Born-Again Digital:

Exploring Evangelical Video Game Worlds

Vincent Gonzalez

A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in
partial fulfillment of the requirements for the degree of Ph.D. in the Religious Studies
department in the College of Arts and Sciences.

Chapel Hill
2014

Approved by:

Yaakov Ariel

Jason Bivins

Jonathan Boyarin

David Morgan

Barry Saunders

Randall Styers
 ©2014
Vincent Gonzalez
ALL RIGHTS RESERVED

ii
 ABSTRACT

Vincent Gonzalez: Born-Again Digital:

Exploring Evangelical Video Game Worlds
(Under the direction of Yaakov Ariel)

Evangelical Christians have been creating video games for over thirty years, outpacing

the efforts of all other religions. By the count that guides the present study, 773 games were

made for religious audiences through 2010, of which 474 identify their affiliation as only

“Christian,” or “biblical.” Like other artifacts of digital religion, these games allow us to see the

entanglement of people’s theological and technological universes. However, unlike many other

aspects of digital religion, religious video gaming’s novel artistic forms, cultural critiques, and

theological possibilities largely blossomed beneath notice. Evangelical video game culture, thus,

presents the creative production of a historically significant avant garde whose critical

perspective has been neglected outside its own community. In particular, Evangelical video

gaming transforms the concerns that connect it to other digital cultures – “violence,” for instance,

or “immersion” – by attending to the moral status of the player-in-play.

This study combines the methods of Religious Studies, Science and Technology Studies,

and Cultural Studies to show how the popular artifacts of digital religion can shed light upon

their cultural context. My initial frame orients Evangelical video games through broad theoretical

concerns and a series of cultural histories then focus our attention upon specific telling instances.

My introduction applies a relational ontology to establish a vocabulary for examining religious

video games in terms of the digital, religion, and play. Chapter two considers how groups learn

iii
to live with computers and details the specific stakes of digital religion for Evangelical Christians

in the context of “spiritual warfare.” Chapter three situates my catalog of religious games within

a detailed history of digital religion. Chapter four focuses on the place of Evangelicals in the

debates around video game “violence.” Chapter five then considers how those debates are visible

in seven Evangelical First-Person Shooter games. Chapter six provides a theoretical orientation

to the future of Evangelical gaming by considering the notion of “immersion” in games. Chapter

seven concludes by summarizing findings and offering suggestions for further research. Finally,

an appendix presents a catalog of religious games as a resource for ongoing research.

iv
 TABLE OF CONTENTS

LIST OF FIGURES …...................................................................................................................ix

LIST OF ILLUSTRATIONS ….....................................................................................................ix

CHAPTER 1: THREE FUNDAMENTAL DYNAMICS:

DIGITAL, RELIGIOUS, AND PLAYFUL

Introduction .........................................................................................................................1

Concerning Dynamism........................................................................................................8

Where Does the Digital Begin?....….................................................................................12

Provisional Definition of Religion.....................................................................................19

Excursus on Play …...........................................................................................................28

Video Games as Mundane Software …………………………………………………….33

Conclusion …....................................................................................................................38

CHAPTER 2: BETWEEN THE DEVIL AND DEEP BLUE:

THE STAKES OF VIDEO GAMING FOR EVANGELICAL CHRISTIANITY

Introduction………………………………………………………………………………40

What is Evangelical Media? …………………………………………………………….43

The Human-Computer Interfaith ………………………………………………………..50

Video Game Critique and Spiritual Warfare ……………………………………………60

The Satanic Panic………………………………………………………………………...66

Spiritual Mapping as Historical Context ………………………………………………...71

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 Conclusion……………………………………………………………………………….75

CHAPTER 3: HOLY GHOST IN THE MACHINE:

A HISTORICAL SITUATION FOR EVANGELICAL VIDEO GAMING

Introduction ..……..........................................................................…...............................77

Thinking in Curves: Theoretical Grounds for a History of Digital Religion …................78

How to Count Religious Video Games ….........................................................................87

In the Beginning was the Word [1951-1982] ….................................................…..........96

The Birth of Digital Religious Entertainment [1982-1990] ..…........................................99

Technologies of Bricolage and Religious Gaming's First Bloom [1990-1998] …......... 105

New Playspaces and the First Great Acceleration [1998-2004] ….................................116

Apps, Profiles, and the Bounds of this Study [2004-2010] …........................................129

Conclusion ......................................................................................................................143

CHAPTER 4: SWORDS INTO PLOWSHARES AND BACK AGAIN: EVANGELICAL

CHRISTIANS AND THE GAME-VIOLENCE DEBATES

Introduction......................................................................................…............................145

First-Person Shooters ......................................................................................................148

Presumption and Playership ............................................................................................152

Locating Violence............................................................................................................158

Evangelical and Worldly Histories of Game-Violence ..................................................163

Remembering Columbine ...............................................................................................173

Divine Violence and Sacred Play................................................................................... 181

Conclusion ......................................................................................................................186
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CHAPTER 5: TAKING THE KINGDOM BY FORCE: LIVING AND DYING IN THE
EVANGELICAL FIRST-PERSON SHOOTER

Introduction ….................................................................................................................189

The Demonic Archipelago …..........................................................................................194

The War in Heaven …......................................................................................................200

Saints of Virtue …............................................................................................................209

Catechumen and Ominous Horizons …...........................................................................213

Rev 7 …............................................................................................................................219

Eternal War: Shadows of Light …...................................................................................222

Afterward: Into the Rain ….............................................................................................224

Conclusion …..................................................................................................................232

CHAPTER 6: DIGITAL BAPTISTS AGAINST DIGITAL IMMERSION:

AN ESCHATOLOGY FOR EVANGELICAL VIDEO GAMING

Introduction ….................................................................................................................234

Journey to the Center of the Art.......................................................................................239

The Emergence of the Immersive …...............................................................................242

Evangelical Disruptions to Immersion …........................................................................246

Conclusion.......................................................................................................................255

CHAPTER 7: CONCLUSION: THE NEW CREATION

Introduction......................................................................................................................258

Where to Go From Here ….............................................................................................263

vii
APPENDIX: Religious Video Games (1982 – 2010) ….............................................................267

WORKS CITED .........................................................................................................................345

viii
 LIST OF FIGURES

Figure 1 - A Game Play Curve………………………..................................................................82

Figure 2 – Religious Video Games (1982 – 2010) …...................................................................88

Figure 3 – Evangelical First-Person Shooters …........................................................................ 199

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 LIST OF ILLUSTRATIONS

Illustration 1 – The Guard at the Gate …....................................................................................... 1

Illustration 2 – “Pick up yellow wings to get more Hope”............................................................22

Illustration 3 - Demon, Neutral, and Saint in Left Behind: Eternal Forces…...............................40

Illustration 4 – The Human-Computer …......................................................................................52

Illustration 5 – Spiritual Warfare in Timothy and Titus …………………………………………65

Illustration 6 – End Times Ministry in Computer Bible Games

and Left Behind: Rise of the Antichrist...................................................................77

Illustration 7 – Devil World ….......................................................................................................92

Illustration 8 – Feeding Animals in Super 3D Noah's Ark …......................................................145

Illustration 9 – Constructing Doom's Realism …........................................................................170

Illustration 10 – Enemy Morphology in Quake and Eternal War: Shadows of Light..................189

Illustration 11 – Destroying Sacra on the Path of Fallen Power

and the Path of Divine Obedience……………………………………………...207

Illustration 12 – Firewall Defender ………………………………………………………….…234

Illustration 13 – A Designer of Immersive Games and His Audience ………………………...237

Illustration 14 – Caught in the Web ............................................................................................ 249

Illustration 15 – Game Saved…………………………………………………………………...258

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Chapter 1:
Three Fundamental Dynamics:
Digital, Religious, and Playful
“At another seashore between the land of atoms and the sea of bits, we are now facing the challenge of
reconciling our dual citizenships in the physical and digital worlds”
- Hiroshi Ishii

“On the seashore of endless worlds, children play.”

1
- Tagore as cited by D. W. Winnicott

Illustration 1: The Guard at the Gate

You have been here before. Last time you entered Rome's under-city you survived for

several hours. You walked with your sword out in front of you, down first into Rome's great

network of attached basements, pursued by armed guards. Then further down through sewers,

caves, and prisons, a great single tangle of incongruous architectural styles and building

1
Hiroshi Ishii, “Tangible Bits: Beyond Pixels,” Proceedings of the Second International Conference on Tangible

1
materials. But the demons overtook you. You fired bursts of Holy Spirit from your sword at the

guards, aiming it like a rifle, and when hit repeatedly each of them converted to Christianity. But

as the guards knelt there praying, demons clawed you to death.

So you have come back. You start walking toward the alcove where an angel –a flying

man with a sparkling gold tunic and biceps as thick as his waist– will again give you the Sword

of the Spirit. But this time you notice that just outside there are two guards standing at the

entrance to an ambiguously pagan temple. Because you are not yet armed, the guards don't move

to attack. Walking closer, you find the Romans wearing short, well-fitted, brass skirts over their

muscular legs. Their faces are identical. As you kneel down beside one of them to look more

closely, both soldiers turn their heads to look back at you, their faces rendered in fixed surprise.

They begin to shout, “Whatta you looking at?” “Whatta you looking at?”

….

Catechumen, this particular three-dimensional action game, was released by N-Lightning

software in 1999 and marketed as a “high-quality, Christ-centered computer [game] (Phil 4:13)”

“to be enjoyed by Christians and non-Christians,” complete with “many verses of the Bible to be

interpreted by the player as the Holy Spirit leads. (Psalm 68:11)”2 The moment of dialogue with

an in-game entity described above took place as I made my first steps into the field to begin my

dissertation research. I had approached the temple looking for material traces of American

religious life, particularly its popular manifestations in digital media. But at the soft place where

my question of technological apparatus (the digital) met my question of distribution (the

2
Philippians 4:13, “I can do all things through Christ which strengtheneth me” [KJV]. Psalm 68:11, “The Lord
gave the word: great was the company of those that published it” [KJV]. N'Lightning Software Development, Inc.,
“Mission Statement,” archived by the Internet Archive January 7, 2001, accessed March 3, 2014,
http://wayback.archive.org/web/20010107205200/http://www.n-lightning.com/corp.htm .

2
religious), accelerated by peculiarities of play, I found more life than I had anticipated. Critically,

“Whatta you looking at?” was not directed to my body in the chair, an analog mass of which the

guard could be at best dimly aware, but to my body in the game, a digital entity with capacities

for action nearly identical to those of the guard himself. We both carried swords, were deployed

into those anachronistic mazes to fight one another, and neither of us could sit down. But most

importantly, we each faced the other demanding an explanation for the intersection of our gazes.

The guard's question, “Whatta you looking at?” is a reminder of the entangled creation of

ethnographic subjects and objects, drawing our attention toward the surprising range of agencies

(including scholars) which emerge from religious applications of digital technology. To answer

the guard's question, then: My dissertation is an historical and ethnographic exploration of the

ways religious communities are coming to live among the new agencies and within the new

models of human life presented in digital media. My primary vantage point in this exploration is

the Evangelical Christian video game, particularly as it facilitates interaction between debates

concerning media violence, and Evangelical engagements in spiritual warfare.

And if my digital interlocutors want to know what I am looking at, perhaps it is

reasonable to assume that my analog readership would want to know why? The answer is that

digital religion is thriving, but no scholarly effort has yet combined the methods of religious

studies, cultural studies, and Science and Technology Studies [STS] needed to produce an

adequate analysis. It has been sixty years since computers first read text on sacred matters

(Dante, as translated for an electro-mechanical punch card mainframe); from their first moments

in the late seventies, personal computers have been managing church finances and playing

religious video games; by the year 2000, the Internet circulated religious information as widely

3
as it circulated music; and at present, from online kabbalah courses, to Hindu meditation

software, to the papal Facebook application, it has become difficult to find any religion not

developing new ranges of expertise that mingle the domains of programmers and theologians.3

This consistent growth of digital technologies toward religious ends calls for concerted

theoretical analysis, and the diverse efflorescence of this growth requires that any theorization

begin someplace in very particular.

Within the expanse of digital religion, I have selected video games as a data set, because

it is a field small enough to address comprehensively, but too large to ignore. By my count, 773

religious video games were released between 1982 and 2011, of which 474 entries describe their

religious affiliation only as “Christian” or “Biblical” (71 more name a particular Christian

denomination as their intended audience). And, further, the religious video game is a compelling

data set precisely because it has largely blossomed beneath notice. While computerized scripture

indexes and religious web presences occasionally respond to the judgment of extrinsic

intellectual (academic, ecclesiastical) professionals, the first thirty years of religious video

gaming were evaluated almost exclusively in language that emerged together with the games

themselves. Thus, if much of the theology visible in my opening description of Catechumen (the

Sword of the Spirit as salvation rifle, for instance) seemed quite unlike theologies created for the

pulpit or seminary, this should not lead us to high-minded dismissal, but to sober attention.

Evangelical Christian video games are the creative production of a daring and historically-

significant avant garde. To do them justice will require us to reshape our analytical categories,

3
Genevieve Bell, “The Age of Auspicious Computing,” Interactions (Sept.-Oct. 2004), 76-77. Elena Larsen.
“Wired Churches, Wired Temples: Taking Congregations and Missions into Cyberspace,” (Washington D.C.: Pew
Internet and American Life Project, 2000), 8.

4
coming in the process to new understandings of many other phenomena as well.

Suddenly, humans live among – and are apparently outnumbered by – algorithmic

entities like programs, viruses, bots, and video game characters.4 To explain and manage these

new relationships constitutes a new kind of expertise, a range of organic intellectual labor that

can speak phrases like “the internet tempts us,” “video games make children violent,” “twitter

challenges tyranny,” and “educational software is the future.” Much research has already been

undertaken on how psychologists, state-censors, and other networks of neo-liberal expertise

intervene at this juncture.5 This dissertation shows the place of this expertise in digital religion

by exploring a lively experiment now thirty years in development undertaken by an Evangelical

network of gamers, developers, parents, commentators, and computers. This network negotiates

the place of algorithmic entities in Christianity by discussing, designing, distributing and playing

video games.

These negotiations usually concern whether and how video games might stop distracting

children from the gospel, and perhaps even teach it to them. However, it is noteworthy that

“violence” has become a key term in these negotiations, even to the extent that it sometimes

sidelines “word,” “truth,” and other long-standing terms of Christian theological concern. While

this word has its own history of theological controversy stretching from the differences between

4
Consider, for instance, a recent study which tried to compare human and automated Internet traffic: Daily Mail
Reporter, “Over 60 Percent of Internet Traffic Now Generated by BOTS that Can Distribute Malware, Steal Data
and Swipe Passwords,” Daily Mail Online, December 13, 2013, accessed March 3, 2014,
http://www.dailymail.co.uk/news/article-2531021/Over-60-percent-internet-traffic-generated-BOTS-distribute-malw
are-steal-data-swipe-passwords.html .
5
See, for instance, Matthew Scott Hindman, The Myth of Digital Democracy (Princeton: Princeton University Press,
2009); Martin Spinelli, “Democratic Rhetoric and Emergent Media: The Marketing of Participatory Community on
the Radio and the Internet,” International Journal of Cultural Studies 3.2 (08/2000), 268-278.

5
Matthew 11:12-14 (where “the violent” succeed in entering the Kingdom by force) and Luke

16:16 (where the outcome is less conclusive), to contemporary debates over the relationship

between Christianity and “just war,” these are rarely referenced.6 We find, instead, the

emergence of a new Christian counterpublic with a novel mode of theological exploration, a

network of computers and humans that constitutes itself by deepening, extending, and sacralizing

concerns it shares with the simultaneously emerging public of worldly computing.7 For instance,

like the Entertainment Software Ratings Board [ESRB], Christian game developers tend to

presume a syntagmatic chain from red spatters to blood, to violence, to viewer imitation, to age-

restricted circulation; but unlike the worldly ESRB, the Christian developers intermittently

strengthen, or challenge, this chain with Biblical mandates concerning art, blood, violence, or

children. In this way, Evangelical game criticism accelerates popular media criticism until it

opens unforeseen ontological possibilities within the ongoing public negotiations on violence,

media and otherwise. This is my study's second “why:” worldly negotiations concerning media

violence (including academic studies, literary and laboratory) tend to obscure their presumptions

about the nature of the human as mere common-sense; by observing the edge where an

Evangelical counterpublic exceeds these presumptions, we discover a trenchant and innovative

critique of the ideological structures that undergird an emerging digital culture. In a word, as

academic media scholars, we should study Evangelical video games and learn from them new

6
George Aichele, “Jesus' Violence,” in Pippin, Tina, and George Aichele. Violence, Utopia, and the Kingdom of
God: Fantasy and Ideology in the Bible (London: Routledge, 2002), 72-91.
7
Michael Warner, “The Evangelical Public Sphere” (presentation, Critical Speakers Series, University of North
Carolina at Chapel Hill, September 22, 2011). Dr. Warner generously gave me his lecture notes, and quotations will
be taken from this document. See also, audio of related lectures at: Michael Warner, “The Evangelical Public
Sphere,” accessed March 18, 2014, http://repository.upenn.edu/rosenbach/2/.

6
modes of critique.

Having briefly addressed what and why, a word on how my study is organized. The

present introduction offers a vocabulary and methodology for exploring religious video games in

terms of the digital, the religious, and play. By seeking out such capacious dynamics to frame the

dissertation’s object, this chapter presents religious video games as evocative objects that

provoke surprising new perspectives for a great range of research. Chapter two presents a

theoretical perspective on the ways particular groups and their digital technologies transform one

another, and focuses our attention on the particular stakes of video gaming for Evangelical

Christians. Chapter three then situates Evangelical video games as historical instances of digital

religion.

Chapters four and five examine game-violence as a matter of concern through which

Evangelical video games locate their counterpublic. Chapter four performs this work by

historically situating Evangelical game critique within game-violence debates. Chapter five then

explores instances of the First-Person Shooter genre as recreated for Evangelical Christians,

engaging eight games in a way that approximates ethnographic field research, documenting the

time I spent in them and the entities I lived among there.

Chapter six begins to close the study by organizing reflections on the future of

Evangelical gaming in terms of “immersion.” My dissertation then closes with a chapter

recapitulating the previous chapters and proposing possible areas for research building upon the

present study.

7
Concerning Dynamism

Attending closely to religious video gaming can transform our larger theoretical

understandings of the world. That these curious artifacts have been so thoroughly neglected by

academic research should lead us to wonder what else we miss, and when we apply the tools that

their study requires, we find the world around them quite different than we remember it.

Even a full thirty years into its emergence, the phenomenon of religious video gaming

remains avant-garde. That is to say, its creativity has consistently charged ahead into areas

unmarked by extrinsic evaluative standards. Most of what has been said about religious games

has remained in the communities that create and enjoy them. Every few years a newspaper

discovers an example and writes an exclamatory article on the subject, and bloggers on obscure

games have recently discovered religious instances as a convenient cluster for derision, but

academic analysis has been almost entirely absent. Perhaps we academics have been mostly

silent for the same reason newspapers have been titillated and trolls have been belligerent: the

religious video game is simultaneously digital, religious, and playful. Whatever tentative sense

we make of one category might be able to sustain the weight of a second, but with three, it is

hard to know what to say.

Let us begin, then, by making dizzying complexity our foundational assumption. We can

well situate the problematics of the digital, religion, and play as varieties of what Donna

Haraway calls “contact zones.” She herself adopts the term from Mary Pratt's studies of colonial

interaction: “A 'contact' perspective emphasizes how subjects are constituted in and by their

relations to one another … It treats the relations … in terms of co-presence, interaction,

interlocking understandings and practices, often with radically asymmetrical relations of

8
power.”8 A contact zone, then, is a sort of plane, like the surface of the sea, across which we

might say there was interaction, if it made any sense to say the various sides would exist without

one another. They are spaces of co-becoming.

Like Haraway's When Species Meet, this dissertation seems to find contact zones

everywhere. This is because both attempt to consistently apply “agential realism,” a relational

ontology developed through Karen Barad's work as both a physicist and feminist historian of

science. From this perspective, “the primary ontological unit is not independent objects with

inherent boundaries and properties, but rather phenomena. In my agential realist elaboration,

phenomena do not merely mark the epistemological inseparability of observer and observed, or

the results of measurements; rather, phenomena are the ontological inseparability/entanglement

of intra-acting 'agencies.' That is, phenomena are ontologically primitive relations – relations

without preexisting relata.”9 An agential-realist ontology has no room, then, for “individualism”

(including, but not especially human individualism), the indemonstrable, and finally unhelpful,

ideology that parcels the universe into discrete “things.”10 Wherever it turns, an agential realist

ontology discovers processes of co-creation.

In the context of the academic humanities, agential realism has especially interesting

effects because it cannot locate human beings but only human becomings. Though we are

professionally bound to consideration of the human, this ontology grants us permission to admit

that our instruments cannot locate that creature's independent characteristics. The human is

8
Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation (New York: Routledge, 1992), 6-7, quoted
in Donna Haraway, When Species Meet (Minneapolis: University of Minnesota Press, 2008), 216.
9
Karen Barad, Meeting the Universe Halfway (Durham, NC: Duke University Press, 2007), 139.
10
Barad, 139.

9
entangled with the world around it, and the researcher emerges together with her/his object of

study. Entelechies like reason vanish, making room for relational practices like reasoning (or at

least rationalization). Our disciplinary focuses become gestures toward specific dynamics.

Ranges of inquiry like religion, digital culture, or play describe immense contact zones between

the human and the various others with which it emerges. From digital phenomena there emerge

algorithms that raise questions about human intelligence; from religious phenomena there

emerge border negotiations and cross-border commerce with angels, demons and other

non-humans; from playful phenomena there emerge lively objects that we cannot quite place as

either self or other.

Readers may freely (and will necessarily) disagree on the initial referent of “human” in

these relational formulas. This diversity is not a problem to be solved. What matters is that

relational statements of this kind are read as describing dynamics of emergence across which the

reader's own humanity might entangle with mutually constitutive others.

The opening section already presented a few of the strange tendencies of the humanities

with a contingent human. Above, the brief mention of the awareness of digital entities was not

an attempt to impute human characteristics improperly (or metaphorically) to computer software,

but only to describe the specific senses in which digital entities like that Roman guard can

process their surroundings. From an agential realist position, awareness is an achievement within

an economy of knowing that does not prioritize the human: “Brain cells are not the only ones that

hold memories, respond to stimuli, or think thoughts… Knowing is a specific engagement of the

world where part of the world becomes differentially intelligible to another part of the world in

10
its differential accountability to and for that of which it is a part.”11

Likewise, without a firm, non-relational humanity, we cannot locate a secular sphere.

Since this study is concerned with Evangelical Christianity, it describes the space outside that

religion as “the world.” Of course, both “worldly” and “secular” are English cognates of

saeculum, meaning “of the present age,” but locating them requires different ontological

orientations. To locate the secular is to attain transcendent knowledge, to see the age without the

distraction of any particular ontological orientation, a task which exceeds the ambition of the

present study. To locate the worldly, on the other hand, only requires “mimetic skepticism,” a

good faith attempt to integrate the concepts under examination into the study in hopes that the

paradoxes produced by this praxis are themselves analytically valuable.12

One does not apply a relational ontology in order to make things more complicated, but

in order to do justice to complex situations. It is a strategy for producing reliable photographs of

a blurry world. The religious video game emerges at the intersection of three dynamics, where

religion, the digital, and play transform one another and bring one another into being. Programs,

prophets, and players draw one another into existence, troubling our easy conceptions of what it

means to be human. The remainder of this chapter will locate religious video games through

these three dynamics so the remainder of the text can burrow deep into the specifics of

Evangelical video gaming.

11
Barad, 379.
12
Robert Alter, Yoga in Modern India (Princeton, NJ: Princeton University Press, 2004).

11
Where Does the Digital Begin?

How shall we describe the potentials religious people discover in technology? Bruno

Latour would have you remember the weight of a hammer in your hand. It is not simply that the

hammer allowed you to enact preexisting desires; there are visions of action that only arise while

you feel the hammer's heft. “It is what James Gibson has so well documented with the notion of

‘affordance,’ at once permission and promise: thanks to the hammer, I become literally another

man.”13 Or, in Gibsons's own words, “The affordances of the environment are what it offers the

animal, what it provides or furnishes, either for good or ill... an affordance is neither an objective

property nor a subjective property; or it is both if you like. An affordance cuts across the

dichotomy of subjective-objective and helps us to understand its inadequacy. It is equally a fact

of the environment and a fact of behavior.”14 The implications of the subject/object collapse are

clearest when we consider the affordances between similar animals: “We pay closest attention to

the optical and acoustic information that specifies what the other person is, invites, threatens, and

does.”15 But, even when we are considering the affordances at the juncture of very dissimilar

entities, like a human and a hammer, an affordance describes the possibility for action in a

co-creative interaction: driving a nail into wood is a task which neither you nor the hammer

could perform apart, and as you take on this possibility you both become something new.

In this light, we can begin to discuss Evangelical video games as a new possibility, an

13
Bruno Latour and Couze Venn, “Morality and Technology: The End of the Means,” Theory, Culture & Society
19.5-6 (2002): 250.
14
James Gibson, The Ecological Approach to Visual Perception (New York: Taylor and Francis Group, 1986), 127,
129.
15
Gibson, 128.

12
affordance that only emerges where the Evangelical counterpublic and video gaming create one

another anew. However, these are instructive subsets of the digital and the religious,

respectively, and we cannot well understand the Evangelical video game without understanding

the greater parallel affordance in digital religion. Toward that end, the following two sections

present working definitions of the digital, and the religious. The presumption that there exists

digital religion can be expanded as follows: digital media present algorithmic models for human

life, and these models may be adopted and adapted, inhabited and inhibited by religious groups,

transforming both the technologies and the theologies involved.

I place this initial assumption upon the mutually constitutive terrain of the affordance to

prevent it from reading as a chiliastic species of technological determinism.16 Quite the contrary,

I hope to demonstrate that the history of digital religion is a trail of co-emergences that would be

violently distorted were they to be framed as technologically, culturally, or theologically

determined. While new models of humanity are at stake, the present study shares little ground

with theorists who announce or anticipate the passing of homo analogicus. Already in 1998,

Nicholas Negroponte asserted optimistically that “belonging to a digital culture binds people

more strongly than the territorial adhesives of geography – if all parties are truly digital,” and in

2001 Richard Stiver fretted that “technology is destroying the human capacity to symbolize our

life-milieu.”17 If credible, either proposition would have profound implications for the

possibility of religion. Yet neither is pertinent to the present analysis. The assertion that, because

16
That is, prediction and theorization on “last things,” including, especially, the world's last days.
17
Nicholas Negroponte, “Beyond Digital,” Wired, June 12, 1998, accessed March 25, 2011,
http://web.media.mit.edu/~nicholas/Wired/WIRED6-12.html; Richard Stivers, Technology as Magic: The Triumph
of the Irrational (New York: Continuum Publishing, 2001), 42.

13
I could approach those guards and hear their question, I have become digital is only as true as the

assertion that the guards became analog, in that their question actually provoked me to ask at

what I was looking.18 When we cautiously seek the break – either the analytical last instance

beyond which the material and economic changes of the information age are determinative of the

human consciousness surrounding them, or the apocalyptic/utopian last instance, the point of no

return (perhaps already passed) of speculative futurists, beyond which humans will be more

digital than analog – we find only hybridities, and never a change in kind. The first thirty years

of the Evangelical Christian video game, and the history of digital religion more generally, give

us little cause to anticipate the sudden arrival of a new age. Religious video games present a

contact zone between the biological and the artifactual, the sacred and the scientific, an

approaching past and a receding future.

Given the presence of entities like Catechumen's angels, demons, and humans – beings

whose liveliness is so closely bound to the recent possibilities of digital computing – it would be

disingenuous to propose an analysis free of surprising discontinuities. Surely there was a time

when such things did not happen; certainly many worlds emerged and passed away before the

creation of digital angels. The question is where to place this line historically, and to what

material situation it corresponds. Both the question, and its answer, can be well introduced

through the mathematical concept of discretization.

The “digital,” significantly, is etymologically derived from the practice of counting on

the digits of a human hand. The ancient farmer used her fingers to transform how much rope she

18
For an enthusiastic and highly speculative account of an epochal shift wherein most humans would come to
consider most aspects of their lives in terms of “bits” rather than “atoms” see, Nicolas Negroponte, Being Digital
(New York : Knopf, 1995).

14
held into how many arm-lengths it was, by raising one finger with each comparison passed. No

part of this process, however, was unambiguously discrete: both ropes and arms have soft edges,

a nail never digs into a palm deeply enough to mark an absolute on/off distinction. But, for the

purposes of memory (personal and transmitted) the simplification was quite effective. Four

fingers and a stretched arm created a compound sign that could reproduce a workable

approximation of that first rope from another. This is the work of discretization (dividing

continuous quantity into countable units or stable ratios, including 1/0, on/off, yes/no). And

beyond durable but imperfect mnemonics, discretization also allows for the manipulation of

quantity through algorithms (finite sets of prearranged categories and commands arranged into

logical chains, or to use a definition that recalls the Roman guard who opened our inquiry, “any

sequence of instructions that can be obeyed by a robot.”)19 But the algorithm long predates the

robot: if asked, the farmer could count off three ropes, each four arms in length.

Of course, if we were to follow certain theorists of the algorithm, like Daniel Dennett, it

would become quite difficult to bound this study at all; the angels would always have been

robots. He argues that sunlight (in producing cracks in clay), waves (in producing grains of

sand), animals (in producing corpses), and brains (in producing language) are always only

performing algorithms.20 But to get to this point Dennett must declare that there is no mind

anyplace, a proposition that requires a God’s-eye-view of the universe, and which seems no less

presumptuous (nor illogical) than its opposite. “Discretization,” perhaps, is to Dennett’s

19
Harold S. Stone, Introduction to Computer Organization and Data Structures (New York: McGraw Hill, 1972),
4.
20
Dennett, D. C., Darwin's Dangerous Idea: Evolution and the Meanings of Life (New York: Simon & Schuster,
1995), 57.

15
one-eyed-god what “holiness” is to the Christian God.

To quote Bruno Latour “The Big Picture is just that: a picture.” Any theory that claims to

offer an image of everything can present only a “panorama,” a closed system whose inclusions

seamlessly connect to one another, preventing the entry of extraneous data.21 So if we instead

join Latour and Nietzsche in abandoning the study of everything-at-once, we might limit our use

of “algorithm” to a range of material practices through which humans negotiate their

world-facing edge. Whether humans claim to have painstakingly extracted an algorithm from

surrounding reality, or carefully imposed it upon matter, this specific kind of algorithm marks a

shifting frontier around humanity, a robosphere where the non-human world seems to scintillate

with intelligence. If there are algorithms neither created nor discovered by humans, we need not

concern ourselves with them.

In this range, systems of well-trained humans, gears, mechanical punch cards,

vacuum-tubes, and transistors have each formed artifactual discretizing machines that have

proven themselves sufficiently amenable to human prediction to encourage their application in

more and more complicated algorithmic processes. For this dissertation, a chain of algorithmic

machines is called “a computer.” And where these machines discretize their own outputs to

binary (on/off) sequences to communicate with one another, they are described collectively as

“the digital.” Everything else is identified as “the analog,” with no presumption that the

processes inside of digital machines (like the flow of electrons in wires) are really discrete, nor

that processes out here (like the leaps of electrons from one atom to another) are really

21
Bruno Latour, Reassembling the Social: An Introduction to Actor-Network-Theory, (Oxford: Oxford University
Press, 2005), 187.

16
continuous.

