My paper is based on the idea that computer games as simulations can be seen as a new kind of aesthetical realism forming a certain perception of reality and thus certain ideological statements. These statements can be found in the structural shaping of the games, in other words the rules, gameplay and constitution of the virtual space. The investigation thus concerns the constitution of the virtual space in games and its ideological effects or statements, and in this paper, I am specifically interested in uncovering to what extent sexuality and erotic dynamic play a part in the spatial constitution, gameplay and context of The Sims 1 and 2 (Maxis 2000, 2004). The Sims , being an immensely popular game and a ‘pioneer’ within the prevalent genre of simulation games, can be seen as representing general tendencies in computer games, and therefore the study of this game should offer overall insights into the ideological aspects of gaming.

Computer games have their own distinct characteristics, limitations and possibilities, but share many issues with other art forms. One of the central issues in art concerns the relationship between work and reality. In the twentieth century, we have learnt to regard realism as a style or a discourse, which is no less natural or neutral than others. Realism in art can thus be understood as much more than a direct, objective reproduction of reality; rather, it expresses different visions of reality and thereby   also certain values or ideologies. This happens not least through the construction of the fictive space with its specific geographical mapping and the spatial positioning of the characters; geography is thus not just a passive container for the fiction, but an active force structuring and shaping the text from within (Moretti, 1998).

All computer games construct a world, and the player must participate in an active simulation of this world. Computer games are, of course, extremely varied in setting and genre, but in a sense they all present realistic worlds (even a fantasy-based game like World of Warcraft ) for the player to enter and interact with, and it is this dynamic relationship between the player and the gameworld that I wish to analyze using basic principles of textual analysis: The game is seen as a structure or a system with an inner dynamic and functionality, and it is primarily within this structure that a certain discourse is articulated. In other words, the central task is to locate the underlying structure or formal system that makes the game affect the player in a certain way.

The main purpose, or rather the main activities, in a game such as The Sims consist of creating and controlling virtual characters in a virtual world. Simulation games are interesting, because the player and the game is released from traditional game conditions such as winning or losing, and instead the games is more about achieving and maintaining a level of success rather than reaching a final victory. Within the frame and space of The Sims , the player can move freely, creating his/her own rules and narratives. It is a remarkable fact that this type of game with its special gameplay and lack of traditional game conditions is among the most popular (meaning the best-selling) of all computer games. But in spite of this apparent lack of restrictions, The Sims is still furnished with a number of indispensable rules and conditions, and studying these can help point out underlying ideological structures. I wish to locate ideological aspects in the structural and spatial construction of The Sims , meaning the conditions to which the player has to conform – and therefore the investigation is also a search for the limits of   the game within the dynamic simulation.

In this context, the fictive space in the game constitutes an important limiting and regulating factor, because although it is possible for the player to move around relatively freely and to a certain extent manipulate the virtual surroundings, the player interacts with the game space on certain conditions laid down by the game design and expressing specific ideological statements (Schwartz, 2006). In The Sims , gender seems to be treated without differentiating, but the setting of the game and its criteria for success and interactive options nonetheless favour a certain social behaviour, where the home and the family take up a central position in the game’s value universe (Flanagan, 2003). In other words, a succesful life in The Sims does not necessarily presuppose heterosexuality, for instance, but it is still closely tied to a certain way of living that is dependent on luxurious material surroundings, one-family-homes and diplomatic social interaction. Furthermore, movement between areas within the game world usually requires economical ressources, which can only be gained through having a steady job. These are only examples of the way in which value statements on gender and sexuality are embedded in the virtual space of the computer game, and in my paper, I will present an extensive analysis of this subject.    

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Author presentation:

Anne-Mette Albrechtslund holds a master’s degree in Comparative Literature from the University of Southern Denmark. She is currently on maternity leave and will begin PhD work in 2007.