Early in the 1980s, Game Designers claimed their creations as cultural productions. But in the course of its history, this video game culture is strongly oriented around specific worlds: medieval fantasy, science fiction, military world, history, mythology. So today we are witnessing the emergence of a “critical” video game culture that “not only looks at the story that the game tells, the ways in which the game supports it, but also formal principles that shape our emotions. We can distinguish several major influences in the construction of this culture of video games:
Traditional playful culture:
Legacy of previous play practices such as slot machines, automatons, pinball machines.Military culture: related to the historical origins of the video game. The first video games were most often research programs or military applications hijacked by students or researchers. These students were then called “hackers”, nowadays a pejorative and delinquent term, but in the 1970s they meant “brilliant” students who diverted research software, a practice then encouraged by laboratories and universities (Kline, 2003).
Leisure and playful Anglo-Saxon culture:
Heroic fantasy and science fiction were there. The 70s are marked by the emergence in the United States, country “inventor of the video game”, a new form of leisure and play, “simulation games”, including wargames and role playing games, leisure themselves strongly influenced by JRR Tolkien’s Lord of the Rings universe and Isaac Asimov’s Science Fiction literature. Now with the sites like Run 3 unblocked the options have become essential to play the best games.
Video games are “experienced by the players as narrations. The video game is in the eyes of other media a hybrid support that is based on a triple role that must endorse the player: he is both the reader of a story in a programmed universe but the author and the decision maker of the unfolding a narration. Thus, some people speak of the video game player as a lecturer or a spectator. In the context of online role plays, this narrative is even more complex. There is on one side the history of the universe in which the players evolve, history changed and modified regularly by the publishers according to the updates and the extensions of the game, and the collective history that builds the players with their community and other players.
Anthropological immersion: through playful socialization
Playing video games online is also becoming a “native” of a virtual world, learning a language, specific forms of sociability, a type of humor, a set of social rules, codes. Guilds of players are very close to the notion of tribe, this sociological and anthropological notion that analyzes the shift in our societies from a logic of identity to a logic of identification. “The value, the admiration, the hobby, the taste that are shared become cement, are vectors of ethics”. Guilds thus come together around common values, but they are essentially playful and aesthetic values, there is no or little ideology or common cause, everyone seeks his own pleasure through a pooling of ideas. a personal pleasure. Guilds produce a collective narcissism if, “it is understood as the fact of producing and living a specific mythology”.