Here, having provisionally limned the digital, I should take a moment to explain how this

relates to our ongoing investigation. “Computer” designates a network of algorithms created or

discovered by humans, and if those algorithms communicate in binary, they are “digital.” Within

these bounds, the digital is a historically specific affordance between the algorithmic and the

human –a range of reciprocal interaction and emergence. Secondly, it is noteworthy that this

definition of the digital marks a provocative boundary, at least from the human side. Perhaps

because the digital necessarily includes communication between algorithms, or perhaps because

of some secondary effect of that communication which humans read as confusingly familiar, the

digital seems to provoke questions about the limits of humanity in ways that isolated algorithms

do not. “Do computers have rights?” and “Is Deep Blue smarter than Kasparov?” are provocative

questions, whereas “Does long-division have rights?” and “Am I smarter than rounding up?” are

apparently incoherent.22 In Latour's terms, the single algorithm is already a nature-culture hybrid

that demonstrates the contingency of the division of humans from the world, but its challenge

was long overlooked; the computer, however, as a system of algorithmic machines, is itself a

“proliferation of hybrids” that highlight the liveliness of algorithmic agents.23

That computers raise questions on the nature of human intelligence should not surprise

us. The first instance of digital computing was Herman Hollerith's punch card tabulation system

for the 1890 US census, and it was invented specifically because “barbaric” human accounting

22
For a psychoanalytic study of the ways computer usage transforms the human subjectivization, with special
attention to how changes in patterns of dreaming seem to indicate a provisionalization of the boundaries between the
human interior and the world, see Raymond Barglow, The Crisis of the Self in the Age of Information: Computers,
Dolphins, and Dreams (London u.a: Routledge, 1994).
23
Bruno Latour, We Have Never Been Modern (Cambridge, Mass: Harvard University Press, 1993), 49-51.

17
could not adequately perform the algorithmic tasks of human-counting: “It is to-day impossible

to obtain the slightest reliable statistical information regarding the conjugal conditions of our

people.”24 Sixty years later, an article by Alan Turing established the word “computer” as we use

it today by externalizing algorithmic processes previously performed by human accountants:

“The idea behind digital computers may be explained by saying that these machines are intended

to carry out any operations which could be done by a human computer. The human computer is

supposed to be following fixed rules; he has no authority to deviate from them in any detail.”25

This article, further, establishes “the imitation game” as an enduring standard for machine

intelligence. To wit, it asks whether a computer could play a game whose only object is to

imitate a human for a human judge, and whether it could win. “These questions replace our

original, 'Can machines think?'”26 With the ongoing creation of computers that regularly win the

imitation game –as well as chess and “Jeopardy”– the nearness of computer and human

intelligence has only become more perplexing since these beginnings.

Though the computer cannot be separated from this excitement, it must not be confused

for it. As long as there have been computers, their nearness to humanity has invested them with

mythical qualities. Steve Jobs, for instance, called the iPad “magical and revolutionary,” and

early players described Super Mario Bros. (Nintendo, 1985) as “jumping into a TV cartoon and

24
Herman Hollerith, “An Electrical Tabulating System,” The Quarterly (Columbia School of Mines) X.16 (April
1889), 238-255.
25
Alan Turing, “Computer Machinery and Intelligence,” Mind, 59 (1950), 433-460, digital version accessed March
3, 2014, http://www.loebner.net/Prizef/TuringArticle.html .
26
Ibid.

18
becoming the star character.”27 Historical computers and their attendant myths will inform our

present study. The myths of possible computers – like those which will allegedly replace

interhuman romance, or which contain the entire universe – will be approached as a type of story

that accompanies historical computers. That is to say, if the games we study seem to be diverse

or repetitive, simplistic or complex, or however else, it will not be because they were made on

computers, but perhaps because they were made on those computers. In every instance, the

mythical affordances of digital religion's specific computers will be our object.

To recapitulate, this section began with the notion of the affordance, a possibility created

in mutual transformation, and set out to locate “the digital” as half of the affordance well named

“digital religion.” The digital, it seems, is a strangely lively range among the algorithms that

humans have claimed to discover or create. While the apparent intelligence of these algorithms

always problematizes the location of the human a little, their automation and acceleration in

binary computers has provoked startling new questions on who we are with respect to

algorithmic life. Are we leaving our bodies for digital worlds? Are we leaving our lovers for

digital ones? Will computers replace us altogether? These questions are interesting, for a study of

this sort, because they are intimately connected with the entangled emergence of historically

specific computers and their humans.

Provisional Definition of Religion

Toward an articulation of digital religion as an affordance between the digital and

27
Apple, “Apple Launches iPad,” accessed March 3, 2014,
https://www.apple.com/pr/library/2010/01/27Apple-Launches-iPad.html ; Nancy Mullen, “Nintendo reigns in
Toyland, but parents rule at home,” Christian Science Monitor (Boston, MA) December 5, 1988; Daniel Golden, “In
Search of Princess Toadstool,” The Boston Globe November 20, 1988, Sunday, City Edition.

19
religious, I deploy a definition of the digital which articulates it to religious studies. And,

conversely, in seeking a definition of religion that allows us to meaningfully engage

technocultures of popular computing, this dissertation follows David Chidester in referring to

negotiations concerning the place of humanity among non-human entities as “religion.”28 Within

this frame, I understand the work of religious studies to be the investigation of discourses and

practices that structure commerce across borders of humanity, and/or negotiate that border's

position. Religious studies, thus, might investigate the shrines, rituals, scriptures, and meditations

through which humans and various non-human beings communicate, and the historical processes

by which the exchanges at those sites change.

This definition is well suited to the study of Evangelical games, first, in that it allows us

to discuss world-making projects shared between Christians, their God, and various other

agencies without reducing any of them to analogies. And second, it allows us to observe

interactions of this sort even when they are unclothed in an aura of factuality, and seem,

ultimately, unconcerned. That is, it allows us to presume religion is real, without presuming that

it is believed. If we frame the religious as a field of quite serious and fully believed notions,

religious video games become unthinkable, but so too does most lived religion, that range of

intrepid ad hoc practice that necessarily exceeds (and frequently transgresses) documented

theologies. Robert Orsi's definition, created to grasp lived religion, and focused on “making the

invisible visible” so it can be “negotiated and bargained with, touched and kissed, made to bear

human anger and disappointment” would have produced an equally viable, though somewhat

28
Authentic Fakes, (Berkeley: University of California Press, 2005), vii-viii.

20
different study of religious games.29 In the end, any definition that frames religion as the

mutually-constitutive interaction between humans and equally contingent others, will work

nicely. I selected Chidester's, however, because it was created to grasp not only the work of lived

religion, but specifically of world-making projects that seem to neither apply seriousness, nor

produce belief.

Let us consider, for instance, Timothy and Titus (Sunday Software, 2007), an Evangelical

game which, like Catechumen, we will want to call “religious,” but which might not be believed

by anyone. Here we have an action-adventure game starring the authors of the eponymous

Epistles as a superheroic duo, traveling the Mediterranean in pursuit of a woman who escaped

with Paul's letters to the churches. At the top of the screen there are meters for resources that the

game calls “faith,” “hope,” and “love,” and which a non-Christian game might call “magic,”

“lives,” and “health.” Thus, if I fall off a ledge, or am attacked by non-Christians, I lose a

pre-arranged quantity of Love; when Love runs out entirely I lose one Hope. But this loss of

Love can be prevented in various ways by expending Faith (it can be spent, for instance, on

healing maneuvers, or to power my glowing-light defenses). That is, Faith, like magic in other

games, is a sort of quantified electricity that can perform an assortment of in-game tasks.

The names of these three quantities seem to have been selected for their prominent place

in 1 Corinthians 13:13, but how does that contribute to this game's religious work? Would, in

fact, the game have been any different if they had been called “magic,” “lives,” and “health?”

Note first how a rhetoric of belief does little to clarify what is happening. There is no proposition

29
Robert Orsi, Between Heaven and Earth (Princeton, N.J.: Princeton University Press, 2005), 73-74.

21
 Illustration 2: “Pick up yellow wings to get more Hope”

here to believe. If the player were to learn from this game, for instance, that there is a rigid

economy wherein Faith, Hope, and Love are exchangeable one for another in various ways,

those hoping to defend the game would easily disown the heresies thus produced as the fault of a

player who forgot that this was “just a game.” In some cases this disavowal is offered by

developers - The War in Heaven's (Eternal Warriors, 1999) instruction manual: “Although

spiritual warfare is a very real and serious subject, the War in Heaven is primarily a game, not a

theological treatise.” - and in other cases it is fans who dismiss the heretical seriousness - A

positive review of Left Behind: Eternal Forces (Left Behind Games, 2006): "I have to admit that

it’s a bit unrealistic losing your faith just because you hear cussing or rock music by evil

musicians. Then again, it’s just a game.”30 Likewise, reversing the process, for instance, by

30
Eternal Warriors LLC. “About the Game” in The War in Heaven (ValuSoft, 1999); “Left Behind: Eternal Forces,”
accessed March 18, 2014, http://www.christcenteredgamer.com/index.php/reviews/18-computer/4855-left-behind-
eternal-forces.
22
understanding in-game health through 1 Corinthians 13, while not heretical per se, produces

gibberish (“Health points are patient. Health points are kind”). We can, however, say that these

quantities are religious in that they negotiate the borders of humanity from where the player

stands.

Not every game has variables that we might call “magic,” “lives,” and “health,” but

wherever they appear, these are the constitutive potencies of the player's presence in the game,

quantities which must be managed at every moment of game play. The first empower most

player actions, and the following two are macro- and micro-units of play itself. By identifying

them as “faith,” “hope,” and “love,” Timothy and Titus' design team has established a metonymic

chain that binds the player's ability to play the game to their identification as a Christian. We

cannot say that only Christians play this game, nor that all Christians recognize this verse from 1

Corinthians. We can say, however, that the game is staged as a quest for the Epistles inside the

Epistles, played as their authors, and that this may inspire some players to read those texts, and

others to remember them. Where this happens, the player may discover “faith,” hope,” and

“love” as quantities that describe the human's relationship to the divine. For the player who holds

the double reference in mind, “faith,” “hope,” and “love,” describe the inhabitable place in two

different worlds, and their presence in one affirms their presence in the other.

Those three words mean irreconcilably different things in those two worlds, but the

player is invited to know herself across both worlds using them, simultaneously. We find the

same dynamic wherever the Sword of the Spirit becomes an offensive weapon or pages of the

Bible restore health, wherever saints are reimagined as action heroes or scripture knowledge can

be traded for abstract reward points. This is the religious work of the religious game: they invite

23
the player to dual citizenship in irreconcilable worlds by circulating material that organizes what

it means to be human in either, but can only be translated in terms of the religious player's

simultaneous presence in them.

Following Victor Turner's analysis of initiation rites, we can call the materials through

which the borders of humanity are negotiated, “sacra.”31 These are the “basic building blocks

that make up the cosmos and into whose nature no neophyte may inquire.”32 In the games at

hand, as in the rituals Turner studied, sacra are transmitted in “monstrous” form, and their

reception facilitates membership in a religious community. The procession of video game sacra,

in Evangelical terms seems to be: “X” defines one's situation as a human with relation to the

game (a player); play is crafted to draw the player toward Evangelical discourse; Evangelical

discourse explains that “X” defines one's situation as a human with relationship to the Lord (a

Christian). The Evangelical game is religious, then, not because it encourages belief, but because

it invites players to be a human in an Evangelical way and in relation to other Evangelicals.

Given, then, that “religion” designates negotiations concerning the place of humanity

among non-human entities, we can perform a few conjugations: things (persons, controversies,

performances, thoughts, texts, etc.) are religious when they stage such negotiations; a durable

confederation of humans and non-humans that collectively negotiates the borders of humanity is

a religious organization (or “a religion” for short). And, finally, this dissertation locates “digital

religion” as an affordance between religious organizations and digital agencies. An affordance is

a possibility for co-emergence between a form of life and its environment, and digital religion

31
Victor Turner, The Forest of Symbols: Aspects of Ndembu Ritual (Ithica, NY: Cornell University Press, 1967),
102-110.
32
Turner, Forest of Symbols, 106.

24
can describe either digital life in religious environments, or religious life in digital ones. Limiting

ourselves to the specificity of religious organizations will prove valuable in ways similar to the

decision to observe historically localized computers. If it did not seek out relatively durable

confederations, a study of religion may find itself attempting to describe a dynamic that appears

wherever it looks. The relative durability of specific religions can be located in the practices and

discourses that their human and non-human members share, and these leave traces we can study.

These working definitions may begin to clarify why digital religion tends to generate

enigmatic and paradoxical cultural forms. The religious is the range of life that negotiates human

borders, and the digital is a particular tendency toward the automation of intelligence within the

algorithmic robosphere at humanity's world-facing edge. Digital religion, then, is an area of

peculiar involution where texts and practices already concerned with the boundaries of humanity

are accelerated, vivified, and further complicated through computerization. Again, to apply

Chidester’s words, the synergistic tangle of digital religion bestows a “certain degree of urgency

upon questions of human identity.”33

Religious studies has been developing its trade argot for the examination of digital

religion for fifty years. If we count the production of philologically informed computer programs

for indexing scripture as academic religious studies, our discipline produced digital religion, but

even if we only retroactively identify with writers of articles, we have been there from quite the

beginning. Jacob Neusner’s essay “Scholars and Machines,” perhaps the first academic

evaluation of scripture’s passage through computers, is significant, both because it well presents

the urgency of digital religion, and because he makes no effort to extricate his own writing from

33
Chidester, 29.

25
it. Monumental mainframe computers had recently processed thousands of fragments of the

Dead Sea Scrolls, producing comparisons, corrections, and indexes on a scale never attempted by

humans. Neusner understandably began by asking whether scholars of “humane letters” (a field

which includes rabbis, priests and secular academics), would soon lose their jobs to

mechanization, a very real possibility for many other professions in 1965.34 He comforted the

human humanists through the analogy of visual artists facing the invention of photography in the

late nineteenth century: both those who adopted the new technology and those who did not

discovered, when confronted with the camera’s verisimilitude, that their work was never “the

technical representation of reality” but “the representation of what man actually sees.”35 Faced

with a similar challenge by the thinking machine, Neusner proposed that the computer would

free humane letters from pedantic sorting work, allowing scholars to focus on what he claims

was always their task. Humanists are those “most unmechanized of men” who explore texts by

prior humans “to recover and ponder the memories and wise insights of the mind of man”

concerning the “wisdom, heritage, and worth” of “man” and apply them to contemporary

“human issues;” “Then the humane search for truth becomes, in itself and in its consequences, a

statement of being.36” More than circular, the argument is epicyclical, a five-fold knot where

every loop turns around an unclarified notion of “human life.” We need not attempt to discover

who this human is, nor whether we must agree with Neusner when he claims that its

34
It certainly includes “traditional Jewish students of the Talmud” as well as “the founders of Jewish Science,” and
others engaged in “philology and text-criticism.” Jacob Neusner, “Scholars and Machines,” in History and Torah:
Essays on Jewish Learning (New York: Schocken Books, 1965): 74, 73, 70.
35
Neusner, 69, 74.
36
Ibid.

26
confrontation with computers clarifies an ancient task of self-discovery rather than beginning

some new process in which computers are also agents. For now it will be sufficient to note that

the efforts of machines to read the Dead Sea Scrolls provoked the great scholar of Judaism to call

out urgently for humans: while computers may be able to crunch text-as-number in ways humans

cannot, those texts have been charged with a task in the service of humans, and they cannot

perform it without our unmechanized reflection. The present study does not disagree. But we

must recognize that the image of humans humanely humanizing human texts through the

humanities is a provocative acceleration of the question itself, not yet an adequate explanation

for the sense in which we are not computers. Even if, at some point in these last fifty years,

humans and computers had stopped moving long enough for their outlines to be traced, the

difference may still not have become clear. Moving forward, Neusner’s knot will serve as a

signal that the digital provides paradoxes of the sort that provoke scholars of religion (with the

hope that religion will provide paradoxes to provoke scholars of the digital).

Let us close this section's provisional definition of religion by directing this fascination

back along the path we have just traveled. Adapting the work of David Chidester, this

dissertation defines religion as negotiations of humanity's borders, and the movement of traffic

across them. Following Victor Turner, the materials that are rearranged in these negotiations and

transactions are called “sacra.” Defining religion in this way allows us to consider religion as

processes of non-metaphorical encounter without presuming that it necessarily requires belief or

seriousness. A cursory look at the Evangelical game Timothy and Titus illustrated why a

definition of this sort is necessary. This game is religious not because anyone believes in it, but

because it mobilizes scriptural words and images to welcome players into an Evangelical

27
counterpublic.

Having now established the two components of digital religion, the foregoing section

closed with a rereading of Jacob Neusner's “Scholars and Machines.” This first scholarly article

on digital religion demonstrated the excitement produced where two dynamics complicate one

another. And we must now add a third and final foundational dynamic to our analysis. It will not

negate the peculiar liveliness of digital religion in any way, but it will make religious video

games thinkable as a specific range of creativity.

Excursus on Play

“Play” here will designate those activities that the psychoanalyst D. W. Winnicott situates

across the lively “potential space” that comprises the soft border of the human subject: “It is

outside the individual, but it is not the external world.”37 More precisely, in Winnitcott's clinical

practice he observed that the sense that a person has a self distinguishable from the world

depends upon shifting interactions across a “playground” of lively entities that resist both

othering and selfing. Infants tend to have a few specific “transitional objects” which seem to

have life of their own, and in time those objects lose their intrinsic value as the possibility of play

is “spread out over the whole intermediate territory between 'inner psychic reality' and 'the

external world as perceived by two persons in common,' that is to say, over the whole cultural

field.”38 Across our weaned lives, the bewildering liveliness of those early transitional objects,

now dispersed into everything continues to surprise us, catching us up in wild moments where

37
Winnicott, 51.
38
Winnicott, 5.

28
we lose ourselves. Play, then, is a name for the way our subjectivity both emerges and dissolves

through our grammatically complicated engagements with well worn blankies, religious artifacts,

“culture,” and the “electricity” upon a lover’s skin; it is difficult to say whether we act upon them

or them upon us.39

But play, as Winnicott envisions it, resists historical analysis. Play only exists in

particular instances, never in general. Remember an infant loving her first possession; remember

how merely washing it could render it foreign.40 If no similar object can stand in for it, how

much less can a general one? And without generalization, we do not have a history, but an

endless expanse of specific, private exuberances. We can, however, historicize toys and games as

machines for limiting play. Toys place the object of play within an extrinsic cultural continuity,

and games place the process of play within a matrix of rules. Play thus structured, however, is

not somehow inferior to Winnicott's vision of the primal play that develops into cultural play.

We might consider the vectoral tendencies produced by toys and games like deeply worn paths

in an open field, or currents in the sea. There are things, both collectively and personally, that

can only happen when play is constrained by structure. In Victor Turner's words, “Consciousness

must be narrowed, intensified, beamed in on a limited focus of attention. 'Past and future must be

given up' -only now matters. How is this to be done? Here the conditions that normally prevail

must be 'simplified' by some definition of situational relevance. What is irrelevant must be

excluded.”41 Fortunately for our study, video games are both toys and games.

39
Winnicott, 54, 6, 98.
40
Winnicott, 4.
41
Victor Turner, “From Liminal to Liminoid in Play, Flow, and Ritual: An Essay in Comparative Symbology,” Rice
University Studies 60.3 (1974): 87.
29
 Like a ball crafted to invoke professional sports, a character-doll already invested with

stories, or a tiny lawnmower, a video game is a toy. It both limits and accelerates the possibilities

of play toward the enactment of familiar tales. Video games, as toys, can be studied in terms of

who presents them to what playerships in continuation of which stories. Walter Benjamin noted

that playthings are “imposed on [a child] as cult implements that become toys only afterward,

partly through the child's powers of imagination.”42 These further powers must not be neglected

in analysis, particularly because the discovery of perverse or pious play through differently

narrativized toys often produces new toys. Many Evangelical video games, for instance, have

been mods, hacks, or clones of worldly ones. But we should also not assume that the excesses of

play are consistently productive. Play sometimes just exceeds the toy:

Playmobil makes a Nativity playset complete with camel, frankincense and myrrh, Jesus, Mary, Joseph,
and the guiding star – all the necessary elements are there. But these pieces are not limited to reenacting a
narrow telling of one sacred story […] other dolls like Playmobil firemen, Santa, Roman centurions,
racecar drivers, and Snoopy – virtually any toy character you can imagine – can and do make their
appearance at the manger as well.43

Like backgammon or dress-up, a video game is a game. It halts play where it reaches

particular limits. Brian Massumi usefully describes rules and the mechanisms for enforcing them

as transcendent relative to the immanence of play. The referee has the power to stop play when it

exceeds specific parameters, producing the specificity of a rule bound game that can recur,

allowing for later variation. “The inclusion of that anti-event-space in the event space not only

allows particular moves in the game to be qualified as to type (attributed intrinsic properties of

42
Walter Benjamin, “Toys and Play,” in Selected Writings 2.1, Michael W. Jennings, Howard Eiland, Gary Smith,
and Rodney Livingstone, eds. (Cambridge, Mass: Belknap Press of Harvard Univ. Press, 2005): 118.
43
Nikki Bado-Fralick and Rebecca Sachs Norris, Toying With God: The World of Religious Games and Dolls (Waco,
TX: Baylor University Press, 2010), 61.

30
fairness or foulness common to any number of other moves)… The anti-event-space is the

injection of generality into the particularity of the game, with which it channels into the

singularity of the play (this game as such, this game, an event).”44 Video games, as games, can

be studied in terms of when and how they halt play, and how regulatory structures transform

over time. Again, however, we should be cautious not to neglect the excesses of play. The cheat,

the spoilsport, and the over-achieving player who takes on novel prohibitions transform games.

Consider, for instance, the tendency of Evangelical game reviewers to evaluate whether it is

possible to complete a game while avoiding features they find morally objectionable: “The game

does promote violence with the car-jacking and stuff, although it is still optional, so you don't

have to do it if you don't want to.”45

If approached carefully, then, video games, being both games and toys, can ground a

study of play in historical specifics. That said, scholarship on video games has not shared these

findings with the many fields that could benefit from them. As the nineteen-nineties ended, the

tone of academic responses to video games changed dramatically. Whereas most prior

scholarship had only regarded the growing popularity of video games as a more or less severe

threat to the well being of children, a new generation of “scholars, many of whom had by now

grown up with [home video game] consoles” opened the new academic discipline of “game

studies” around this time, offering a range of alternative evaluations of digital gaming.46 This

44
Brian Massumi, Parables for the Virtual (Durham, NC: Duke University Press, 2002), 71-80.
45
Imfagentsamfisher, “Jak 2 (PS2),” accessed March 6, 2014,
http://www.christcenteredgamer.com/index.php/reviews/19-console/4479-jak-2.
46
Nick Dyer-Witheford and Greig De Peute, Games of Empire: Global Capitalism and Video Games (Minneapolis:
University of Minnesota Press, 2009), xxv.

31
dissertation joins that recent wave of scholarship and may be classified as a work of game studies

as well as of religious studies. With scholars like Espen Aarseth and Mark Wolf, I share the labor

of examining video games as a data set for the humanities, and approach their surrounding

cultures as interesting material for history and the social sciences. However, the first generation

of player-scholars has tended to write for an audience that is at least as familiar with the games

being discussed as with the theories through which they are being filtered. Some scholars, like

Alexander Galloway, even take special pains to clarify his interlocutors as an imaginary

generation composed entirely of gamers (an identitarian configuration hard to locate with any

tool finer than bare assertion, despite the popularity of video games) and to dismiss outsiders as

irrelevant to the conversation: “Our generation needs to shrug off the contributions of those who

view this all as so new and shocking. They came from somewhere else and are still slightly

unnerved by digital technology. We were born here and love it.”47 And even when such a

division is not explicitly articulated, one is often created by embedding knowing references to

specific popular games at the center of dense arguments, leaving no alternate path for those who

have never played them. This has, unfortunately, nurtured an intellectual environment that

partitions game studies away from the many scholars in various fields who might productively

engage the emerging discipline's claims concerning the changes in popular media over the last

fifty years.48 Video games are sites of vital interaction among and across diverse social,

technological, and ideological fields, and thus merit the analytical attention even of scholars who

47
Alexander Galloway, Gaming: Essays on Algorithmic Culture (Minneapolis: University of Minnesota Press,
2006), xii.
48
Spacewar! one of the four primary contenders for “the first video game,” and apparently the first electronic game
to circulate on multiple computer systems, was created in 1962. Stewart Brand, “Spacewar: Fanatic Life and
Symbolic Death among the Computer Bums,” Rolling Stone, December 7, 1972, 40.

32
will never play them.

Video Games as Mundane Software

In response to scholarship that insists on provincializing research on video games, I

propose that the stakes are too high to limit discussion of this cultural form to communities of

fans. This chapter has sought to establish how video games productively complicate our

understandings of lived religion, digital culture, and play quite generally. Thus I hope to invite

non-gamers into the conversation on video games by explaining how both the toy and the game

aspects of video games can be satisfactorily understood by anyone who has used a personal

computer with a mouse-based interface.

….

You could have been doing any number of things on your computer, but now you

entertain the possibility of playing a game. Perhaps you do not even close your word processor

and calendar. You pull a CD case from the shelf, snap the disc out, and place it into your drive.

The computer asks if you want to autorun the program. You click. The screen falls black.

The darkened screen lights up with a logo, an array of rusty iron gears printed “Genesis

3-D.” It is followed after a second by another logo, a reproduction of the fingertips from

DaVinci's “Creation of Adam,” God's finger almost touching Adam's, now over a spark of white

light, clearly rendered on a computer rather than with ceiling paints, surrounded by the words

“N'Lightning Software Development, Inc.” A blast of thunder sounds, though the spark remains

static. When it fades, one last logo sits at the top of the screen over a list of options:

CATECHUMEN. The letters are colored to glow like molten steel, and two images of flaming

33
swords flank the options on your screen: Game, Options, Graphics, Sound, Credits, Exit. Like it

usually controls an arrow, sliding the mouse now moves a sword up and down the list, each word

growing slightly larger when your sword touches it.

This is frequently called a “start menu,” or a “start screen.” Note that it is unclear to what

extent you have “played a game” so far. In a tangle of homophones greatly resembling Neusner's

use of “human,” game criticism, both academic and popular, broad and narrow cast, tends to use

the word “game” for several components of this engagement. The disc in its case is a game, the

program that this disk facilitates is a game, and now, if you click on the top option, you will run

a sub-program within that program, also called “a game.” And, should you be interrupted, you

will complain that your game has been disturbed.

For the purposes of this study, all digital systems that delimit and accelerate play,

combining the properties of toys and games, will be called “video games.” The start-screen and

its mechanics will be classified as “in-game.” This term, usually applied in game criticism to

designate only the diegetic layer of a game, will here identify all digital action facilitated by a

video game, whether it is emerging from the screen and speakers, or churning in backgrounds

inaccessible to the player. The intimately connected action in the analog world will be classified

with the neologism “out-game.” The in-game and out-game worlds emerge together. Consider

the contact zone where your mouse touches you. Ask whether a screen has one side or two. We

can start here.

The start-screen is a fitting place to begin our analysis of digital games because we have

already encountered several pervasive features of digital games, but have not yet reached a place

where we will be tempted to use the mystifying language of “immersion,” nor have any elements

34
appeared which lack meaningful parallels in a personal computer's interface. The sword-cursor

moves when you move your mouse, as your arrow-cursor moved on your computer's desktop. Of

course, as with your arrow-cursor, this interaction is quite limited. Rotating your physical mouse

in a circle only results in incidental jiggling in the on-screen cursor, whether it appears as a

sword or an arrow. Picking up the mouse and shaking it does approximately the same, and hitting

the keys of your keyboard does not affect it in any way. But when you resign yourself to using

the mouse as if it were laid over the plane of the screen, as the arrow-cursor is, whether or not

you continue typing, you can use it to interact with certain entities on the screen, though others,

like the hills printed on your desktop wallpaper or the flaming swords on the sides of

Catechumen's start-screen, seem not to sense your cursor at all.

It may seem peculiar to mention this surplus of motion, but it draws attention to a little-

considered aspect of computerized interaction: only a sliver of out-game action arrives in-game.

Just as, for some, typing is accompanied by muttering and finger drumming, so too do game

players often lean in their seats to follow the curves of a racetrack, or shout at their game

systems. In many cases, video games are accompanied by analog pressures that encourage or

limit surplus action, but there are necessary limits to what the digital apparatus itself can know.

Consider, for instance, dance-pad games, which are played by stepping on surfaces with

embedded buttons: some players might sway their hips to feel comfortable and rhythmic, but the

game cannot distinguish this behavior from awkward mechanical steps, or even from kneeling to

slap at the buttons with both hands. That is, the video game's properties as a toy interface with

the out-game world in places it cannot access as a game. This gap between what a video game

can perceive and what its supplemental materials might encourage is especially relevant in

35
religious instances. A press release might claim that one plays a video game featuring Christian

music by “praising God,” but the game's dance-pad cannot tell good-faith participation from

mockery.49

In the context of video games, general purpose input devices such as the mouse and

keyboard are called “controllers,” as are specialized gaming devices like joysticks, or dance-

pads. The relationship of a controller to in-game action is called a “control scheme.”

Conventionally, a control scheme is described in a second person that takes place on both sides

of the screen: “when you press 'up,' you jump.” Stewart Brand’s Spacewar: Frantic Life and

Symbolic Death Among the Computer Bums, perhaps the first piece of video game reportage,

already placed you in the computer in 1972.50 Here, again, the video game can be well

understood by anyone familiar with personal computers, which apply the same grammar: “when

you hit 'backspace,' you erased your work.” Where these two yous must be separated for clarity,

the digital one is a player-character, and the analog one is a player. Though player-characters

occasionally present eyes, limbs, and other features that evoke the sympathy of the player, we

must be cautious not to imagine that any easy anthropomorphism applies to all player-characters.

In fact, most player-characters in Evangelical games look like cursors, and some are more

abstract still. The human who participates in controlling a game is a player, just as a person who

participates in any other piece of software is a user. Manuel Sicart describes it poetically: “The

subjectivity of the player is our skin when interacting with a computer game: it marks the

49
Digital Praise, “Dance Praise PC Dance Game Adds Global Flavor Through Expansion Pack Volume 5: Praise
and Worship,” archived by the Internet Archive, November 19, 2008, accessed February 15, 2014,
http://wayback.archive.org/web/20081119151804/http://www.digitalpraise.com/pr/06272007.html .
50
Brand, 50–58.

36
boundaries of the subject, but also determines how much we can interact with the digital world.

Playing is putting on the player-skin and experiencing the world, and the game-world within

it.”51

However, though video games are quite like other software, we classify them separately

because people play with them. Your word processor might be said to have a game aspect in that

it limits you, but its toy aspect, its narrative situation, is usually directed outward. Even if you are

not writing for a reason, you are using the software to write. In video games, the toy aspect

justifies the game aspect. That is to say, they are situated within stories that make their

limitations ends in themselves. And purposelessness attracts play. A video game's constraints are

calibrated to entice players to defeat them, and cultures of gaming work to create the players the

games require. We can study this process by examining particular games, and the specific

cultures that enjoy struggling with them. Neither the technology (game) nor the culture (toy) of

video gaming could have produced this effect independently, but at present they comprise a sort

of mill that draws in play. The effect has been dramatic by any measure: fifty one percent of

American households own a dedicated game console (a limited-function computer designed to

run proprietary game software that is very easy to install, and prohibitively difficult to

reproduce).52

The story that follows will observe the formation of a dramatic sub-process within this

larger engagement with video games. Between the early nineteen-eighties and still accelerating

in the present, a configuration of the culture and technology at the disposal of Evangelical

51
Sicart, 79.
52
Entertainment Software Association, “Sales, Demographic, and Useage Data 2013,” accessed March 16, 2014,
http://www.theesa.com/facts/pdfs/esa_ef_2013.pdf

37
Christians is redirecting the movement of play, through video games, toward Christ. Like other

video games, the creation of Evangelical games entails the creation of both games and their

players, though these, quite unlike their worldly parallels, will be crafted on both sides through

the movement of sacra. This sacred context should not be mistaken for a violation of the

purposelessness that attracts play through games. In fact, as we move forward, we will discover

repeatedly that Evangelical games attend to the player’s present moment, whereas worldly games

tend to understand the act of play as a trajectory toward some other end.

