Open World Empire
Race, Erotics, and the Global Rise of Video Games
By Christopher B. Patterson | Publisher: NYU Press
About the book
Finalist, 2021 John Hope Franklin Prize, given by the American Studies Association
Seeking ways to understand video games beyond their imperial logics, Patterson turns to erotics to re-invigorate the potential passions and pleasures of play
Video games vastly outpace all other mediums of entertainment in revenue and in global reach. On the surface, games do not appear ideological, nor are they categorized as national products. Instead, they seem to reflect the open and uncontaminated reputation of information technology.
Video games are undeniably imperial products. Their very existence has been conditioned upon the spread of militarized technology, the exploitation of already-existing labor and racial hierarchies in their manufacture, and the utopian promises of digital technology. Like literature and film before it, video games have become the main artistic expression of empire today: the open world empire, formed through the routes of information technology and the violences of drone combat, unending war, and overseas massacres that occur with little scandal or protest.
Though often presented as purely technological feats, video games are also artistic projects, and as such, they allow us an understanding of how war and imperial violence proceed under signs of openness, transparency, and digital utopia. But the video game, as Christopher B. Patterson argues, is also an inherently Asian commodity: its hardware is assembled in Asia; its most talented e-sports players are of Asian origin; Nintendo, Sony, and Sega have defined and dominated the genre. Games draw on established discourses of Asia to provide an “Asiatic” space, a playful sphere of racial otherness that straddles notions of the queer, the exotic, the bizarre, and the erotic. Thinking through games like Overwatch, Call of Duty 4: Modern Warfare, Shenmue II, and Alien: Isolation, Patterson reads against empire by playing games erotically, as players do—seeing games as Asiatic playthings that afford new passions, pleasures, desires, and attachments.
Editions of Open World Empire
- Paperback
- ISBN 9781479895908
- AltFormat
- ISBN 9781479802043
- EBook
- ISBN 9781479886364
- EBook
- ISBN 9781479886029
Read an Excerpt
Finalist, 2021 John Hope Franklin Prize, given by the American Studies Association
Seeking ways to understand video games beyond their imperial logics, Patterson turns to erotics to re-invigorate the potential passions and pleasures of play
Video games vastly outpace all other mediums of entertainment in revenue and in global reach. On the surface, games do not appear ideological, nor are they categorized as national products. Instead, they seem to reflect the open and uncontaminated reputation of information technology.
Video games are undeniably imperial products. Their very existence has been conditioned upon the spread of militarized technology, the exploitation of already-existing labor and racial hierarchies in their manufacture, and the utopian promises of digital technology. Like literature and film before it, video games have become the main artistic expression of empire today: the open world empire, formed through the routes of information technology and the violences of drone combat, unending war, and overseas massacres that occur with little scandal or protest.
Though often presented as purely technological feats, video games are also artistic projects, and as such, they allow us an understanding of how war and imperial violence proceed under signs of openness, transparency, and digital utopia. But the video game, as Christopher B. Patterson argues, is also an inherently Asian commodity: its hardware is assembled in Asia; its most talented e-sports players are of Asian origin; Nintendo, Sony, and Sega have defined and dominated the genre. Games draw on established discourses of Asia to provide an “Asiatic” space, a playful sphere of racial otherness that straddles notions of the queer, the exotic, the bizarre, and the erotic. Thinking through games like Overwatch, Call of Duty 4: Modern Warfare, Shenmue II, and Alien: Isolation, Patterson reads against empire by playing games erotically, as players do—seeing games as Asiatic playthings that afford new passions, pleasures, desires, and attachments.
Frequently Asked Questions
What is Open World Empire about?
Finalist, 2021 John Hope Franklin Prize, given by the American Studies Association
Seeking ways to understand video games beyond their imperial logics, Patterson turns to erotics to re-invigorate the potential passions and pleasures of play
Video games vastly outpace all other mediums of entertainment in revenue and in global reach. On the surface, games do not appear ideological, nor are they categorized as national products. Instead, they seem to reflect the open and uncontaminated reputation of information technology.
Video games are undeniably imperial products. Their very existence has been conditioned upon the spread of militarized technology, the exploitation of already-existing labor and racial hierarchies in their manufacture, and the utopian promises of digital technology. Like literature and film before it, video games have become the main artistic expression of empire today: the open world empire, formed through the routes of information technology and the violences of drone combat, unending war, and overseas massacres that occur with little scandal or protest.
Though often presented as purely technological feats, video games are also artistic projects, and as such, they allow us an understanding of how war and imperial violence proceed under signs of openness, transparency, and digital utopia. But the video game, as Christopher B. Patterson argues, is also an inherently Asian commodity: its hardware is assembled in Asia; its most talented e-sports players are of Asian origin; Nintendo, Sony, and Sega have defined and dominated the genre. Games draw on established discourses of Asia to provide an “Asiatic” space, a playful sphere of racial otherness that straddles notions of the queer, the exotic, the bizarre, and the erotic. Thinking through games like Overwatch, Call of Duty 4: Modern Warfare, Shenmue II, and Alien: Isolation, Patterson reads against empire by playing games erotically, as players do—seeing games as Asiatic playthings that afford new passions, pleasures, desires, and attachments.
What core themes, tropes, or subjects are explored in Open World Empire?
Society and Social Sciences > Society and culture: general > Cultural and media studies > Media studies
Where can I read a sample of Open World Empire?
You can read an official preview of the few pages here https://www.book2look.com/book/9781479895908
How long is Open World Empire and how many pages does it have?
Open World Empire has 344 page(s)
Is Open World Empire part of a series, and can it be read as a standalone?
Yes it is a part of series Postmillennial Pop
Who is/are the Author/s of the book Open World Empire?
Christopher B. Patterson
Who is the Publisher of the book Open World Empire?
NYU Press
What are the ISBN numbers for the physical and digital editions?
Open World Empire is available as paperback(ISBN 9781479895908) and altformat(ISBN 9781479802043) and ebook(ISBN 9781479886364) and ebook(ISBN 9781479886029)
Where can I buy Open World Empire online or support local independent bookshops?
You can buy Open World Empire from below
Where can I buy Open World Empire?