“Geographies of the Underworld: Chthonic Poetics and Virtual Worlds”

Transcription

“Geographies of the Underworld:
Chthonic Poetics and Virtual Worlds”
DM Masters Thesis Proposal
Katie Fletcher
[email protected]
LCC, Georgia Institute of Technology
29 October, 2007
I. Research Problem
Underworld. (un·der·world, n.) A region, realm,
or dwelling place conceived to be below the
surface of the earth; the world of the dead,
located below the world of the living.1
Underworld elements manifest frequently in video gamesso frequently, in fact, as to make their presence normative.
The scenario presented in id Software’s 1993 game Doom
includes a human research base on Mars being overrun by
demons from Hell. The gamer’s response when faced with
this unlikely turn of events is not “Why does this video game
have demons running around Mars?” but rather, “Of course
Doom (id Software, 1993)
leads the player through 27
demon-packed levels, to Hell
and back.
there are demons running around on Mars. It’s a video
game!”
One explanation for the popularity of demons, spirits, and
supernatural worlds in video games is titillation. Western
culture considers these tropes transgressive. This
“edginess” creates marketing caché with the adolescent
male demographic on which the game industry has been
traditionally focused. It may bolster the mythos of game
developers, building on the “wizard” identity of game
virtuoso and the quasi-shamanistic role invoked by software
engineers as they mediate machine and human
communication.
In Kid Icarus (Nintendo, 1986)
the player must escape from
the Underworld.
.
1
The American Heritage Dictionary of the English Language, Fourth Edition. Houghton Mifflin
Company. 2006
Geographies of the Underworld: Chthonic Poetics and Virtual Worlds
2
But the desire to épater le bourgeoisie does not account for the ubiquity of the
underworld in video game history, particularly when
considering the mass of games developed in Asia, often for
non-Western audiences. There we find underworld elements
from Asian cultures as well as from the Western tradition, and
motifs from different cultures are often combined within a
given title. Kid Icarus (Nintendo, 1986), with an angelic hero
trapped in the underworld ruled by Medusa, combines
ancient Greek and Christian elements. The Shin Megami
Tensei, or “MegaTen”, games (Atlus, 1992-2007) are a series
that pull from mythological traditions that span many time
One of several caves in
Central America reputed to
connect to Xibalba, the Mayan
underworld.
periods and cultures. The plots and game play revolves
around supernatural entities and places.
Clearly, there are other factors that have made video games
a comfortable home for the underworld in the digital age. In
order to understand what those factors are, we need to go
Xibalba scene from the Popul
Vuh, the Mayan Book of the
Dead.
back to first principles. To understand the underworld in video
games, we must first understand the nature of the
underworld.
Underworlds exist as “real” but imaginary places, whose
landscapes, denizens and conventions are created and
sustained through community consensus and history as well
Xibalba appears as one of the
worlds in PC game Beyond
Atlantis (The Adventure
Company, 2000).
as invention by individuals. As spiritual spaces, they stand in
contrast to the material world, but connect to it through
interfaces, including the biological (such as shamen, or
practitioners in ecstatic states) and the topographic (through
an explicit relationship with caves, for instance). Underworlds are virtual
environments that predate digital technology.
3
With this in mind, it should not be surprising that the underworld manifests in
digital virtual environments as well. It emerges sporadically at a superficial level,
influencing art direction, story and setting, but the more persistent – and
promising – presence lies at a deeper level, where chthonic poetics operate at
the core of video game worlds.
4
II. Proposed Solution
A concept of “underworld” runs through diverse cultures
over the span of human history. These mythic constructs
generally share several key characteristics, despite their
varied and separate traditions: a distinct spatial
geography, generating narratives of embodied journey
Chart of Inferno (Botticelli,
1993) depicts the nine
circles of Hell in cross-section.
and challenge, in a world that is bound by logic and rules
peculiar to that place. I seek to derive a poetics of
underworld from these characteristics, and then use this
chthonic poetics as a means of understanding the
relationship between underworlds and video games.
My approach to the problem is based in discursive cultural
and media analysis of the rich and varied cultural sources
for the underworld, and in-game ethnographic observation
and analysis. Formulating a poetics necessarily involves
aesthetics, but like Gaston Bachelard I am interested in
the phenomenological as well as the representational
Dante’s Inferno, Canto XXIX
(Gustave Doré’s, 1892)
demonstrates the importance
of embodied experience in
underworlds, even as realms
of immaterial souls.
aspects of my subject. Accordingly, I look at the world
internals, (such as how causality functions) and how they
affect those in them, as well as how underworlds have
been depicted in art and the narratives they have inspired.
The validity of a chthonic poetics thus devised can be
tested against other traditional underworlds (non-digital
virtual worlds). Using the chthonic poetics as a tool for
investigating and analyzing digital virtual worlds (in this
Commodore 64 game Dante’s
Inferno (Denton Designs,
1986) remediated the
eponymous poem as a 2D
adventure game.
case, MMOs), should result in a better understanding of
why there is a link between underworlds and video
games, an the mechanisms involved in that relationship.
