DiGRA D-A-CH Game Studies Watchlist #25
🎮 Dr. Dr. Rudolf T. Inderst 🎮
Professor of Game Studies & SciCom Operator with a knack for Podcasts, Video Essays & Krav Maga.
🔊 AHOI there, game studies operators!
As soon as I saw that Folding Ideas had put out a video about James Rolfe & AVGN, it was a no-brainer to put that very piece called I Don't Know James Rolfe front and center:
"If ever there were a video I've made that required a companion essay or some kind of artist statement to go along with it I suppose it would be this one. It's a strange project that I've been working on for the better part of six months now, a process of trying to disentangle myself from myself. It's about a lot of different things, it's about James Rolfe but also not about him because we have so many versions of him and we can only react to those imperfect projections. He's been doing this for basically 20 years at this point, and out of that arise a million different ways to tell the story: AVGN is deeply influential, but what does that influence mean? I found myself fascinated with his creative fixations, the motifs and stories that he keeps coming back to, and felt like the only way to engage with that honestly was to expose all my own fixations, insecurities, and fears."
From the perspective of game studies, "The Angry Video Game Nerd" (AVGN) and its creator(s) present a fascinating yet complex subject for several reasons:
Firstly, AVGN provides a somewhat critical lens on the history of video games, particularly focusing on retro gaming and often highlighting obscure and poorly received games from the past. This retrospective analysis allows for a deeper understanding of the evolution of game design, technology, and cultural trends within the gaming industry. By examining these older games through the comedic and critical perspective of the AVGN, scholars can gain insights into how gaming standards and player expectations have shifted over time.
Secondly, AVGN represents a significant cultural phenomenon within the gaming community. The show has garnered a large and dedicated following, demonstrating the impact of online video content on gaming culture. This influence is worth exploring, as it sheds light on how fan communities form and interact, how gaming content is consumed and appreciated, and how online personalities can shape gaming discourse.
However, the show’s humor also invites critical scrutiny. The AVGN’s style relies heavily on exaggerated frustration, crude jokes, and sometimes offensive language. While this approach has been successful in attracting a large audience, it raises questions about the impact and implications of such humor. For instance, does the reliance on profanity and anger perpetuate a negative stereotype of gamers? Does the use of crude humor limit the show’s potential to offer meaningful critique and instead reduce complex issues to simplistic, sensationalist entertainment? These are important considerations for game studies scholars analyzing the cultural significance of AVGN.
Additionally, the creators behind AVGN, particularly James Rolfe, have played a pivotal role in the development of gaming-related content on platforms like YouTube. Their work exemplifies the rise of independent content creators and the democratization of media production. This shift is important for game studies, as it highlights how traditional media gatekeepers are bypassed, allowing for more diverse and grassroots perspectives on gaming to emerge. However, it also raises questions about the quality and rigor of independent game criticism compared to more traditional forms of media critique.
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Furthermore, AVGN’s blend of humor, nostalgia, and critique offers a unique narrative style that combines entertainment with analysis. This hybrid approach can be studied to understand how effective communication and engagement with audiences can be achieved in educational and critical discourse about games. Yet, the show’s approach may also risk trivializing important historical and cultural aspects of games in favor of comedic effect, potentially undermining the depth and seriousness of the critique.
Finally, reflecting on AVGN allows for an exploration of the broader implications of game criticism. The show’s often exaggerated and humorous critiques can open discussions about the nature and purpose of game criticism, the balance between entertainment and informative content, and the role of parody and satire in cultural commentary. However, it is crucial to consider whether the comedic elements overshadow the educational value and if the show inadvertently reinforces negative perceptions of gaming and gamers.
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Additionally, German speaking readers will find my talk with Maren Hoffmann & Harald Schrapers from Spiel des Jahres right here:
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If you’d like to support my work in digital game research & culture, consider contributing via Buy Me a Coffee. Your help enables me to continue producing this content and sharing insightful findings. Every contribution makes a difference!
Cheers, Rudolf
*** You are welcome to share your ideas and feedback with me. If you like DiGRA D-A-CH Game Studies Watchlist, please tell your friends, colleagues, as well as fellowship and post on social media about it! The DiGRA DACH chapter aims to create a vibrant and supportive environment for game studies scholars in the German-speaking world, contributing to the growth and development of the field both regionally and internationally.