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Caves, Caverns and Dungeons: Speleological Aesthetics in Computer Games

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Framing Uncertainty

Part of the book series: Performance Philosophy ((PPH))

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Abstract

It is perhaps one of the most overlooked curiosities of the digital age that not only computer games but the Internet too was shaped with the help of a small group of programmers, who were as much into Dungeons & Dragons as they were very enthusiastic about the professional exploration of caves (speleology). The first ‘adventure’ (a computer game genre that is paradigmatic for today’s game designs) started out as a simulation of cave exploration and today ‘caves, caverns and dungeons’ are still among the most used topics in game narration, artwork and design. From Tomb Raider to Uncharted, from The Bard’s Tale to World of Warcraft, the exploration of cave-like structures seems to be an integral part of a great number of games that were present from the beginning. In this chapter it is argued that there are intrinsic reasons why computer games maintain such a close relationship with speleological themes of all kinds.

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Notes

  1. 1.

    Miranda Sawyer: ‘Lara Croft: The Ultimate Byte Girl’, in: The Face No. 5, June 1997.

  2. 2.

    Examples from Germany included: Astrid Deuber-Mankowsky: Lara Croft—Modell, Medium, Cyberheldin. Das virtuelle Geschlecht und seine metaphysischen Tücken, Frankfurt/M.: Suhrkamp 2001. Internationally: Helen W. Kennedy: ‘Lara Croft: Feminist Icon or Cyberbimbo?’ 2002, http://www.gamestudies.org/0202/kennedy/; Mike Ward: ‘Being Lara Croft, or, We Are All Sci-Fi’ 2000, http://www.popmatters.com/feature/000114-ward/.

  3. 3.

    Roger Bruckner, Richard Watson: The Longest Cave, Chicago, IL 2006; Katie Hafner, Matthew Lyon: Where Wizards Stay Up Late: The Origins of the Internet, New York 1998.

  4. 4.

    Jean Baudrillard: ‘Die Präzession der Simulakra’, in trans.: Agonie des Realen, Berlin 1978, S. 9 (my translation).

  5. 5.

    Michel de Certeau, The Practice of Everyday Life, Berkeley 1984, p. 124.

  6. 6.

    Carl von Clausewitz, On War, Oxford 2008.

  7. 7.

    Gregory Bateson: Ökologie des Geistes. Anthropologische, psychologische, biologische und epistemologische Perspektiven, Frankfurt/M. 1985, S. 251.

  8. 8.

    Hans Blumenberg, Höhlenausgänge, Frankfurt/M. 1996, p. 27 (this and all of the following translations from this book are by me).

  9. 9.

    Ibid., p. 22.

  10. 10.

    Ibid., p. 29.

  11. 11.

    Ibid., p. 30.

  12. 12.

    Ibid., p. 33. [Kultur ist und wird bleiben eine Verschwörung gegen die exklusive Standardisierung des Menschlichen durch die Tüchtigsten, Nützlichsten, Stärksten—ohne die alles andere nicht ginge—mag dieser Konflikt auch seinen Namen ändern … Der vom Jagdtrieb ausgeschlossene wird zum Träumer, Erzähler, Narren, Bildermacher, Possenreißer, zur Bereicherung der für den Lebenshunger zunächst toten Zeit … Fiktion und Kompensation kommen aus der selben Quelle.]

  13. 13.

    Ibid., p. 30.

  14. 14.

    Gustav Bally, Vom Ursprung und den Grenzen der Freiheit: Eine Deutung des Spiels bei Tier und Mensch, Basel 1945.

  15. 15.

    Hans Blumenberg, Höhlenausgänge, Frankfurt/M. 1996, p. 35. [‘Im Bild, im Symbol, im Namen und schließlich im Begriff werden die Dringlichkeiten einer Realität vorführbar, aus der man sich in dem Maße zurückziehen konnte, wie man über jene Repräsentanten verfügte … Die ›Weite‹ der Wirklichkeit wird als Möglichkeit vorstellbar.’]

  16. 16.

    Ibid., p. 55.

  17. 17.

    Layne Scott Cameron, The Geocaching Handbook: The Guide for Family Friendly, High-Tech Treasure Hunting. Guilford, CT 2011; Erik Shermann, Geocaching: Hike and Seek with Your GPS, Berkeley, CA 2004.

References

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Computer Games

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  • Super Mario 64 (Nintendo 1996, O: Nintendo).

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  • Diablo (div., Blizzard Entertainment/Activision 1996–2014, O: Blizzard Entertainment).

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  • Batman (div., Eidos Entertainment 2010–2013, O: Rocksteady Studios).

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  • Uncharted (div., Sony Computer Entertainment 2007–2011, O: Naughty Dog).

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  • World of Warcraft (Blizzard Entertainment 2004, O: Blizzard Entertainment).

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  • Half Life (Sierra Entertainment 1998, O: Valve).

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  • Need for Speed (div., Electronic Arts 1994–2013, O: Electronic Arts).

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  • Call of Duty (div., Activision 2003–2013, O: Infinity Ward).

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  • The Bard’s Tale (Electronic Arts 1985, O: Interplay).

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  • Skyrim (Bethesda 2011, O: Bethesda).

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  • Pac-Man (Namco 1980, O: Namco).

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  • Heroes of Might and Magic (Ubisoft 2006, O: Nival Interactive).

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  • Grand Theft Auto V (Rockstar Games 2013, O: Rockstar North).

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Authors and Affiliations

  1. Folkwang University of the Arts, Essen, Germany

    Markus Rautzenberg

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  1. Markus Rautzenberg
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Correspondence to Markus Rautzenberg .

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Rautzenberg, M. (2020). Caves, Caverns and Dungeons: Speleological Aesthetics in Computer Games. In: Framing Uncertainty. Performance Philosophy. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-59521-8_5

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