Conclusion

We can triangulate religious video games at the intersection of three dynamics of

co-emergence; they are digital, religious, and playful. Each of these adjectives gestures toward

contested territories within which it becomes difficult and finally impossible to say what is a

human. The complex senses in which we are and are not our computers, our souls, and our teams

exacerbate one another rather than cancel one another out. The study of religious video games is

a task for the humanities, because from whatever angle one looks, there seems to be a human

face looking back, but one can never be sure. The human is the mystery at the center of this

study, and religious video games emerge in the interaction of its shifting borders above/below,

before/after, and inside/out.

This is also to say that the religious video game presents a liveliness that challenges our

theoretical presumptions. It is religious, but not serious. It is a plaything of great consequence. It

is a digital conveyance for spiritual presence. This chapter established its three dynamics in order

to encompass the specifics that I encountered in researching religious games. Across my study, I

38
discovered that when my attention was focused on the often-dismissed creativity of religious

video gaming, my peripheral vision filled with the most unlikely phenomena. This introduction

was necessary to establish the tools that make religious video games comprehensible, but it is

also intended as an enticement to further curiosity concerning lived religion, and sacred

computing.

However, to conduct research through any of these dynamics, we must carefully

withdraw from the general field to focus on what we are capable of studying. Not the digital as

such, but computers, not religion, but religions, not play, but games. While the digital includes

distant entities like the singularity and the AI with which you will fall in love, the tools of a

cultural historian cannot reach them, so we must attend to historical devices and programs.

Likewise, religion can designate all negotiations at the borders of humanity, but a religion is a

durable confederation collectively negotiating those borders. And play is a primary practice by

which human subjects develop boundaries with the world around them, but a game is a system of

rules that restricts and accelerates this process in observable ways. By locating religious video

games within these specific virtualities, the study of their liveliness can be populated with their

bewildering details. To do justice to ambiguity, we cannot afford to be vague. We must seek out

a religion, some computers, and the games that connect them.

39
Chapter 2

Between the Devil and Deep Blue:

The Stakes of Video Gaming for Evangelical Christianity

“What great opportunities we now have in cyberspace. But, with all good things, there is a twist
from our adversary.”
-Marty Bee, Christian game designer and critic53

54
Illustration 3: Demon, Neutral, and Saint in Left Behind's promotional materials

Imagine watching a square mile of Manhattan from the air. But don’t imagine too clearly.

53
Marty Bee and Steve Van Nattan, “Computer Games: Are they Honoring to God?” Blessed Quietness Journal,
accessed January 22, 2014, http://blessedquietness.com/journal/housechu/games.htm .
54
Montage produced from Left Behind Games Inc., Images “evil/demon.jpg,” “neutral/man_neutral.jpg,” and
“good/saint.jpg” archived by the Internet Archive October 5, 2007, accessed March 16, 2014,
http://wayback.archive.org/web/*/http://eternalforces.com/characters/images/*

40
Simplify your landscape until you cannot tell if this is Harlem or the Lower East Side; there are a

few cars, but mostly the roads teem with a strangely homogenous humanity, all white, all of

enlistment age, unclustered, empty handed, not running, not sitting, not falling over. Picture a

gray circle around each of them, following as they walk. This is the baseline reality of Left

Behind: Eternal Forces [LB:EF].

You have been stuck on the same mission for three days. The objective here, as in other

levels, is to amass a Christian Army adequate to certain foreordained tasks. Specifically, you

must make contact with visiting evangelists at the corners of the map. But as you convert

gray-circled neutrals into green-circled Christians, and begin to speciate them into medics,

soldiers, and ministers, the game’s AI (on behalf of the Antichrist) is engaged in a strictly

parallel effort, making red-circled antitypes of your troops –medics, soldiers, and “secularists” –

and kills you with them. The biggest difference between the two armies is their orientation to

deadly force. Every character has his or her own “spirit meter” that goes up with prayer, and

down with fighting. So, the Antichristians grow more cohesive as they fire on you, but your

Christians troops begin to defect – losing their conversions and wandering off gray-circled –

when you give as good as you get it. Over and over, your little band reaches one corner, maybe

two, before the entire city is overrun with Antichristians, and they shoot you to pieces.

So, after three days of failure, you try a new strategy: not a light, balanced strike-force

that can zip from one corner to the next, but a juggernaut that crawls mercilessly through your

enemies. When you start toward the first evangelist, your army is dense with surgeons, armored

vehicles, and prophets, over a hundred of the game’s best troops. And it works. You mash the

“Q” key on the keyboard, keeping your army constantly praying, and a choir of elite gospel

41
singers praises the Lord from within the ring of soldiers, effectively preventing defection. It no

longer matters that the entire city is against you; New York’s constant infestation of minor

rock-musicians and petty criminals has been fortified also, working together now with armored

soldiers and demonists. But as you pray and praise, you kill hundreds of them easily. They do not

bleed, and their bodies vanish after a moment on the ground, but you kill them so quickly that

they seem to pile.

And fun, for a moment, is overwhelmed by a disquieting sensation. Every one of those

vanishing corpses has a name and a little biography. Every one of them could have been

converted. But by preventing you from playing casually at violence, the game led you to play at

it enthusiastically. By making every character potentially redeemable, it had left you no choice

but killing potential allies. Perhaps every design decision had been conscientious, even morally

and theologically defensible, but for a moment they staged a sort of pyrrhic victory. You were

embarrassed to be winning, and curious, suddenly, what your army's prayers would sound like if

they had words.

Imagine strafing a square mile of Manhattan from the air. But don’t imagine too clearly.

To quote Leonard Cohen, “There is a war between the ones who say there’s a war and the

ones who say that there isn’t.” Left Behind: Eternal Forces (Left Behind Games: 2006) casts the

“secularist” as the anti-type of the “missionary.” This dissertation takes place upon terrain where

the only possibility of neutrality is constant motion. This study is an experiment in exploring the

interaction of mutually constitutive entities, clusters of agents that come into being together and

42
cannot be meaningfully separated. As we move forward, our task will be to locate Evangelical

video games among those entities without which they would not have their present form. Later

sections of this dissertation will seek out the seams across which Evangelical games are

embroiled in events as disparate as the Columbine massacre, and the smartphone boom. This

chapter, however, will attempt to understand Evangelical video games as the creative production

of an Evangelical community actively negotiating borders with two very different kinds of

non-human agents: the digital on one side, and the demonic on the other.

What is Evangelical Media?

Left Behind: Eternal Forces drives the player toward a moral crisis wherein the use of

lethal force and martial strategy is unfortunate, but unavoidable. In this near future (here so near

that no new technology of warfare has emerged, as opposed to the books, wherein new

communications and military technology set the conflict a few years apace before us), every

Christian must fight against “The Global Village Peacekeepers,” a demonic cooptation of our

own United Nations, or be killed by them. In the early levels, rock musicians, gang members,

and secularists comprise the enemy force, but the battle is soon joined by tanks, spies, and

eventually by horned demons breathing fire. In a final, unprecedented, creative turn, the game's

final enemy is the Global Village Peacekeepers headquarters itself. You shoot at the building

until you are rewarded with a cinema of the Antichrist, still quite alive, punishing his generals for

failing to kill you. In this world there can be strategic, or even moral caution in the use of force,

but there can be no Christian anti-war movement. The algorithmic extension of Left Behind

co-author Tim LaHaye’s out-game opposition to the United Nations, nuclear disarmament, and

43
multiculturalism evokes a very particular Jesus: “he that hath no sword, let him sell his garment,

and buy one.”55

This is not to say, however, that the team that made LB:EF was of a single mind. Before

the game was released, in fact, Troy Lyndon, the CEO of Left Behind games, situated himself

strongly against precisely the depiction of death that would be applied in his own flagship game:

“What's more damaging are games that show killing and then let the bodies disappear,

desensitizing gamers to what's going on[.] Although seeing hundreds of dead bodies in Left

Behind: Eternal Forces at the end of a horrific battle wasn't our original intent, we can't help but

stay away from desensitizing gamers. It's our hope that we don't end up with a Mature-rated

game...but we might. Ultimately, our argument is that it's more humane to show the reality of

death than to desensitize in the name of a lighter rating.”56 The process by which the game

earned its “Teen” and did precisely what its lead developer opposed cannot be recovered, but it is

an enigma that should haunt our appreciation of the game. And such entrenched contradictions

fissure sacred ground as well. The astute reader may have noticed that the game as described

above deviated from Tim LaHaye's own theological position from which salvation, once

achieved, cannot be compromised: “We can never lose our salvation.”57 Tim LaHaye, however,

never renounced the game, nor even seemed to notice the dissonance: “for those who are into

video games, Eternal Forces is the #1 most powerful vehicle for their hearts and minds that’s

55
Luke 22:36 [KJV]
56
Matt Peckham, “Unholy MMO-LY” sidebar to “God Mode: Fragging for King, Country, and Creator,” accessed
March 16, 2014, http://www.1up.com/features/god-mode .
57
Tim LaHaye, A Quick Look at the Rapture and the Second Coming (Eugene, Oregon: Harvest House Publishers,
2013), 34.

44
been invented in our lifetime.”58

What if we didn't dismiss this dissonance as a mistake, but welcomed it as an important

feature of Evangelism? Evangelical Christians are people who have been born again by

accepting the atonement of Jesus as described in the Bible, and who now seek to use various

media to bring others to that same experience. But in human attempts to convey a divine

message, the medium participates. In the case of LB:EF, it seems that particular conceptions of

game-violence and character development were so active in the game's emerging form that they

overrode the principled positions of its two most famous creators. This is not to say “the medium

is the message.” Jesus is the message. And this relational position should also not be mistaken

for technological determinism. Evangelical Christians often choose to convey their testimony

through a particular medium specifically because that medium was conspicuously lacking

Christian presence. To quote Troy Lyndon again, “perhaps instead of avoiding the media,

Christ-followers should focus on transforming the media.”59 Evangelical Christians are people

committed to the challenge of creating and circulating Evangelical media. For some, the only

media employed may be speech, or the testimony of their own lives, but these media are no less

participatory than the digital ones that will occupy the present study.

For my purposes, Evangelical media is that which seeks to orient lives around the Bible

and the Cross, welcoming strangers to new lives thus organized, and the already-committed to

rededication. Though other sacra are variously present, Evangelical media orients itself about the

58
Troy Lyndon, "Left Behind: Eternal Forces statement from LB Games Inc.,” archived by the Internet Archive,
May 26, 2013, accessed January 19, 2014,
https://web.archive.org/web/20130526172019/http://www.leftbehindgames.com/controversy.php .
59
Troy Lyndon, “Using the New Media for Good,” accessed March 15, 2014,
http://www.leftbehindgames.com/blog/?p=3 . Bold in original.

45
Bible and Cross rather than any particular tradition of practice or interpretation.60 This is not to

say that Evangelical media fails to produce the subcultural particularities and theological

specificity associated with denominational Christianity, but quite nearly the opposite. The

tradition that usually calls itself simply “Christianity” practices a “culturally adaptive biblical

experimentalism,” recycling and recoding its biblicist discourse to gather a community out from

the world around it, wherever it finds itself, and in the process has created cultural forms as

varied and specific as has the world. Consider Christian rock music, comic books, and romance

novels: as Evangelical Christianity has found itself in new cultural contexts, it has found new

ways to redeem the lost, and the specific adaptations to digital cultures continue this tradition.

The media thus generated “never by themselves yielded cohesive, institutionally compact, or

clearly demarcated groups of Christians. But they do serve to identify a large family of churches

and religious enterprises.”61

As I explained in my introduction, I have adopted the Evangelical rhetorical strategy of

describing the space outside of Christianity as “the world,” as to avoid the implication of

neutrality or rationality encoded in the word “secular.” Rather than “the church,” however, I will

follow Michael Warner in calling the network of discursively connected Christians into which

Evangelical media draws users “the Evangelical counterpublic.” That is to say, first, we are

observing a public, a “social space created by the reflexive circulation of discourse” allowing for

60
This definition of Evangelical Christianity is derived from David Bebbington's “four qualities that have been the
special marks of Evangelical religion: conversionism, the belief that lives need to be changed, activism, the
expression of the gospel in effort, biblicism, a particular regard to the Bible, and what may be called crucicentrism, a
stress on the sacrifice of Christ on the cross.” D. W. Bebbington, Evangelicalism in Modern Britain: A History from
the 1730s to the 1980s (London: Unwin Hyman, 1989), 2-3.
61
Mark Noll, American Evangelical Christianity: An Introduction (Oxford: Blackwell Publishers, 2001), 13.

46
“poetic world making.” Evangelical media, like worldly newspaper circulation or the literal

soapbox speech, produces a specific “relation among strangers” who are addressed both

personally and impersonally by the medium at hand.62 But, in Warner's words, Evangelical

Christians constitute a counterpublic because “evangelical discourse sustains a highly marked

threshold of participation. To have full uptake in this field of circulation is to be an evangelical,

and thus to be different from an imagined mainstream.”63 This imagination should not misread

as personal fancy. Imagining a mainstream is the ongoing material production of the knowledge

that there is a world out there. And, for counterpublics, of collecting their members to

collectively distinguish themselves from it.

Left Behind: Eternal Forces will help us frame the work of gathering a counterpublic. The

game certainly speaks to a field of strangers, inviting them to imagine themselves as a Christian

army beset by the forces of the world, but its relatively explicit ecclesiology makes it an outlier.

We cannot know what people did with the 70,000 copies the game sold – it is improbable that

every sold copy was played, and at least one was played for research purpose – but we can

extrapolate the audience it hails.64 Among the hundreds of Christian games I have played in

preparing this dissertation, Left Behind is one of the fewer than five that present positions on

issues concerning which Evangelicals (especially the newly converted) may disagree. Like the

62
I would contest, however, that the public of a game, a playership, is not “constituted through mere attention,” but
must develop and deploy physical skills in order to negotiate the game, a difference that will dramatically change the
other components of this publicity. Michael Warner, Publics and Counterpublics (New York: Zone Books, 2002),
65-124.
63
Michael Warner, “The Evangelical Public Sphere,” 1.
64
Troy Lyndon, “Exhibit 31.1: Certification,” accessed October 15, 2010,
http://www.faqs.org/sec-filings/091022/LEFT-BEHIND-GAMES-INC_10-K.A/http://
www.faqs.org/sec-filings/091022/LEFT-BEHIND-GAMES-INC_10-K.A/ .

47
books, the game includes explicit discussion (here on sermonic splash-screens between levels) of

evolution, political internationalism, and Biblical literalism.65 Because they seek to clarify

internecine conflicts, partitioning believers from “Nominal Christians,” LB:EF is somewhat

peculiar alongside the much larger class of Evangelical games that distinguishes their playership

as Christians from the world, without clarifying a border between any two types of Christian

(including non-differentiation into specific denominational identity). LB:EF's willingness to take

strong stances on contentious issues does not, however, separate it from the larger body of

Evangelical games because it still presents its positions as unmarked Christianity. That is to say,

Evangelical games are theologically diverse, but their divisions are arrayed quietly across a field

within which all contained elements are self-described simply as “Christian,” defining a complex

border with the world.

Evangelical games, like most Evangelical media, do not frame themselves as part of any

project except the gospel as such. This focus on the Bible and Cross not only conceals

denominational particularity, but it also allows Evangelical messaging to present itself as

medium-neutral in a very particular sense. The Evangelical counterpublic seeks to grow by

adapting the gospel message to any medium that will not get in its way: “evangelicals would

prefer not to poach on mass culture; their preference would be to transform mass culture, making

it entirely evangelical.”66 We must note, however, that Evangelical media is not boundless.

There are promotional images on Evangelical dating sites, but there is no such thing as

Evangelical pornography; there are Evangelical action games, but no Evangelical “murder

65
Other instances include Soldier of God and Bible Defenders by AV 1611 Games.
66
Heather Hendershot. Shaking the World for Jesus : Media and Conservative Evangelical Culture (Chicago, IL,
USA: University of Chicago Press, 2010), 13.

48
simulators.” The question, when facing any particular media artifact, is which part of it (if any)

can bring people to Christ. To determine how their work should proceed, Evangelical critique

acts upon worldly media like a centrifuge, attempting to separate its potentially redeemable

elements from demonic corruption. While “contemporary evangelicals have, since the 1960s,

developed a pop paraculture that allows adolescents to enjoy entertainments resembling those of

'secular' culture while lacking any 'harmful' influences,” these have been consistently

accompanied by debates over whether their projects are counterproductive.67 Whether

Evangelical heavy metal or rap is possible, for instance, remains a subject of debate in some

quarters. And, pointedly, there are Evangelicals who discern a line that excludes much of this

study's subject matter. To quote Neil MacQueen of Sunday Software: “I draw the line at

KILLING, or Christian titles that are overtly violent, -even if they are targeted at the teen/young

adult male gamers. I don't believe we need to imitate the violent secular games to reach the

gamers with a message of hope and love.”68 Here, again, notice that there is a question over

whether a particular sort of game can be used; MacQueen is not challenging the missionary

possibilities of video games altogether (though other Evangelicals may). Evangelical video game

culture, thus, is an effort to intercede at the line where the digital meets the demonic.

This section set out to locate Evangelical Christians and their media as mutually

dependent and co-emergent without reducing the complexity of that relationship. Evangelical

Christians will be located as people who use diverse media to draw others into new lives oriented

around the Bible and the Cross, and to reaffirm the orientation of those who already share in this

67
Jason Bivins, Religion of Fear (New York: Oxford University Press, 2008), 37.
68
Sunday Software Inc., "Sunday Software's Somewhat Infamous 'NO' Shelf," accessed January 18, 2014,
www.sundaysoftware.com/noshelf.htm .

49
new life. The community created in this way can be understood as a counterpublic in that it seeks

to collect a community that understands itself against an imagined mainstream. This

understanding also gives Evangelical media critique the task of drawing lines through media,

discerning which part can be redeemed and which must be removed. With regard to computers in

particular, this practice finds Evangelical Christians in good company, as several intersecting

publics are presently trying to discern general principles of interaction between humans and

computers.

The Human-Computer Interfaith

The preface for J. Conrod’s Computer Bible Games (BibleBytes) presents a paradigmatic

description of Evangelical Christians and computers in interaction. Written in 1982 by a

father-son team of Seventh Day Baptists, this first anthology of religious video games was a

paperback manual for learning to program BASIC by creating one’s own educational software.

The preface sacralized the process:

“God is the Creator of the laws of technology by which computers run. Man has made progress in the field
of computers only by the discovery of and obedience to these laws of God.
God requires us to be good stewards of all that He has given to us, including computer technology.
We have shown good stewardship with the computer in such fields as medicine, communications, etc. The
purpose of this book is to encourage Christians to grow spiritually through the enjoyment of computerized
Bible lessons and games.”69

Though it is not explicitly cited in later texts by Christian authors, this sentiment seems to

underwrite the ongoing surge in Evangelical software production, from church database

software, to searchable Bibles, and through the Evangelical video game, as well as emergence of

Evangelical critique of digital media: the digital is a gift to humans from God, and thus an object

69
J. Conrod, Computer Bible Games (Denver, Colorado: Accent Books, 1984).
50
of Christian stewardship. To be clear, we find this sentiment in non-Evangelical religious

organizations as well; the Church of England, for instance, has officially clarified that “No part

of creation is outside the care and concern of God, including cyberspace.”70 In my research, I

discovered Evangelical Christians tending to agree that computers have become an intrinsic

element of the human life world, and very few even passing comments suggesting that these

technologies were irredeemable. The digital, like the natural (a prior and still more frequent area

for discourses of “stewardship”), is a range across which sinful human nature will be expressed

unless Christians conscientiously craft digital expressions of their Truth. Within this frame, of

course, there are innumerable variations. In some formulations computers have inherent dangers

that Christian stewards must redress, perhaps addictive qualities, or tendencies to produce

violence and social isolation; in others the digital tends toward the rational and the educational,

and needs only to be freed from misuse; and frequently the digital seems to be entirely without

intrinsic qualities except perhaps as an amplifier and reproducer of human tendencies, good and

ill.

To understand these various possibilities, we must step back and allow Evangelical

specificity to illuminate a more general phenomenon. The cultural work of negotiating what it

means to be a human living among computers is not, after all, a project unique to Evangelical

Christians, nor do they engage in it alone. Evangelicals, in coming to steward computers, interact

with other groups engaged in parallel and often opposed relations with the digital. Chapters four

and six of this dissertation, for instance, will explore how Evangelical Christians consider the

70
Church of England, Board for Social Responsibility, Cybernauts Awake: Ethical and Spiritual Implications of
Computers, Information Technology, and the Internet (Church House Publishing, 1999), 45.

51
possibility of digital “violence” and “immersion” in ways that both replicate and disrupt

perspectives of the cultures in which they are embedded. The loudest voices in this regard are

conceptions of computing that circulate in the world rather than in other self-understood

religious publics. Toward an adequate understanding of Evangelical critique of other digital

cultures, then, we will require a terminology that can cross the boundary between Evangelicals

and the world in both directions. I propose “the human-computer interfaith” as a collective term

for the processes through which humans negotiate their borders with digital agents, even when

this takes place in the wilds outside of any nameable religion.

In 1983, when Stuart Card, Thomas Moran, and Allen Newell coined the term

“human-computer interface” in their seminal work The Psychology of Human-Computer

Interaction, they offered this face and its cognitive cross-section as illustrations.

71
Illustration 4: The Human-Computer

71
Montage produced from “Figure 1.1 The human-computer interface” and “Figure 2.1 The Model Human
52
 Behold the new man. The human is a stack of two-dimensional sheets, a placid Cyclops

flattened to the plane of the image. He smiles at a blank screen. How could he not grin as the

machine juts in from unthinkable and nameless dimensions, exceeding traditional perspectives in

drawing? And when the computer in front of him is gone, he smiles at the same blank screen,

now amused, it seems, by the computer behind the smile, visible as another sheet between him

and the viewer.72

Card, Moran, and Newell presented this mysterious image to argue that a single

instrumental psychology could encompass both humans and computers, and that it would begin

by tracing a line across their plane of intersection: “just follow a data path outward from the

central processor until you stumble across a human being.”73 And once we had found both the

CPU and the human, we could describe them homologically as two bounded individuals, each

composed of smaller machines, invested with different capacities, though describable in similar

terms. In particular, we are non-standard computers: “The recognize-act cycle, analogous to the

fetch-execute cycle of standard computers, is the basic quantum of cognitive processing.”74

Dutifully, Card, Moran, and Newell acknowledge the historical contingency of the

schema wherein the individual subject of psychology interacts with a CPU across a complex

Processor,” Card, Stuart K., Thomas P. Moran, and Allen Newell. The Psychology of Human-Computer Interaction.
(Hillsdale, N.J.: L. Erlbaum Associates, 1983), 5, 26.
72
The invention of single-point perspective in the Renaissance has been convincingly tied to the emergence of an
individual subject which may well be fragmenting as it is pulled along the vectors of new communicative media.
This argument is made most articulately by Paul Virilio in Open Sky (London: Verso, 1997), where he argues that
humanity is being transformed by what he calls “dromospheric pollution” (dromos: journey), a new kind of
movement in stasis that explodes the horizon as vision approaches the speed of light.
73
Card, Moran, and Newell, 4.
74
Card, Moran, and Newell, 41.

53
channel of intermediaries, but they do so without unseating the proposed homology between the

entities at either end. The first computers, they explain, required a coalition of operators working

together to desire interaction (user), create punch cards (keypunch operator), and process them

(computer-operator), but in the early eighties, with the commercialization of the personal

computer, they argued that direct “conversational dialogue” between individual CPUs and

humans had become possible. To understand this interaction they insisted that the individual

human be schematized as a complex of perceptive, analytical, and mechanical functions with

quantitative limits. And they predicted that this model, in which the human individual is

understood as a second processor –a conception no less mythical than the notion that the

computer contains a homunculus– though it could offer little traction toward understanding

earlier eras of computing, would remain viable indefinitely into the future.

This foundational conception in computer science reminds us, again, that this study will

not be able to retreat from its subject and rest upon neutral, rational, secular ground untroubled

by religious dynamics. Evangelical Christians, in coming to understand their relationships to

computers, are engaged with ideologically (and perhaps theologically) invested entities. This

study, in examining those relationships, will continue to apply a contact perspective, observing

that the agents involved are co-creatively entangled, without presuming that they are thus of

equal strength. Since The Psychology of Human-Computer Interaction, new tools have emerged

that will ground such a perspective.

Within computer science, embarrassingly, the model of human-computer interaction as

the complicated conversation between fundamentally similar unitary user and CPU did not

quickly collapse under the weight of its own contingency, and it continues to haunt research on

54
human-computer interaction into the present. But across the following thirty years, with the

increasing centrality of Internet technologies, crowd/cloudsourcing, and other forms of

distributed processing, as well as the emergence of distinct computing communities including

those facilitated by online gaming, culturally solidified forums, and social networking

applications, the dominant questions in this field began to change. Concerning both sides of the

screen, theorists of human-computer interaction are now asking how clustered intelligence

locates and in fact constructs the other with which it interacts. If my computer is a terminal that

helps to process data that is spinning through hundreds of distant servers, and I am myself a point

of aggregation for cultural forces that dramatically shape what I find in our interactions, then

theory must seek to explain how we ever manage to cobble together abstractions of one another

at all. If we look, for instance, to recent studies concerning the creation of computer systems for

specifically enculturated users, or the epistemic relations of users to networked systems, we find

a new vision for research on human-computer interaction as a science of co-emergence.75

I would like to add a single new layer to this complexity: the computer user does not only

isolate a computer from among its networked components, but experiences her interaction with

the computer within a more or less (often less) coherent universe that makes both computers and

humans comprehensible beings. The human emerges as the non-computer and the computer

emerges as the non-human, dialogically defining their relationship to a universe within which

various commonly invoked differences between humans and computers become guides for

75
The recent special edition of Metaphilosophy 43.4 (July, 2012), “Philoweb: Toward a Philosophy of the Web,”
includes several exemplary pieces within this new trajectory of HCI research. Alexandre Monnin and Harry Halpin,
“Toward a Philosophy of the Web” (361-379); Yuki Hui, “What is a Digital Object” (380-395); and Johnny Hartz
Søraker, “Virtual Worlds and Their Challenge to Philosophy: Understanding the ‘Intravirtual’ and ‘Extravirtual’”
(499-512) are especially salient for the present study.

55
ongoing interaction. Complex notions like “the purpose of technology,” “freedom,” “intention,”

or “intellect” are sacra in as much as they mark this boundary. This is the religious work of

theorists like Card, Moran, and Newell, clarifying what it means to be human in a world that

includes computers. Two recent theories concerning religious applications of media technology,

namely, Heidi Campbell’s “religious-social shaping of technology,” and Stewart Hoover’s notion

of the “plausible narrative of self” will show how religious studies can help us navigate this

terrain.

Campbell’s work, a direct outgrowth of Science and Technology studies, establishes a

first firm foothold toward understanding particular instances of human-computer interfaith. She

stresses that the adoption of new technologies is a slow process involving complex processes of

communal negotiation that must be understood within a community’s historical context. Thus,

the scholar of digital religion must adequately investigate the “(a) history and tradition of the

community, (b) its core beliefs and patterns related to media, (c) the specific negotiation

processes it undergoes with a new technology, and finally (d) the communal framing and

discourses created to define and justify their technology use.”76

These techniques are necessary, and her theory is absolutely correct as far as it goes. But

her focus on “communities” in motion tends to produce stories wherein theologians and other

communal authorities exercise a conservative control over social development. This both

obscures the creative work that takes place among the non-experts that comprise the majority of

a religious group at any instance of its history, and it prevents her theory from extending into the

76
Heidi Campbell, “How Religious Communities Negotiate New Media Religiously,” in Digital Religion, Social
Media and Culture, 85.

56
wilds that religious groups find at their borders. However, to hybridize her theory with

Chidester’s definition of religion, which seeks out border negotiations with non-humans, would

allow us to discuss history and tradition, core beliefs and patterns, specific negotiations, and

communal framing even in worldly technoculture. To do so allows academic media studies to

stay apace with Evangelical media critics who have been identifying the investments of worldly

media at lease since their confrontation of the novel in the mid-nineteenth century.77

But if not communities, with what do technologies emerge? Stewart Hoover, by directing

attention to the “plausible narratives of self” crafted by media users, allows us to seek emerging

subjects instead. These narratives are the complex of stories that people tell about themselves to

explain and guide their use of media technologies.78 In his broad study of American families as

they negotiated both media use and religious life, he found that people’s behavior rarely mapped

neatly onto their own stories, but that they necessarily told stories to themselves and others in

order to mediate their mediation. For instance, people were prone to explaining that they watched

shows of which they did not approve, but that they only did so rarely, and frequently for good

reason. His meticulous exploration of “accounts of the media” shaped my own focus on the

conversations Evangelical Christians hold on game review websites concerning the dangers,

powers, and proper uses of video games. These sites explain that computers are educational,

children are impressionable, games are (or are not) addictive, and dozens of other claims,

mapping a world across which the relevant media can be developed, critiqued, and enjoyed. And

if we again allow Chidester’s location of the religious to extend our attention into the wilds that

77
Robert Lawrence Moore, Selling God: American Religion in the Marketplace of Culture (New York: Oxford
University Press, 1994), 20.
78
Stewart Hoover, Religion in the Media Age (London ; New York: Routledge, 2006), 94.

57
surround religions, we discover that this work takes place wherever media is reviewed,

discussed, and shared.

To hold Hoover and Campbell’s theories together with Chidester’s makes it possible to

understand the human-computer interfaith. The human discovers digital entities upon the

grounds that they are two different sort of being, but those stories are constantly changed by the

practice of human-computer interaction. The study of human-computer interfaith is not an

approach that applies to people or groups we know in advance to be “religious,” but rather a

rigorous insistence on including the “humanity” in the terms that must be negotiated as people,

embedded in their particular communities, develop their plausible narratives of self. I propose

that any particular human-computer interaction is best understood through the messy dialog

through which people, embedded in their larger communities of meaning, come to understand

that they are not computers. This frame, as well as helping to explain groups conventionally

termed “religious,” could well apply, for instance, to the ways Facebook users, in the context of

digital capitalism, come to know themselves as the components of human-computer interaction

who have identities to protect and currency to convert into credits.

That said, this study primarily concerns the peculiar involutions at human/nonhuman

boundaries maintained by relatively durable confederations of humans and non-humans

circulating sacra (that is, religions), so we would do well to return to those practices. Consider,

for instance, a computer scientist who approached the Lubavitcher Rebbe in the sixties, asking “I

know that everything that exists in the world, even something that we discover later in history,

has its source somewhere in the Torah. So, where are computers found in the Torah?” The Rebbe

58
answered that the Jewish practice of laying tefillin anticipated computers.79 “You walk into a

room and you see many familiar machines: a typewriter, a large tape recorder, a hole puncher, a

calculator. What is new? But under the floor cables connect all these machines so they work as

one.” Just so, “you put on Tefillin. First thing in the day, you connect your mind, your heart and

your hand with these leather cables – all to work as one, and with one intent.” Humans, faced

with computers, discover themselves in relation to them using the materials that are near to hand,

and those resources are transformed as well. In religious communities, those resources can

include persons divine or demonic.

It was a long detour, but it will prove useful. This section set out to establish that

Evangelical Christians are one among the many communities who have been trying to

understand what it means to be human among digital entities for the last several decades. But we

cannot understand the process adequately by holding Christians only alongside other nameable

religions that mobilize sacra to make sense at the human-computer border. Computer scientists

and worldly video game review magazines are also persistently locating, describing, and shifting

the borders between humans and computers. Evangelical media critique anticipates this

perspective in that it tends not to mistake worldly media for a neutral secular sphere. To

understand the human-computer interfaith as negotiated by the Evangelical counterpublic, we

must return again to the line that Evangelical critique draws through various media, partitioning

what can transmit the gospel from what must be discarded, now with the suspicion that the waste

products will be worldly understandings of human-computer relations.

