O paradoxo do jogador-espectador

Abstract

Videogames are increasingly present in our culture, having become central elements in how we engage with reality. Despite this, some still argue that videogames are merely an escapist form of entertainment, without the need to address political issues or situations of our time. On the other hand, there are those who see them as a way to educate new generations, stimulate empathy for others, and give voice and visibility to minority groups. Based on the dilemma of art as education, this article aims to analyze how videogames can be political. Central to this discussion is "The Emancipated Spectator" by Jacques Rancière, which critiques the traditionally passive role attributed to spectators through theater theory. Unlike spectators, players can interact with the work, thus demonstrating a certain type of agency. The article argues that, although videogames offer interactive experiences, they often limit the true agency of the player, thus restricting the potential for political engagement. We propose, therefore, the figure of the player-spectator paradox as a way to explore the intersection between videogames, aesthetics, and politics. This paradox places players in a unique position, where they are active participants but remain confined by the game's design. By analyzing these dynamics, the article seeks to better understand how videogames can be both an artistic and political medium, challenging traditional notions of passivity and activity in the consumption of art.