Imaginative Desires and Interactive Fiction: On Wanting to Shoot Fictional Zombies

British Journal of Aesthetics 60 (3):241-251 (2020)
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Abstract

What do players of videogames mean when they say they want to shoot zombies? Surely they know that the zombies are not real, and that they cannot really shoot them, but only control a fictional character who does so. Some philosophers of fiction argue that we need the concept of imaginative desires to explain situations in which people feel desires towards fictional characters or desires that motivate pretend actions. Others claim that we can explain these situations without complicating human psychology with a novel mental state. Within their debates, however, these scholars exclusively focus on non-interactive fictions and children’s games of make-believe. In this paper, I argue that our experience of immersive, interactive fictions like videogames gives us cause to reappraise the concept of imaginative desires. Moreover, I describe how i-desires are a useful conceptual tool within videogame development and can shed new light on apparently immoral in-game actions.

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Author's Profile

Nele Van de Mosselaer
Tilburg University

Citations of this work

Emotion in Fiction: State of the Art.Stacie Friend - 2022 - British Journal of Aesthetics 62 (2):257-271.
Emotion and Ethics in Virtual Reality.Alex Fisher - forthcoming - Australasian Journal of Philosophy.
Virtual Fictional Actions.Karim Nader - 2024 - Journal of Aesthetics and Art Criticism 82 (4):418-429.
Player Engagement with Games: Formal Reliefs and Representation Checks.Karl Egerton - 2022 - Journal of Aesthetics and Art Criticism 80 (1):95-104.

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References found in this work

On the aim of belief.David Velleman - 1996 - In J. David Velleman, The Possibility of Practical Reason. Monograph Collection (Matt - Pseudo). pp. 244--81.
The Puzzle of Imaginative Desire.Amy Kind - 2011 - Australasian Journal of Philosophy 89 (3):421-439.
Video Games as Self‐Involving Interactive Fictions.Jon Robson & Aaron Meskin - 2012 - Journal of Aesthetics and Art Criticism 74 (2):165-177.

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