Video game modifications as an extension of Jameson’s postmodernism: The case of Fallout: London

Abstract

Video game modifications (mods) are pastiches given that they copy the styles, images, and themes from games that have come before them. Fredric Jameson's particular conception of the pastiche is that it is a depthless kind of postmodern art, and he argues that all forms of art under late capitalism are commodified. However, mods are postmodern pastiches that extend Jameson's conception of art under a capitalist society because they are essentially noncommodities that contribute to the commercial success of the original game. Thus, despite being unmonetized, mods still work within the capitalist system of the contemporary gaming industry, with total-conversion mods (TCs) being a notable example. Fallout: London (2024), a TC for Fallout 4 (2015), provides an interesting case study because its release led to an uptick in sales for Fallout 4. In other words, a noncommodity directly drove sales for the commodity it is attached to. It is, thus, a manifestation of Julian Kücklich's precarious playbor. That said, the modders behind Fallout: London manage to subvert this exploitation because they opted to commercialize their playbor themselves, setting themselves apart from other modders.