79
In Jewish ritual practice, morning prayer requires binding two boxes (Tefillin) containing verses of scripture to the
body by means of leather straps, one against the forehead, and one on the upper arm. The Shluchim Office, “Tefillin:
Jewish Wrap (2004),” accessed January 29, 2014, http://www.shluchim.org/content/img/mivtzoim/tefillin.pdf .

59
Video Game Critique and Spiritual Warfare

Evangelical video gaming culture manifests a counterpublic because it not only

understands itself in terms of computers, but in terms of the world’s understanding of computers.

It seeks to understand how what it is doing is different. In my research I discovered, to my

surprise, that worldly conceptions of computing were frequently understood through the

intercession of demons. In particular, Evangelical video gaming tends to reflect the spiritual

warfare theology that was ascendant in global Evangelicalism across the 1980s and 1990s. They

present the computer as a battlefield. Demonic forces are arrayed against the human users,

making the digital both a range for tactical training, and potentially a place of grave spiritual

danger.

This urgency in subject formation may initially be difficult to locate because the most

frequent genre of Evangelical video game might be identified as the “digitized Sunday School

exercise.” Games with names like “Bible Scramble,” “Bible Quiz,” and “Bible Crossword”

present tasks that had previously been conveyed on worksheets, and which were little changed

by their digital remediation.80 It is likely that these digital word searches, word scrambles, and

fill in the blank quizzes appeared early, and have proliferated widely because they are relatively

easy to make. Transforming a paper quiz into a digital game requires little programming or

graphical design, and effectively no additional play design, even when they are embellished with

80
My list includes, for instance, Bible Jumbles, Gil's Bible Jumble, Bible Scrambles, Bible Book Scrambles, and
Bible Cryptos. In addition to two different games titled Bible Quiz, I have also found The Party Quiz: Bible Edition,
Children's Bible Quiz, New Testament Quizzler, Kid's Bible Quiz, Bible Books Quiz, Bible Quizzer, Bible Quizzes,
Bible Knowledge Quiz. Non-Evangelical examples include Buddhist Quiz, and LDS Games: Quiz. To offer only one
more dense category, the list also contains Bible Crossword (2x), Bible Crossword Puzzles, Crossword Puzzles,
Islamic Crossword Puzzle, (Jewish) Crossword, and People in the Torah Crossword.

60
flourishes like victory animations, or parallel score keeping for multiple players.

To encounter these games as the primary scene of religious video gaming should prevent

us from applying susperstitious notions of “immersion” when initially understanding the

subjectivizing work of video games (for those who find this word compelling, my sixth chapter

deals extensively with the possibility that games may somehow be growing more immersive).

Rather than assuming that games interpellate the player as a little jumping humanoid, consider,

instead, “the most-played computer game of all time”: Microsoft Solitaire.81 As in Solitaire, the

most frequent player-character in religious games is the mouse cursor. It is a player-character

easy to inhabit, but difficult to describe inhabiting. One may say “I clicked,” “I won,” or “I got a

thousand points,” but the sentence “I am the mouse cursor” never became conventionally

possible among computer users, and the impervious pointer never becomes a “me” affected by

the world that surrounds it. That said, Solitaire was conscientiously deployed as a subjectivizing

machine. Windows, when it appeared, was a frightening creature and Microsoft’s lead product

manager for entertainment explained that they created Solitaire to “soothe people intimidated by

the operating system.”82

Who, then, is the subject hailed by Bible Word Search (Cliff Leitch, 2000)? First,

Evangelical media, like the larger culture around it, tends to presume that video gamers are

usually children, but unlike their worldly parallels, Evangelical games focus upon the moral

status of the player-in-play. Play matters because the player can learn the Gospel (or even, in

81
Microsoft, "Microsoft Solitaire Collection," accessed January 27, 2014,
http://www.windowsphone.com/en-us/store/app/microsoft-solitaire-collection/282592d5-5c50-496d-921e-b6ef523a
d4d9 .
82
Joel Garreau, “Office Minefield: Computers Make Work a Lot Easier. They Make Play Easier Too,” The
Washington Post, March 9, 1994.
61
some contemporary networked gaming, share it). Whether or not this conception of play creates

a zero-sum game culture in which one is either gaming with Christ or against him varies. The

historical examinations in this study will tend to locate voices that understand most games to be

relatively benign, though we will also hear from Evangelicals for whom gaming is either a

spiritual support or a danger. However, the perspective that presents video games as harmless

seems largely absent from Evangelical critique. Thus we can begin to see how even Bible

Jumbles (Jerry D. King, 1993) situates the player in a context of spiritual warfare. To play

Evangelical games creates a player who is equipped to stand against the wiles of Satan.

This becomes even clearer when we consider Evangelical games that contain some

visualized player-character. The catalog that organizes this study includes Evangelical racers,

adventures, shooters, puzzlers, flight simulators, game shows, role-playing games, and several

other genres that present the player somehow on screen. These narratively-oriented games tend

to offer spiritual warfare theologies, most obviously, in that the player-character tends to be a

Christian who must fight (and/or convert) coordinated Antichristian forces to survive. As in my

opening anecdote from Catechumen, these frequently include demons, the possessed, and

sometimes even Satan. This, of course, is connected to the history of video gaming as an

entertainment medium. In even the simplest game-worlds – irrespective of whether they model

racetracks or mazes, inner cities or outer space – narrative progress, or even survival in the

world, tends to be opposed by algorithmic entities. Thus, though there are some game-worlds

without enemies, the vast majority from which Christian game developers draw inspiration

include a class of entities that will constitute themselves as an Antichristian army wherever

progress is presented as Christian task. To redeem Pac-Man by replacing the dots with pages of

62
scripture would transform the ghosts into the object of spiritual warfare. That said, no such

extrinsic cultural determinism can explain the prevalence of spiritual warfare in Evangelical

games. There could, after all, have been widespread revulsion at the staging of sacred matters

through the confrontational conventions of popular video games. The following section will offer

a historical hypothesis concerning the prevalence of spiritual warfare in Evangelical games, but

before we arrive there, the ubiquity of this theme bears examination.

Because Evangelical media creation is a primary mode of their media critique, we cannot

ever fully separate these aspects of their emerging game culture. However, when we examine

Evangelical video gaming through any of the three dynamics at hand, in terms of computers,

religions, or games, we prominently discover spiritual warfare. Spiritual warfare, religiously, will

be particularly visible in critique, public disputation on the place of these games among humans.

Spiritual warfare will relate to computers most clearly in “development,” the co-emergence of a

development team and its software object. And in terms of games, it is visible at the edge where

communities of play and the game (here designated “gameplay”).

In critique, spiritual warfare manifests in conversations about games wherein

communities gather to discuss – frequently using online game review sites – the power of

various games to help or hinder the cultivation of prayer warriors. In many cases these

conversations simply reiterate the moral superiority of Evangelical games over their worldly

parallels, but they also frequently open discussions about the power of digital media more

nuanced than those offered in worldly media. For instance, the creators of Axys Adventures: The

Truth Seeker (Rebel Planet Productions, 2007), and game developer/distributor Sunday Software,

both offer the possibility that “shooting” in games is inappropriate, even if the target is a demon,

63
a critique that departs significantly from worldly critique, in which the word “violence” can be

evaded entirely by changing the face of the enemy.83

In development, spiritual warfare theologies manifest in attempts to create games and

development teams that are conduits for angelic rather than demonic forces. In my participant

observation at the 2011 Christian Game Developers Conference, I found myself on a landscape

teeming with demons. I was told about students who had found the remnants of ritual sacrifice in

a drainage pipe under George Fox University, and how they were then plagued by demons; I

learned how the “forces of Satan” were arrayed across the game industry, turning children

toward violence and the objectification of women, and how Christian developers must infiltrate

their strongholds to “do battle,” to “take back the mountaintops of culture.”

In gameplay, spiritual warfare manifests in gaming practices that enact the player’s life

within a world that integrates out-game theology with the game’s internal metaphysics. That is,

modes of play which encounter Biblical text on screen as scripture, and in-game conflict as

edifying for out-game life create theological formations not otherwise possible, like the Bible as

dismissible on-screen pop up, or demons who move according to simple combat algorithms.

Whether or not these theological novelties enduringly shape the out-game religious lives of

players, it is evident from Evangelical game critique that much is discarded when the game ends,

inconsistencies being dismissed as reminders that this is “just a game.” That said, when games

are incorporated into spiritual warfare, the work of play certainly includes learning to live among

(and live as) entities that emerge from contact between out-game theologies and algorithmic

83
Sunday Software Inc., "Sunday Software's Somewhat Infamous 'NO' Shelf," accessed January 18, 2014,
www.sundaysoftware.com/noshelf.htm.

64
possibilities.

The total edifice of Evangelical video gaming as discovered through these three

dynamics, bound at every point by multiply constituted entities like the production/game/product

and the player/critic, can be characterized as an abstract machine for establishing computers as a

front in spiritual war. My dissertation explores the theological work performed through these

new conjunctions by exploring how Evangelical gaming responds to the shared concerns of

Evangelical Christianity and worldly computing. The histories of computing technologies will

thus occupy most of our time together, as we observe Evangelicals interacting with new

technologies with their attendant fears and hopes. “Violence” and “immersion,” respectively,

will be prominently shared by Evangelicals and the world outside. Before moving in that

Illustration 5: Spiritual Warfare in Tinothy and Titus

65
direction, however, spiritual warfare might be well understood through its historical connections

to and differences from other popular anti-demonic activity.

The Satanic Panic

Though it is an outlier in that its vision of the worldly emphatically contains a range of

nominal Christianity, Left Behind: Eternal Forces is quite typical among Evangelical video

games in that the edge between the Church and the world is imagined as a front in a spiritual

war. This is not primarily because of the small number of games (among which LB:EF is

especially visible) that highlight the entanglement of their creators' perspectives upon earthly war

and upon the heavenly host, but because of the far greater number of them (among which LB:EF

must be also counted) that build upon the Christian spiritual warfare tradition. In spiritual

warfare life is imagined as an epiphenomenon of a great war between divine and satanic powers

in which humans are necessarily participants, but for which they can become increasingly

prepared. And “imagination” can be used here in the quite specific sense of image production,

whether these are news images of spray painted pentagrams, the facial sculptures of the

possessed, or the complex of demonic mental images and the variously theological media that

refract them, from sermons, to paintings of Michael slaying Satan, to The Exorcist. Though

Christian theologies of this sort frequently refer to the exorcism of Legion in the synoptic

gospels, and Paul’s admonition in Ephesians that “our struggle is not against flesh and blood, but

against the rulers, against the authorities, against the powers of this dark world and against the

spiritual forces of evil in the heavenly realms,” we would be remiss to treat spiritual warfare as

co-extensive with Christianity. Spiritual warfare is a theological emphasis that fares variously

66
across the broad sweep of historical Christianities. It is as present in the Seventh Day Adventist

understanding of history as “the Great Controversy” between God and Satan, or Pentecostal

“deliverance” ministries, as it is absent in most mainline and social gospel Christianities, even

when they invoke a “kingdom of evil.”84 I was surprised across my dissertation research to find,

first, that Christian video gaming is a range of cultural production overwhelmingly informed by

spiritual warfare theologies, and, second, that Christian training for a life among demons could

not be easily separated from Christian training for a life among computers.

The presence or absence of spiritual warfare within a particular Christianity must be

located along a landscape of imagination rather than belief. This is necessary, first, because we

as scholars of religion have little access to the latter, our instruments being more readily able to

record reports of belief. But, further, an insistence that spiritual warfare must be located as a

“belief” makes much of its circulation incoherent. This becomes apparent when we attend to

nearly any specific struggle in the spiritual war. Consider, for instance, the libel suit that Procter

and Gamble filed in 1982 against Amway, alleging that Amway was propagating a rumor that

the P&G logo had “666” encoded in it, and that the corporation paid part of their profits to the

Church of Satan.85 It is unclear whether Amway had spread the story, but it is clear that across

twenty years, Christians sent thousands of angry phone calls (and later emails) threatening legal,

economic, and prayerful action against P&G as a front in the spiritual war. It is also clear that

these messages change over time. The “owner” who hailed Satan on the Phil Donahue show

84
Walter Raschenbusch, A Theology for the Social Gospel (New York: MacMillan, 1917), 86-87.
85
Sandra Salmans, “P.& G.’s Battles with Rumors,” The New York Times, 22 July 1982.

67
would eventually become the “president” who did so on Sally Jesse Raphael.86 If we situate

ourselves upon a landscape of “belief” (or apply a research model focused on theological

authority) these changes become incoherent, and those making the phone calls become credulous

rubes. What we do have here, however – as in the case of otherwise-unattested occult “high

priests” reporting that their particular tradition was the inspiration for various artifacts of popular

culture – is the development of Christian counterpublics which must be spiritually armed and

trained upon an imagined martial landscape.87 Prayer-warriors and their demonic opponents

appear in a gradual simultaneity, and cannot be located separately. That is to say, we cannot

designate spiritual warfare a complex of beliefs, inasmuch as the notion of belief presents the

believer as a preexisting subject and remains agnostic as to the reality of the faith-object.

Spiritual warfare is a set of practices through which Christians and Demons emerge together.

Though the greater spiritual war in which these games are both training exercises and

legitimate battlefields situates itself as an authentic interpretation of biblical mandates, and has

rich precedent in Christian demonological practices including the Catholic rite of exorcism, it is

necessary to specify that spiritual warfare manifests differently in different places and times.

Digital religion did not intersect the antidemonic war at large, but a very specific phase and

location within it. As the following chapter details at length within a fuller history of digital

religion, both Evangelical production and critique of video games appear around 1982 in a

86
James R. Lewis, Satanism Today (Santa Barbara, CA: ABC-CLIO, 2001), 216.
87
While Stephen Dollins only attests that his former high priesthood in the Church of Satan allows him to find the
secret teachings in Harry Potter media, William Schnoebelen attests that the creators of Dungeons and Dragons
actually attended his coven to “make sure the rituals were truly right ‘from the book.’ The Prophecy Club, “Stephen
Dollins: Occult Holidays Revealed,” Accessed January 25, 2012,
http://www.prophecyclub.com/meetings_dollinsholidays.htm ; William Schnoebelen, “Straight Talk on Dungeons
and Dragons,” accessed January 25, 2012, http://www.chick.com/articles/dnd.asp.

68
sudden surge. Over the subsequent decade, religious gaming goes into decline, but then the

roughly simultaneous application of Nintendo’s first game console and DOS-based home

computers as platforms for Evangelical gaming across the mid-1990s create a first major leap in

distribution, visibility, and absolute quantity of games. Between 1996 and 1999, Internet

technologies empower another peak in Evangelical game critique and design.

This is to say, the first wave of Evangelical video gaming takes place in the context of the

“Satanic Panic” of the 1980-90s, as well as the Evangelical boom in spiritual warfare theologies

as exemplified in the “Spiritual Mapping” movement. The connection here should not be moved

in the direction of causality, but these conditions could certainly produce a context in which

games that situate the player in terms of anti-demonic war might be accepted as edifying.

Both of these public struggles with the demonic seem to emerge in continuity with new

public conversations about “Satanism” that emerge in the 1970s.88 The Satanic Panic, however,

presented police, legislators, and therapists rather than prayer-warriors as the front line. It was a

cultural moment wherein popular cultural themes like pentagrams on heavy metal albums were

connected by American news media to a temporary rise in prosecution of Satanic Ritual Abuse,

creating a feedback loop that accelerated the search for (and thus the discovery of) incidents of

this kind. The efforts by police and psychotherapists to locate Satanic ritual crime between the

1970s and 90s in Britain and the US were only very rarely examples of spiritual warfare in

themselves –in that Satanic conspiracy was fought through arrest, not exorcism, and the forces

invoked were arrayed across state and therapeutic hierarchies rather than angelic ones. That said,

88
Robert Glenn Howard, “Crusading on the Vernacular Web: The Folk Beliefs and Practices of Online Spiritual
Warfare,” In Folklore and the Internet: Vernacular Expression in a Digital World, Trevor J. Blank, ed. (Logan, Utah:
Utah State University Press, 2009): 163; Jeffrey S. Victor, Satanic Panic: The Creation of a Contemporary Legend
(Peru, IL: Open Court, 1993), 21-22.

69
the two cannot be fully disentangled. The civic combat against demonism often produced the

dossiers of evidence that motivated Christian campaigns of the same. For instance, Pat Pulling,

founder of BADD (Bothered About Dungeons and Dragons) –a “Judeo-Christian” (she was

Jewish, though she appealed largely to an Evangelical readership) campaign for public

awareness and action concerning Role Playing Games as a vector for non-metaphorical demonic

possession– deployed legal accounts of Satanic Ritual Abuse to argue that mothers of sons

afflicted with dangerous gaming should “Get outside help, preferably with a therapist and a

clergyman of the family’s faith (your child is in psychological and possibly physical danger as

well as spiritual danger).”89

Though the Satanic Panic was not consistently characterized by spiritual warfare, they

were bound together through several shared matters of concern. Dungeons and Dragons, heavy

metal music, and a loose nebula of “occult” religious practices including Satanism, were

encountered as attempts to corrupt the youth in various ways, ranging from losing their faith to

becoming demon-possessed murderers. Perhaps surprisingly, it seems that actors could coalesce

around these concerns though they might disagree concerning the existence of actual demons.

Bruno Latour is again helpful here, defining “matters of concern” as “Highly uncertain and

loudly disputed, these real, objective, atypical and, above all, interesting agencies are taken not

exactly as object but rather as gatherings.”90 Critically, Satanic Panic and spiritual warfare

shared a central concern with the potential for violence within children, and a particular

89
Pat Pulling, The Devil’s Web: Who is Stalking Your Children for Satan? (Lafayette, LA: Huntington House, 1989) ,
120.
90
Latour, Bruno. Reassembling the Social: An Introduction to Actor-Network-Theory (Oxford: Oxford University
Press, 2005), 114.

70
emphasis upon the adolescent male.

The widespread presumptions that adolescent men are both naturally attracted to games,

and naturally attractive to demons (the former being precisely as provable as the latter) created

an environment of urgency for Evangelical media production and critique. The work is a slowly

emerging “demonology within,” a cartography of the haunted interiority of children.91 For

Evangelicals and the world, however, the stakes of this struggle were different, as will become

clear in chapter four, where the two conceptions of adolescent male danger find their way into

the video game violence debates. Unlike worldly critique, which needed primarily to keep young

men away from dangerous media, Evangelical critique sought to train youth to fight against

demons. This tendency will be difficult to locate in the context of Satanic Panic, as it does not

coincide with therapy, censorship, or policing, none of which is capable of framing the

adolescent as an active moral agent.

Spiritual Mapping as Historical Context

The spiritual mapping movement, unlike the Satanic Panic, was little publicized in

non-Evangelical media, though its historical significance in mobilizing bodies against demonic

forces seems to have been significantly greater. Its beginnings are in the emergence of a sort of

empirical sacred geography. The great commission to bring the Gospel to all the world is always

historically instantiated, and air travel and other twentieth century technologies had facilitated

unprecedented globalism of missionary efforts. Gatherings like the 1910 World Missionary

Conference in Edinburgh, the 1966 World Conference on Evangelism in Berlin, and the 1974

91
Bivins, 17.

71
International Congress for World Evangelism in Lausanne, Switzerland allowed evangelists to

generalize the fortunes of their ongoing work and strategize. The Lausanne conference set itself

apart by generating the Lausanne Covenant, a para-creedal statement on evangelism signed by

2,300 “members of the Church of Jesus Christ, from more than 150 nations.”92 In this document,

point 12 of 15, “Spiritual Conflict,” explained that Christians “are engaged in constant spiritual

warfare with the principalities and powers of evil, who are seeking to overthrow the Church and

frustrate its task of world evangelization. We know our need to equip ourselves with God's

armour and to fight this battle with the spiritual weapons of truth and prayer.”

In this period, the prayer that functions as a spiritual weapon, prayer to which God

responds with power, was frequently designated “intercession.” Across the 1980s, some

Evangelical prayer ministries began to move from older models of intercession to develop what

came to be called “strategic-level intercession,” intercession directed at breaking demonic

control over large areas.93 In 1989, at the Lausanne II conference in Manilla, representatives of

the Church Growth movement presented this much more specific vision of those principalities

and powers of evil, and of how, precisely, prayer was to be used against them. Following a

demonology that had been developed by networks of intercessors, it was now explained that the

great commission to preach the Word to the entire Earth was being hindered by organized

hierarchies of “territorial spirits,” demons, often masquerading as local deities, who push back

92
J. Gordon Melton, “International Congress for World Evangelism” in Encyclopedia of Protestantism (New York:
Facts on File, 2005), 295; The Lausanne Movement, “The Lausanne Covenant,” accessed Feburary 14, 2014,
http://www.lausanne.org/en/documents/lausanne-covenant.html .
93
C. Peter Wagner, Spiritual Warfare Strategy: Confronting Spiritual Powers (Shippensburg, PA: Destiny Image
Publishers, 1996), 251.

72
missionary efforts and harden the hearts of specific, geographically delimited populations.94 At

Lausanne II, a formidable attack was mounted by an international team of “widely respected

intercessors” who prayed constantly for the eleven days of the conference.95

After the conference, coalitions emerged to lead ongoing battle with these territorial

spirits, raising up prayer warriors, often collected into international organizations such as the

World Prayer Center, or Youth With a Mission. These warriors could attack specific demons by

praying toward, or even physically circling areas, while compelling the demons to desist in the

name of Jesus. In some cases, these geographically-oriented missions struck out after local gods

understood to be demons, and in others after large areas like the “10/40 Window, a piece of

geography between 10 degrees and 40 degrees north latitude [where] More than 90 percent of the

least-evangelized peoples of the world live.” In either case, demons were located as the

underlying cause of problems that others may have identified in sociological or cultural terms:

“the unprecedented challenges to evangelism presented by the powers of darkness dominating

the 10/40 Window.”96

For approximately ten years, organizations dedicated to strategic intercession became a

notable feature of the Evangelical landscape, praying to locate demonic forces, praying to break

their power, and praying for the establishment of churches. Around the year 2000, however, the

Spiritual Mapping movement seemed to transform from a dense network of institutions into a

looser network of practices. One significant reason for this was the planned and timely closure of

94
René Holvast, Spiritual Mapping in the United States and Argentina 1989-2005: A Geography of Fear (Boston:
Brill, 2009), 95.
95
Wagner, Spiritual Warfare Strategy, 19.
96
Wagner, Spiritual Warfare Strategy 29, 255.

73
AD2000 United Prayer Track which had organized many strategic level interventions, some

claiming the participation of up to 40 million intercessors.97 But the change came from

bottom-up simultaneously: in some churches, mapping and strategic level intercession became

regular practices, no longer relying upon those organizations, and other churches, convinced that

a public emphasis on the demonic was alienating new members, allowed spiritual mapping to

drift from the pulpit to the periphery.98

It seems quite likely that the diffusion of strategic level intervention into a loose network

of Evangelical practices established the ground upon which Evangelical gaming culture could

build. The digital is a quasi-geographical range, and those who interact with it describe

themselves variously as inside of it. Video games in particular, even when they offer the player

no on-screen representation, are conventionally described as a place one goes. It should not

surprise us that demons followed (or perhaps led) humans there. The context of Spiritual

Mapping, unlike Satanic Panic, explains why players continue to go there and fight demons.

The game Spiritual Warfare (Wisdom Tree, 1992), for instance, demonstrates the

influence of the spiritual mapping movement quite explicitly, sending the player on a mission to

fight a specific devil who is corrupting a city from his lair under the local prison. The spiritual

mapping movement also seems to have shaped the creative context for many Evangelical games

that lack this overt reference. Those Evangelical games that situate the player within narrative

worlds almost inevitably follow the common video game convention of escalating combat

leading to a final confrontation with a “boss” who has coordinated all previous conflict. This

97
C. Peter Wagner, “The AD2000 United Prayer Track,” accessed February 15, 2014,
http://www.ad2000.org/re00623.htm .
98
Holvast, 148-9.

74
structure, even outside of the many cases wherein the final boss is a great demon, presents the

game world itself as a territory ruled by coordinated evil, a structure that segues smoothly with

spiritual mapping’s presumptions. Beyond this, just as spiritual mapping framed local religions

as the facades of satanic activity, just so does Evangelical game critique, in its frequent emphasis

on Satan’s appropriation of digital entertainment, situate the cultural space wherein games are

gaining popularity as a front for which prayer warriors must be specifically equipped. And,

returning to the overlap between Satanic Panic and spiritual warfare, Evangelical games

frequently use the digital apparatus to demonstrate that the player is herself infested by demonic

danger, sometimes even showing that the demons inside the computer are inside of them as well.

Conclusion

To briefly recap a strange journey, we can well understand the development, critique, and

enjoyment of computer software as parts of a complex process by which humans come to locate

themselves as non-computers, the human-computer interfaith. On one side, this process is a

religious-social shaping of technology, and on the other, it is the development of plausible

narratives of self. Humans craft computers with the understanding that they are separated from

them by slippery notions like “intelligence” and “freedom,” and computers craft humans back,

transforming these notions. Together, the human emerges as the non-computer and the computer

emerges as the non-human. How this dialog takes place varies as it is variously entangled into

diverse technocultural situations.

In particular, Evangelical Christian media present a culturally adaptive experimentalism

that works to orient lives around the Bible and Cross. However, to bring any medium into this

75
work, Evangelicals must determine what parts to remove in making way for the gospel.

Computers, recruited as allies in this salvific work, have found themselves embroiled in an

ongoing anti-demonic war. In some cases the demons are working to mobilize digital technology

against evangelism, and must be pushed back, in others the computers are recruited to simulate a

demon-haunted world to assist Christians in training for spiritual warfare. In practices of critique,

creation, and play, Evangelical gaming culture is widely permeated by spiritual warfare. In some

sense these seem to reflect the Satanic Panic that was taking place during Evangelical gaming’s

first two waves, but the human-computer interfaith of Evangelical gaming seems to more directly

reflect the Spiritual Mapping movement. In Evangelical video games, when they present

demons, young people are provided with strategies for combatting them, and are not only framed

as their prey.

This leaves us with two further dynamics to examine; we require greater specificity on

the computers and the games of Evangelical Christianity. The following chapter will

meticulously place Evangelical games in the context of digital religion, proceeding through

successive technological generations.

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 Chapter 3
Holy Ghost in the Machine:
The Historical Situation of Evangelical Video Gaming

Illustration 6: End Times Ministry in Computer Bible Games and Left Behind: Rise of the Antichrist

Before and after: along one plot arc, these two pictures are separated by the “twinkling of

an eye” (I Corinthians 15:52). On the left, we see evangelism immediately before the Rapture,

the player trying urgently to save as many souls as possible so they can meet Jesus in the air and

go to heaven without death. On the right, we see evangelism immediately after, the player trying

to save souls among those left behind so they can protect one another from the hordes of the

Antichrist, and await Christ's return after the seven-year Tribulation.

Along another plot arc, these two pictures are separated by nearly three decades of digital

religion, a challenging distance to map. The scene has moved from print distribution to

CD-ROMs, from a father and son pair of hobbyists to a multi-million dollar corporation, and

from coordinate-guessing to real time strategy. The subject of in-game evangelism, the digital

77
 agent to which players minister, has developed from a letter “T” to a polygonal humanoid with

its own name and tiny biography.

The present chapter seeks to do justice to both stories, the theological and the

technological, by observing their entanglement in the ongoing emergence of digital religion. In

the first half, Evangelical video games will serve as paradigmatic examples, guiding our

theoretical orientation to the history of digital religion. In the second half, they will serve as

signal flares, showing us where to steer as we traverse six decades of only faintly-mapped

history.

Thinking in Curves: Theoretical Grounds for a History of Digital Religion

We can locate the Evangelical video game as an instance of digital religion easily if we

provisionally continue to apply the categories “digital” and “religious” as limned in my

introduction (other definitions, of course, are possible, including those where the religious

excludes games and other frivolities entirely). “Computers,” for the purposes of this study,

means a chain of systems that perform algorithms (finite sets of prearranged commands

arranged into logical chains), so a room of children working to solve a single algebra problem

would count as a computer. The “digital,” however, only describes computers whose systems

communicate exclusively with on/off signals, and these seem to appear with Herman Hollerith's

experiments in punch card based computing in the 1880s. Here digital entities, those curious

beings whose existence is only possible within digital systems, first appear.

It is clear that the viruses and the files of the digital world are different from their analog

homophones in many ways, but we must take care when we describe that difference. Though

78
 various determinisms are defensible – for instance, digital entities may be significantly more

limited than natives of the analog wilderness, or they may be accelerating human potential, or

causing us to kill one another – this study will, for better and worse, never have an opportunity to

observe the computer as such. What we see, instead, are particular digital entities whose

tendencies are shaped by a complex of factors including their budgets, licensing, and cultural

situation, no less than their hardware constraints. A story of these particularities serves as a

scaffolding for several generations of religious attempts to describe and harness the possibilities

of the digital in general.

Applying this dissertation's operative definition of “religion” as “negotiations concerning

the place of humanity among non-human entities,” we might argue that the digital is always

necessarily religious (in that human-computer difference is at stake). But if we limit our scope to

durable confederations of humans and non-humans that collectively negotiate the borders of

humanity – that is “religious traditions” or simply “religions” – we can limit “digital religion” to

an affordance, a co-becoming, between them. “Digital religion” designates the new possibilities

that religions and digital agencies gain as they reshape one another. Bounded in this way, there

does not seem to have been any digital religion before 1951. The Human-Computer interfaith

may be locatable earlier, as it is likely that certain programmers reflected on the theological

consequences of their work before this, but there is no evidence that digital entities were invited

into any religious organization, nor that they tried very hard to insinuate themselves.

Bounding digital religion as the co-becoming of digital technologies and religious

organizations places Evangelical video games alongside computerized concordances and church

websites, offering a trajectory for this chapter's historical survey. However, this formula must not

79
 be confused for the similar proposition that religions make space for digital entities. If religious

and digital technologies are both presumed to precede their combination, digital religion will

appear as a syncretic derivation in every instance. If we are not cautious, everything will arrive

late. How, then, can the historiography of digital religion account for technocultural history

surrounding and preceding religious affordances without obscuring the novelty of these

technologies and theologies? If it is to address the novum, a history of digital religion might well

begin with a theory of secondarity.

A concise vision of the secondarity popularly understood to characterize digital religion

is well expressed by what we might call the “Frye Curve,” after Patrick Frye, Lead Engine

Designer for the Evangelical company Xrucifix/Two Guys Software: “With the resources we're

forced to work with we can only produce games that are five to seven years behind the game

play curve (or worse).”99 The observation itself is hardly surprising. Many reviews of

Evangelical games describe them along a curve of this sort; Saints of Virtue (Shine Studios,

1999), for instance, was reviewed as “five years out of date.”100 In 2005, Eternal War (Xrucifix,

2003), Patrick Frye's own most visible game, was reviewed on the Evangelical game review site

PlainGames. James Young of PlainGames – finding no problematic “sexual content” or

“promotion of an alternate religion” in the game – “first and foremost” criticized Eternal War's

“violence,” but none of these elements was explicitly temporalized with relation to worldly

media. The control scheme, however, is identified as a “throwback to the Wolfenstein key setup,

99
“Interview with Game Developer Patrick Frye,” accessed January 18, 2014,
http://mlarcherstories.blogspot.com/2008_09_01_archive.html.
100
Christian Gaming.com, “Saints of Virtue,” accessed January 18, 2014,
http://www.christiangaming.com/oldsite/Reviews/XSOVirtue.shtml .

80
 having the default keys using the arrow keys instead of the standard WASD controls found in

modern first person shooters” (a convention popularized with Quake (Id games, 1996)), and its

graphics are likened to those of GoldenEye or Quake II, both released in 1997.101 Though, with

these comparisons, Young argues that Fry's game was eight or nine years behind, rather than five

to seven, both the Evangelical developer and his Evangelical critic seem to agree that some sort

of lag is at hand. What is a curve, and is it an analytical device that we want to apply in telling a

history of digital religion?