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III. Context of Inquiry
The research space involving underworlds, virtual
worlds and video games is immense, and all aspects of
this area cannot be covered within the bounds of a
single masters thesis. I am attempting to establish the
groundwork from which later research could grow, and
chthonic poetics can provide a valuable part of the
structure for that work. Poetics in the chthonic context
describes laws, aesthetics, and attributes of the
underworld as a way to define structural,
Canto III (William Blake, 1827)
depicts the gate of Hell.
phenomenological and functional principles of virtual
worlds.2
I am using a broad base of criticism to create and
evaluate a framework for this poetics. Perspectives on
poetics are varied (and often antagonistic). With this in
The natural order of Dante’s
gate appears reversed in the
login screen for World of
Warcraft. On which side does
the underworld lie?
mind, Bachelard’s work on the poetics of architecture
and imagination is relevant for its discussion of
existential space (although the book itself is more poetic
than practical). The growing body of criticism on the
neo-baroque has been instructive, particularly by Angela
Ndalianis and Patricia Lynn Bornhofen. Both authors
look at the neo-baroque as a system of poetics.
Bornhofen’s is the more conservative work, however,
The World of Warcraft
character roster screen
suggests an answer to
that question.
which seeks to mediate between classical definitions of
poetics and the more subjective interpretations that
came out of post-modern literary criticism. Ndalianis also
2
In this case, poetics as a body of prescriptive and/or proscriptive “best practices” is irrelevant
and would be little more than an exercise in a priori reasoning.
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sees the neo-baroque as a poetics rather than a historical or cultural boundary,
but her evaluation places far more emphasis on descriptive aspects and the
experience of the aesthetics than on prescriptive principles. This interpretation
should be more productive for dealing with a construct like the underworld,
whose nature makes questions of authorship and mimesis convoluted at best.
I’ve tightened my research scope on the digital side of the research question, as
well, and for this project I am limiting my work with digital virtual worlds to
massive multiplayer online games (MMOs). I suspect that my argument
regarding chthonic poetics applies to other types of game worlds, but MMOs
provide a useful sub-section for two reasons. One, it limits the body of work that
must be addressed to dozens of games3, rather than the thousands of digital
games that have been published for computers and consoles. Secondly, off-line
console games, for instance, can be instantiated and terminated by the decision
of one person; MMOs, on the other hand, are persistent, social worlds. This
enables them to be responsive to their user communities and gives them an
independent life that more closely resembles the relationship of underworlds to
their traditional cultures.
T.L. Taylor’s extensive work with EverQuest has been valuable to my research in
MMOs, as have the discussions on the Terra Nova blog, founded by Edward
Castronova, Julian Dibbell, Dan Hunter, and Greg Lastowka.4 The quantitative
research done by the PlayOn group at PARC, as well as that done by Nick Yee
for The Daedalus Project, is a useful complement to my qualitative methodology.5
3
If we include MUDs, MOOs, and MUSHes this figure could grow into the hundreds. I think textbased worlds distinct enough to merit their own study, and so they will not be part of the thesis
research. They raise unique questions about embodiment and spectacle, and it would be
interesting to consider them in the context of oral tradition and non-visual representations of
underworlds.
4
http://terranova.blogs.com/
5
I have, however, found the discussions in the comments sections more enlightening and
germane to my investigations.
7
Margaret Wertheim has done significant work in looking at cyberspace as a
frontier of spiritual space, and it forms a significant part of my research
foundation. She identifies the utopian promises of perfected body, social equality
and angelic existence within the modes of communication as well as the digital
medium itself, wherein we become “beings of light” through the photons traveling
over fiber optic cables and emanating from glowing screens. She also
historicizes these impulses within a larger context of human spirituality. Her
discussion of the existential break caused by the objective cosmology of the
scientific revolution is particularly relevant to the history of virtual worlds. She
sees digital media re-establishing a cosmology that is able to contain spiritual (or
imaginary) and material worlds within it.
Wertheim focuses too narrowly, however, when she bases her argument on the
Western, Christian tradition that grew from the early middle ages. I offer two
critiques here: one, that this is not the firmest base she could use, as it actually
undermines her arguments; and second, that the elements she has identified in
the New Jerusalem and the Heavenly City also appear in other cultures’ spiritual
constructions. I argue that her arguments can apply to a broader context that
includes pre-Christian and non-Western cultures.
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IV. Focus of Inquiry
The thesis breaks down into these chapters:
The geography of Duat maps
nocturnal space and time to
the body of the Egyptian
goddess Nut.
I.
Introduction
II.
Critical Perspectives on Virtual Spaces
and Mythopoetic Landscapes
III.
Developing a Poetics of Underworld,
Part I: Pre-digital Underworlds
IV.
Developing a Poetics of Underworld,
Part II: Chthonic Poetics
V.
Chthonic Poetics in Digital Worlds:
Digital Manifestations of Underworld
VI.
Critical Assessment and Conclusion
The Introduction presents the research problem and
the methodology. It also provides background
information on the concept of “underworld” and how it
Fengdu “ghost city” is
associated geographically with
the Chinese underworld.
fits in the history of human activity. This clarifies later
discussion and analysis, but it also historicizes virtual
worlds, one of the secondary goals of the study.
