Many have offered moral objections to video games, with various critics contending that they depict and promote morally dubious attitudes and behaviour. However, few have offered moral arguments in favour of video games. In this chapter, we develop one such positive moral argument. Specifically, we argue that video games offer one of the only morally acceptable methods for acquiring some ethical knowledge. Consequently, we have (defeasible) moral reasons for creating, distributing, and playing certain morally educating video games.

Alongside the direct parallels and contrasts between traditional narrative fiction and games, there lie certain partial analogies that provide their own insights. This article begins by examining a direct parallel between narrative fiction and games—the role of fictional reliefs and reality checks in shaping aesthetic engagement—before arguing that from this a partial analogy can be developed stemming from a feature that distinguishes most games from most traditional fictions: the presence of rules. The relation between rules and fiction in games has (...) heretofore been acknowledged but not examined in detail, giving an impression of a tension that is constant. However, the paired concepts of formal reliefs and representation checks, once introduced, allow us to explain how rules and fiction interact to alter the ways in which players engage with games in a dynamic but limited way. (shrink)

Here, we focus on the underexplored fictional relevance of videogame glitches. For this purpose, we will make use philosophical theories on fiction, as well as standard suggestions about how best to deal with unintended errors within fiction. Focusing on glitches like that of Red Dead Redemption’s "manimals", we argue that glitches, more than any kinds of mistakes in traditional, non-interactive fictions, can actually have a significant influence on the fictional worlds of the work in which they appear. In particular, we (...) will show that some glitches generate new fictional content without this content being intended by a videogame’s creators, and will offer practical ways for dealing with the inconsistencies that inevitably accompany such glitch-generated fictions. (shrink)

I argue that virtual reality is a sort of genuine reality. In particular, I argue for virtual digitalism, on which virtual objects are real digital objects, and against virtual fictionalism, on which virtual objects are fictional objects. I also argue that perception in virtual reality need not be illusory, and that life in virtual worlds can have roughly the same sort of value as life in non-virtual worlds.

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...) the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...) the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

How might we philosophize about the metaverse? It is traditionally held that the four main branches of philosophy are metaphysics, epistemology, axiology, and logic. In this article, I shall demonstrate how virtual walt-fictionalism, a particular version of virtual irrealism, is able to offer a straightforward, internally consistent, and powerful response about the metaphysics, epistemology, and axiology (ethics) of the metaverse. I will first characterize the metaverse in terms of a reality-virtuality (RV) continuum and distinguish between virtual realism and virtual irrealism, (...) before elaborating on the explanatory power and potential of virtual walt-fictionalism relative to the metaphysics, epistemology, and axiology (ethics) of the metaverse. (shrink)

Emotional responses to fiction are part of our experience with art and media. Some of these responses (“fictional emotions”) seem to be directed towards fictional entities—entities that we believe do not exist. Some philosophers argue that fictional emotions differ in nature from other emotional responses. (cf. Walton in J Philos 75(1):5–27, 1978, Mimesis as make-believe, Harvard University Press, Cambridge, 1990, Walton, in: Hjort, Laver (ed.) Emotion and the arts, Oxford University, New York, 1997; Currie in The nature of fiction, Cambridge (...) University Press, Cambridge, 1990; Stecker in Br J Aesthet 51(3):295–308, 2011) The claim is supposed to be supported among others by ‘the argument from action.’ In contrast to genuine emotions, proponents of this argument claim, fictional emotions do not motivate their bearers to act. (cf. Yanal in Paradoxes of emotion and fiction, Pennsylvania State University Press, University Park, 1999; Lamarque in Br J Aesthet 21(4):291–304, 1981; Carroll in The philosophy of horror: or, paradoxes of the heart, Routledge, London, 1990; Currie 1990; Walton 1978, 1990; Suits in Pac Philos Q 87(3):369–386, 2006; Friend, in: Kind (ed.) The Routledge handbook of philosophy of imagination, Routledge, New York, 2016) This claim grounds in what may appear to be an obvious fact: that viewers and readers of are not led to act by their fictional emotions. It is certainly true that viewers and readers of fiction do not form intentions to perform actions directed towards fictional entities. In contrast to the proponents of the argument from action, I will argue that the lack of any such intentions can be explained only with reference to intending’s doxastic conditions, conditions that are unsatisfied in the fictional scenario. Decisively, this explanation does not refer to the motivational force of the agent’s emotions; indeed, it doesn’t refer to emotions at all. Thus, the lack of intentions to perform actions directed towards fictional objects provides no support for the claim that fictional emotions are no genuine emotions. (shrink)

How is it that we can rationally assert that sport outcomes do not really matter, while also seeming to care about them to an absurd degree? This is the so-called puzzle of sport. The broadly Waltonian solution to the puzzle has it that we make-believe the outcomes matter. Recently, Stear has critiqued this Waltonian solution, raising a series of five objections. He has also leveraged these objections to motive his own contextualist solution to the puzzle. The aim of this paper (...) is to defend the Waltonian solution. The general upshot is that, contra Stear, a make-believe based solution to the puzzle is viable after all. (shrink)