191.
The Templar attract the sense of panic (and resignation) about the machine; the Omar a fear (and euphoria) that it is too late, and that any dalliance with the digital subsumes anything human. The Illuminati open toward a paranoia about what might be behind gamespace, a mysterious conspiracy, and perhaps a critical theory — of the military entertainment complex. Jodi Dean: “Conspiracy theory is about interpretation and analysis. Through its links and associations, conspiracy theory codes critical reflections… as a particularized set of threats.” The fourth term points towards a digital delirium, a negated realm of possibilities — an ‘extopian’ possibility, in which gamer and game cease to exist as separate terms, and there is a complete elimination of the limits of any topos. The ‘extopian’ dwells neither here nor there, but at once and at one with the world. The possible endings of Deus Ex map out the topos of the military entertainment complex. It is a synthesis of the two competing storylines that try to account for everyday life from within The Cave™, or what some call the ‘posthuman condition’. Katharine Hayles: “The prospect of becoming posthuman evokes terror and excites pleasure.”
(All comments will be moderated)
(All comments will be moderated)
(All comments will be moderated)
(All comments will be moderated)
(All comments will be moderated)