To locate curves we have to limit our purview of salient data to produce a

two-dimensional matrix. If one assumes, first, that time proceeds along a single, consistent line,

and, second, that some single type of behavior by a single type of actor can be well understood

by counting instances as they overlap (ignoring, provisionally, the differences between diverse

sub-types of actors and behaviors) we find curves for a great number of technocultural

phenomena. Innovators pioneer a new tendency (whether nations practicing democracy, or

people using iPods) defining an initial low point, then they are increasingly imitated until that

behavior, for whatever reason, begins to decline. Though diffusion studies mapping the

contagious power of innovation had been conducted since the late 1930s, the curve's

contemporary shape – a smooth, symmetrical dome – seems to have been codified in Everett

Rogers' 1962 study, The Diffusion of Innovations.102 With the subsumption of deviance and

user-end creativity as “re-invention,” it is possible to say that “an innovation is not necessarily a

101
Jason Young, “Eternal War: Shadows of Light," accessed Janaury 18, 2014,
http://www.plaingames.com/games/reviews/review.asp?id=59.
102
Everett Rogers, The Diffusion of Innovations Third Ed (Glencoe, IL: Free Press, 1983); H. Earl Pemberton's “The
Curve of Culture Diffusion Rate,” American Sociological Review 1.4 (Aug., 1936), pp. 547-556.

81
 fixed entity as it diffuses within a social system,” casting innovations as singular, if mutable

entities.103 With this in mind, we can return to Frye's four to six year delay of Christian games

on a “game play” curve. The relevant actor seems to be the game development team, and the

behavior to be the creation of games that deploy some single technology-of-play.

To observe a specific game play curve shared by Evangelical and worldly instances will

clarify what happens when we begin to think in curves. Here, then, is a game play curve for

dance-pad games, those games that invite players to rhythmically stomp on surfaces with

embedded buttons:104

Figure 1: A Game Play Curve

In 1987, Nintendo created Dance Aerobics, apparently the first game to offer a floor-mat

with embedded buttons on which players dance. Nintendo was years ahead of the curve in this,

because it was only following the release of Konami's Dance Dance Revolution [DDR] in

103
Rogers, 176.
104
DWIExtreme, “Releases,” accessed January 18, 2014, http://www.dwiextreme.com/series/ (multiple releases by
numbered Level have been called single games); Wikipedia Contributors, “Dance Pad Video Games,” accessed
January 18, 2014, http://en.wikipedia.org/wiki/Dance_pad_video_games; CBS Interactive, “Search Games:
Rhythm>> Dancing,” accessed Janaury 18, 2014, http://www.gamefaqs.com/.
82
 1998-1999 that release of dance-pad games leaped suddenly in frequency. The initial upward

leap describes a wave of commercial imitations hoping to capitalize upon DDR's success in

arcades (including Konami's own imitations in new versions of DDR, those imitations

comprising the Dance Maniax franchise, and the productions of various Korean arcade game

manufacturers whom Konami would soon take to court). But profit motives do not entirely

explain the curve, nor can it be reduced to the action of relatively established game studios: In

2001, at the curve's initial peak, StepMania, a free open source dance-pad game was created.

And it is only in 2005 (four years after the initial peak, seven years after DDR, and fourteen

years after Dance Aerobics) that Digital Praise released Dance Praise (Digital Praise, 2005), the

genre's first Christian instance.

In this way we can apply the Frye Curve as a limited, but adjustable tool for comparing

Christian technologies with their worldly parallels. In some cases Frye's calibration at five to

seven years seems quite precise. For instance, though action role playing games first appear in

1982-4, Nintendo's The Legend of Zelda (1986) marked the sharp ascent of this game play curve,

and was followed six years later by Spiritual Warfare (1992), its Christian reimagining. But in

other cases we may need to calibrate our curve to describe larger distances from original to

adaptation: Evangelical 3D platform games like Bongo Loves the Bible (Sunday Software, 2005),

Bible Champions (Third Day Games, 2006), and Timothy and Titus (Sunday Software, 2007)

appear a full decade after Super Mario 64 (Nintendo, 1996) popularized the genre, following the

curve's peak by approximately eight years. Likewise, Axys Adventures (Rebel Planet

Productions, 2007), an Evangelical action role playing game greatly resembling Nintendo's

Legend of Zelda: Ocarina of Time (1998), but with 3D platforming elements appears, again,

83
 about eight years late. But sometimes the Frye Curve cannot be adjusted to fit the data at all, as

in the case of Evangelical First-Person Shooters [FPS], which distribute themselves evenly

across the curve's advancing peaks, ranging from two to seven years late as new gaming

technologies emerge. The first Christian FPS, Super 3D Noah's Ark (Wisdom Tree, 1994)

appears atop the curve only two years after Wolfenstein 3D (Id Games, 1992) popularized the

genre, and The War in Heaven (1999) introduces polygonal First-Person Shooting only three

years after its popularization in Quake (Id Games, 1996). However, 1999 also saw Saints of

Virtue (Shine Studios, 1999) with its 1993-era game engine, and the Quake engine was still being

applied by Christian FPS games like Eternal War as late as 2003.

The problem, however, is not that thinking in curves works inconsistently, because we

can always change our variables and discover it more-or-less correct. Thus, we could smooth our

dance-mat curve further by looking more specifically at games in which the player steps in the

direction of arrows that rhythmically drift across the screen, a convention that begins with DDR.

Dance Aerobics, which ordered foot placement using an on-screen instructor and a highlighted

representation of the mat, would be excluded, but nearly all others would remain. The history of

imitable on-screen instructors in dancing games, on the other hand, would plot a very different

curve. Beginning with Spinnaker's Aerobics for Atari in 1983, it would include Nintendo's Dance

Aerobics (1987) but exclude most of the DDR franchise and all Christian instances thus far, and

only inconsistently rise until a sudden jump in frequency around 2008, as motion-sensing dance

games surpass dance-mat games in popularity.

I offer this series of possible adjustments, not to assert that we must choose proper

variables, but to demonstrate that describing technological innovation using a frequency curve of

84
 this kind makes the novum imperceptible. To locate phenomena behind, ahead of, or upon the

curve discovers mimesis by presuming identity. Because a curve identifies every phenomenon as

somehow identical to other phenomena distributed across a temporally removed rise and decline

in concentration, they can locate “first” instances, but not “unique” ones, nor even “originals”

(should we assume that origination implies ongoing change). To do justice to Frye's own game,

Eternal War: Shadows of Light, to Dance Praise, or to any other piece of technocultural history,

we must learn to discuss some range of its features which have neither obvious predecessor, nor

successor. It is possible, for instance, that Eternal War is the only game that will ever include a

“weapon” called “Smite” that produces “Boom! A rippling explosion that disorients most

enemies” (with a “secondary attack” that produces “Several explosions at once, sending the

target flying backward”).105 It is likewise possible that Dance Praise's “Tune Into You” mode,

which “sets the dancing at your pace so you'll always be at the right level,” leaves it with neither

precedent nor successor as a dancing game that automates a good faith effort to match rather than

defeat the player.106

Any single, gameplay curve would render these particulars invisible, but so too would a

historiographical atomism which refused to even heuristically suggest identity between similar

games. Between the popular faith in “the curve,” and the overwhelming flatness of total

difference, we might describe, instead, a complex arrangement of “some curves” to draw novelty

105
Xrucifix, “Manual: Weapons," accessed January 18, 2014, http://www.xrucifix.com/anvil/manual.php?id=7.
106
According to www.tvtropes.org, there are three rhythm games that feature “dynamic difficulty” of this sort, but
one of these is a button mashing game (DJMAX Portable), and the other two are more (Guitar Hero 5) or less
(Rocksmith) stylized guitar games. TVTropes Contributors, “Dynamic Difficulty,” accessed January 18, 2014,
http://tvtropes.org/pmwiki/pmwiki.php/Main/DynamicDifficulty; Digital Praise, “Dance Praise: Over 50 Songs,”
archived by the Internet Archive, August 18, 2007, accessed Janaury 18, 2014,
http://web.archive.org/web/20070818201931/http://www.digitalpraise.com/flash.php.

85
 into focus. The curves for “divine potencies rendered as player abilities,” and “First-Person

Shooters,” or “dynamic difficulty” and “dancing games,” for instance, meet in ways that gesture

toward the novum. Following this logic, this history of technological innovation strives to

describe the interference pattern produced by the intersection of all waves relevant to the

phenomenon at hand. If we were to return to our dance pad curve, then, and historicize it as the

intersection of the separate fortunes (that is, the curves) of specific trends in techno music,

on-screen instructors, moving arrows, floor-mats, motion detection accessories, open source

gaming, and digital Christianity, we would still only have a crude simplification, but we would

begin to detect the ways these trends transform one another. Though counting instances would

still remain relevant, such a methodology would work to draw the how out of how many.

If we apply this practice to the history of digital religion, it need not be understood as a

series of tardy imitations of digital practices by religious confederations, nor the tardy imitation

of religious practices by digital ones. A history of digital religion is a record of consequential

intersections between two technocultural histories, both of which are themselves the interference

patterns of innumerable further curves. To envision digital religion as a vast interference pattern

of interacting curves leaves us with a narrative principle much simpler than Frye's own maxim,

one not unrelated to Marxist questions about the ownership of the means of production: When a

digital technology becomes accessible to a sufficiently wide range of digital creatives, someone

will find a religious use for it.

In conclusion, a curve can be a valuable tool if we do not mistakenly present it as a once

wild entity captured by our research. Particular kinds of questions and research methodologies

produce curves. We, thus, must carefully explain what it is we are counting, where we found

86
 instances, and what was excluded, without accidentally naturalizing these decisions. The Frye

Curve, which emerges when one compares some very few religious games with blockbuster

games that inspired them, is, in fact, a very helpful heuristic if regarded carefully. The lag of a

few years between the popularization of various gaming technologies and their application in

Christian games seems to reflect restrictive licensing in some cases, and slow processes like

game development, or software training in others. For analysis to coherently frame these diverse

factors, analysis of any curve must direct focus to the literally innumerable potential curves of

which the present curve is a two-dimensional slice. A complete accounting of those potential

curves is impossible, but the best study is that which presents the reader with as many curves as

she will bear.

How to Count Religious Games

Just as Evangelical video games can tell us much about digital religion, so too does that

broader frame reveal much about these specific instances. More specifically, if we were to

observe the curve of Evangelical video game production, we would observe the marks of various

technocultural shifts that transformed other aspects of the digital as well as the religious. This

chapter's historical survey begins with the advent of digital religion as such, but with the

emergence of religious video games in 1982, its rhythm is set by changes in their production.

With this in mind, we can now consider a quantified history of religious video games:

87
 Religious Video Games:
1982 - 2010
80

70
Number of Games Released

60

50
88

40

30

20

10

Total (773) Christian / Biblical (474) Jewish (128)

Muslim (70) Denominational (71) Other Religions (30)

Figure 2: Religious Video Games (1982-2010)

 These are the 773 religious games for which I have been able to plausibly determine a

designer or distributor's name, a year of release, and which I am relatively certain actually

existed, playable, on someone's computer. The catalog appears in full as an appendix to this

dissertation, and I expect that it will be corrected, expanded, and better understood through

ongoing research. Producing this catalog of religious video games has been a significant

component of my research, and its scale is unprecedented. By way of comparison, Wikipedia

counts only 45 Christian games, Moby Games lists 65 “educational-religious” games and Digital

Islam counts 26 “Middle Eastern and Islamic video games.”107 A complete catalog of religious

video games is not possible, however, and this should not be mistaken for one. Many games on

this list have quite nearly vanished already, leaving only scarce traces in archived websites or

limited-circulation magazines. I am certain that many further games have been lost without a

trace. The list is, likewise, necessarily incomplete because it was mapped according to my

specific selection criteria. Had I made different decisions as to what is religious, a game, or a

single instance, it could have been a very different catalog.

Nearly all of my research has taken place online and in digital periodical archives. My

initial search terms simply juxtaposed “game” or “video game” with words that I suspected

religious groups would use to hail like-minded web browsers. I tried words insiders might use to

describe themselves (e.g. “Hindu,” “Wiccan”), and diverse sacra including precious names (e.g.

“Hubbard,” “Abraham”), and books (e.g. “Bible,” “Quran,”). When I found any instance that fit

107
MobyGames, “Game Browser: Religion,” accessed January 27, 2014,
http://www.mobygames.com/browse/games/x,84/list-games/ ; Wikimedia Foundation, “List of Christian Video
Games by Release,” accessed January 27, 2014,
http://en.wikipedia.org/wiki/List_of_Christian_video_games_by_release ; Vit Sisler, “Middle Eastern and Islamic
Video Games,” accessed January 27, 2014,
http://www.digitalislam.eu/findInSection.do?limit=50&sectionId=1115&page=1,

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 my working definitions, I added them to the list, and made their name a new search term, seeking

out pages that may have cataloged that game alongside others. When I found websites selling,

reviewing, or digitally distributing games, I used the Internet Archive (www.archive.org) to see

if further instances could be excavated from the website's past. Working in this way, my purview

of non-English games has been relatively limited, and I am fortunate that some few games

released in Arabic, and one each in German, Swedish, and Thai found their way in. Games with

no traces on contemporary websites are not included. There were probably more Christian games

programmed in BASIC than I have been able to locate, and many of those may have been shared

between friends. Limited distribution only excluded games from this study when it pushed them

beyond the reach of my tools. What I could not find, I could not document.

In determining whether a piece of software is a “game” or “religious,” I have

supplemented in-game images and processes with distributor-authorized text, such as flavor text

in catalogs, and the page titles of websites. Consider Hebrew Learning (Ulrich Greve, 2002) and

Arabic Alphabet” (Islamic Playground, 2006), both of which are included in the chart. If these

had been produced by Rosetta Stone, or another company specializing in language instruction,

users may have tended to describe them as neither games nor religious. However, I have resolved

that the former is “religious” because Ulrich Greve, its creator classifies it as “Jewish Software,”

and the webpage offering instructions on it describes a session of use as “a new game;” in the

latter case, the fact that it is distributed through a site called “Islamic Playground” resolves both

questions.108 Where I have located distributor-authorized text describing a piece of software as a

108
Ulrich Greve, “Hebrew Learning for Windows CE 3.0/Pocket PC 2002/Pocket PC 2003,” archived by the
Internet Archive, February 9, 2005, accessed January 18, 2014; Islamic Playground, “Islamic Playground,” archived
by the Internet Archive, August 10, 2006, accessed January 18, 2014,
90
 “game,” as “fun,” or as something one “plays,” I have called it a game.

The identification of games as “religious,” however, was quite complicated, as I could

include neither all games made by religious people, nor all games containing citations of

religious tradition. First, religious people and organizations occasionally produce artifacts which

are not themselves religious. For instance, though Bap (“How fast can you move your mouse?

You need to be fast to play this game!”) was distributed through

www.christiancomputergames.net, I have not classified it with religious games, but with Hebrew

National Hotdogs and Oneida Silverware as exports from religious groups.109 I identified the

religious by first identifying sacra. That is, religious organizations manage their negotiations at

the borders of humanity by transferring materials of various kinds, and only games that used

these to draw their players into the ongoing border negotiations of specific religions were

identified as “religious” for this study.

If it had been possible, I would have abstained from the question of whether original

characters created by religious production companies are sacra. Because some games were based

entirely around them, though, I could not, and decided that they alone were not able to do

religious work. Fortunately, in most cases the games that contained them also contained less

ambiguous sacra. Some characters, like Bibleman or the Torah Tots, make the problem easier

still by refusing to travel apart from sacra. Thus, Music Machine (Sparrow, 1983) for Atari 2600

is not on this list because it contained Stevie, Nancy and the evil Mr. Pims, but because the

http://web.archive.org/web/20060810192930/http://www.islamicplayground.com/Scripts/default.asp.
109
Christian Computer Games.Net, "Bap," archived by the Internet Archive, December 20, 2001, accessed Feburary
10, 2014,
http://web.archive.org/web/20011220085307/http://www.christiancomputergames.net/english/OL_bap/index.html .

91
 player tries to catch icons which the manual explains to be love, patience, gentleness, faith, joy,

peace, kindness, goodness, and self-control (Galatians 5:22-3).110 It is possible that “The Pirates

Who Don't Do Anything” of Veggie Tales fame will eventually be sacra in their own right, but

for now their inclusion was not enough to get a game onto this list.

That said, there is no spiritually invested material, no matter how established, that is

always sacred. Consider Devil World (Nintendo, 1984):

Illustration 7: Devil World

This game, unreleased in the United States due to Nintendo of America's restrictions on

religious imagery, starred a dinosaur who could breathe fire when it carried a cross, and who

completed levels by placing four Bibles into a skull-block. After a bonus stage, the Devil would

fly to the next level, repeating the process endlessly until the player lost or gave up. What does it

110
Atari Age, “The Music Machine: Manual,” accessed February 10, 2014,
http://atariage.com/manual_thumbs.html?SoftwareLabelID=321 .

92
 mean to say that the imagery is religious, but the game is not?

Any sometimes-sacred material can be invoked to manage human-human borders, rather

than those at humanity's edges. We might identify fantasy and blasphemy as prevalent tendencies

of this sort in popular media. Literature conventionally labeled “fantasy” is connected by the

presence of “supernatural content [that is] believed by few or no audience members and is believed

by audiences to have been believed by another culture.”111 Unlike believers in extravagant magics

or in dragons, who are exiled to the vague past, the others underwriting fantasy may in some

cases just be separated from the audience by banal religious difference. Thus, vampire-fighting

games, though full of crosses, souls, and holy water, are fantasy with religious citation, rather

than religious. Games like Devil World, or Konami's 1992 Noah's Ark, would be out of place on

this list because they present non-human agencies as human fantasy, and not as external beings

with whom borders must be negotiated. Blasphemous games, likewise, were not included in the

list. “Crucify-me! Jesus,” for instance, sarcastically describes itself as “another exciting toy for

your Christian child” then delivers a combination of Jesus wailing in pain, and cynically

expounded Bible verses quite consistent with the embedded caveat “Warning: This game is not

to be viewed by christians [SIC], unless they have a REALLY good sense of humor.”112 This

blasphemous game does not meet my operative definition of religion because it does not seem to

mobilize border negotiations between humans and non-humans, but between two groups of

111
Brian Laetz and Joshua J. Johnston, “What is Fantasy?” Philosophy and Literature 32.1 (April 2008), 161-172;
167.
112
Created by Aaron Chapman of www.nogod.com and circulated largely through www.newgrounds.com, 2000.
“Crucify Me Jesus,” accessed January 18, 2014, http://www.newgrounds.com/portal/view/1545 .

93
 humans, one of whom views the other as foolish.113

The final problem for producing this list was deciding how many games add up to one.

Here the polysemy of “game” again becomes relevant to our analysis. Consider Bible

Adventures, a cartridge for the NES game console, released by Wisdom Tree in 1991; it is

frequently described as “a game.” Upon starting, the player's first choice is to select among

“Noah's Ark,” “Baby Moses,” and “David and Goliath;” these are each also frequently described

as “a game.” The present tally counted these as one game, rather than four, or three. However,

when Yalon Keret, creator of six Jewish games that were packaged together in Avner and

Brachot (Torah Educational Software, 2000), released them on his own website as separate

games, I count these as a total of seven games, and did not count the website distributing them as

an eighth.114 Though divisions of this sort created new entries, I did not count the repackaging of

older games into anthologies as the creation of new games. Likewise, ports of games from one

computing platform to another did not count create new entries, even when graphics were

updated in the process. And several crossword puzzles, jigsaws, or mazes distributed together,

each using the same engine, though with different levels, would be counted as containing a

113
As with religious games, blasphemous games seem to be largely oriented with regard to a (Anti-)Christian public.
Though I have not sought blasphemous games with the rigor I applied to the search for religious games, thus far, by
the above definition, I have located 15 blasphemous-Christian games (i.e. Beep Me, Jesus; Biblebelt Man; Bible
Fight; Broken Garden; Crucify-Me! Jesus; Giant Laser Jesus; Jesus Blastafon 9000; Jesus Dress Up; Jesus of
Nazareth Interactive Fiction; Myth Hunter; Nail Jesus to the Cross; Pope Wars; Running Jesus; Run Jesus, Run:
The 10 Second Gospel; Super Jesus: The Game; and The You Testament), seven blaphemous-Catholic games (GTP:
Vatican City; Nun Blaster; Operation Pedopriest; Pimp my Pope; Vatican Raiders; Vatican Quest; Whack the Pope)
only one blasphemous-Scientology game (Escape from Scientology Land), one blasphemous-Muslim game (The
Making of a Prophet), and the two blasphemous-Ecumenical games of the Faith Fighter series.
114
“Yalon Keret, “Game Programming & Graphic Design,” archived by the Internet Archive June 5, 2008, accessed
January 18, 2014,
http://web.archive.org/web/20080605115400/http://www.yalonkeret.info/index.php?option=com_content&view=art
icle&id=5&Itemid=6.

94
 single game. This final matter of counting was by far the most challenging, as there is no

unambiguous demarcation between the engine and the level.

In conclusion, I made a series of decisions to delimit what I would call a religious video

game, and every one of them is contestable. As throughout this dissertation, I sought out video

games that include the sacra of the specific religious communities in which they circulate. I

interpreted this to exclude some kinds of blasphemy and fantasy, and decided that the licensed

characters of religious entertainment are not yet sacra. Further, new levels distributed with their

original games are absorbed into them, as are ports and anthologies. Charts which expand wildly

to accommodate every game with a cross in it, or contract to describe only those which have

been played by a thousand people of good faith are much needed, and if other studies produce

them, I hope our charts can meet amiably along a single set of axes.

Thus translating “religious video game” into quantifiable criteria, we find a chart that

seems to have several curves within it. After three decades of digital religion, a first wave jumps

up and dives back for nearly a decade's lull; a second wave rises and falls across the 1990s; the

turn of the century sees an unprecedented spike; and another wave crests across the mid-aughts.

The remainder of this chapter presents a history that follows this rhythm. For the sake of

narrative coherence, a section describing digital religion before video games opens the story, and

the final section includes the peak still rising at the chart's end. Each of these curves is an

interference pattern produced by innumerable further curves. The waveforms of mail-order and

Internet distribution, of CD-ROMs, personal computers, and restrictive game console licensing

had strong effects, but none of them should be mistaken as a curve's singular cause. The history

of digital religion is a symphonic complexity, and this is an attempt to do it justice.

95
 In the Beginning was the Word [1951-1982]

Between 1951 and the late nineteen seventies, digital religion began with a series of

experimental translations, moving scripture from languages that mediate between humans and

the divine into languages that mediate between humans and machines. With the end of the

Second World War, the monumental mainframe computers designed to guide missiles and break

codes began turning their attention toward civilian accounting under the supervision of various

universities and corporations with close government ties. In 1951, it seems, several projects of

feeding holy text into these demilitarized mainframes begin to take shape, the two most famous

of which were Christian, non-Evangelical, “high church” projects: In this year Father Roberto

Busa S.J. created a concordance of one canto (136 lines) of The Divine Comedy using IBM’s

enormous mechanical-electric punch card computers, and the American Philosophical Society

granted Episcopal Rector Rev. John W. Ellison funding to collate and compare various Gospel

manuscripts on magnetic-tape-based UNIVAC mainframes.115 Each project gave their lead

theologians/engineers sufficient social capital to assemble more ambitious teams of humans and

computers toward more elaborate indexing projects; Ellison published a concordance of the

recently published Revised Standard Version in 1957, and Busa collated the complete work of

Aquinas into the Index Thomisticus in 1974.

But even in this first period, when digital religion manifested as circuits of coders,

students, maintenance personnel, and literal tons of storage media carrying sacred text between

esteemed theologians and exclusive mainframes (usually producing expensive bound

115
D. Harbin, Formatting the Word of God: An Exhibition at Bridwell Library, Perkins School of Theology, Southern
Methodist University (10/1998-1/1999). Edited by Valerie R. Hotchkiss and Charles C. Ryrie, “Fiat Lux: The
Electronic Word” (Bridwell Library, Dallas TX, 1998); D. M. Burton, “Concordances and Word Indexes: The
Fifties,” Computers and the Humanities 15.1 (Jun. 1981), 1-14.

96
 concordances), diverse projects were emerging, and computers were coming to understand

scripture in wildly divergent ways. Consider two projects digitizing lashon kodesh (Hebrew,

Jewish Aramaic, and the two in combination): in my introduction I mentioned a project of

digitizing the Dead Sea Scrolls that unsettled Jacob Neusner, prompting one of the first academic

meditations on digital religion. This project, also led by Father Roberto Busa, treated the Dead

Sea Scrolls like the Index treated Thomistic Latin, as a series of strings of letters. While it could

thus search forward or backward, it could only connect dissimilar words if humans tied them

together by adding themes, chapters, or other metadata to the text. The mainframe project at Bar

Ilan University, on the other hand, approached the Hebrew text of Rabbinic responsa as a

collection of conjugated words, producing a computer that could examine Hebrew texts

according to three-letter radicals, even when conjugation removed letters from immediate

proximity.116 The former, which could be configured to do nearly anything, but which did not

have any strong basis in the language it was examining, was conceptually influential in the

emergence of the digital humanities at large. The latter, on the other hand, being developed in

Israel with an algorithmic preference for Semitic languages, was quickly framed as a database of

“Jewish culture,” and grew to include both Talmuds, and dozens of other Hebrew texts,

including literature by Nobel Prize laureate Shai Agnon.117 Here we see how digital religion

manifests as the acceleration of the human-computer interfaith; a Jesuit project's presumption

that the lashon kodesh mediating between the human and divine is composed of strings of letters

leads to very different projects than does an Israeli project's presumption that it is composed of

116
Aviezri Fraenkel, “The Responsa Storage and Retrieval System: Whither?” accessed November 25, 2013,
http://www.wisdom.weizmann.ac.il/~fraenkel/.
117 “
Database of Texts on Jewish Culture Available,” Computerworld, May 17, 1982.

97
 conjugated radicals.

Digital religion was diverse even in its first phase, when it was entirely composed of

translation and indexing projects, but an “information age” is a tenuous temporality, only

extending as far as it can be carried by algorithmic agents and their discretizing instruments.

Thus, it is not surprising that the initial engagements between mainframe computers and sacred

text did not prominently include Evangelical projects. They, like other groups that did not have

sufficient social capital to access mainframes owned by IBM, Harvard, or various national

governments, had to wait until 1975 and the emergence of affordable home computers to face the

problematics of coding the sacred.118 And the growth of personal computing opened that

challenge rapidly: By 1982, approximately 600,000 bourgeois American families, as well as the

schools, businesses, and places of worship that served them, had begun to use personal

computers to restage the complexities of daily life as questions of data.119 Of course, a cursory

consideration of journaling, bill paying, and chess playing shows that there were informatic, even

algorithmic, aspects to personal life before personal computers, but only here were these

practices coded to be processed digitally. For instance, in this period computerized Bible

searches began replacing concordances in pastoral preparation of sermons – “The Word

Processor” released by Bible Research Systems in 1980 for Apple II computers, was followed

quickly by Drew Haninger's initial DOS version of the Olive Tree Bible software, a program that

would continue to demonstrate the sacred possibilities of popular computing for the next several

118
Jeremy Reimer, “Total Share: 30 Years of Personal Computer Market Share Figures,” accessed November 25,
2013, http://arstechnica.com/old/content/2005/12/total-share.ars/ .
119
Gregory S. Blundell, “Personal computers in the Eighties,” BYTE January 1983, pp. 166-182.

98
 decades.120 Similarly, the memberships and finances of places of worship began to migrate from

carbon paper to silicon as programs like PARSEC (Parish Secretary), Manna, A.C.T.S.

(Automated Church Transaction System), and MMS (Ministry Management System) circulated

alongside ad hoc record keeping programs developed within individual congregations.121

The Birth of Digital Religious Entertainment [1982-1990]

In this milieu of experimentation with personal computers by diverse religious

communities, the Institute for Computers in Jewish Life invented the religious video game.

Rabbi Irving Rosenbaum (a polymath and amateur electrician who had helped to create Jewish

television programs for children in the 1960s) founded the institute in 1978 to help Hebrew

Theological Seminary (Skokie, IL) and other Jewish schools in the area access the Israeli
122
databases of Jewish culture already considered, and to create original educational software.

Among these first educational programs were a series of action and adventure games that fit

biblical narratives into the mechanics of popular games (The Jericho Game, The Philistine Ploy)

and others that placed a ludic frame onto quizzes (Jewish IQ Baseball, Mitzvah Munchers). As

these first religious games were initially distributed within the relatively enclosed network of the

120
Scott Lubeck, “Scrolling through the Bible,” Texas Monthly December 1984, 206-208; “25th Anniversary for
Bible Software is Celebrated with New Release” Business Wire, October 11, 2005.
121
Scott Mace, “In Focus: Spiritual Software,” InfoWorld December 27, 1982, 15-16; Tom Shea, “Linkletter:
Computers for Church,” InfoWorld October 11, 1982, 1; “Business System Answers Church's Prayers,”
Computerworld, December 13, 1982, 22.
122
For some further description of Rabbi Rosenbaum's life, see Illinois Senate (94th General Assembly, 2005), “SR
0041” which honors his memory. Accessed March 18, 2014,
http://www.ilga.gov/legislation/fulltext.asp?DocName=&SessionId=50&GA=94&DocTypeId=SR&DocNum=41&
GAID=8&LegID=15758&SpecSess=&Session= ; IMDB Contributors, “The Magic Door,” accessed November 25,
2013, http://www.imdb.com/title/tt0368521/ .

99
 Institute for Computers in Jewish Life, further research is required to determine which instance

should be described as “the first religious video game.” Games were not placed in this

dissertation's official chronology from this point, as it is unclear when various games began

circulating on the Institute's computers. It is clear, however, that in 1983, Rosenbaum founded

the Davka Corporation to distribute these programs by mail to a broader audience of Jewish

Apple II owners, making their public release approximately simultaneous with the appearance of

the first Christian video games.

In 1982, at least a dozen Christian games emerged for various home computer systems. In

New York, Anglican Brother Tobias Stanislas asserted, “I’ve written what I believe may be the

first ecclesiastical computer game. ‘Pax-Man.”123 But parallel firsts were also occurring in

Texas – where the Conrods, a father-son team of Seventh-Day Baptists, published Bible

Computer Games, a book teaching aspiring BASIC programmers how to make their own

Biblically inspired video games – and in California – where “Sparrow Distribution,” an

Evangelical record label, began marketing ten different Family Bible Fun quiz games for the

Atari 400/800.124 It was a dramatic first year for Evangelical gaming, but 1983 only saw two

new releases, including an adaptation of the Christian television show “The Music Machine” (the

first religious game for a dedicated game console). 1984 then only sees one new Christian

computer game, and 1985 doesn't see any at all. The steep decline of Christian gaming after that

impressive first year accompanies a brief surge of Jewish games as Davka publicly released their

first ten games between 1983 and 1985. When that surge ends, religious gaming nearly vanishes

123
Mace, 15.
124
“Computer games introduced at Family Bible Fun Breakfasts,” Infoworld 5.40 (Oct. 3, 1983), 22.

100
 entirely.

Looking back across the length of my study, the initial surge of religious gaming seems

to present patterns that remain visible for the following 30 years (the “seems” here is critical, as

historical patterns only become visible due to their specific selection criteria). First, we must note

that the Atari 400 and 800 were marketed as personal computers, whereas the 2600 was a game

console. This means that aside from Music Machine, all of these games were designed for home

computer systems rather than dedicated video game consoles. Because licensing has tended to be

much more affordable for multi-purpose computer systems, these will remain the mainstay of

religious gaming into the present (of the 773 instances through 2010, only 33 were released for

game consoles). There seem also to be some enduring patterns in game design from the outset:

The majority of the first releases are digitized educational worksheets and quizzes (e.g. Family

Bible Fun; Children's Bible Quiz), but there is a significant and diverse minority of games that

invited the player to identify with an on-screen character. In the first year, these already include

redeemed adaptations of worldly games (e.g. Pax Man), playable scriptural narratives (e.g. The

Philistine Ploy), and non-scriptural adventures built upon algorithmic adaptations of out-game

theology. Music Machine, the first instance of this final design trend, presages the later

adaptations of Bible Man, Veggie Tales, Adventures in Odyssey, Left Behind, and Torah Tots

franchises into video games. Though it adds the burden of maintaining continuity with those

franchises' narratives, developers continue financing their creativity and justifying their

innovations through continuity with religious entertainment franchises.125

125
Rabbi Rosenbaum’s puppet-based television show for Jewish children, “The Magic Door,” certainly counts as a
religious entertainment franchise, as it used a recurring cast of novel characters to illustrate religious teachings
across diverse media (in this case, television and records). Thus, though there seems never to have been a computer
101
 But between 1984 and 1991, no surge of games matches the initial outpouring of

creativity. Why does religious video gaming dry up? It seems there was a larger vanishing at

hand; to quote the president of a department store chain in 1984: “The electronic toys are dead...

where we would have sold 1,000 video games, now we are only selling 20.”126 Thus, the long

lull in the history of religious games seems to demonstrate the consistent entanglement between

digital religion and other digital emergences; or, in the language of waves that opened this

section, here we see the Frye Curves of worldly and religious game production shifting together

as developers attempt to predict the presence of an audience.

