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The humanities are centrally concerned with such human subjectivity—such thinking, feeling, and wondering—as goes into the appreciation of a painting or the absorbed and responsive reading of a novel. It is often argued that the intrinsic subjectivity of these experiences renders them inaccessible to objective science, which seeks to avoid subjectivity. However, this fallacious argument confuses an ontological and an epistemic sense of the distinction between subjectivity and objectivity. The subjectivity of "thinking, feeling, and wondering" describes the mode of existence of these mental states, whereas the objectivity of science describes a mode of investigation, and it is in fact very possible to investigate human mental life by means of objective methods. This article expounds the fallacy and examines its appearances in recent scholarly writings against the use of objective methods in the humanities. The fallacy, as is argued, promotes a widespread misconception that the use of objective methods in the humanities would entail a discounting, or "reduction," of human subjectivity. By countering this misconception, this article aims to encourage humanists who are drawn to empirical methods. [ABSTRACT FROM AUTHOR]

This article examines how vocal performances of characters can contribute to sociocritical storytelling in video games. We argue that the vocal performances of video game characters–and in particular their accents–can "fill in" the fictional story worlds of video games through associations with real people and places. These associations allow video games to evoke such social themes as are connected with accent, including privilege, conflict, class, and ethnicity. So evoked, these themes can then be critically examined. We apply this perspective in a sociolinguistic analysis of Disco Elysium, an expansive role-playing game in which the characters' vocal performances come to support the player's sociomoral orientation in the game world. Finally, we discuss a result of our analysis that runs counter to previous scholarship, namely that vocal stereotyping can serve to enhance, rather than to undermine, the player's critical apprehension of game worlds. [ABSTRACT FROM AUTHOR]

The article examines the evil voice in the horror film "The Exorcist" by William Friedkin. Topics include a description of the voice of the evil possessed adolescent girl in the film named Regan MacNeil, the experimental efforts of sound designer Ron Nagle and his team to find the right voice for possessed Regan, the application of the theory of conceptual metaphor to voices in popular fictions and the reason for the notoriety of the 1973 film adaptation of "The Exorcist."

Morally flawed antiheroes in TV and film, such as Dexter Morgan and Dirty Harry, often inspire sympathetic engagement from audiences. Media scholars have argued that it is these antiheroes' status as fictional characters that allows audiences to flout their moral principles and side with the antiheroes. Against this view, I argue that these problematic sympathies can be explained without reference to a special fictional attitude. Human morality is sensitive not only to abstract moral principles but also to the concrete motives and situations of an individual moral agent, and the motives and situations of the sympathetic antihero very often seem exculpatory. [ABSTRACT FROM AUTHOR]

This article argues that video gaming allows for player-focused (egocentric) moral experience that can be distinguished from the other-focused (allocentric) moral experience that characterizes literature and film. Specifically, a Deweyan perspective reveals that video games afford first-personal rehearsals of moral scenarios that parallel how, in real life, individuals mentally rehearse the different courses of moral action available to them. This functional equivalence is made possible because the aesthetics of video games bear unique affinities to the human moral imagination. However, whereas the moral imagination may be limited in terms of the complexity and vividness of its analog imaginings, the ethically notable video game may draw on the medium's digital capacities in order to stage elaborate and emotionally compelling ethical rehearsals. The article concludes by applying this perspective to the ethically notable video game Undertale. [ABSTRACT FROM AUTHOR]

The gamer's dilemma (Luck in Ethics Inf Technol 11(1):31–36, 2009) asks whether any ethical features distinguish virtual pedophilia, which is generally considered impermissible, from virtual murder, which is generally considered permissible. If not, this equivalence seems to force one of two conclusions: either both virtual pedophilia and virtual murder are permissible, or both virtual pedophilia and virtual murder are impermissible. In this article, I attempt, first, to explain the psychological basis of the dilemma. I argue that the two different action types picked out by "virtual pedophilia" and "virtual murder" set very different expectations for their token instantiations that systematically bias judgments of permissibility. In particular, the proscription of virtual pedophilia rests on intuitions about immoral desire, sexual violations, and a schematization of a powerful adult offending against an innocent child. I go on to argue that these differences between virtual pedophilia and virtual murder may be ethically relevant. Precisely because virtual pedophilia is normally aversive in a way that virtual murder is not, we plausibly expect virtual pedophilia to invite abnormal and immorally desirous forms of engagement. [ABSTRACT FROM AUTHOR]

Why would anyone want to play a game designed to scare them? We argue that an alliance between evolutionary theory and game studies can shed light on the forms and psychological functions of horror video games. Horror games invite players to simulate prototypical fear scenarios of uncertainty and danger. These scenarios challenge players to adaptively assess and negotiate their dangers. While horror games thereby instil negative emotion, they also entice players with stimulating challenges of fearful coping. Players who brave these challenges expand their emotional and behavioural repertoire and experience a sense of mastery, explaining the genre's paradoxical appeal. We end by illustrating our evolutionary approach through an in-depth analysis of Playdead's puzzle-horror game Limbo. [ABSTRACT FROM AUTHOR]

Many narrative fi lms feature villains, major characters that audiences are meant to condemn. This article investigates the cognitive-affective underpinnings of audience antipathy in order to shed light on how fi lmic villainy is constructed. To that end, the article introduces an analytical framework at the intersection of cognitive fi lm theory and moral psychology. The framework analyzes villainy into three categories: guilty intentionality, consequential action, and causal responsibility. [ABSTRACT FROM AUTHOR]

The article discusses what is referred to as evil laughter within U.S. popular culture, including in the video game "Super Mario Bros." and the American film "Predator," starring Arnold Schwarzenegger. An overview of the social aspects of laughter in popular culture, including the use of evil laughter to depict the antisociality of fictional villains, is provided.

This article investigates the nature and appeal of morally ambiguous protagonists, or antiheroes, through an evolutionary lens. It argues that morally ambiguous protagonists navigate conflicts between prosocial and antisocial motivational pulls. In so doing they present audiences with a window onto the conflicts inherent in human sociality. Working from this premise, the article analyzes the morally ambiguous protagonist Walter White from the TV series Breaking Bad, complementing the analysis with survey results. The article finally discusses critically the role of moral disengagement in enjoyment of stories with morally ambiguous protagonists. [ABSTRACT FROM AUTHOR]

How far has the Darwinian revolution come? To what extent have evolutionary ideas penetrated into the social sciences and humanities? Are the “science wars” over? Or do whole blocs of disciplines face off over an unbridgeable epistemic gap? To answer questions like these, contributors to top journals in 22 disciplines were surveyed on their beliefs about human nature, culture, and science. More than 600 respondents completed the survey. Scoring patterns divided into two main sets of disciplines. Genetic influences were emphasized in the evolutionary social sciences, evolutionary humanities, psychology, empirical study of the arts, philosophy, economics, and political science. Environmental influences were emphasized in most of the humanities disciplines and in anthropology, sociology, education, and women’s or gender studies. Confidence in scientific explanation correlated positively with emphasizing genetic influences on behavior, and negatively with emphasizing environmental influences. Knowing the current actual landscape of belief should help scholars avoid sterile debates and ease the way toward fruitful collaborations with neighboring disciplines. [ABSTRACT FROM AUTHOR]

The article focuses on evolutionary humanists have had much to say about literature and literary analysis, and less to say about film, television, and especially video games. Topics include the evolutionary work on audiovisual media more frequently originates in psychological studies, the studies typically focus on the media user their media preferences and media-elicited actions and the trend also describes recent publications.