The Metaphor-Simulation Paradox in the Study of Computer Games

Abstract

This article discusses the metaphor-simulation paradox in the study of computer games. It is derived from three observations. Firstly, often when authors use the concept of metaphor with regard to games they use it in conceptual and textual vicinity to the concept of simulation. Secondly, the concept of metaphor is often applied to signify seemingly abstract games in opposition to mimetic simulations. Both observations can be made within an artgame discourse of the study of computer games as well as within the more general discourse of the study of computer games. Thirdly, however, the definitions for simulation as well as for metaphor are strikingly similar which culminates in the metaphor-simulation paradox i.e. the notions of metaphor and simulation are not distinct enough in order to make the distinctions which are usually made with these notions with regard to computer games. In an attempt to reconcile both notions with regard to computer games this article will make three suggestions. Observing that simulations are often called metaphors with regard to their degree of reduction or abstraction the first suggestion argues that simulations are essentially synecdochic and hence metaphoric when following a broad notion of metaphor. Based on the assumption that simulation is not a matter of similarity the second suggestion proposes to distinguish between a first order simulation and a second order simulation which can then be considered metaphoric. As a third and final suggestion the author offers to consider simulation and metaphor as related via the notion of the model. Simulations are based on models and metaphors provide models such that one can speak of metaphor based simulations.

Multiverse ethnography: A qualitative method for gaming and technology use research

“…Overall, we interpret these differences in the aesthetic codes as a reflection of the players' experiences; although both Cyberpunk 2077 and Among Us arguably 'simulate' multiple realworld entities (Giddings 2014;Karhulahti 2015;Möring 2013), only in the former do such simulations surface meaningfully to players. Moreover, this lack of meaningful simulation in the latter appears to be compensated by differently aesthetic design elements, such as character customization and frequent content changes (see Sihvonen 2011;Wirman 2011).…”

Multiverse Ethnography: A Qualitative Method for Gaming and Technology Use Research

“…Overall, we interpret these differences in the aesthetic codes as a reflection of the players' experiences: although both Cyberpunk and Among Us arguably "simulate'' multiple real-world entities (Giddings 2014;Karhulahti 2015;Möring 2013), only in the former such simulations surface meaningfully to players. Moreover, this lack of meaningful simulation in the latter appears to be compensated by differently aesthetic design elements, such as character customization and frequent content changes (see Sihvonen 2011;Wirman 2011).…”

Do Videogames Simulate? Virtuality and Imitation in the Philosophy of Simulation

“…In a timely analysis on what its author calls the metaphor-simulation dilemma , Sebastian Möring (2012) poses the question whether some videogames are better understood as metaphors rather than simulations. He speculates whether “any procedural object or phenomenon can simulate another procedural object or phenomenon” (12), and in a later article continues by saying that “simulations as such also have to persuade the user—namely that they successfully simulate what they pretend to simulate” (2013, 53).…”

“…Artifacts never simulate or persuade by themselves; however, people may well see them as instruments of simulative and persuasive intentions. To make this and other related perplexities manageable, I adopt a view according to which the videogame and its components cannot simulate anything by themselves, but their designers may choose to structure them as simulators or simulations of something that they wish to simulate (see Möring, 2013, 64-66).…”