Religious gaming's fruitful first year had been a year of wild over-production for video

games in general, and the years of scarce religious gaming begin with what historians of digital

culture tend to call “the great video game crash.”127 Sales of games had increased from $15

million in 1975 to an estimated $1.2 billion in 1981, and apparently it seemed for a moment that

any video game would sell.128 That year, a December TV Guide announced “It makes no

difference whether you've been naughty or nice; chances are that Santa will be dropping off a

game coded to recreate the fantasy world of that show, we might assert that the religious entertainment franchise is
an intersecting history without which that of the religious game cannot be sufficiently told.
126
Jennifer Lin, “Toys: Video Games Zapped by Lure of the Traditional” The Philadelphia Inquirer, Wednesday,
August 29, 1984.
127
To demonstrate the broad currency of this term, consider its use in literature for video game enthusiasts, as well
as designers and marketers: Nadia Oxford, “Ten Facts About the Great Video Game Crash of 1983,” accessed
November 25, 2012, http://www.ign.com/articles/2011/09/21/ten-facts-about-the-great-video-game-crash-of-83;
Wesley, David T. A., and Gloria Barczak, Innovation and Marketing in the Video Game Industry Avoiding the
Performance Trap (Farnham [Surrey, England]: Gower, 2010).
128
Arthur Howe, “Warner Slump May Signal End of Video-Game Craze” Philadelphia Inquirer, Friday, December
10, 1982.

102
 video game under your tree this year. It's almost unavoidable.”129 Atari's dedicated game

consoles led in sales, but their 5200 Super System was released in 1982 alongside the

Commodore 64, ColecoVision, the ZX-Spectrum and several others.130 Atari's over-printing

millions of Pac Man and E.T. cartridges (rated in 2006 as the sixth and second worst games of all

time, respectively), thus, did not cause the crash, but it did display the surprising miscalibraton of

a significant company to their audience, and was emblematic of the crisis of confidence which

convinced many would-be game designers that their creativity would be wasted on video

games.131 The release of nine Family Bible Fun games in a single year seems to show that the

same over-confidence that characterized the worldly video game market of 1982 also extended

into Christian game development, and their place on the Atari 400/800 allowed the Christian

market to participate in the crash as well (though it was marketed as a personal computer rather

than a game console).

In retrospect, it seems that the burial of gaming’s first prototype biofeedback system (the

Atari Mindlink), and millions of cartridges of the E.T. video game in a New Mexico landfill

signaled only a collapse for the first generation of home game consoles, not of video games as

such, and was in part caused by the continuing proliferation of personal computers, which

remained platforms for new religious games.132 DOS games began to appear in 1986 with

129
Len Albin, “The Best Video Games of 1982,” TV Guide December 4-10, 1982, 50.
130
Roberto Dillon, The Golden Age of Video Games (Boca Raton, FL: Taylor and Francis, 2011), xvii.
131
Gametrailers.com: Best & Worst Games (TV 2006), MTV, 14 November 2006 (USA); IMDB Contributors,
accessed November 25, 2013, http://www.imdb.com/title/tt0910891/; Dillon, 72-73.
132
"Atari Parts Are Dumped," The New York Times, 28 September 1983;
http://www.atarimuseum.com/videogames/consoles/2600/mindlink.html (accessed 11/25/2013); Debora L. Carr,
Home on the Strange: More Tales from My Albu-Quirky Journals (Dog Ear Publishing, 2010), 62;

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 Christian Text Adventure #1 (Bob Nance), and in 1990, TechnoCrafts Unlimited used that

operating system to release Nephi's Quest, the first game for Latter Day Saints.

In this quiet period, it remained clear that digital religion was productive of original

creativities, and not merely derivative of secular technologies. In particular, just as the indexing

projects of the 1950s were the first experiments in the burgeoning field now called “the digital

humanities,” the digital religious creations of the 1980s were frequently “ahead of the curve”

regarding various technologies of digital distribution. For instance, shareware, the tendency of

software distributors to circulate more-or-less complete versions of their wares for free, has been

credited as a primary force in the reconceptualization of personal computers as gaming consoles,

and credited with the success of genre-creating game software like Doom and Wolfenstein 3D.133

Shareware, however, was pioneered by hobbyist programmers, and emerged first from an

experiment in digital religion. According to Jim Knopf, he created PC-File, the first program to

be distributed in this way, because he: “needed a program to print mailing labels for a local

church congregation.”134 Likewise, 1989's Franklin KJ-21 was the first dedicated electronic

book reader, a digital pocket dictionary redesigned as a biblical concordance and reader.135 And

in that same year, the Bible Library, with 9 Bible versions and 21 references, seems to be the first

popularly accessible work using CD-ROM technology to offer intertextual access to the digital

133
Robin Clark, "The Shareware Age," accessed March 30, 2013,
http://www.eurogamer.net/articles/the-shareware-age-article.
134
Jim Knopf, “The Origin of Shareware,” accessed March 30, 2013,
http://www.asp-software.org/users/history-of-shareware.asp.
135
Peter N. Yianilos, “The Franklin Bible,” accessed April 26, 2012,
http://pnylab.com/pny/products/bible/main.html.

104
 humanities.136

Technologies of Bricolage and Religious Gaming's First Bloom [1990-1998]

The death of the video game console was precisely the sort of death video games tend to

describe: dramatic, but brief.137 Between 1983 and 1988, Nintendo refined a marketing and

licensing campaign for their new NES console that succeeded in repopularizing the format. As

the NES moved from Japan to the US in its second year, Nintendo redesigned the machine to

ambiguate the border between computer and toy, and began selling it at consumer electronics

stores, but most importantly they attempted to prevent another glut of terrible games by

implementing various mechanisms to insure that only games that met their “quality” standards

(and whose developers agreed to pay 20% of their wholesale cost to Nintendo) could be played

on the system.138 Of particular interest for a history of digital religion, Nintendo of America

would not license games for their home-console that

reflect ethnic, religious, nationalistic, or sexual stereotypes of language; this includes symbols that are
related to any type of racial, religious, nationalistic, or ethnic group, such as crosses, pentagrams, God,
Gods (Roman mythological gods are acceptable), Satan, hell, Buddha.

Officially, this meant that Nintendo of America’s policy grouped swastikas, blackface, and

crucifixes as a single type of language problem (which apparently did not include Mario’s

136
The Bible Library, “About Us,” Accessed June 18, 2012, http://www.biblelibrary.com/ee_aboutus.htm; A
Companion to Digital Humanities, edited by Susan Schreibman, Ray Siemens, John Unsworth (Oxford: Blackwell,
2004), accessed March 18, 2014, http://www.digitalhumanities.org/companion/.
137
Dominic Arsenault, “System Profile: The Nintendo Entertainment System [NES],” in The Video Game Explosion:
A History from PONG to Playstation and Beyond edited by Mark J. P. Wolf (Westport, Conn. : Greenwood Press,
2008), 109-112.
138
Luis Levy and Jeannie Novak. Game Development Essentials: Game QA & Testing (Clifton Park, N.Y.:
Delmar/Cengage Learning, 2010), 11.; Charles W. L. Hill, Strategic Management Cases: An Integrated Approach
(Mason, OH : South-Western/Cengage Learning, 2010), C166-7.

105
 representation of Italians), and forbade them with the same force as “sexually suggestive or

explicit content” or “graphic illustration of death.”139 The two primary mechanisms for

enforcing their licensing were a “lock-out” chip, and threats to withdraw their entire library of

licensed games from any store that carried unlicensed ones.140 By Christmas of 1988, the NES

had already provoked the resurgence of the console market that has continued largely unabated

into the present.

But Nintendo's quality standards largely prevented digital religion from sharing the

console resurgence along authorized channels (Taboo: The Sixth Sense, a Tarot simulator, and

perhaps the first non-monotheistic religious game, is the one conspicuous exception, and no one

seems to understand how it slipped under Nintendo of America's radar, particularly as it also

included nudity).141 Of the several companies that found work-arounds to the lock-out chip, the

most successful was Tengen, an Atari spin-off that fought Nintendo in court for their right to

make unlicensed games (and lost); number two was the Arizona company Color Dreams.142

Unlike Panesian or AGCI, whose releases included pornographic and bloody games

(respectively, approximately), Color Dreams produced relatively innocuous action and puzzle

games. In 1990, however, Color Dreams created the subsidiary Wisdom Tree company, which

139
For an evaluation of these policies as grounded in specific censorial decisions, see: Jim McCullough,
“Nintendo’s Era of Censorship,” accessed January 19, 2014, http://www.filibustercartoons.com/Nintendo.php .
140
David Wesley and Gloria Barczak, Innovation and Marketing in the Video Game Industry: Avoiding the
Performance Trap (Farnham [Surrey, England]: Gower, 2010), 34.
141
Moby Games, "Taboo: The Sixth Sense," accessed January 29, 2014,
http://www.mobygames.com/game/nes/taboo-the-sixth-sense .
142
For technical details on Color Dreams' circumvention, see Jon Valesh, “Nintendo, America!” accessed January
19, 2014, https://web.archive.org/web/19990220025116/http://www.valesh.com/~jon/computers/nintendo.html ;
Chris Woodyard, “Nintendo Keeps Color Dreams Up Worrying : Video games” October 24, 1990, accessed January
19, 2014, http://articles.latimes.com/1990-10-24/business/fi-2859_1_video-game-market .

106
 made seven unlicensed cartridges for the NES (and one each for the Gameboy, Sega Genesis,

and Super Nintendo consoles).143 Unlike the worldly license-dodgers who attempted to enter the

general video game market, Wisdom Tree circulated their games through Christian bookstores,

which were not interested in selling the console's slicker games, and thus had little to fear from

Nintendo's reprisal.144 Though their games were not as graphically sophisticated as several

contemporaneous religious games for personal computers (c.f. Captain Bible in Dome of

Darkness (Bridgestone Multimedia Group, 1994)), Wisdom Tree’s move onto game consoles

gave them unprecedented reach for an artifact of digital religion. Bible Adventures, in particular,

sold 250,000 copies, and has been by far the most frequent point of conversational reference in

discussing this dissertation with others.145

In 1996, Wisdom Tree released a program for indexing the Bible, a less complex organ

than the mainline coalition led by Rev. John W. Ellison had created for the RSV in 1957, but it

was as small as a book of matches, and was bundled with a video game, NIV Bible & the 20 Lost

Levels of Joshua. The first 40 years of digital biblical indexes transitions from the immobile

mainframe to the hand held Gameboy cartridge. In some senses, the Bible’s first appearance on a

game console resembled the Franklin Bible readers released seven years earlier, but it is

significant that this cartridge actually packaged a game and concordance as a single piece of

software. The late 1990s, we may remember, were the years of “multimedia;” a vogue for

143 “
Wisdom Tree: The Spiritual Gamefare,” January 19, 2014, http://www.nesworld.com/wisdomtree.php.
144
Jeremy Parish, “Illicit Thrills and Dubious Pleasures,” accessed January 19, 2014,
http://www.gamespite.net/toastywiki/index.php/Games/G5-IllicitThrillsAndDubiousPleasures.
145
Nick Gibson, "Interview: Brenda Huff,” accessed Janaury 19, 2014,
http://www.sega-16.com/2006/08/interview-brenda-huff/.

107
 showcasing the ability of computers to combine various things. Of course, if by “multimedia” we

mean only cultural formations that “appealed simultaneously to the eye and to the ear and

combined verbal with non-verbal messages” we would locate multimedia in “rituals, spectacles,

masques, plays, and operas, musical as well as visual, from the drums and trumpets of military

parades to the accompanying indoor performances” even before print.146 The significant trend in

the late nineties, then, was not multimedia as such, but a sort of international fascination, and

wave of creative production, surrounding the specific combinatory possibilities of computers.

Across the 1990s, for instance, we find software increasingly bundled into peculiar

multi-program packages that situated entertainment as one facet of complex digital-cultural

experiences. The “Microsoft Home” software line, for instance, began publishing a broad array

of popular software from 1993, and by 1994 these were being packaged into official “samplers”

and somewhat-less-official “packs” that might include an encyclopedia, various pieces of office

software, and a few choice games.

Though Wisdom Tree's foray into console-based digital religion well illustrated the

bricolage of 1990s digital culture, these Microsoft collections, being published on CD-ROM,

exemplify one of the two technologies that most prominently staged new convergences across

the present period: the World Wide Web (debuted in 1993) and the CD-ROM (became standard

on home computers around 1996). Microsoft collections were published on CD-ROM, one of the

two technologies that most significantly transformed digital life across the 1990s. In particular,

the World Wide Web allowed the creation of religious sites where communities could connect

146
Asa Briggs and Peter Burke, A Social History of the Media: From Gutenberg to the Internet (Cambridge: Polity
Press, 2005), 33-34.

108
 through and with simple programs, and the CD-ROM drive empowered the storage and

transmission of far more complicated programs, including the replication of archives previously

restricted to mainframes. And significantly, as in the Joshua/KJV cartridge, these new

technologies offered spaces of contact where games, reference programs, educational guides, and

other forms of digital religion might interact.

But before the World Wide Web, or the CD-ROM, the 1980s and early 1990s had seen

the popularization of several now dimly-remembered communication protocols such as BBS,

FTP servers, and gophers, all of which drew people and programs into dense contact, providing

content and momentum for later modes of circulation.147 I bring these up only now because they

seem not to have been significant vehicles for religious games in the 1980s, but the first

Evangelical Bulletin Board Services like Computers for Christ had appeared alongside the first

religious games, and other religious Boards, like the Makom Ohr Shalom BB, had been online

since the mid-1980s.148 The Bethany Bible Collection which featured “26 different high quality

Bible games and educational programs, including: Captain Bible, Bible Baseball, Creation

Station, Exodus, Where's Noah?, Tobiah's Quest, and many others,” being organized as a FTP

site for a short while in 1996 before being released as a CD-ROM, seems a rare, shining example

147
File Transfer Protocol [FTP] servers appeared in 1971, and offered a dispersed network of computer users simple
access to the files they stored. Bulletin Board Systems [BBS] are versitile, usually text based computer systems that
users could log in to in order to communicate with one another and access files as early as 1978. Gopher pages did
not appear until 1991, and they offered a browsable interface that resembled the roughly contemporaneous World
Wide Web, though their protocol was strictly heirarchical, rather than rhizomatic. None of these protocols,
incidentally, has gone away entirely, and the resource list compiled by the Internet Christian Library in 1996
includes some examples, like pharos.bu.edu, which continue to be maintained. “Not Just Bibles: A Guide to
Christian Resources on the Internet," accessed January 7, 2014,
http://www.iclnet.org/pub/resources/christian-resources.text/cres-04.txt .
148 “
Computer Exchange Spreading Christian Message,” New York Times August 24, 1984; Ira Rifkin, “Kibitzing in
New Tongue: by Computer: Valley New Age Synagogue Operates 'Bulletin Board'” Los Angeles Times January 7,
1988, accessed January 9, 2014, http://articles.latimes.com/1988-01-07/local/me-33963_1_bulletin-board.

109
 relevant to the present study, and an excellent segue to this section's first great technology of

bricolage.149

CD-ROMs, relative to the magnetic diskettes that preceded them, were amazingly

capacious, one CD holding approximately the same quantity of data as 500 diskettes. This

sudden leap in storage capacity offered two major developments for digital religion, both of

which have significant effects upon religious gaming in particular. The first, and certainly the

better remembered, is how the CD-ROM empowered the creation of programs with vast built-in

stores of information. The immense databases of the emerging digital humanities, like the above

mentioned collection of Jewish culture at Bar Ilan University, could now be distributed as

consumer software. New collections like “The Encyclopedia of the First Millennium of

Christianity,” not only imitated the possibilities of the older archives, but included “multimedia”

material like video, audio clips, and color images.150 In video games, this last potential

manifested as improvements in graphics and sound quality, and became visible in Evangelical

games quite early. In late 1991, the first CD-ROM based game console, the Philips CD-i, was

released, as were five Evangelical video games, including Moses: Bound for the Promised Land

and Noah's Ark (Interlight Productions Inc.).151 These were pioneering releases in CD-ROM

based gaming, and in popular CD-ROM usage more generally. Likewise, for PCs, games like

149
Robert Woeger, "New Bible Internet Extensive File Library," accessed January 19, 2014,
http://www.theoblogical.org/dlatur e/itseminary/Dialogue/mail/msg00112.html.
150
Maged N. Kamel Boulos, "Encyclopedia of the First Millennium of Christianity 1998 – Second Edition,"
accessed December 23, 2013, http://www.zeitun-eg.org/encyclop.htm.
151
The Sega CD/ Mega CD accessory for the Sega Genesis was released within a few days of the CD-i, but it is not
a contender for the first CD-ROM console, as it had no stand-alone operation. For devices of this sort, the Turbo
Grafix 16 had a CD-ROM accessory as early as 1989. Carl Therrien, “CD-ROM Games,” in The Video Game
Explosion: A History from Pong to Playstaion and Beyond (Westport, Conn.: Greenwood Press, 2008), 121-126,
122.

110
 Captain Bible in Dome of Darkness (Bridgestone, 1994) created new spaces that integrated

complex animation and sound into play. These, however, were not quite as early, seeing as PC

based CD-ROM gaming had begun with The Manhole (Cyan, 1987).

The other new potential offered by CD-ROMs was a mode of circulation that vividly

demonstrated the bricolage of 1990s digital culture. That is, as well as allowing the admixture of

“multimedia” elements within individual programs, CD-ROMs also allowed multiple programs

to be clustered together in new ways. And, most importantly for this study, while large software

corporations were releasing samplers, so too were independent developers. Shareware, having

continued to blossom for a decade at this point, now presented a networked community across

which small offerings could be shared much more efficiently in thematic bundles. From

1993-1999, the Public Software Library distributed shareware to their subscribers on CD-ROMS,

rather than on floppy disks, producing a new marketplace for a range of niche softwares,

including digitally religious. To take a single instance, the March 1995 disk focusing on

“Home-Education” contained a folder of DOS files which contained twenty seven folders full of

topical materials including ASTROLGY, BIBLE_GA, BIBLE_ST, CHURCH, and

CHURCHMG; another folder of Windows files included the subfolders RELIGION and

ASTROLGY (largely populated with different programs rather than conversions of the DOS

offerings).152 Significantly, these disks offered both motivation for the creation of new software,

and a means for circulating older works, drawing some programs that would have otherwise

never been seen by anyone except their creators into relative accessibility.

While one might find a “Jewish Screensaver,” some “memorable writings from the

152
The Public (software) Library, accessed December 13, 2013 http://cd.textfiles.com/psl/pslv3nv03/HOME/DOS/ .

111
 Buddhist and Hindu philosophers” concerning women, or a program that “converts between

Gregorian, Julian, Jewish, Moslem, French Revolutionary, Icelandic and liturgical calendars,”

most experiments in digital religion distributed on CD-ROM by the Public Software Library in

this period were Evangelical projects.153 The forty-four religious games included in my study

which I located through their archives, for instance, continue the first non-monotheistic trend in

religious gaming with the next three Tarot reading games after Taboo on the NES, and The

Pesach Adventure, but all others games seem to have been Evangelical entries. In addition to a

broad cluster of trivia games with “Bible” in their names (e.g. Bible-Q, Bible Book Scrambles,

Bible in Mind, Bible Men), these included an assortment of adventure and arcade games, most of

which also emphasized biblical knowledge.

It is difficult to say with certainty which religious communities began using the World

Wide Web toward sacred ends first, but several seem to have emerged online in 1994 (for

context, the World Wide Web only became publicly accessible in April 30, 1993).154 Notably,

many of those religious groups that arrived on the Web first had been engaged in digitally

networked religion using the various communication systems that immediately preceded it (some

of which are well understood as part of the Internet, in that they used TCP/IP network

protocols).155 Three prominent examples that reached the Web in 1994 should serve to establish

153
The Public (software) Library, accessed December 24, 2013 as archived by cd.textfiles.com,
http://cd.textfiles.com/psl/pslv3nv04/FILESBBS/UTIL_WIN/VID_UTIL.BBS;
http://cd.textfiles.com/psl/psl9312/DOS/ELEC_PUB/_DIRLIST;
http://cd.textfiles.com/psl/pslmonthly25/reviews/ed_03 .
154 “
Twenty Years of a Free, Open Web,” http://wayback.archive.org/web/20131208134409/http://info.cern.ch/ ,
archived by the Internet Archive December 8, 2014, accessed January 18, 2014.
155
“Internet,” Dictionary of Information Science and Technology (Hershey, PA: Idea Group Reference, 2007), 361.

112
 the pattern: Rabbi Yosef Yitzchak Kazen was answering religious questions from a distinctly

Lubavitch perspective over Fidonet as early as 1988; the network of rabbis and students that he

spent six years building on various bulletin board services seem to have joined him in launching

chabad.org, that critical first year.156 Dr. Richard J. Krejcir's “Into Thy Word Ministry,”

likewise, had an online ministry before it was technically on the Internet: “In 1992, we went on

Prodigy with an index site and in 1994, we were the first or second ministry on the Internet, I

believe (there many people with sites that had Christian materials, but no ministry online). But

this was enough to radically redesign how we 'did' ministry. Instead of printing out booklets, we

had downloadable fact sheets, outlines, and a few articles.”157 And, to complete our sampling of

1994's digital religious pioneers, Sivaya Subramuniyaswami's (Gurudeva's) ecumenical journal

Hinduism Today, which claims (and seems) to have produced the “first major Hindu website,”

used a network of Macintosh computers to facilitate their magazine's design and editing from

1988 onward. “1994 was the year Hinduism Today and the Tirukkural, started spreading their

tendrils through the Internet nadis. Power to the modem!”158 While their network was not

publicly accessible, like the above Jewish and Christian examples, it is clear that they were

156
"'Ask a Rabbi' on the Web: Online Rabbis Offer Answers,” accessed January 19, 2014,
http://www.jta.org/2006/09/11/archive/ask-a-rabbi-on-the-web-online-rabbis-offer-answers; Amy Harmon, “Yosef
Kazen, Hasidic Rabbi and Web Pioneer, Dies at 44,” The New York Times December 13, 1998, accessed January 19,
2014, http://www.nytimes.com/1998/12/13/nyregion/yosef-kazen-hasidic-rabbi-and-web-pioneer-dies-at-44.html.
157
Richard J. Krejcir, “ITW History,” accessed January 19, 2014,
http://www.intothyword.org/apps/articles/default.asp?blogid=3895&view=post&articleid=50131&fldKeywords=&fl
dAuthor=&fldTopic=0&contentonly=true.
158
"Nine Mac II's Enhance Hawaii's Hindu Network," Hinduism Today Magazine (Web Edition) October 1988,
accessed January 19, 2014, http://www.hinduismtoday.com/modules/smartsection/item.php?itemid=561; Satguru
Sivaya Subramuniyaswami, Yoga's Forgotten Foundation: Twenty Timeless Keys to Your Divine Destiny (Malaysiia:
Sampoorna Printers, 2004), 190; “1994: Year in Review,” Hinduism Today, December 1994, archived by the
Internet Archive November 5, 1996, accessed January 19, 2014,
https://web.archive.org/web/19961105222607/http://www.hinduismtoday.kauai.hi.us/Dec94.html.

113
 appreciating the potential of digital networking in ways that would prepare them for the Internet:

“The publisher of Hinduism Today, for instance, can maintain continuous contact with all

members of the newspaper staff disbursed in several buildings without leaving the chair of his

powerful Mac II work station. Also, through a program called Tops, all forms of data and

information can be transferred with ease from one computer to another with but a push of a

button.” Their website not only published the magazine, but included pamphlets for printing,

archives of sacred text, a method for communicating with Gurudeva, among other tools.

Whichever of these sites was first hardly matters; what matters is that religion on the

World Wide Web went viral (about the same time, incidentally, that the word “viral” went viral).

Already in 1996, the Association for Religion and Intellectual Life [ARIL] offered a curated list

of religious resources because “Given the number of religious sites on the Web, surfing the

Internet can be like opening your door one Saturday morning to find a representative of every

church, synagogue, mosque, or cult group camped out on your front yard, all clamoring for your

attention.” That their initial list of nine “world religions,” seventeen Christian, eight Jewish,

eleven Buddhist, eight Muslim, and eleven Bible study websites was already a great

simplification, though most of these pages included links to dozens of others, speaks to the rapid

proliferation of religion on the World Wide Web.159

Facing this sudden efflorescence of online life, coalitions of religious people began to

gather to discuss what the Internet is and how they would interact with it. On one hand, the

159
Association for Religion in Intellectual Life, “Interfaith Internet – Website Catalogue and Reviews,” archived by
the Internet Archive, October 29, 1996, accessed January 19, 2014,
https://web.archive.org/web/19961029045955/http://aril.org/ ; Catholic Information Center on the Internet,
“Catholic Information Center on the Internet,” archived by the Internet Archive February 4, 1997, accessed January
19, 2014, https://web.archive.org/web/19970204074851/http://catholic.net/RCC/homepage/CICI_Info.html .

114
 Internet Evangelism Coalition formed in 1997, connecting representatives from approximately

70 different ministries, including the Billy Graham Center. Rufus Wells, an organizer of the

coalitions' conferences, presents a generous vision: “Jesus told his disciples to go out into all the

world and make disciples of all men. Now you don't have to fly all over the world to do this”.160

A contrary vision of the Internet (though, notably, not a position advocating avoiding it

entirely) is present in the emergence of content filtering services and software in this period.

Christian Internet Service Providers “Integrity Online,” and “Safeplace.net” began presenting an

Internet free of objectionable content in 1996 and 1997 respectively.161 X Safeplace.net, in its

early years as “Family Based Internet” demonstrated their specific perspective on the Internet by

stating in bold letters atop their “about us” page: “Did you know over 275 new pornographic web

sites are added to the internet every day?”162

At the intersection of this period's two extraordinary technologies of bricolage, surprising

new creativities became possible. Printed on CDs and sold on the Internet, the Egyptian company

Future Soft released the first six video games for a Muslim playership in 1997. To adopt the

categories provided by Heidi Campbell in her excellent article “Islamogaming,” At Home, At

Street, Juz Amma, Stories from Ahadith, Stories from Al Seera, and The Prophet's Wars were all

“games designed for religious education,” or, in terms presented earlier in this chapter, they are

largely “playable scriptural narratives” and “non-scriptural adventures built upon algorithmic

160
Dina Sanchez, “Evangelists Work to Spread the Gospel in Cyberspace – Ministy Leaders are Teaming Up With
Technology Professionals to Harness the Power of the Internet,” The Orlando Sentinel November 2, 2000.
161
Integrity Online Bouncing Back from the Online Bombs,” Mississippi Business Journal September 9, 2002,
accessed March 8, 2014,
http://msbusiness.com/blog/2002/09/09/integrity-online-bouncing-back-from-dotcom-bombs/ .
162
Family Based Internet, L.L.C., “About us,” archived by the Internet Archive June 24, 1998, accessed March 10,
2014, http://wayback.archive.org/web/19980624014153/http://www.safeplace.net/home/aboutus/aboutus.htm .

115
 adaptations of out-game theology.”163 Digitized worksheets appear as sub-games within these

programs, but these would not become a major standalone edifice in Muslim gaming until games

became playable online directly.

New Playspaces and the First Great Acceleration [1998-2004]

Just as the history of digital religion marks the 1990s as extraordinary for their new

technologies of bricolage and the spaces of complex contact they created, the same history

discovers the early 2000s opening spaces for play where none could have been imagined

previously. The middle of a web page and the palm of a hand gain the potential to host complex

digital playspaces. This does not only mean new spaces for games narrowly defined, but a great

range of newly spatialized activities that facilitate action at the border of the human. I will, of

course, continue to give games special priority, and this period finds me in good company; here

we also see various new groups created to structure religious conversation on the potentials and

pitfalls of digital play.

Returning to the chart that gives this chapter its rhythm, we must now try to understand

the impressive wave of religious video games that seems to crest across the turn of the 21st

century. The wave can be understood in several ways: new religious communities began making

video games, developers started making several small games rather than a few large ones, and

games moved increasingly onto websites, leaving their traces accessible to research decades later

(that is to say, it is possible that this spike documents a change in the possibility of research no

163
Heidi Campbell, "Islamogaming: Digital Dignity via Alternative Storytelling," in Halos and Avatars: Playing
Video Games with God (Louisville, KY: Westminster John Knox, 2010), 63-74. "Welcome to Future Soft:
Products," archived by the Internet Archive January 28, 1999, accessed January 19, 2014,
http://web.archive.org/web/19990128161335/http://www.future-soft.com/newweb/Products.htm.

116
 less than a change in its object). But all of these tendencies seem to follow a now established

pattern wherein the Frye Curve of religious gaming spikes where it intersects with a rising curve

of financially accessible software development tools. We saw similar movements in digital

religion's interaction with changes in game console licensing, and with the boom in personal

computing. In this case, the new technology was the appearance of three different

web-enhancing programming languages between 1995 and 1996, Java, JavaScript, and Flash, all

of which allowed programs to be placed directly into web pages. To quote an excited reporter

observing its emergence, Java applets could present “animations, interactive games or other

parlor tricks.”164 Across 1996, both Macromedia Flash, and the distinct, but similarly-named,

JavaScript joined the larger effort to “bring full interactivity and sophisticated user interface and

typography concepts to the formerly static Web.”165

Though these new programming languages are disproportionately visible through the lens

of religious gaming, they cannot be separated from the more general phenomenon of ongoing

Internet popularization, and its specific surge in popularity as a tool for religious instruction. To

speak in impressive approximations, in the year 2000, 35 million Americans searched for

religious information online (for comparison, 36 million people downloaded music that year).166

Likewise, the first browser-accessible Bibles had appeared in the Web's initial years, but they

164
Julio Ojeda-Zapata, “Take a Sip of the Future at Hot Java Sites,” St. Paul Pioneer Press, Monday, December 11,
1995.
165
Rick Waldron, "The Flash History,” accessed January 19, 2014,
http://www.flashmagazine.com/news/detail/the_flash_history/; Steve Champeon, “JavaScript: How Did We Get
Here?” accessed January 19, 2014, http://www.oreillynet.com/pub/a/javascript/2001/04/06/js_history.html .
166
Genevieve Bell, “The Age of Auspicious Computing,” Interactions 11.5 (Sept.-Oct. 2004), 76-77; Elena Larsen.
“Wired Churches, Wired Temples: Taking Congregations and Missions into Cyberspace,” (Washington D.C.: Pew
Internet and American Life Project, 2000), 8.

117
 continued proliferating, offering a growing range of features for specific theological

communities, though they tended to continue using HTML rather than Java-type languages.167

Likewise, though most congregations could not afford to hire programmers able to use all of the

Web's new possibilities, there were 20,000 congregational websites in the year 2000, followed

by a new range of church management software “to manage your Site at the same level of

competency that larger churches with teams of technical people can.”168 That is to say, the wave

we are observing is an emergence of browser-based religious gaming, proliferating in the

boomtown atmosphere of the Internet around the millennium.

