Violent video games (VVGs) are a source of serious and continuing controversy. They are not unique in this respect, though. Other entertainment products have been criticized on moral grounds, from pornography to heavy metal, horror films, and Harry Potter books. Some of these controversies have fizzled out over time and have come to be viewed as cases of moral panic. Others, including moral objections to VVGs, have persisted. The aim of this paper is to determine which, if any, of the (...) concerns raised about VVGs are legitimate. We argue that common moral objections to VVGs are unsuccessful, but that a plausible critique can be developed that captures the insights of these objections while avoiding their pitfalls. Our view suggests that the moral badness of a game depends on how well its internal logic expresses or encourages the players’ objectionable attitudes. This allows us to recognize that some games are morally worse than others—and that it can be morally wrong to design and play some VVGs—but that the moral badness of these games is not necessarily dependent on how violent they are. (shrink)

Ali (Ethics and Information Technology 17:267–274, 2015) and McCormick (Ethics and Information Technology 3:277–287, 2001) claim that virtual murders are objectionable when they show inappropriate engagement with the game or bad sportsmanship. McCormick argues that such virtual murders cannot be wrong on Kantian grounds because virtual murders only violate indirect moral duties, and bad sportsmanship is shown across competitive sports in the same way. To condemn virtual murder on grounds of bad sportsmanship, we would need to also condemn other competitive (...) games. I argue, contra McCormick, that virtual murders performed within massively multiplayer online roleplaying games can be wrong on Kantian grounds when they are exploitative. Exploitation occurs when virtual murder treats the player controlling the victim in a way that they have no opportunity to consent to (i.e. as a mere means in Kantian terminology). I argue that some virtual murders involving inappropriate engagement (Ali, Ethics and Information Technology 17:267–274, 2015) and bad sportsmanship (McCormick, Ethics and Information Technology 3:277–287, 2001) are exploitative in this way and therefore also wrong on Kantian grounds. (shrink)

According to the amoralist, computer games cannot be subject to moral evaluation because morality applies to reality only, and games are not real but “just games”. This challenges our everyday moralist intuition that some games are to be met with moral criticism. I discuss and reject the two most common answers to the amoralist challenge and argue that the amoralist is right in claiming that there is nothing intrinsically wrong in simply playing a game. I go on to argue for (...) the so-called “endorsement view” according to which there is nevertheless a sense in which games themselves can be morally problematic, viz. when they do not only represent immoral actions but endorse a morally problematic worldview. Based on the endorsement view, I argue against full blown amoralism by claiming that gamers do have a moral obligation when playing certain games even if their moral obligation is not categorically different from that of readers and moviegoers. (shrink)

In this paper, I raise several concerns for what I call the willing endorsement view of moral responsibility in videogames. Briefly, the willing endorsement view holds that players are appropriate targets of moral judgments when their actions reflect their true, real-world selves. In the first section of the paper, I argue that core features of the willing endorsement view are widely implicitly accepted among philosophers engaging in discussions of morality in games. I then focus on a particularly clear recent version (...) of the view defended by Christopher Bartel. In the second and third sections, I raise several worries for Bartel’s version of the willing endorsement view. In the fourth section, I argue that these worries are not unique to Bartel’s view, but instead result from the view of identity implicit in the willing endorsement view. I conclude by suggesting a path forward by rejecting this view of identity. (shrink)

I argue for two theses. First, many arguments against violent gaming rely on what I call the contamination thesis, drawing their conclusions by claiming that violent gaming contaminates real world interactions. I argue that this thesis is empirically and philosophically problematic. Second, I argue that rejecting the contamination thesis does not entail that all video games are morally unobjectionable. The violence within a game can be evaluated in terms of the values the game cultivates, reinforces, denigrates, or disrespects. Games which (...) present violence in ways that disrespect objects of values are more objectionable than violent games that reinforce or cultivate those values. The resulting analysis evaluates games on a case-by-case basis and pays particular attention to the representational context of the violence. (shrink)

This paper provides an account of truth in interactive fiction. Interactive fiction allows the audience to make choices, resulting in many different possible fictions within each interactive fiction, unlike in literary fiction where there is just one. Adequately capturing this feature of interactive fiction requires us to address familiar issues regarding impossible fiction and the nature of time in fiction. Truth in interactive fiction thus requires a complex account to capture its multitude of fictions. It is argued that a full (...) account of truth in interactive fiction requires distinguishing two works for each interactive fiction, which contain distinct fictional truths. The actual work encompasses what is in fact represented as fictional (hence mistakes can be fictionally true in this work), whilst in the implied work, truth in fiction is governed by authorial intention, hence mistakes are not fictionally true. This dual account best captures our aesthetic evaluation of interactive fictions, for which we often need to distinguish how the work actually is from how it was intended to be. (shrink)

Players of videogames describe their gameplay in the first person, e.g. “I took cover behind a barricade.” Such descriptions of gameplay experiences are commonplace, but also puzzling because players are actually just pushing buttons, not engaging in the activities described by their first-person reports. According to a view defended by Robson and Meskin (2016), which we call the fictional identity view, this puzzle is solved by claiming that the player is fictionally identical with the player character. Hence, on this view, (...) if the player-character fictionally performs an action then, fictionally, the player performs that action. However, we argue that the fictional identity view does not make sense of players' gameplay experiences and their descriptions of them. We develop an alternative account of the relationship between the player and player-character on which the player-character serves as the player's fictional proxy, and argue that this account makes better sense of the nature of videogames as interactive fictions. (shrink)