Okami: Divine Subjects and Image-Instruments

Okami

Okami

OK, most of you probably know that I’m a hardcore Wii fan by now, so I’m guessing it’s about time to put the gaming geek of myself to elucidate my Lacanian new media theories. One of the core concepts of my thesis is a new subjective experience I call the divine subject. This notion of transcendent subjective experience made possible by technology has its roots in cybernetics and the Macy conferences of the 20th century, as Katherine Hayles has explained in her 1999 book How We Became Posthuman. The postmodern notion of contingent bodies and posthuman transformations is not, as many may argue, a rejection of the liberal humanist subject of Enlightenment (“ethics is deconstructed with biotechnology,” “it’s all about the dehumanizing market,” etc.), but instead, as John Searle is well aware, a faithful move to take the Cartesian subject one step further: a desperate move to preserve the cogito under postmodernity — precisely because thought is the only viable experience, we need no more bodies!

What better piece of literature to illustrate the divinity of the subject than Okami, a game in which you actually take control of God herself? This game in which your avatar is the Japanese sun God, Okami Amaterasu (taking the form of the white wolf avatar, Shiranui), has as its core element the ability for players to create objects in the scenes by painting on them directly — you create suns by painting circles in skies, stars by painting dots, cut enemies by painting slashes, etc. This is a perfect example of what Lev Manovich calls the transformation from image to image-instruments. With the advent of the computer age, signifiers now has a double role: not only a part of the sign, but also something to be acted upon, a portal to another dimension.

What to say of today’s world of signs? It is no longer the Baudrillardian object-dominated world of simulacra in which subjects are fashionably dead, but a world in which the simulacra is an extension of subjective experience. The correct way to read the popular postmodern dystopia in which even our bodies is nothing but a simulacra is not that we are dead, reduced to mere Foucauldian sand imprints, but the opposite one: every simulacra may be our body. (Is this not the ultimate dream of ubiquitous computing, ambient intelligence, etc?) With Žižek, the (Cartesian) subject is not dead, but preserved through its reflexivity.

Okami perfectly illustrates my thesis: with signifiers evolving from its original purpose to include a role as portals of actions, with subjects depending more and more on avatars (the contingent simulacra body, explained further on my theories of the psychoanalytic monitor phase) both for social interaction and individual enjoyment, it is only prudent to note the possibility that there is an evolution going on in the dialectics of the Symbolic and Imaginary orders. Does the divine paintbrush of Okami not show that the Imaginary self may very well lie outside the visible biological self?

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2 Responses to “Okami: Divine Subjects and Image-Instruments”

  1. Hi Bonni

    I know a friend of mine, Robet Robertus, would love to have a chat with you. His Ph.D thesis is on Slavoj Zizek’s Transparent Subject: which is in a way what you aim to work on, except that your scheme appears truly convincing. The leaving aside of one of Cartesian’s dichotomic self, I find it truly inspiring. I think Badiou’s new book Logics of Worlds will also touch on something like this. In any case, Robet’s contact is: zizekiandream@gmail.com. Both Robet and I are Indonesians.

  2. Bonni Rambatan Says:

    Thanks, Richard! I should love to have a talk with him as well :)

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