Between 1996 and 1998, a dozen religious games programmed in Java were released

online, clustered on two websites, and comprising less than a quarter of total religious game

production in those years. Since there is not, as far as I know, any common term for them, we

can call websites that offer simple access to lists of browser-based games “game suites.”169

Appearing alongside better-funded worldly gaming projects such as Gamesville (“Wasting your

time since 1996”) and Swirve, religious game suites were among the first organized attempts to

harness the browser as a gaming environment.170 As with religious games generally, it is notable

167
The “Online Bibles and Commentaries on Bible Versions” list maintained by True Grace ministries offers an
interesting perspective on this continuing growth. This page counts three online Bibles in 1996, six in 1997, eleven
in 1999, and nineteen in 2000. True Grace Ministries, “Online Bibles and Commentaries on Bible Versions,”
archived by the Internet Archive, December 25, 1997; August 7, 1997; November 16, 1999; December 16, 2000,
accessed January 19, 2014.
http://wayback.archive.org/web/20011115024736/http://www.auburn.edu/~allenkc/bible.html .
168
Church Web Works, “Web Freedom,” archived by the Internet Archive, October 11, 2003, accessed January 11,
2014, http://wayback.archive.org/web/20031011145435/http://www.churchwebworks.com/site/web_freedom.php.
169
As part of their final exam, the undergraduate students in my 2010 “Religious Games and Sacred Play” course
compiled this wiki page with links to 11 religious game suites. Religious Gaming Wiki Contributors, “Online Game
Suites,” accessed January 11, 2014, http://religiousgaming.wikia.com/wiki/Online_Game_Suites .
170
Virtual Advisor Inc., “Gamesville.com: Wasting People's Time Since 1996,” archived by the Internet Archive,
118
 these first two online suites of religious games – Zigzag World (1996) and Jewish Funland

(1997)– were made for Jewish publics, but as with religious games generally, Evangelical

Christians soon became the liveliest range of production. With seventeen new Java games

distributed over six game suites, nearly half of the religious games released in 1999 were

released in online suites. Four of these game suites were Evangelical (one more being made for a

Mormon, and another for a Jewish playership). Each of the next three years would best 1999 in

the production of game suites, but the proportions stayed fairly consistent: seventy-nine new

games, and thirteen new Evangelical game suites, as well as two new suites for Jewish players,

one for Mormons, one for Seventh Day Adventists, and one for Messianic Jews. These suites

used diverse programming languages, and a few used several, not only including Flash, Java, and

Javascript, but also presented games created through clever application of more standard web

technologies like HTML (e.g. ArmoQuest (Rick Ellinger, 2001)), or Common Gateway Interface

(e.g. “Two Paths”).171

The games that structured this new playspace greatly resembled those that had appeared

on DOS and Windows systems over the preceding years. Sunday School exercises originally

designed for papery play (e.g. crosswords, word-finds, quizzes, mazes, coloring, and hangman)

as well as those which would require a bit of specialized equipment (e.g. jigsaws, card games,

slider puzzles, dreidels, and sticker books) took prominent place. One online card game in

October 6, 2000, accessed January 19, 2014,

http://www.va-interactive.com/inbusiness/editorial/biztech/articles/gamesville.html; Swirve.com, “Games,” archived
by the Internet Archive, October 6, 2000, accessed January 19, 2014,
http://wayback.archive.org/web/20001006230832/http://games.swirve.com/.
171
The Christian Bible Reference Site, “Quiz Trouble,” archived by the Internet Archive November 11, 1999,
accessed January 19, 2014,
http://web.archive.org/web/19991111155742/http://www.twopaths.com/quiztrouble.htm .

119
 particular, Unity (Yeshuateinu Company, 2000) was tied for the first Messianic Christian video

game. And, though this period never saw online games with the graphical sophistication possible

on CD-ROMs, every category of character-based game found a place in these online playspaces.

Games set within scripture (e.g. Sim Abraham (Good Book Games, 2003)) appeared alongside

non-scriptural adventures built upon algorithmic adaptations of out-game theology (e.g. Epic

(CCC Ministries, 2000)). Though there were earlier instances, among the redeemed adaptations

of worldly games, BoMToons – that is “Book of Mormon Cartoons” – deserves special mention

for its whimsical Mormon in-jokes like Donkey BoM (stories from the Book of Mormon

recreated in the style of Donkey Kong). From 2005, this “crazy idea of a few returned

missionaries who wanted to feature some of the funnier things from the Book of Mormon and

Mormon culture” troubles any simple dichotomy between blasphemous and sacred games, by

attracting what seems to be a public that can laugh at its own sacra.172

One of these game suites' most interesting properties was how their value as a linkable

resource created channels between Christian communities. Links to game-suites hosted on other

sites both allowed websites with no games to offer entertainment to their visitors, and for those

few sites with their own original games to augment their playspace. For instance, in 2004 the

online version of Guide Magazine, an instructional and entertaining publication for Seventh Day

Adventist youth, introduced a section entitled “game launch.” This page collated a social picture

captioning game that had been on their site since 2001 with two new quiz games (FACTory Pop

Quiz, and Instant Recall), and a dress-up game. It also provided a link to www.twopaths.com,

172
Nick Pasto, “Why a Redesign?” blog post January 6, 2008, archived by the Internet Archive, September 10, 2010,
accessed February 1, 2014,
http://wayback.archive.org/web/20100918172645/http://bomtoons.com/index.php?start=35 .

120
 which

“began in January, 1996 with the publication of Wisdom of the Bible at members.aol.com. The
TwoPaths.com domain was registered in 1999 and now includes Bible Quizzes, Jesus' Teachings as Told
in the Gospels, Bible Word Search Puzzles, and Bible FAQ. Webmaster Cliff Leitch is the son of a Baptist
mother and a Presbyterian father, and husband of his Catholic wife, Helen. However, the Bible study
materials at TwoPaths.com are not primarily his own interpretation, nor do they represent any particular
173
denomination or tradition.”

Given our present understanding of Evangelical media as that which works to orient lives

around the Bible and the Cross, rather than to any particular tradition of practice or

interpretation, we would do well to consider how ecumenical practices of hyperlinking might

have at times made otherwise denominational communities more Evangelical. This effect should

not be overstated, however, because linking is substantially less symmetrical than many other

ecumenical practices – organizing shared holiday services, for instance: while the Adventists

linked to Two Paths, it does not seem that a link ever pointed back. And with having arrived at

this qualified excitement for the Evangelical potentials of online playspaces, we can move on to

the pocket, this period's second new type of playspace.

There had been some small amount of precedent in Joshua/KJV and the Franklin Bible

readers, but the last period saw very few artifacts of digital religion that fit into a pocket. The

popularization of hand-held computers at the turn of the century, however, created spaces for

sacred programming, presaging the smartphone boom that marks this study's own technocultural

moment. Because the Gameboy and the dedicated reader open only to programmers who can

either hack or license their way in, digital religion had little purchase. The first pocket computing

platforms, like the Psion Organiser II (1984), the Apple Newton MessagePad (1993), and Palm

173
The Christian Bible Reference Site, “About,” archived by the Internet Archive, August 14, 2001, accessed
January 19, 2014, “http://web.archive.org/web/20010814124016/http://www.twopaths.com/about.htm .

121
 Pilot (1996), however, opened spaces for tiny programs – the entities not yet called “apps” – and

it would not be long before they became the scene of digital religion. Somewhere between 1996

and 1998, there began to appear programs for Psion organizers that could calculate the dates of

holidays, with Easter apparently spawning several targeted projects.174 The beginning of digital

religion as designed for pocket computing came in 1998, with the release of the Olive Tree Bible

for Palm organizers, and PocketBible for Windows CE.175 To date, Bible, a tiny program that

provides biblical quotations on nine topics, is the only religious program I have been able to

locate for the TI-85 graphing calculator, but because this platform was so popular among novice

programmers who frequently shared their programs between peers using a simple cable, I suspect

this was a particularly fruitful platform for ephemera of digital religion.176 The Palm OS and

Windows CE, on the other hand, organized communities of programmers who shared and stored

their programs online, generating a fascinating wave of pocket-sized programs, and preserving

them for later research. As of Feburary 2001, PalmLDS.com had dozens of programs for

genealogy and scripture reading and reported that “The Church is now producing documents

formatted for handhelds.”177 In 2004, Mobile Ministry Magazine began promoting organized

174
Helmut Heller, “Hello, Welcome to My Psion Page,” accessed January 30, 2014,
http://heller.userweb.mwn.de/psion/psion.html .
175
Bob Dasal, “The Olive Tree Bible Software Story – Using PDAs to Study the Word” Pulpit Helps, March, 2004,
accessed January 30, 2014, http://www.pulpithelps.com/www/docs/1090-6962 ; Laridian Electronic Publishing,
“Welcome to Laridian!” accessed January 30, 2014, http://www.laridian.com/content/about.asp .
176
Though this page is called “games,” I suspect that the word was used as a catch-all for entertaining programs,
some of which do not seem to be games in any other sense. Because Bible describes itself only as “this program” at
the level of code, and it contains no elements that might be understood as either imaginative or competitive, I have
not included it in the list. The Ticalc.org Project, “TI-85 Basic Games,” accessed January 29, 2014,
http://www.ticalc.org/pub/85/basic/games/ .
177
Doug and DeAnn Jenkins, “Palm LDS Resources,” archived by the Internet Archive, Feburary 2, 2001, accessed
January 12, 2012, http://web.archive.org/web/20010202024400/http://www.palmlds.com/.
122
 reflection “on the mobile aspects of technology and how it can be used best in ministry.”178 The

first religious game I have been able to discover for this new range of computing is Bible Game

B (Danny Newport, 2001) for Palm. The following year this game was followed by more

Evangelical entries, as well as two Jewish games, and the quite separate Qabalah Trainer (Brian

Berge, 2002) for Palm, a game designed to entrench sacred correspondences in the minds of

Occultists.179

Before we move on to new groups created to structure religious engagements with video

games, we might follow Qabalah Trainer toward a sort of intermission: magically efficacious

games. Moving beyond its precedent in Tarot software, in 1997 Steve Nichols released an

Enochian Chess program digitizing a sacred system once transmitted by the Hermetic Order of

the Golden Dawn: “You may use the game for practical ACTIVE divination, to alter & influence

events as well as to simply predict.”180 The Journey to Wild Divine (Wild Divine Project, 2003),

likewise, joined the tiny pocket of games attempting to brings back biofeedback gaming after the

Atari Mindlink's literal burial.181 Unlike other games played with biometric sensors, however, it

provided a New Age context complete with shamans, pagodas, and Deepak Chopra; play

178
Antoine R.J. Wright, Mobile Ministry Magazine 1.1 (2004), accessed March 11, 2014,
http://www.mobileministrymagazine.com/Issues/mmm_v1.pdf .
179
Erik Zimmerman, "Kabbalah Trainer V1.99,” accessed January 19, 2014, http://www.qabalah-trainer.com/
(accessed 1/19/2014); Brian Berge, “My Palm Software: Qabalah Trainer,” archived by the Internet Archive,
October 10, 2002, accessed January 19 2014,
http://web.archive.org/web/20021010034800/http://www.brianberge.net/software/qabalahtrainer/ .
180
Steve Nichols, “The Enochian Chess CD,” accessed March 11, 2014,
http://www.hermeticgoldendawn.org/nichols-chess.html ; Steve Nichols, “Enochian Chess,” accessed March 11,
2014, http://enochian.net/ .
181
Vincent Gonzalez, “Imagining the Self-Controller: 'The Wild Divine Project' as an Experiment in Religious
Game Interface,” accessed Feburary 2, 2014,
http://mediacommons.futureofthebook.org/imr/2010/04/14/imagining-self-controller-wild-divine-project-experiment
-religious-game-interface .
123
 resembles magic, as does its promised results: “Enhanced powers of creativity and intuition,”

“Greater awareness of mind and body,” and “A sense of being in balance, connected, and in the

'Zone.'”182

In this period, several new groups emerged and set out to restructure religious

engagement with video games, not only by presenting new instances, but by offering flexible

discursive frames. Several of these groups emerge to decry what they describe as occult

tendencies in popular gaming, but they seem never to have actually intersected with

contemporaneous magical gaming. For instance, the Evangelical video game review site Christ

Centered Gamer appeared in 2001, presenting “Occult/Supernatural” as a full 20% of a game's

total “morality score.” A game can lose all of these points only if “occult magic is used by the

player” in “an environment that is filled with major occult references,” and CCG clarifies that

this includes only “games that base their magic system off of an actual religion such as Wicca or

Satanism and should not be confused with magic systems in games that are made up for make

believe purposes to provide a safe fun fantasy environment.”183 However, rather than attack The

Journey to Wild Divine – which seems to be its perfect object of critique – this site has focused

on games like Devil May Cry 3 (Capcom, 2005). The reviewer notes that the main character

“uses magic that can temporarily turn him into a demon, which I think can easily be viewed as

explicit occult magic.”184

182
The Wild Divine Project, “The Game,” archived by the Internet Archive, December 16, 2003, accessed February
1, 2014, http://wayback.archive.org/web/20031216014946/http://www.wilddivine.com/content.php?cont_id=2 .
183
CCGR, "Christ Centered Gamer Reviewing Standard," accessed February 2, 2014,
http://www.christcenteredgamer.com/index.php/faqs/15-game-reviews/16-christ-centered-gamer-reviewing-standard
.
184
Ratrap 99, “Devil May Cry 3: Dante's Awakening (PS2),” accessed February 2, 2014,
http://www.christcenteredgamer.com/index.php/reviews/19-console/4478-devil-may-cry-3-dantes-awakening-ps2 .
124
 The difficulty of locating this practice among the practitioners of “an actual religion”

should not distract us from the historical significance of this website. In the year 2000,

Shepherd's Staff, Christian Gaming, Christian Gamers, Christiananswers.net’s Guide 2 Games,

and The Dove Foundation all began to offer video game reviews for Christian players. Christian

Computer Game Reviews [CCGR, later Christ Centered Game Reviews] and The Staging Point,

appeared the following year.185 No less than religious software, these sites themselves present

newly quantified modes of Christian life in their structures of critique. The standards of

Shepherd's Staff, for instance, are quantified but not yet algorithmic, arranging games according

to a five point “Overall Christian Rating” scale. The game reviews presented by The Staging

Point and The Dove Foundation divide their evaluations into several categories, the former

offering numerical values for “Fun Factor,” “Technique,” “I.Q. Level,” and “Responsibility,”

where the latter did the same for “sex,” “language,” “violence,” “drugs,” “nudity,” and

“occult/other.” Guide 2 Games, Christian Gamers, and Christian Gaming, on the other hand,

each made the propriety of games for Christians a single quantity equally weighted alongside

several others. Those categories might measure morally unweighted factors like “Game Engine,”

and “Game Play” (Christian Gaming), or juxtapose such categories with “Violence” and other

moral categories of worldly game critique (Guide2Games and Christian Gamers). CCGR,

185
Christian Gamers, “Main,” accessed March 2, 2014, http://www.geocities.ws/christiangamers/ ; Christian
Gaming Staff, “Main,” accessed March 2, 2014, http://www.christiangaming.com/ ; The Dove Foundation, “Game
Search Results,” accessed March 2, 2014, http://dove.org/reviews/GameSearchResults.asp ; Christiananswers.net,
“Guide 2 Games,” accessed March 2, 2014, http://www.christiananswers.net/spotlight/games ; Tim Emmerich,
“Shepherd’s Staff,” archived by the Internet Archive February 14, 2004, accessed June 4, 2011,
http://wayback.archive.org/web/20040214141745/http://www.graceworksinteractive.com/ShepStaff/index.html ;
CCGR, “Main,” accessed March 2, 2014, http://www.ccgr.org ; The Staging Point, “Game Ratings,” archived by the
Internet Archive, February 6, 2002, accessed March 2, 2014,
http://wayback.archive.org/web/20020206221424/http://stagingpoint.com/games/.

125
 presents the most complex algorithm for Christian game critique, juxtaposing an equally

weighted “game score” and “morality score,” each of which are subdivided into five categories

and guided by five separate itemized rubrics.186

This trend cannot be separated from the game-violence debates that reached peak

newspaper-presence in this period. They cannot be entirely understood through them either,

though, and since my next chapter covers those debates at length, we might do well to juxtapose

them with a related emergence of digital religion: In 1998, Paramount pictures threatened legal

action against Sunrise Video in American Fork, Utah, which operated a mail-in service to

remove the nudity and sex from VHS cassettes of Titanic for five dollars a cassette.187 Little else

was heard about this trend until 2002 when Utah-based Trilogy Studios released, and began

advertising, MovieMask, a program for Windows that could place a corset over the nude scenes

in Titanic or cover on-screen gunshot wounds.188 That August, the Director's Guild of America

announced that they were ending several years of near-silence by filing a lawsuit against Trilogy

Studios and six other companies who facilitated clean viewing in various ways.189 The Director's

Guild worked to frame film-editing as profiting off of a derivative work, and emphasized the

186
CCGR, "Christ Centered Gamer Reviewing Standard," accessed February 2, 2014,
http://www.christcenteredgamer.com/index.php/faqs/15-game-reviews/16-christ-centered-gamer-reviewing-standard
.
187
Rachel Roemhildt, “Family Fare Folks Find Ways to Clean Up Offending Films,” Insight on the News, December
25, 1998, accessed March 18, 2014,
http://theeditedmovieencyclopedia.blogspot.com/1998/12/family-fare-folks-find-ways-to-clean-up.html .
188
PR Web, “Trilogy Studios Announces Launch of 'Movie Mask' Website,” PR Web January 23, 2002, accessed
January 31, 2014, http://www.prweb.com/releases/2002/01/prweb32292.htm.
189 “
DGA Files Lawsuit Against Entities that Provide Unauthorized Altered Versions of Videocassettes and/or
DVDS (August 20, 2002), accessed January 31, 2014,
http://www.viewerfreedom.org/legal/20020820DGA/DGAfileslawsuit.PDF

126
 possibility that people may be confused as to which version was the director's original.190 The

ensuing court battles granted a strange neutrality to digital agents. While it is illegal to make

parts of VHS cassettes “imperceptible” and sell them, “the creation or provision of a computer

program or other technology that enables such making imperceptible […] if no fixed copy of the

altered version of the motion picture is created by such computer program or other technology,”

was judged to neither confuse anyone, nor steal anything.191 This technology, though its legally

delimited task is to make imperceptible, invites users to become directors and share their schema

for film transformation. Today, the ClearPlay DVD player applies an immense library of such

files, including new cuts of more than 2700 films.192

To close this curve by returning attention to our primary focus, we should note that this

period also saw the emergence of groups that restructured religious video gaming, by changing

how games are made. The Christian Coders Network, for example, appeared online in 2000,

presenting forums that very quickly came to connect a global network of programmers. By 2002,

there seem to have been participants in Australia, Brazil, Canada, Cyprus, Denmark, Finland,

France, Indonesia, Ireland, Scotland, Singapore, Slovakia, Trinidad, the Netherlands, New

Zealand, the United Kingdom, the United States, and Vietnam.193 While this network

self-described as a place “for everyone, not just Christians” to “share information on

190
Associated Press, “Court Rules Against Sanitizing Films,” Fox News Online,
www.foxnews.com/printer_friendly_wires/2006Jul08/0,4675,FilmSanitizers,00.html .
191 “
Family Movie Act of 2005,” Section 202: Exemption from Infringement for Skipping Audio and Video Content
in Motion Pictures. http://www.copyright.gov/legislation/pl109-9.html (accessed 1/20/2014).
192
Family Safe Media, "Filter Library," http://www.familysafemedia.com/filter_library.html, (accessed 1/20/2014).
193
Christian Coders Network, “Member List,” archived by the Internet Archive August 23, 2002, accessed March 7,
2014,
http://wayback.archive.org/web/20020823112116/http://www.christiancoders.com/cgi-bin/ubb-cgi/memberlist.cgi .

127
 programming games, the web, business systems, or anything else a coder may be working on”,

Christian game design projects had pride of place.194

Tim Emmerich, a Christian game designer and the founder of Shepherds Staff game

reviews, began a conversation in these forums, asking whether the Christian Coders Network had

enough interested members to create something like the annual Game Developers Conference

without the "secular 'junk'."195 The following conversation is fascinating because, faced with the

possibility of gathering intentionally as a parallel gaming culture, developers started asking in

what sense there already existed an "industry" of Christian game design, and where there seemed

not to be one yet, how one might be created. Active companies were listed, developers circulated

their own skills and time commitments, and general reflection on the successes and failures of

Christian gaming were gathered into a hypothetical second-order structure for Christian game

design.

In 2002, Emmerich succeeded in gathering 30 participants and convening the first

Christian Game Developers Conference [CGDC] in Oregon. Attendance over the next few years

triples then plateaus: 90 attend in 2003, "over 100" in 2004, and 100 in 2005.196 These

conferences, though numerically small, might be considered one more of this period's significant

new spaces of play. They were, first, places where games were played and shared, and by

194
Christian Coders Network, “About the CCN,” archived by the Internet Archive January 27, 2001, accessed
March 7, 2014, http://wayback.archive.org/web/20010127010700/http://www.christiancoders.com/about.shtml .
195
Graceworks (Tim Emmerich) “Christian Game Developers Conference?” accessed March 10, 2014,
http://ccnarchive.christiandevs.com/thread.php?f=HelpWanted&t=000004
196
Ibid., International Christian Game Developers Association, “Welcome!” archived by the Internet Archive
February 11, 2005, accessed March 11, 2014,
http://wayback.archive.org/web/20050211053050/http://www.cgdc.org/ ; International Christian Game Developers
Association, “Welcome!” archived by the Internet Archive December 1, 2005, accessed March 11, 2014,
http://wayback.archive.org/web/20051201143840/http://www.cgdc.org .

128
 bringing prolific companies like Wisdom Tree into collaboration with ambitious newcomers,

they spur game making. And from the beginning, these conferences have been interrogating the

nature of digital religion in ways that we, as scholars of religion, might productively imitate:

"similarities and differences between seeking capital for a secular game and a Christian game?"

"Where does one draw the line between the content that goes into a Christian game versus the

content that goes into a secular game?"197

Apps, Profiles and the Bounds of this Study [2004-2010]

The next spike in religious video game creation, like the ones before it, overwhelmingly

reflects the increased participation of gaming technologies which had only a few appearances in

the previous period. And, again, this period contains a few examples that defy the Frye Curve by

giving technologies sacred work while they are still cutting-edge. But there is not a section after

this one to see how those technologies mature. In 2011, I performed my first search for “bible

game” in the “Marketplace” (later “Play Store”) where Google distributes software for smart

phones and tablets, and I immediately declared my historical survey closed: I was standing at the

foot of a peak in Christian gaming approximately five times the height of those of 2002 or 2007.

The Bible game seemed to have acquired some new tendency that would require new analytical

instruments. But the curve-and-a-half leading up to this shift will provide clues to guide the treks

that will chart the new peaks and valleys of digital religion. This is the period where digital

religion becomes something one signs-up for, a matter of apps and profiles.

197
Via Tech LLC, “Topics” archived by the Internet Archive October 20, 2003, accessed March 11, 2014,
http://wayback.archive.org/web/20031020124556/http://www.cgdc.org/pages/topics.htm .

129
 Both of these technocultural trends might be well framed through the release of

Pope2You. In May 2009, Pope Benedict XVI celebrated World Communications Day as popes

had every year since 1967; he presented a letter to the Church.198 In keeping with the year's

theme of “New Technologies, New Relationships,” this letter was embedded in a website that

also unveiled a Youtube channel, a wiki facilitating conversation on papal messages, and links to

two applications, H2Onews for iPhones, and Pope2You for Facebook.199 These artifacts of

digital religion are each embedded within a system of personal subscriptions, and while the first

two allow anonymous viewing, none of them allows further interaction until the user signs-up.

Registered users can then use the software to communicate in specific ways. The Pope2You

Facebook application, for instance, allows users to share carefully-chosen images and quotations

of the Pope without the possibility of commentary. It seems, in fact, to resemble Facebook's

native photo-sharing in every way except that this one cannot be accessed or seen by the

uninterested, nor can anyone disrupt the Vatican's messaging with her own commentary.

Both this program and H2Onews for Apple's iOS based hand held computers are

designated “applications,” or “apps,” to classify them within the ongoing vogue for centralized

“digital distribution” (meaning distribution without physical portage of optical or magnetic

media). Apps, whether for game consoles, phones, personal computers, or subscriber

communities like Facebook, are usually distributed digitally from a single service that manages

licensing and some aspects of quality control. The app is thus intimately connected with the user

198
Catechesis of the Popes, “World Communications Day,” accessed March 11, 2014,
http://catechesisofthepopes.wordpress.com/other-themes/media/world-communications-day/
199
Pontifical Council for Social Communications, “Pope 2 You,” archived by the Internet Archive May 25, 2009,
accessed March 11, 2014,
http://wayback.archive.org/web/20090525104517/http://www.pope2you.net/index.php?id_testi=6

130
 profile. As a rule, to access software, users are required to create a file by which the service can

identify them, create a password to protect that file, and contractually agree not to share the

password. These files, interchangeably called “profiles,” “user accounts,” or various other

service delimited names, extend far beyond (and before) app based computing, organizing our

exchanges, for instance, with online discussion forums and Automated Teller Machines. Their

content varies wildly according to the system that applies them, and that content is differently

accessible to differently permitted users. Consider, for instance, how different your Facebook

profile looks when accessed by you, by a “friend,” by Facebook staff, by advertisers, or by the

National Security Agency. In this last period, the profile became a dominant formation of human

identity, not only as we are understood by computers, but as we understand one another and

ourselves. Religious communities discovered the relationship of this new humanity to their own

sacra both by creating new services and by applying the affordances of apps and profiles in

surprising ways across existing systems.

Though profiles can be traced back through Multi User Dungeons and online forums

back into the early 1980s, and may go much further back along other lines, it is with the

popularization of websites like Myspace and Facebook in this period that the maintenance of

profiles becomes a dominant identity practice among computer users. These websites, commonly

called “social networks,” allow users to make some aspects of their profile visible to other users,

including a range of aesthetic elements that encourage (and emulate) personal identification

between the user and his profile. But we should not assume that these networks are entirely

populated by humans. As vehicles for the circulation of sacra, these services also empower

asymmetrical networking with God, and other powerful non-humans. Today, in very particular,

131
 the Facebook Message from God app says: “Today we believe God wants us to know that

circumstances don't make you, they reveal you.”200

The profile elements visible between networked users at the standard level of access

allow for various forms of religious identification. Myspace's basic profile information, for

instance, includes a drop-down menu of fourteen possible religions. Facebook, on the other hand,

provides an open space in which users can write whatever answer they choose to the question

“religion.” Users can then decorate their profile and share it with other users. Here too, the major

social networks offer different options, all of which provide religious opportunities. Consider

how Myspace, in allowing users to include music, animations, and sparkles on their profiles,

created room for an outpouring of religious creativity. Other websites quickly began providing

images formatted specifically to enhance profile pages by emphasizing users' various specific

interests and demographics. In 2007, for instance, both Imikimi.com and ImageChef.com began

generating digital photo frames for use on Myspace. The website Zingerbug, in categorizing

these frames, immediately included an “Angels” category as well as categories for various

holidays, and by 2009 it had material to populate a free standing “Christian” category.201 These

images were, in many senses, a continuation of Christian clip art, an art form that had been

evolving at least since 1987 when it was included in T/Maker's influential ClickArt software.202

200
All Devotion, “Daily Message from God,” Accessed March 13, 2014, http://www.alldevotion.com/
201
Zingerbug.com, "Customizable MySpace Angel Comments,"archived by the Internet Archive, November 7, 2007,
accessed January 24, 2014,
http://wayback.archive.org/web/20071107083211/http://www.zingerbug.com/Comments/Customizable/angels_page
1.htm ; Zingerbug.com, "Customizable Imikimi Comments, Glitter Graphics and Templates: Christian," archived by
the Internet Archive, March 3, 2009, accessed January 24, 2014,
http://wayback.archive.org/web/20090303104934/http://www.zingerbug.com/Comments/Customizable/christian_pa
ge1.htm .
202
Justia Trademarks, “CLICKART CHRISTIAN IMAGES – Trademark Details,” accessed March 13, 2014,
132
 Unlike previous Christian clip art, however, digital crosses no longer circulated along the limited

ambit of the church bulletin, but through differently constrained networks that users described as

somehow equivalent to themselves.

For some users, however, profile-level modifications of this sort were inadequate. In

2007, Myspace was answered by the Christian alternative, ThySpace, and YouTube was answered

by GodTube. Without accidentally confusing a website's name for its project, we might note that

this parallel shift and its associated social networking projects were created the year after Time

Magazine put a mirrored monitor on its cover and declared YOU the person of the year. In

turning social networking from an egoistic project to one of divine focus, these websites did

more than change the label on the box. In terms of content organization, GodTube makes

devotionals and newsletters parallel priority alongside videos, and ThyWorks (as ThySpace

renamed itself) supplemented music pages and personal profiles by partnering with Christian

comic books like David's Mighty Men and Archangels: The Saga.203 By creating new services

rather than applying worldly ones in Christian ways, digital creatives attempted to shift the

center of the social network from the individual to the God they serve.

However, though there is a significant difference, religious work on shared networks and

religiously organized networks do not stand in a clean dichotomy. This becomes clearer when

users are given more options than profile modification and heavily constrained play. Consider,

for instance, Second Life, a three-dimensional online world created in 2003, in which users can

interact with any scripted object, inhabit any space, and wear any body that they or another user

http://trademarks.justia.com/744/64/clickart-christian-images-74464970.html .
203
ThyWorks.com, "About Us,” archived by the Internet Archive October 29, 2007, accessed March 13, 2014,
http://wayback.archive.org/web/20071029134513/http://thyworks.com/about_us.php .

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 can design. Homesteading by religious communities in this world seems to begin in 2006 with

the appearance of locations like the First Unitarian Universalist Church of Second Life, the

Humanism Garden, and Second Life Synagogue Beth Israel, followed by the Anglican Cathedral

of Second Life, and ALM CyberChurch of Second Life in 2007, and Kannonji Buddhist Retreat

in 2008.204 These early settlements of various religions in Second Life are important because

each of them shows how religious subscribers can create worlds within the worlds provided to

them by specific services. Though the spatialized format of Second Life makes these particularly

dramatic, welcoming users to sit in a pew before a polygonal pulpit or to wander through

Heaven, the creation of religious interest groups on Facebook demonstrates the same principle:

Where the tools are provided, religious communities frequently establish enclaves in which their

sacra can circulate, affirming those who already know them and inviting new participants to join

in as well. These tools can be as large as trends in computing, or as small as particular features of

pieces of software.