Chapter Two addresses the critical foundation of my
analysis and places my research in a larger academic
context. This section discusses the works and authors
Andrea de Jorio (1831)
mapped Virgil’s underworld to
geographic features in Italy.
in that inform my understanding of the research
problem.
In Chapter Three, I take examples of traditional underworlds from different time
periods and cultures and examine them for shared characteristics. One of the
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critical questions the research should answer is what specific, unique
characteristics appear in these underworlds? What are the trait and qualities that
make their geographies, structures and existential rules expressly “chthonic”? My
underworld examples will draw from Xibalba (the classical Mayan underworld),
the ancient Greek Underworld, Dante’s Inferno6, Duat (the ancient Egyptian
underworld), and Diyu (the Chinese underworld incorporating Taoist and
Buddhist beliefs).
My initial research indicates that a given underworld often has a defined
geography, with recognizable boundaries, that contributes to a spatial
construction of meaning. Actions and individuals in that world are subject to its
peculiar rules and logic; these usually differ radically from those of the material
world. Physical laws, causality, and social mores do not behave according to the
world of the living, yet they seem to have an internal consistency. The
underworld is immanent and liminal; it exists outside of the material world while
also being connected to it through physical topography (both natural features and
man-made architecture), living interpreters, or ritual. The dead inhabit it, but it
can be visited by the living in special circumstances. The experience within this
geography is profoundly embodied, whether the subject is a transient visitor, a
deceased soul, or a supernatural resident. Movement and existence in such a
place oppress the mind and body, and reaction to this generates narratives of
challenge and tests. The journey narrative also reflects the transitionary nature of
the space; often the underworld is an intermediary step between life and a soul’s
ultimate destination.7
6
While a special case as a unique literary work, it has attained sufficiently wide renown to stand
on its own, and it incorporates much from previous older cultural constructs. Dante’s Inferno may
be considered as part of a larger discussion of the ancient Greek tradition, however, as much of
the geography comes from that context.
7
The contemporary Christian constructs of Heaven and Hell would fall into this scenario, which
resembled the “endgame” state in some MMOs in that there are no more obstacles to overcome.
Simillarly, we may considered “non-game” virtual worlds like SecondLife, where there are no
specific goals to achieve or barriers to growth, to be closer to Margaret Wertheim’s digital New
Jerusalem than the average MMO game.
10
Chapter Four extrapolates unique aesthetic and functional rules and
characteristics from the motifs and characteristics that emerged from the
underworlds discussion in Chapter Three. I refine these and build a chthonic
poetics from them. I consider other underworlds through this interpretive lens to
gauge its usefulness and robustness.
In Chapter Five I apply the chthonic poetics to digital virtual worlds. My analysis
focuses on one MMO in detail, World of Warcraft. I chose this game world for
several reasons, including its immense popularity, environmental complexity, and
prominence in scholarly discourse about virtual worlds and MMOs. I also find it
attractive because underworld influences appear at three levels in the game: the
superficial or spectacular; the autochthonous or diagetic; and the metastructural.
I address other MMOs , particularly those in other genres, although in less detail.
Chapter Six brings closure to the thesis. Here, I review my research and
articulation of chthonic poetics. I evaluate its success, and I offer other related
areas of inquiry that might be productive avenues in which to continue research
in the relationship between virtual worlds, digital media, and underworld.
V. Research, Resources and Outcome
The thesis requires research in three primary areas: traditional underworlds in
art, architecture, and ethnography; critical approaches to poetics; and
ethnographic observation in MMOs, both in-game from the player perspective
and in the “web of meaning” formed by forums, websites, and other loci of MMO
discussions.
The MMO research will be broken up in two parts: long-term, in-depth play in one
to three MMOs, from the initiate stage through significant progress through the
world’s geography as well as player experience; and short-term play in several
worlds that provides a introduction to that world’s structure and aesthetics. Long-
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term play has commenced in World of Warcraft and ToonTown as part of Celia
Pearce’s course on MMOs (LCC 8823 Fall 2007).
VI. Timetable
November 16, 2007
Chapter 1 (“Introduction”) sent to
committee for comment and review.
December 7, 2007
Chapter 2 (“Critical Perspectives”) sent
to committee for comment and review.
December 7, 2007
Deadline for Thesis Topic forms, signed
by committee members, to Matthew Mc.
and DGS, and to Graduate Studies
Office.
January 4, 2008
Chapter 3 (“Developing a Poetics of
Underworld, Part I”) sent to committee for
comment and review.
January 25, 2008
Chapter 4 (“Developing a Poetics of
Underworld, Part II”) sent to committee for
comment and review.
February 15, 2008
Chapter 5 (“Chthonic Poetics in Digital
Worlds”) sent to committee for comment
and review.
March 17, 2008
Full draft of thesis to committee
members.
April 1, 2008
Week of thesis defenses.
April 6, 2008
GT-formatted thesis and signed
approval forms turned into to Graduate
Office.
12
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“Geographies of the Underworld: Chthonic Poetics and Virtual Worlds”

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