This panel aims to investigate the way in which authors of digital works have been conditioned and influenced by myths, symbols, and structures of historical religions in the creation and development of the fantastic worlds they imagined.
Long Abstract:
In accordance with the principles established by the Toronto School of communication theory, technology of printing in the Western world was the beginning of the history of mass media. Printing was immediately used, both for learned debate and for the general diffusion of new religious ideas. With the rise of new mass media over time, such as newspapers, radio, television and internet, new and old religious currents continued to be spread.
In the newest generation of mass media, video games, MMORPGs, anime, clips, and streaming movies, the dissemination of religious messages is in many cases more subtle and less direct.
The decoding of religious symbology is therefore not a simple operation today, and this work cannot be done only within media studies.
Taking into account these objective difficulties our panel intends to investigate the ways in which the new generation of producers and creators of new media platforms engage with religious symbology and how this is received by the mass audience.
Possible paper topics include:
• Examination of the relationship between historical religions and the invented religions portrayed in the new media
• Impact of digital technology on the representation of religious symbols and myths
• Analysis of the creative process in the production of such media forms
• Researcher reflexivity and possible influence of the work of academics on the creative process of the digital products
• Influence of content creators' religious beliefs in the creation process of their works
Analysis of the role-playing game Days of Empire developed by the Chinese production house ONEMT and set in a sort of 15th century Anatolia.
Paper long abstract:
In the game Days of Empire, which is aimed in particular at Turkic-speaking gamers, appear various types of religious symbols which play a factor of attraction that is very important for the success of the game. The paper will describe in detail the main caracteristics of the game, focusing attention on the aforementined religious symbols. The analysis of the game will be enriched by some in-depth interviews with some gamers aimed at understanding how important it is for them to play on a platform rich in symbolic elements linked both to Islam and to the world of fantastic beings that preceded it. The qualitative approach, in the forms of participant observation and netnographic analysis, represents the primary methodological directive for the realization of the study.
The paper investigates the representation of Sufi symbolism in Sufi plot-based new mass media content (streaming movies, social media networks, apps, etc.), with particular focus on two tendencies: either revitalization or destruction (universalization) the authentic ideas of Islamic mysticism.
Paper long abstract:
For centuries, Sufism has been the main ascetic-mystical current in Islam. After a sharp decline in the 20th century, it has experienced a stunning revival in recent decades and is currently at its zenith in diverse forms (Knysh 2017; Sedgwick 2017). Sufi symbolism, reactualized by twentieth century Traditionalists movement (philosophia perennis), is now known not only in the frames of aesthetics, culturology, philosophy or Islamic esotericism, but also, along with the rise of new mass media, in modern psychology, spirituality and entertainment.
The aim of my talk is to reflect the spread and representation of Sufi symbolism via technology: social media networks, streaming services and apps. For this purpose, the following content will be analyzed: mostly Middle East produced streaming TV series and movies (“Imam Al Ghazali”, “Sanctuaries of love”, “Bab'Aziz”, “Yunus Emre”, et al.), video games, apps and social media pages, containing famous Sufi quotes and visualization.
By exploring how Sufi symbols are perceived both by their creators and mass audience in the latter content, by relying on original texts of famous Sufis (Al Ghazali, Ibn Arabi, Rumi, etc.) and critical discourse analysis and I will try to show, that the representation of Sufi symbolism in new mass media is splitting into two currents: 1) original portrayal of religion, by making every effort to convey authentic Sufi symbolism, deepening the knowledge of both creator and audience; 2) superficial Sufi storyline as an instrument for commercial purposes, spreading the universalized and simplified view of Sufism (Witteveen 2013). I will conclude that commercially-oriented works diminish the significance of Sufi symbols and create a common misconception of authentic Islamic mysticism, and that there is still a great need for cultural sensitivity and knowledge-based production in this area.
The following paper is dedicated to the possibility that the Na'vi religion may have been inspired by the community of Damanhur.
Paper long abstract:
What can blue extra-terrestrials more than two meters tall who live on an imaginary planet 4.37 light years from the Earth ever have in common with an ecological and independent community that is located into a valley one hour away from Turin? James Cameron, director acclaimed for his sci-fi movies, made sure that these two populations, very distant from each other, had points in common thanks to his film "Avatar." Like in any self-respecting civilization, a pantheistic religion was also represented within the film in which all the inhabitants of Pandora (Na'vi) refer to the goddess Eywa who connects everything into a huge tree (Tree of Souls). Instead, regarding the inhabitants of Damanhur, everything is connected through "synchronic lines" crossing the land that unites men to nature. Both of these religions believe in the preservation of nature, which is itself connected with the humans/Na'vi and above all both carry out a community-type life - some sleep in a Tree House, some in common dormitories. The Damanhurians study natural medicines and use them, which the Na'vi also do as they are a simple community (almost at a prehistoric level). Very often the Damanhurians have women at the head of their nucleus and sometimes the 'tsahik' (spirit leader) of the Na'vi it's a woman. They both produce totems, and Damanhurians also give themselves an animal-type name. The following paper is dedicated to the possibility that the Na'vi religion may have been inspired by the community of Damanhur, because in America books and videos dealing with the community, where the center of spiritual power is enclosed in an underground temple, are very popular in the New Age circuit.
The Elder Scrolls RPG is known for its immersive and detailed world-building, including the incorporation of various mythological elements. One such element is the pantheon of deities, which bears striking similarities to the ancient Iranian religions, and which will be investigated in this paper.
Paper long abstract:
The Elder Scrolls RPG series, developed by Bethesda Softworks, is renowned for its expansive and detailed world-building, including the incorporation of various mythological elements. One such element is the presence of a pantheon of deities and the lore surrounding theme, which bears striking similarities to the ancient Iranian religion of Zoroastrianism, among the others.
Zoroastrianism, founded by the prophet Zoroaster in ancient Iran, is characterized by its dualistic cosmology and the struggle between Good and Evil (Stoyanov, 2000). The pantheon of deities in The Elder Scrolls series also includes a dualistic aspect, with the existence of both good and evil deities (The Elder Scrolls Wiki, 2021). The concept of a saviour figure, known as the "Chosen One" in the Elder Scrolls series, also finds its parallel in Zoroastrianism in the figure of the Saoshyant, who is believed to bring about the final renovation of the world (Boyce, 1975).
Additionally, several specific deities and figures in The Elder Scrolls series bear a strong resemblance to those of Zoroastrianism. For example, the deity Mara, the goddess of love in The Elder Scrolls series, is similar to the Iranian figure of Anahita, the goddess of fertility and prosperity (The Elder Scrolls Wiki, 2021). The Daedric prince Molag Bal, the deity of domination and enslavement in aforementioned series, can also be compared to the Iranian demon of the same name, who is associated with similar themes (The Elder Scrolls Wiki, 2021).
This paper will explore the connections between the mythology depicted in the Elder Scrolls series and the ancient Iranian beliefs, including the concept of a dualistic cosmology and the struggle between good and evil. It will also examine how these similarities may have been incorporated into the series and the potential influences on the development of the game's fictional mythology.
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