Shaman, paragon, God-mode: modern video games are heavily coded with religious undertones. From the Shinto-inspired Japanese video game Okami to the internationally popular The Legend of Zelda and Halo, many video games rely on religious themes and symbols to drive the narrative and frame the storyline. Playing with Religion in Digital Games explores the increasingly complex relationship between gaming and global religious practices. For example, how does religion help organize the communities in MMORPGs such as World of Warcraft? What role has censorship played in localizing games like Actraiser in the western world? How do evangelical Christians react to violence, gore, and sexuality in some of the most popular games such as Mass Effect or Grand Theft Auto? With contributions by scholars and gamers from all over the world, this collection offers a unique perspective to the intersections of religion and the virtual world.
Game studies has been an understudied area within the emerging field of digital media and religion. Video games can reflect, reject, or reconfigure traditionally held religious ideas and often serve as sources for the production of religious practices and ideas. This collection of essays presents a broad range of influential methodological approaches that illuminate how and why video games shape the construction of religious beliefs and practices, and also situates such research within the wider discourse on how digital media intersect with the religious worlds of the 21st century. Each chapter discusses a particular method and its theoretical background, summarizes existing research, and provides a practical case study that demonstrates how the method specifically contributes to the wider study of video games and religion. Featuring contributions from leading and emerging scholars of religion and digital gaming, this book will be an invaluable resource for scholars in the areas of digital culture, new media, religious studies, and game studies across a wide range of disciplines.
This volume considers the implementation difficulties of researching religion online and reflects on the ethical dilemmas faced by sociologists of religion when using digital research methods. Bringing together established and emerging scholars, global case studies draw on the use of social media as a method for researching religious oppression, religion and identity in virtual worlds, digital communication within religious organisations, and young people's diverse expressions of faith online. Additionally, boxed tips are provided throughout the text to serve as reminders of tools that readers may use in their own research projects.
"Digital Religion refers to the contemporary practice and understanding of religion in both online and offline contexts, and how these contexts intersect with each other. Scholars in this growing field recognize that religion has been influenced by its engagement with computer-mediated digital spaces, including not only the Internet, but other emerging technologies, such as mobile phones, digital wearables, virtual reality, and artificial intelligence. The Oxford Handbook of Digital Religion provides a comprehensive overview of religion as seen and performed through various platforms and cultural spaces created by digital technology. The text covers religious interaction with a wide range of digital media forms (including social media, websites, gaming environments, virtual and augmented realities, and artificial intelligence) and highlights examples of technological engagement and negotiation within the major world religions (i.e., Buddhism, Christianity, Hinduism, Islam, and Judaism). Additional sections cover the global manifestations of religious community, identity, ethics, and authority, with a final group of chapters addressing emerging technologies and the future of the field. Because of the interdisciplinary nature of the project, the Handbook is led by co-editors representing the humanistic and social scientific fields of religious studies and communication, though both also have experience in how those disciplines intersect"--
Video game studies are a relative young but flourishing academic discipline. But within game studies, however, the perspective of religion and spirituality is rather neglected, both by game scholars and religion scholars. While religion can take different shapes in digital games, ranging from material and referential to reflexive and ritual, it is not necessarily true that game developers depict their in-game religions in a positive, confirming way, but ever so often games approach the topic critically and disavowingly. The religion criticisms found in video games can be categorized as follows: religion as (1) fraud, aimed to manipulate the uneducated, as (2) blind obedience towards an invisible but ultimately non-existing deity/ies, as (3) violence against those who do not share the same set of religious rules, as (4) madness, a deranged alternative for logical reasoning, and as (5) suppression in the hands of the powerful elite to dominate and subdue the masses into submission and obedience. The critical depictions of religion in video games by their developers is the focus of this special issue.
