ABSTRACT
This chapter examines videogames as ideological texts, primarily on issues of representation and verisimilitude, particularly in war games. Many videogames have to be interpreted via the artist's own ideological perspective through the reward structure. A minor videogame is a collective assemblage that enounces the cry of a war machine rather than aids in the appropriation of one. For a sympathetic depiction of the struggles of a victim to be considered minor, the dominant economic and political interests that nourish the global capitalist axiomatic would have to be represented in combustible force-signs; something that both GTA and Darfur is Dying fail to achieve. In overcoded videogames, linguistic assemblages are weaved into the action. The ludo-diagram codifies the action and also translates it through the player actions. The artist/developer is the colonial despot who forces the player to perform its ideology through the action-images.
