Abstract
This game-immanent study approach and game content analysis focuses on the Dishonored video games series. The article examines how the topic of authority and religion are represented and discussed in the video game universe of the Dishonored games, where religion is referenced through explicit authority constructions. For comprehending the concept of authority and how it is created in the games, Max Weber’s tripartite authority distinction is used as a comparison for understanding the authority image’s legitimatisation in the game stories. The article explores how religion is reflected by the identified three authority ideals, and how the ideals are presented and constructed in the located main characters or agents. The Dishonored games can be interpreted as stories commenting and contesting societal authority models, asking who or what in which circumstances may have societal control and domination over others.
Highlights
Mainstream video games today have reached, in design and mechanics, such cinematic proportions, that gameplay, narrative, and game aesthetics portray extremely convincing new realities to explore
The focus of this article is to examine how the topic of authority and religion are represented and discussed in the video game universe of the Dishonored series, where religion is referenced through explicit authority constructions
Regarded as one of the first early sociologists, Weber’s legacy and relevance is still discussed and debated today (Hanke 2016; Ringer 2004). His concept of the tripartite distinction, which I use as an analytical application, rather than a focal point for theoretical critique, provides an interesting counter companion to discuss religion and authority models, and how they are represented in recent video game worlds. This game-immanent study approach and game content analysis focuses on the Dishonored games: the first game “Dishonored” (Arkane Studios 2012), the second game “Dishonored 2”
Summary
Mainstream video games today have reached, in design and mechanics, such cinematic proportions, that gameplay, narrative, and game aesthetics portray extremely convincing new realities to explore. Regarded as one of the first early sociologists, Weber’s legacy and relevance is still discussed and debated today (Hanke 2016; Ringer 2004) His concept of the tripartite distinction, which I use as an analytical application, rather than a focal point for theoretical critique, provides an interesting counter companion to discuss religion and authority models, and how they are represented in recent video game worlds. This game-immanent study approach and game content analysis focuses on the Dishonored games: the first game “Dishonored” (Arkane Studios 2012), the second game “Dishonored 2”. The video game narrative of criticising religious authorities is, closely tied to gameplay and the procedural nature of the game system and story conventions, and how narrative is forwarded in the games
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