Across World and Bodies: Criticism in the Age of Video Games,” Journal of Games Criticism, v. 1, no. 1, 2014

(emphasis added)

Compare that to Lewis:

I was standing today in the dark toolshed. The sun was shining outside and through the crack at the top of the door there came a sunbeam. From where I stood that beam of light, with the specks of dust floating in it, was the most striking thing in the place. Everything else was almost pitch-black. I was seeing the beam, not seeing things by it.

Then I moved, so that the beam fell on my eyes. Instantly the whole previous picture vanished. I saw no toolshed, and (above all) no beam. Instead I saw, framed in the irregular cranny at the top of the door, green leaves moving on the branches of a tree outside and beyond that, ninety-odd million miles away, the sun. Looking along the beam, and looking at the beam are very different experiences.

— C. S. Lewis, ”Meditation in a Toolshed,” from Essay Collection, p. 607

(emphasis added)

Looking along the beam versus looking at the beam. Samuel Alexander referred to theses as Enjoyment and Contemplation, respectively. In some ways, Keogh’s words reminded me of Lewis and Alexander. It seems to me the very nature of formal criticism must be Contemplative, i.e., looking at the beam, studying object of interest from without in order to gain an appreciation for its composition (structure, artistry, fill-in-the-blank). Conversely, Enjoyment, i.e., looking along the beam, would correspond to Keogh’s use of the term immersion, a slippery word commonly used in the gaming community. This strikes me as the same idea, albeit in significant different language. Lewis, as literature professor, took a much more literary tack. Thus, can one say…?

Alexander / Lewis / Keogh
Contemplation = at beam = criticism
Enjoyment = along beam = immersion

I got the impression from Lewis that he did not advocate one of these perspectives at the expense of the other, but preferred to let them inform one another. I suspect that may be at the root of what Keogh says as well when he mentions young scholars who have grown up with video games as a norm. Despite the fuzziness of what age-range constitutes a young scholar, I suspect that those who think of video games as a normal part of their childhood (of which I would consider myself a member), and continue to participate in that culture have an easy enough time looking along the light beam and have, perhaps more recently begun to look at that beam they have long enjoyed. Perhaps they will indeed find it easier to shift between those two experiential paradigms, allowing for a balanced understanding of reciprocal perception. That is not to say, of course, that “older” scholars cannot find such a balance, but I suspect they will have to be willing to lay aside the clinical sterility of Contemplation in order to let themselves Enjoy games, which will, in turn, deepen their critical engagement.

All this from the introduction to an article I have not yet finished. Maybe I should have thought that through before posting this; it may be far off from what the author’s intended destination. Still, there it is.

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One thought on “Video Game “Immersion”: in which we Contemplate a return to Enjoyment

  1. […] me, as I have considered the notion of contemplation, or rather Contemplation, in earlier posts (1, 2). C.S. Lewis’s “Mediation in a Toolshed” seems to be becoming a theme for me. The […]

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