Last night the CSPO movie series relaunched (thanks to Michael Burnham-Fink) with an on-campus screening of David Cronenberg’s 1999 sci-fi thriller, eXistenZ. It’s about a multiplayer computer game so rich that it’s not only more compelling than reality, but blurs the line between reality and gameworld to the vanishing point. eXistenZ is an astonishingly mixy movie, a Harraway-cyborg soup of organic technology, natural and artificial, real and imagined. In the discussion afterward, one of us found it horrific, one (well, yes, me) quite attractive.
Organic Technology
All the technology we see in eXistenZ is very organic. The game consoles, called pods, are squishy, connected by biological umbilical cords to a port in the user’s spine. Cronenberg flips cyberpunk tropes: rather than metallic “jacks” a la the console cowboys of Neuromancer, the “bio-ports” are lubricated, fingered, stimulated, and serve as a connection to the pods, treated by game designer Allegra Geller as fetal – dependent, vulnerable, precious.
A key McGuffin in the film is a gun (the “Special”) made from the bones of a mutant amphibian and firing human teeth. In a sublimely mixy touch, the gun is made from the byproducts of the factory-farming process by which the game pods are made, and yet serves as a symbol of the terrorist faction seeking to destroy games in the name of the primacy of a reality separate from gameworlds, a faction which might itself be an artifact of game design.
Cronenberg sites the technology at the intersection of the squicky and the compelling: the pods are literally uncanny in their movements, the scene where the game compels Ted to eat the Special and assemble it into a gun really stomach-wrenching. And yet, as I’ll discuss below, the selfsame tech (well, aside from the Special, which only the the sheepdog liked) is portrayed as sensual, even erotic.
The Erotics of Artificiality
The bio-ports are portrayed as another pleasurable human orifice, opening for lubed fingers and pointed tongues as much as for the game pod umbilicals. These gamers are no Borg-like Neuromancer console cowboys, no disembodied cyberspace jockeys: everything in eXistenZ is embodied, physical, sensual and sexual. The game seems to want its players to be sexy – it apparently compels Allegra and Ted to make out, Ted to slip a tongue into Allegra’s bio-port.
In yet another of Cronenberg’s amodern unmakings of modernist dichotomies, game designer Allegra is both sexual and comfortable with bodily organs and fluids, where noob (or anti-game terrorist) Ted is strait-laced, literally zipped up to the throat, deeply phobic of organic penetration, of sexual arousal.
Technology is often portrayed as erotic, but through an erotics rooted in the binary of human/mechanism: sexy cars, sexy metallic robots, an erotics of gaze over touch. Cronenberg’s erotics is deeply Harawayan, utterly embodied: one cannot imagine Gibson’s console cowboys carrying around pocket-sized tubes of lube. Here technology is erotic because it is rooted in touch, not sight: Allegra lovingly strokes her pod, bio-ports are constantly being touched. It is also not othered: technology is connected umbilically with our very bodies, not apart but inside us.
Performance and Simulacrum
It wasn’t the organic technology, the engineering of mutant amphibians for computer parts, that sparked the most revulsion among the CSPO audience, but the intermingling of gameworld and reality. One of my colleagues found the notion of a compelling synthetic reality abhorrent, and all the more so for its mixing with the real. A couple of the others argued that reality is a sensory artifact anyway, so what basis would we have for distinguishing, or prioritizing, a prior sensory artifact over a newly-engineered one?
Jean Baudrillard (a big influence on The Matrix) sniffed that modernity creates simulacra, fake experiences inferior to the real thing, and peddles them as an alternative. Anthropologist Bonnie Nardi, along with others, argue that our game spaces aren’t simulacra but real spaces for enabling performances artistic, cultural and personal. Allegra makes the same argument, against anti-mixy Ted:
(quotes from imdb)
Ted: I want to put the game on pause. The game can be paused, can’t it? I mean, all games can be paused, right?
Allegra: Yeah, sure. But why? What’s wrong? Aren’t you dying to see what’s so special about the special?
Ted: I’m feeling a little disconnected from my real life. I’m kinda losing touch with the texture of it. You know what I mean? I actually think there is an element of psychosis involved here.
They leave the gameworld, and Allegra confronts Ted:
Allegra: So how does it feel?
Ted: What?
Allegra: Your real life. The one you came back for.
Ted: It feels completely unreal.
Allegra: You’re stuck now, aren’t ya? You want to go back to the Chinese restaurant because there’s nothing happening here. We’re safe. It’s boring.
Ted: It’s worse than that. I’m not sure… I’m not sure here, where we are, is real at all. This feels like a game to me. And you, you’re beginning to feel a bit like a game character.
That’s fine with Allegra:
Ted: We’re both stumbling around together in this unformed world, whose rules and objectives are largely unknown, seemingly indecipherable or even possibly nonexistent, always on the verge of being killed by forces that we don’t understand.
Allegra: That sounds like my game, all right.
Ted: That sounds like a game that’s not gonna be easy to market.
Allegra: But it’s a game everybody’s already playing.
So why not engineer it to be more interesting, more compelling? This is the argument being made by economist Edward Castronova as well as communications professor Byron Reeves, who would restructure routine work to incorporate lessons from our world’s version of eXistenZ, introducing game mechanics into the workplace, and indeed into a broad range of ordinary behaviors.
Bonnie Nardi tells us gamers hold tightly to the work-play dichotomy in their conceptions of and discourse about play; yet, in practice the two are hopelessly mixed, with playful work and work-like play. Cronenberg takes the natural next step and mixes gameworld and RL, forcing us to ask, just why would we keep them separate and privilege the latter, really?





