Offers the most comprehensive analysis and discussion of medievalist computer games to date. Games with a medieval setting are commercially lucrative and reach a truly massive audience. Moreover, they can engage their players in a manner that is not only different, but in certain aspects, more profound than traditional literary or cinematic forms of medievalism. However, although it is important to understand the versions of the Middle Ages presented by these games, how players engage with these medievalist worlds, and why particular representational trends emerge in this most modern medium, there has hitherto been little scholarship devoted to them. This book explores the distinct nature of medievalism in digital games across a range of themes, from the portrayal of grotesque yet romantic conflict to conflicting depictions of the Church and religion. It likewise considers the distinctions between medievalist games and those of other periods, underlining their emphasis on fantasy, roleplay and hardcore elements, and their consequences for depictions of morality, race, gender and sexuality. Ultimately the book argues that while medievalist games are thoroughly influenced by medievalist and ludic tropes, they are nonetheless representative of a distinct new form of medievalism. It engages with the vast literature surrounding historical game studies, game design, and medievalism, and considers hundreds of games from across genres, from Assassin's Creed and Baldur's Gate to Crusader Kings and The Witcher series. In doing so, it provides a vital illustration of the state of the field and a cornerstone for future research and teaching.
This book offers a critical and systematic survey of the study of religion and digital media. It covers religious engagement with a wide range of digital media forms and highlights examples of new media engagement in all five of the major world religions. This unique volume draws together the work of experts from key disciplinary perspectives and is the go-to volume for students and scholars wanting to develop a deeper understanding of the subject area.
Can digital games help us understand real life religion? With World Youth Day: Religious Interaction at a Catholic Festival, Skjoldli suggests that they can. The change is particularly visible from Skjoldli's new theoretical framework religious interaction, which draws on digital game studies. The framework centers on three key terms—interaction, interface, and immersion. Interaction constitutes the core of the stipulative definition of religion operative in this framework: interaction with culturally postulated superhuman persons. Interface represents the means by which interaction takes place. When interaction becomes emotionally charged, immersion takes place—whether it happens in religious contexts, gaming contexts, or other human activities like watching sports, reading books, playing instruments, listening and/or dancing to music. Religious immersion, Skjoldli suggests, is helpful for understanding—and making intelligible—the emotional charge of human-superhuman relationships, the power and vulnerability of the religious interfaces that enable them, the significance of emotionally charged experiences they afford, and the vexation expressed when interactions are frustrated by distraction, distortion, or destruction. In this book, Skjoldli employs her religious interaction framework in an analysis of how the Catholic festival World Youth Day (WYD) changed the meaning of pilgrimage in Catholicism. WYD emerged from a ritual, historical, and cultural context abundant associations to pilgrimage as the term is conventionally understood by scholars. WYDs are also consistently called pilgrimages, even when the host locations are not officially sanctioned as such. A substantive investment for the Catholic Church centrally, locally, and for the local event organizers, each WYD draws hundreds of thousands to millions of young Catholics from around the world. The pope always participates by giving speeches and leading some of the ceremonies. WYD is persistently referred to as a pilgrimage, and Skjoldli analyzes what pilgrimage has meant, what it means now, and how it changed in the context of WYD.
This book provides an introduction and overview of the rapidly evolving topic of game narratives, presenting the new perspectives employed by researchers and the industry, highlighting the recent empirical findings that illustrate the nature of it. The first section deals with narrative design and theory, the second section includes social and cultural studies on game narrative, the third section focuses on new technologies and approaches for the topic, the fourth section presents practices and case studies, and the final section provides industry cases from professionals.
Video games are a global phenomenon, international in their scope and democratic in their appeal. This is the first volume dedicated to the subject of apocalyptic video games. Its two dozen papers engage the subject comprehensively, from game design to player experience, and from the perspectives of content, theme, sound, ludic textures, and social function. The volume offers scholars, students, and general readers a thorough overview of this unique expression of the apocalyptic imagination in popular culture, and novel insights into an important facet of contemporary digital society.
