Playing Religion in Video Game Worlds

The Castlevania franchise has sold more than 20 million games since 1986. It has become popular again due to Netflix’ acclaimed series. The games are full of Christian symbols and icons, some functioning as weapons. For example, in Symphony of the Night, the Bible is a sub-weapon, giving fresh meaning to the term “bible thumper.”  In the Lords of Shadow, the main weapon is a multi-tool known as “the combat cross.” Castlevania’s religious weaponry frees the world from chaos and restores order, suggesting to players that religion is a violent, organizing, and liberating force, potentially shaping their real-world view of religion. This paper brings cultivation theory into the arsenal of religious research tools to theorize how Castlevania’s weaponized religion might affect gamers’ perception of religion. Additionally, gaming transfer phenomena (GTP) and a gamer-centered qualitative analysis on Let’s Play accounts contribute to understanding the effects of weaponized religion in games.

Despite the developments in the game industry over the past decades, game studies remain in an embryonic stage in Japan, especially those focusing on religion. One exception is the recent initiative to establish a university-based research unit on game studies led by a scholar of religion who was once severely criticized as being an Aum Shinrikyo supporter in 1995. The scholar, Shinichi Nakazawa, known as a “spiritual intellectual” for his postmodern interpretation of Buddhist philosophy and practices, now advocates for game studies in the Anthropocene, enhanced by AI technologies. He envisions a future where Homo sapiens are liberated from labor and exploitation, transforming into Anima ludens. This paper critically examines their new ideology and also compares it with how Japanese young people actually engage with games, where the religious elements of such engagement are more ritualistic.

In recent years, video game players have gathered on online forums to narrate their spiritual experiences of solitude playing the popular 2009 game, Minecraft, and the 2019 cult classic, Outer Wilds. Online, players describe how the game simulates an experience of silence that can effect feelings of loneliness but can also inspire introspective reflections on one’s relationship to God and the world. This paper turns to these sites of simulated silence at the heart of consumerist culture’s distracting leisure practices to challenge a narrative of monastically-informed Christian spirituality that positions ‘silence’ as a pure mode of anti-consumerist religious practice. Against this narrative, I suggest that these paradoxically ‘noisy’ simulations of silence decenter religious silence as a privileged site of encounter with God both by disrupting an over-simplistic binary of noisy consumerism and quiet spirituality and by serving as potential icons of God’s enduring presence in the midst of consumer culture.

From Kung Fu (1972 TV series) to the blossom of various Hollywood Chinese action films, Kung Fu, the practice of Chinese martial art, has been long mythicized and Orientalized by Western visual media and market. Over the years, scholars and the Chinese audience have criticized how such construction of Chinese identity perpetuates the stereotypes against China and recreates the “Chinese other” in the Western political environment. Now, this article looks at the French action-fighting game Sifu, which is about Chinese Kung Fu and has been popularized and appreciated among Chinese players, and asks how, if at all, it challenges the traditional Hollywood set-up of Chinese traditions. By conducting a textual analysis of Sifu’s narrative in contrast to its Hollywood counterpart, I argue that Sifu builds a rhetorical space for discussion of identity representation, urging the Western visual media to acknowledge the rich and complicated history that shapes Chinese identity.