Fibreculture Journal (Jul 2010)
Games of Multitude
Abstract
Our hypothesis is that videogames are a paradigmatic media of Empire as described by Hardt and Negri–planetary, militarized hyper-capitalism–and of some of the forces presently challenging it. Why are virtual games the media of Empire, integral to and expressive of it like no other? They originated in the US military-industrial complex, the nuclear-armed core of capital’s global domination, to which power they remain umbilically connected. They were created by the hard-to-control hacker knowledge of a new type of intellectual worker, immaterial labour, vital to a fresh phase of capitalist expansion. In that phase, game machines have served as ubiquitous everyday incubators for the most advanced forces of production and communication, tutoring entire generations in digital technologies and networked communication. The game industry has pioneered methods of accumulation based on intellectual property rights, cognitive exploitation, cultural hybridization, transcontinentally subcontracted dirty work, and world-marketed commodities. Game making blurs the lines between work and play, production and consumption, voluntary activity and precarious exploitation, in a way that typifies the boundless exercise of biopower. At the same time, games themselves are an expensive consumer commodity which the global poor can only access illicitly, demonstrating the massive inequalities of this regime. Virtual games simulate identities as citizen-soldiers, free-agent workers, cyborg-adventurers, and corporate-criminals: virtual play trains flexible personalities for flexible jobs, shapes subjects for militarized markets, and makes becoming a neoliberal subject fun. And—taking us to the focus of this article—games exemplify Empire because they are also exemplary of the multitude, in that game culture includes subversive and alternative experiments searching for a way out. Just as the eighteenth-century novel was a textual apparatus generating the bourgeois personality required by mercantile colonialism (but also capable of criticizing it), and as twentieth-century cinema and television were integral to industrial consumerism (yet screened some of its darkest depictions), so virtual games are media constitutive of twenty-first century global hyper-capitalism and, perhaps, also of lines of exodus from it.
