Abstract
The concept of metaverse was raised in 1992 by Neal Stephenson and was rediscovered in 2021 due to the appropriation of Microsoft， Roblox and Facebook. As Microsoft's MR and Roblox's VR are related to video games， it is only natural that games （especially video games） are brought into scholarly discourse as a potential means to the advent of metaverse in the Cyber Age. As “meta-” etymologically refers to “beyond” and “verse/universe” consists of the dimensions of time and space， we define metaverse as a matrix of space-time beyond the logic of the real universe and examine the potential of video games as metaverse on this basis. “Ludo” suggests that the internal time of video game is static and can be infinitely divided， leading to a possibility beyond linear clock time. However， the narrativity of game is framed within human perception and digital program. As a result， immersive experiences only construct a set of “virtual monument” which remains derivative of or subordinate to the real universe. Therefore， narrativity makes video games a performative field that reflects the micro-powers of modern culture. Metaverse should manifest the subjectivity of individual and resist the control of cultural industry through the de-structuring potential of video games.
Keywords
metaverse, beyond, time, space, performativity, cultural industry
First Page
12
Last Page
20
Recommended Citation
Guo, Chao, and Xiwen Geng. 2023. "The Double Labyrinth of Concept： A Study of Video Games within the Framework of Metaverse." Theoretical Studies in Literature and Art 43, (1): pp.12-20. https://tsla.researchcommons.org/journal/vol43/iss1/3
