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Near-Death Experience in Video Games or How Looking Death in the Eyes Can Be a Sales Concept: The Case of Blasphemous from an Anthropological, Metaphysical, and Promotional Standpoint

Josefa Ros Velasco, César San Nicolás Romera, Miguel Ángel Nicolás Ojeda

Escritura e Imagen December 13, 2022 DOI: 10.5209/esim.84833 (opens in new tab)

Study at a glance

AI-extracted from the abstract
Characteristics Theoretical or philosophical paper Peer reviewed
Topics Near-death experience
Key points Argues that death in video games, analyzed through Hans Blumenberg's theory of the "absolutism of reality," allows players to encounter and integrate an uncharted phenomenon through interaction, and that death operates as a sales concept in promotional storytelling, as illustrated by the case of Blasphemous, because it resonates with players' common symbolic consciousness.

Abstract

Death is common in video games and one of the key elements to achieve bestseller status. From an anthropological perspective, near-death experience in video games enables the player to encounter familiarity with this uncharted phenomenon through interaction–which is necessary to understand and include it naturally in life from a metaphysical point of view–given the recreationalcommunicative nature of video games and their capacity for creating culture and horizons of meaning– not just the video game as a device, but also the full transmedia promotional narrative in which players participate first-hand. In this article, we analyze the anthropological and metaphysical components of the representation of death in video games following the German philosopher Hans Blumenberg’s theory of the absolutism of reality, as well as the case of Blasphemous and its promotional storytelling to determine how death appears as a sales concept in the publicity due to its place in the players’ common symbolic consciousness.

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