What does the gamer do?

The 'Gamer's Dilemma' is the problem of why some actions occurring in video game contexts seem to have similar, albeit attenuated, kinds of moral significance to their real-world equivalents, while others do not. In this paper, I argue that much of the confusion in the literature on this problem is not ethical but metaphysical. The Gamer's Dilemma depends on a particular theory of the virtual, which I call 'inflationary', according to which virtual worlds are a metaphysical novelty generated almost exclusively by video games. Actions performed in virtual worlds really belong to the kinds of action they appear to—'virtual murder' is a kind of murder. Inflationary theories are contrasted with 'deflationary' theories which, in effect, consider video games purely as systems for generating images, and thus the gamer as (merely) a consumer of media images. Inflationary theories struggle to explain why video games produce this unique metaphysical novelty; deflationary theories fail to do justice to the intuition that there is some significant difference between the gamer and the consumer of other media forms. In place of either, I sketch a theory of the gamer as performer, primarily by analogy with stage and cinema actors, which I suggest captures more of the moral complexity of the gamer's action.

Can Young’s constructive ecumenical expressivism resolve the gamer’s dilemma?

Purpose This paper aims to evaluate a potential resolution to the gamer’s dilemma that arises from Gary Young’s metaethical theory of constructive ecumenical expressivism (CEE). Design/methodology/approach In this paper, the gamer’s dilemma is reformulated as a paradox and the potential resolution is evaluated in light of this new formulation. Findings The author argues that this resolution does resolve the dilemma, but CEE itself has limited appeal. Originality/value This paper contributes to the growing scholarship dedicated to resolving the gamer’s dilemma.