Abstract
The digital game Dog's Life (Frontier Developments, 2003) attempts, by means of its “Smellovision” feature, to communicate something of the alterity of canine perception: the greater field of view, the lower visual perspective, the dichromatic colour vision, as well as the spectacularly impressive sense of smell. At the same time, it encourages players to identify with the game's protagonist: you “are” Jake, digging up bones, marking territory and chasing...
The digital game Dog's Life (Frontier Developments, 2003) attempts, by means of its “Smellovision” feature, to communicate something of the alterity of canine perception: the greater field of view, the lower visual perspective, the dichromatic colour vision, as well as the spectacularly impressive sense of smell. At the same time, it encourages players to identify with the game's protagonist: you “are” Jake, digging up bones, marking territory and chasing chickens, as you make your way through the developing narrative. In this essay I argue that Dog's Life effectively comprises an “anti-environment” of the sort described by McLuhan, which altercasts players as dogs and thereby prompts them to notice conventional, anthroponormative assumptions regarding the pre-eminence of human modes of perception. By insisting on an experience both of alterity and identity, the digital game medium here combats clichéd notions of animality and subjectivity, whilst requiring players to reconsider the complex and uneven nature of interspecific, interpersonal control.
Angelaki: Journal of Theoretical Humanities – Taylor & Francis
Published: Mar 1, 2013
Keywords: Altercasting; anti-environment; Dog's Life; Smellovision; video game
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