While video games had been networked in various ways for decades, in this last period,

Christians began discovering the potentials of networked video games as spaces for building

communities. The late 1990s had seen the birth of both clans and guilds, teams of players that

seem to emerge in networked games, whether or not the games themselves provided tools for

204
Kenneth Sutton, “Going to Church in Second Life,” UUWorld Magazine (Feburary 2, 2007), accessed January 29,
2014, http://www.uuworld.org/life/articles/16206.shtml ; Torin Golding, “SL Humanism Group,” accessed March
12, 2014, http://slhumanismgroup.blogspot.com/ ; Julian Voloj, “Virtual Sanctuary,” Jewish Daily Forward,
February 16, 2007, accessed February 11, 2014, http://forward.com/articles/10101/virtual-sanctuary/ ; Anglican
Cathedral of Second Life, “History,” accessed January 29, 2014, http://slangcath.wordpress.com/about/history/ ;
Dokimos.org, “Cyber Church in Second Life,” accessed March 12, 2014,
http://wayback.archive.org/web/20070208182449/http://dokimos.org/secondlife ; Cathy Lynn Grossman, “Faithful
Build a Second Life for Religion Online,” USA Today, accessed January 29, 2014,
http://usatoday30.usatoday.com/tech/gaming/2007-04-01-second-life-religion_n.htm

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 their management. Anyone playing under a consistent name could include a marker of her clan

affiliation, and the Internet would facilitate the fuller work of profile making. By 2002, Christian

guilds like “Tribe of Judah” began to appear, using private servers to play First Person Shooters

without the foul play present on worldly servers.205 In our present period clans of Christian

gamers begin to give way to ministries like +CGO+, “Christian Gamers Online,” which seek to

network Christians as gamers, and to access online networks of gamers as mission fields.206 And

where games legitimate clans and guilds by granting them digital real estate or other perks, these

ministries find ways to apply them toward in-game congregation. This legitimation, and with it,

the appearance of Christian congregations, seems to characterize many Massively Multiplayer

Online games at present. [IXO He Will Return IXO], for instance, is a clan extending its

Christian presence across many of the largest MMO worlds, ministering to players in Age of

Conan, Star Wars Galaxies, Warhammer Online, and World of Warcraft.207 In 2009, reports

begin to circulate of a stable church community conducting weekly services in Ultima Online:

“Here there was a female pastor espousing the virtues of non-denominational Christian faith in,

of all places, Sosaria. West of Trinsic near the Bog of Desolation to be precise. I felt awkward to

be wearing a wizard hat.”208

As with social networking services, this period witnessed some religious communities

205
Tribe of Judah, "Community FAQ," accessed January 23, 2014, http://www.toj.cc/toj.php?x=main/faq/2 .
206
Christian Gamers Online, Inc., “Position Statement,” accessed March 12, 2014,
http://christiangamers.net/cms/index.php/2012-12-30-22-09-12/positionstatement .
207
IXO He Will Return IXO, “Home,” accessed March 12, 2014,
http://www.guildportal.com/Guild.aspx?GuildID=238745&TabID=2009410 .
208
GreyPawn, “Vas Rel Sanct – Church in UO,” accessed March 12, 2014,
http://stratics.com/community/threads/vas-rel-sanct-church-in-uo.162454/.

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 shifting beyond the ambiguous practice of building in worldly systems to create their own

networked game worlds. Alongside the emergence of the first Christian FPS clans, Eternal War:

Shadows of Light (Xrucifix, 2003) empowered players to participate in cooperative networked

play, fighting demons together as angels. Left Behind: Eternal Forces (Left Behind Games,

2006), similarly, allowed for networked combat between players; here, notably, one player had

to play as the forces of the Antichrist. In 2008, the Islamic social network, Muxlim Pal (Muxlim)

became the first stable multi-user online world organized for a religious public. In 2010, three

different Christian games – Yahero (Yahero), Godstoria: The Bible Online (FIAA GmbH), and

Bible Bible Town (Third Day Games) – present very different visions of how biblical truth can be

transmitted through shared game-worlds. Godstoria: The Bible Online, was a territory

management and war strategy game wherein each player would play as Abraham, pursuing

God's promises and building a colony upon a great plain populated by other players who were

also Abraham. In my six months as a settler in that world, I found the combat against other

Abrahams quite difficult to explain to myself or anyone else. BIG Bible Town also invites players

to create their own biblical villages, but this game avoids the theological problem of multiple

instances of key biblical characters competing against one another by casting the player as a

customizable child living in a dusty era that unifies all of biblical history. While witnessing the

sacred narrative in the embedded game worlds, which are unlocked weekly for paid subscribers,

each player gathers tokens that can be spent building a town for other players to visit. Yahero,

our final multi-player Christian game world, largely avoids the problematics of biblical

remediation by working in a sci-fi idiom. The player is cast as a protector of “Zioden,” a flying

city built around a great homiletical tree. Though I completed most of the content released for

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 Yahero before the service closed down, collecting the Logosphere of Creation and various

lumiscrolls, I never succeeded in talking to other players in the game world. Through some

malfunction, perhaps my own, other Yaheros offered only ghostly companionship, standing still

in unlikely places, speaking empty text boxes.

Having explored some of the principles of networking within recent profile-based

services, we can now better understand the organizations that are deploying them. Moving from

how to who, then, the leap beyond our capacity became possible because in this period religious

games became both larger and smaller business than ever before.

To begin with the grandiose, this period saw the emergence of multimillion dollar

religious game development. New corporations like Left Behind Games and Digital Praise

remediated Christian franchises like Left Behind, Veggie Tales, and Adventures in Odyssey in

attempts to hold cultural ground alongside worldly media franchises. Likewise, this period also

witnessed a return of digital religion to dedicated gaming consoles. Though consoles had long

stopped banning religious content, they continued to limit the range of software through

prohibitively expensive licenses and development kits. The return to consoles, then, is made

possible by non-religious companies hoping to profit from religious publics. Crave

Entertainment released The Bible Game (2005), and Larry Boy and the Bad Apple (2006). Under

each name, they released two different Evangelical games, one each for Game Boy Advance, and

the other for Playstation 2 (and XBOX as well, in the case of The Bible Game). The three Yoga

games released for handheld consoles between 2007 and 2008, similarly, are produced by

Square-Enix, Konami, and Ubi Soft, three of the largest worldly games companies active

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 today.209

The only work of an explicitly religious company in the return to consoles recalls the

foundations Roberto Busa laid for digital religion. The Xbox 360 game console offers a forum

for downloadable community-created games (read: apps), and Lifeway Books, perhaps the

biggest Evangelical publisher today, saw it as an opportunity to spread the Gospel. Aaron Linne,

who headed the project, explains it eloquently:

“Bringing the Holman Christian Standard Bible translation to the Xbox via Bible Navigator X
begins the fulfillment of a dream I have had since the Xbox 360 launched, and they announced that there
210
would be downloadable games.”
“Now, in our first go at putting this most sacred content onto a video game system via Bible
Navigator X, it works with the medium so perfectly: It feels natural and nice, like the XBOX was made to
host the Bible. ”
“The Xbox isn’t just secular entertainment anymore. We can use technology that other people

developed to study Scriptures through a new medium. Some people are just more comfortable with a
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controller in their hands than a book.”

But, again, that religious gaming became big business only explains a small number of

elaborately produced entries. While these have done much to energize the field and to circulate

sacra, the surprising number of games released in 2011 was only possible because religious

games also became small. Of course, religious video games have always been small. If the word

designates the daring and under-funded creativity of auteurs and small development teams,

religious gaming has been indie from its first days in the early 1980s. But across the 2000s, new

209
Begin with the DS: Tipness's Yoga (2007, Square-Enix); Let's Do Yoga (2007, Konami); Quick Yoga Training
(2008, Ubi Soft).
210
Aaron Linne, “First-Person: An Xbox Dream,” accessed January 20, 2014,
http://www.baptistpress.org/BPFirstPerson.asp?ID=32218 ; Microsoft, “Bible Navigator X: HCSB,” accessed
March 17, 2014,
http://marketplace.xbox.com/en-GB/Product/Bible-Navigator-X-HCSB/66acd000-77fe-1000-9115-d80258550415?
purchase=1.
211
Aaron Linne, "B&H Introduces 'Bible Navigator X' for XBOX 360," accessed January 20, 2014,
http://hcsb.org/hcsb/b/authorjournal/archive/2009/11/10/b-amp-h-introduces-bible-navigator-x-for-xbox-360.aspx.

138
 tools accelerated the circulation of indie games and enhanced their visibility, resulting in the

emergence of a self-aware indie games movement whose energy would benefit religious game

designers. For instance, the 2002 Game Developers Conference saw the release of Steam, a

relatively open platform for digital distribution of computer games, as well as the first “Indie

Game Jam,” in which developers attempted to create innovative games under severely

constrained time limitations.212 The Christian Coders Network's speed game competition,

founded in 2006 and still active into the present, wherein participants have less than a month to

create original games, seems contiguous with a self-aware indie games movement.

Unfortunately, because I only discovered the contest in the weeks before my dissertation's

submission, the present count of 773 religious games only includes those of the speed games that

were published elsewhere as well (i.e., G.M.L. Armor (Barry Ijmker, 2010), Souling's Quest

(Hanclinto Games, 2010), and Finding Adina (Washburn Bros, 2007)). In continuity with the

indie games movement, this contest self-presents as an engine of innovation. In early years,

winners were separately selected for “Best Fun Game” and “Best Presentation of Christian

Teaching,” but today, these categories include “Polish” and “Creativity/Innovation” as well.213

With these elements in place – the adoption of subscription computing services by

religious publics, the discovery of religious possibilities within them, and the infusion of

religious gaming with large budgets at one end and indie game energy at the other – the immense

increase of religious games in 2011 will no longer appear mysterious. Since the 1990s,

smartphone usage had been largely contiguous with the limited market for palmtop computing,

212
Chris Hecker, “IGJ0,” accessed March 15, 2014, http://www.indiegamejam.com/igj0/
213
Christian Coders Network, CCN Speed Game Contest, archived by the Internet Archive June 15, 2009, accessed
March 7, 2014, http://wayback.archive.org/web/20090615061630/http://www.gameace.org/~ChristianCoders .

139
 but even here there was some religious creativity (the Olive Tree NIV Bible was released for

Blackberry, for instance, in 2005).214 But in 2007 the iPod touch and iPhone both appear

followed by Google's Android devices in 2008, and these new app based platforms move

computers into pockets with surprising speed. 2011, the year that may have contained as many

Christian games as all prior years, was also the year that found a full third of American adults

carrying computers in their pockets.215

Android and iOS devices have many similar features such as touch screens, cameras,

accelerometers, and Internet access, all of which will interact with sacra in surprising ways.

However, as we have seen with computers ranging from mainframes to game consoles, nothing

impedes digital religion quite as severely as restrictive licensing, and the difference between

Apple and Google's app platforms in this regard is visible in the range of religious applications

produced for each of them. The Android Play Store is centralized de facto, whereas the iOS

Appstore is centralized de jure. While Google's own hub for digital distribution is the most

common way to download Android software, the operating system is open source and users can

choose to download apps from other websites at their own risk, or even use other distribution

hubs if they prefer. IOS, on the other hand, is a closed, proprietary operating system, and the

Appstore is the only way to install software on an unhacked device. Whereas Google

occasionally removes software from the Play Store when it violates their terms of service, Apple

must approve all software used on their devices. Their quality standards, while not explicitly

214
Olive Tree Bible Software, “NIV Bundles Now Available,” accessed March 15, 2014,
http://www.olivetree.com/newsletter/issues/2005/OTNL_20050518.html .
215
Aaron Smith, “Smartphone Ownership 2013,” accessed March 15, 2014,
http://www.pewinternet.org/2013/06/05/smartphone-ownership-2013/

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 directed against religious creativity as were Nintendo of America's standards for their early game

consoles, have had a similarly chilling effect.

Consistent with previous generations of digital religion, scripture remains a primary form

of digital religion on smartphones. In 2009, Android gets both The Talmud and Holy Bible – King

James Version, and Olive Tree already reports hundreds of thousands of religious texts

downloaded for iPhones.216 Beyond this, perhaps the smartphone boom’s effects on digital

religion might be best understood by gesturing to the device’s various parts and observing their

recreation as affordances for religious publics: cameras gain transcendent vision from apps like

Christian FrameIt!, and Christian Cross Sticker Widget (2010); headphones begin to play

religious radio apps like K-Light (2010); GPS is oriented to sacred landscapes like that of

Christian Praying Compass; even barcode readers take on sacred possibilities through programs

like QRyptic Jude (2011).217 This quick sampling of Christian possibilities is meant only as a

hint. Muslim, Hindu, Jewish, and Pagan apps abound for both iOS and Android, and they

consistently uncover new sacred possibilities for these increasingly ubiquitous devices.

The licensing difference creates a differential in sacred possibilities, however. The

Android platform abounds with artifacts of digital religion produced by a range of religious

216
"Holy Bible – King James Version,"
http://appgravity.com/android-app/lifestyle/indiaNIC-android-TheHolyBible (accessed 1/20/2014); Joseph Barclay,
“The Talmud,” http://appgravity.com/android-app/lifestyle/indiaNIC-android-TheTalmud (accessed 1/20/2014);
Olive Tree Bible Software, "The Dominant Animal in Mobile Bible Publishing," accessed March 15, 2014,
http://blog.olivetree.com/2009/08/12/olive-tree-in-the-newspaper/
217
Technicow Creations, "Christian FrameIt!" accessed January 24, 2014,
http://appgravity.com/android-app/media-video/com-technicow-christianframeit/ ; Hedgesoft, “Christian Cross
Sticker Widget,” accessed January 20, 2014,
http://appgravity.com/android-app/lifestyle/com-hedgesoftsolutions-widgets-christiancross; DJBSoftware Inc,
“K-Light,” accessed January 20, 2014, http://appgravity.com/android-app/entertainment/com-djbapps-klight;
GeoLinx, “Christian Praying Compass,” accessed January 24, 2014,
http://appgravity.com/android-app/tools/com-prayingcompass-christian; Verse Ability, "QRyptic JUDE," accessed
January 24, 2014, http://appgravity.com/android-app/arcade/air-QRypticJude
141
 creatives to whom iOS would be unattainable. Apps whose only task is displaying animated

crosses, pentagrams, or other sacra, for instance, comprise a sprawling mediascape that slants

hard away from Apple. This difference, as it manifests in religious games creation, is already

visible in the last years of my present history. Whereas I was able to locate only three religious

games for iOS – Bible Blocks (Jonathan Giles, 2009), Bible Reference Game (Thy Word Is True,

2009), and Word Cross (Michael Surran, 2010) – Android had seven games in 2010 – Bible

Stories Word Search (LittleIslandGames), BibleTet (ApproS), Bible Traveler: Bible Numbers

(Sam Mejias), Brain Cafe: Test Your Faith (Urbian), Game- Books of the Bible (PaKeSoft), Race

on Squares: Bible Edition (ApproS), Sort the Name: Bible Puzzle (Sam Mejias).

In 2011, the time was right. Hundreds of developers suddenly found themselves able to

do something new. They could create their own vehicle for the Good News and send it out to

everyone. Apple’s more restrictive licensing practices recall digital religion’s first days on those

jealously guarded mainframes slightly more than do Google’s, so it stands to reason that Android

presents a wilder efflorescence of religious games, but the difference is minute compared to how

far digital religion traveled in sixty years. Recall that in those first days the computers were not

only massive, they were distant. Initially, the most widely circulating objects of digital religion

were bound indexes, and those were themselves enormous, costly and rare. Devices like Bible

readers had increased portability, but had never sought ubiquity. But now the staggering

demographic of humans willing and able to maintain a smartphone plan has become a missions

field. Every day it becomes more likely that a person looking for a game about the Bible will

have a device in her pocket ready to provide it.

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 Conclusion

Are Evangelical games five to seven years behind the game play curve? Having

fragmented the notion of a singular curve as a cross-section of innumerable interacting curves,

and used this frame to consider the historical expanse of religious video gaming, both “yes” and

“no” seem to be good answers. Some religious games have in fact been made using technologies

and modes of play that saw their peak popularity some half-decade earlier, while others have

raced ahead of their technologies' popularization.

A lag, of course, is easiest to see when religious games are framed as vehicles for

outdated technoculture. In some cases, game critics and developers make this frame attractive by

centering those elements that were previously featured in popular games. Spiritual Warfare

(1991), though it included a much more flexible primary weapon system than any Zelda game to

date (to name only one interesting difference), seems to have been received as the Christian

Zelda; Dance Praise (2005) has always been the Christian DDR. But we can locate religious

gaming upon a leading edge as well: The Philistine Ploy (1983) was one of the first graphical text

adventure games, appearing a year before King's Quest; Interlight's Bible games for CD-i

(1991-1992) were among the first CD-ROM console games; religious games were shareware

before Wolfenstein; and the first religious game suites proliferated in perfect step with their

worldly counterparts. Within two years of the Android marketplace's creation it was so full of

religious games that it had to be set aside for a later study.

But digital religion is neither late nor early, and it reveals its most surprising possibilities

when we seek its particularity. This survey highlighted some extravagant specificity as in a game

packaged with a digital Bible reader, or games with magical powers, but the broad center merits

143
 the same attention. From the beginning to the present, religious video gaming has taken worldly

games, Sunday school exercises, scriptural narratives, and out-game theologies and recreated

them, invested now with their characteristic liveliness. Even the dozens of Bible word scrambles

and jigsaw puzzles should not be distorted into a simple secondarity. Sunday schools whose

students are anonymous to one another, and jigsaws that become animated Bible scenes when

assembled, should not be framed as derivative. They are lively, peculiar, specific, and entrusted

separately with sacred work.

Seeking this particularity, we now turn toward an investigation of particular games. The

next two chapters will open this work with a study of Evangelicals in the game-violence debates,

then consider how those debates manifest in Evangelical First-Person Shooters.

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 Chapter 4

Swords Into Plowshares and Back Again:

Evangelical Christians and the “Game-Violence” Debates
“Dear Father, In the days of Noah, You were so angry about the violence in the world that you sent a flood. Today
You're probably just as concerned about the violence in video games. Change our hearts so we'll desire a better way,
and help us to seek games that are not violent. Amen.”
– A prayer for families considering video games
218
from the Southern Baptist periodical Home Life

Illustration 8: Feeding Animals in Super 3D Noah's Ark

First, a person shooting:

You are B.J. Blazkowicz, an American soldier trapped in a Nazi fortress. You throw the

door open and find yourself facing a crimson swastika banner; the hallway stretches to both

sides. To your right a guard dog barks. You wheel frantically toward the lunging beast, but it

218
Robert G. (Bob) DeMoss Jr., “Media Play: When You Haven't Got a Prayer,” Home Life 53 (December 1998):
60-61.

145
 bites into you before you can shoot it. You unload two pistol rounds into its face and the German

Shepherd whimpers, collapsing into a pool of blood. A guard hears the gunfire and comes

running, shouting in German and firing a machine gun. You draw back into the doorway to catch

your breath.

Then, a person shooting:

You are B.J. Blazkowicz, a soldier from the Republic trapped in a fortress of the Master

State. You throw the door open and find yourself facing a banner emblazoned with a great blue

+; the hallway stretches to both sides. To your right a giant rat barks. You wheel frantically

toward the lunging mutant, but it bites into you before you can shoot it. You unload two pistol

rounds into its face and the hideous creature whimpers, collapsing into a pool of blood. A guard

hears the gunfire and comes running, shouting in English and firing a machine gun. You draw

back into the doorway to catch your breath.

Once more, a person shooting:

You are Noah, God's chosen caretaker, only trapped in the ark for five more days. You

throw the door open and find yourself facing the bent bars of some animal's broken cage; the

hallway stretches to both sides. To your right an angry goat bleats. You wheel frantically toward

the lunging beast, but it bites into you before you can feed it. You feed it two pieces of fruit from

a slingshot and the goat snores loudly, falling asleep on the floor. An antelope hears the twang of

your slingshot and comes running, clattering its hooves and spitting its inexplicably dangerous

saliva. You draw back into the doorway to catch your breath.

Since the first vogue for arcade gaming, rhizomatic networks of computers and their users
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 (including those who primarily use them as rhetorical foils) have been engaged in lively

disagreements over the possibility that video games may cause humans to kill one another.

These debates concerning the referent and importance of “violence” with respect to computer

software have significantly shaped the entanglement of computers and humans. The

game-violence debates are the primary context for such basic notions as adulthood, morality, and

good taste as they relate to computers. As such, these debates merit the attention of religious

studies, cultural studies, Science and Technology Studies, and other disciplines concerned with

the historical mediation of morality. For the study of American religion, however, the

game-violence debates are of particular interest because they showcase how the emerging

counterpublic of Evangelical computing constitutes itself by deepening, extending, and

sacralizing concerns it shares with the simultaneously emerging public of worldly computing.

Specifically, they tend to agree that problematic media violence enjoins cutting-edge

technologies of photorealism to depict the emission of “blood and gore” where weapons

(including bodies) presumed to be accessible to audience members come into conflict. However,

while the hegemonic worldly discourse on game-violence only works to prevent murders

Evangelical games must forge virtues. Alongside consequentialist concerns flickers a vision of

non-violence that orients children to spiritual warfare. We will come to understand this

substantive and paradoxical opposite of media violence as sacred play.

This chapter and the one that follows it will present the game-violence debates by

beginning with First-Person Shooters [FPS]. These are games wherein the immediate object of

player control is a camera that fires projectiles into the game world. While most genres –whether

fighting (Mortal Kombat), adventure (Grand Theft Auto), or racing (Carmageddon)– have

147
 periodically offered instances for public scrutiny within these debates, the FPS is the only full

genre which is regularly queried as potentially irredeemable. In some cases, the genre even

becomes a synecdoche for game-violence as such, and begins to absorb a surprising variety of

media: “They call them first-person shooter games. They are one of the most popular and

troubling genres of video games. First-person shooter games include 'Doom,' 'Quake,' 'Mortal

Kombat,' 'Turok,' 'Killer Instinct,' 'Sin,' 'Half-Life,' 'Rainbow Six,' and 'Tribes.' These video,

computer, and Internet games rip, slice, and blow up body parts and scatter them across the

screen in 3D realism.”219 I offer an Evangelical example here, but worldly instances abound;

what matters is that two of these are only FPS games if that category is interchangeable for

“problematic violence.” We will need a more substantive definition, but this one provices a

provocative place to start.

First-Person Shooters

The three moments of play that open this chapter welcome us into the genre's flexibility.

The first moment is situated within the 1992 release of Wolfenstein 3D for DOS based home

computers, the game most frequently cited by game critics as the seminal instance of the FPS,

and the following two are situated within Wolfenstein’s adaptations for the Super Nintendo

[SNES] game console. The second moment is frequently derided as an object lesson in the

incoherence of video game censorship; Nintendo of America’s official SNES adaptation of

Wolfenstein 3D removed Nazi imagery to avoid offending players, but sought no narratively

219
Ken Reaves, “Video, Computer, and Internet Games,” Living With Teenagers Parent Ministry Edition 22 (July
2000), 31.

148
 coherent alternative. The third moment is from Super 3D Noah’s Ark (1993) [S3DNA], a FPS

created by the Christian company Wisdom Tree for audiences who hope to avoid violence.

Brenda Huff, former sales associate and current owner of Wisdom Tree is quite clear: “We were

offering parents and gamers an alternative to the violence of so many other games. We were

FAMILY FRIENDLY before family friendly was popular.”220

These adapted games should not be dismissed as the further evacuation of an already thin

cultural form, and we learn little by identifying them as censorial efforts. Yes, of course, the

production of non-violence entails removal, but the identification of specific elements as

problematically violent is itself a complex creative process, and in every case these evacuations

leave spaces in which surprising creative work takes place. Super 3D Noah’s Ark places players

into a sealed menagerie structured according to rigid mathematical specifications, safe from the

destruction outside, but crowded with mythically charged wildlife. As part of the larger cultural

conversation on video game-violence, Evangelical creativity creates contact zones wherein we

can observe the co-becoming of theologies and technologies, market pressures and moral panics,

and agencies human, animal, machine and divine. To understand these spaces, though, we must

enter by following one agency or another. Let’s begin with the code all three games share.

In many senses, Wolfenstein 3D was nothing new. The games Maze War (Steve Colley,

1974) and Spasim (Jim Bowery, 1974) had inaugurated the FPS formula eighteen years earlier:221

220
Gibson, “Interview: Brenda Huff."
221
Though game historians tend to agree that these two games are the first instances of the First-Person Shooter, this
particular citation is notably from a history of the form written by Theodore Beale, the primary designer of the
Christian FPS The War in Heaven. Vox Day (Theodore Beale), “Halo and the High Art of Games: A History of the
First-Person Shooter,” in Halo Effect: An Unauthorized Look at the Most Successful Video Game of All Time, ed.
Glenn Yeffeth and Jennifer Thomason (Dallas: BenBella Books, 2006), 154-155.

149
 One plays by exploring the game world to locate and shoot specific targets; these will generally

be active opponents (either computer or human controlled), but may also include strategic or

whimsical targets (e.g. shooting a candle to light it, or shooting out windows for fun).

Wolfenstein 3D is certainly not remembered for its narrative innovations, as Id games apparently

took nothing from the many explorations of FPS story-telling from those intervening decades,

like characters who engage players in dialog or items with purposes beyond killing enemies or

opening doors.222 Nor, even, is Wolfenstein 3D significant for unprecedented quantities of blood

depicted on screen (c.f. Commando Libya for Commodore 64, the self-described “sadism game”

in 1986).223 This game is remembered as the watershed of the FPS genre, rather, because of the

surprising number of agencies it brought into collision: on the analog side of the screen, the

game was the first FPS blockbuster, selling more than 100,000 copies in its first year, and on the

digital side of the screen, it efficiently deployed the increasing power of personal computers to

create thrilling hordes of Nazi enemies.224 And, most importantly, as thousands of players each

killed hundreds of Nazis, game studios swarmed the battlefields hoping to continue the frenzy

and redirect it in support of their radically divergent projects. Or, in the words of Wolfenstein's

celebrity programmer John Romero, “Wolfenstein 3-D was the first fast-action FPS and

officially ushered in the genre.” Of course, since Romero said this as the single most established

character in the history of First-Person Shooting, his judgment of a game's “official” status is

222
For some narratively rich outliers in the history of FPS games, see: The Colony (1987, Mindscape), The
Terminator (Bethesda, 1990).
223
Commando Libya (Robert Pfitzner, 1986).
224
Jay Wilbur, then CEO of Id Software, estimated that a million free demo versions (shareware) were circulating as
of 1993. Dwight Silverman, “`Doom' Bursts Onto College Computer Networks,” Houston Chronicle, December 15,
1993.

150
 both nearly tautological (he demonstrates the strange power of this office by declaring “DOOM

officially set the genre on fire.”)225

Another feature that begins with Wolfenstein and remains a significant feature of the FPS

landscape is the relative separability of game worlds and “game engines.” These provide “the

core algorithms controlling a game. It reads controller input from the user, drives characters

through game levels, fabricates behavior, generates sound at specified times, and generates

real-time display.”226 And they are readily reapplied to divergent projects. The opening

instances of play demonstrate some peculiarities this generates, as each of them presents only

agencies possible within Wolfenstein 3D’s game engine: a body that can run but cannot fall,

enemies that can hear and see but cannot collaborate, walls that always meet at right angles. But

the two adaptations use the Wolfenstein engine to accommodate play by very different publics.

One strove to satisfy the moral requirements of “families” at large (by way of Nintendo of

America's quality standards) by retaining blood but scrambling the potentially offensive context,

and the other attempted to welcome Evangelical Christians in particular by removing blood as

part of a fuller recontextualization, turning the shooter into a playable version of the Flood

narrative.

While it might be easy to say in the abstract that FPS games compel any single type of

action (murder, for instance), the multiple, parallel lives of a single game engine might be

applied as a palliative in temporary bouts of technological determinism. Doom, the FPS which

225
The Romero [John Romero], comment on “Ultima Underworld: The Sygian Abyss's Influence on Wolf3D,”
accessed January 20,2014, http://rome.ro/smf/index.php?topic=2798.0;wap2.
226
Adrian Herwig and Philip Paar, “Game Engines: Tools for Landscape Visualization and Planning?” accessed
January 20, 2014, http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.134.75&rep=rep1&type=pdf, 4.

151
 built most directly upon the technology and the success of Wolfenstein 3D, became the

architecture for both official training exercises for US Marines, and for Chex Quest (Digital Café,

1996), a bloodless cereal-themed shooter.227 The movements of shared technologies mark bright

lines between disparate gaming publics, but so too do the skills (e.g. the ability to play a FPS),

and tropes (e.g. the image of children who naturally enjoy “action”) that orient the application of

those technologies.

Finally, to understand Evangelical play we will have to understand the game-violence

debates to which they are oriented. Having located the FPS game as both a site of intense

contestation and surprising malleability, we can begin to understand it as a representative site of

these creatively productive debates. First-Person Shooters are games where we look out through

the player-character's eyes. They prepare a place for us, but to do this they must make

assumptions about who we are.

Presumption and Playership

As game-violence debates orient the circulation of these technologies, skills, and tropes,

what, if anything, distinguishes the diversity of Evangelical creativity from the diversity of

worldly creativity? In a word, playerships. A game implies a humanity who will play it. A

playership can be identified by some combination of its particular desires, talents, literacies,

ages, genders or nearly any other set of features. The games at hand have been crafted for

different groups with different understandings of “violence” and different orientations to it. The

227
For information on “the military entertainment complex” see Timothy Lenoir and Henry Lowood, “Theatres of
War,” in Collection, Laboratory, Theater Scenes of Knowledge in the 17th Century, ed. Helmar Schramm, Ludger
Schwarte, and Jan Lazardzig (Berlin: Walter de Gruyter, 2005); 427-457. For information on “advergaming” see Ian
Bogost, Persuasive Games: The Expressive Power of Video Games (Cambridge, MA : MIT Press, 2007).

152
 presence of a game, however, does not require such a humanity to actually exist anywhere.

Some simple questions will help us see overdetermination which accompanies in-game

solutions to out-game moral concerns: “Was S3DNA created in order to convey a Christian

message?” Perhaps some members of the team had that intention, but there is no way to know.

We can certainly say that this intention would not have been sufficient to create the game, as

Wisdom Tree received the Wolfenstein engine because Color Dreams, their parent company,

purchased it for a gory adaptation of the movie Hellraiser.228 So we may ask instead, “Is S3DNA

biblical?” Well, it depends what you mean. Where Genesis 7:2 places seven pairs from every

species and two pairs from every unclean species into the ark, this game includes 250 to 400

instances each of five different clean animals. But the Bible was clearly consulted, as the six

unique animals that serve as level bosses are all ceremonially unclean.229 But these ambiguities

are not the province of Christian adaptations alone. If we ask “Did SNES Wolfenstein adaptation

successfully remove the Nazi presence?” again, it depends what we mean. The DOS original

made no reference to historical atrocities committed by Nazis, so we might question whether a

struggle against Hitler-in-a-robotic-suit-with-Gatling-guns-for-arms ever had Nazis to remove.

When game critics complain that removing this “Hitler’s” mustache produces “a generic shoot

`em up romp against generic bad guys” (and they do), they are not complaining that the loss of

Nazi insignia fragments an otherwise coherent historical recreation, but perhaps that without

228
Martin Nielsen, "The Story of Color Dreams," accessed January 20, 2014,
http://www.nesworld.com/colordreams2.php ; “Hellraiser,” accessed January 20, 2014,
http://www.uvlist.net/game-7863-Hellraiser .
229
Propadeutic, “Super 3-D Noah's Ark 'Walkthrough,'” accessed January 20, 2014,
http://www.gamefaqs.com/snes/563038-super-noahs-ark-3d/faqs/18347 .

153
 those insignia it is less pleasurable to play at killing these simulated humans.230

Neither game seems to have reached its intended playership. Nintendo of America calls

their public “families,” and Wisdom Tree calls theirs “Christians.” Both are imaginary

collectivities that have specific modes of play, hailed by games designed to accommodate them

and distributed to find them. Nintendo, for instance, designed a game reflecting the maxim that

family play does not involve swastikas, and Wisdom Tree that Evangelical play references the

Bible somehow. But these modes of play are always imperfect fits with real playerships. Just as

few families seem to have been impressed by SNES Wolfenstein friendliness, Christian games

have not yet become the primary form of entertainment for any denomination that I could locate.

And we need not apply a free-market model of desire – situating players as consumers within a

self-correcting marketplace – to observe the manifold transformations produced in these

mismatches between modes of play and playerships. Failures to locate playerships inspire the

creation of new games, but these attempts might not come any closer to their object. In observing

either worldly or Evangelical attempts at non-violence, we see a growing heap. Without

assuming improvement, nor even that each successive layer's direction of growth is the same, we

will call this progress.

The difference is that S3DNA seeks a child who is a budding prayer warrior. While both

games seek out the child, Nintendo's child is the child imagined by media studios seeking to

230
Approaching narrative coherence from a very different angle, the Japanese adaptation makes this a story about
how Blazkowicz is fighting a sort of zombie-factory overseen by Corporal Adolph Troutman. Clubey, “The SNES
Version and the SFC Version,” archived by The Internet Archive October 30, 2011, accessed January 20, 2014,
http://wayback.archive.org/web/20111030062857/http://www1.linkclub.or.jp/~clubey/other%20platforms/snes2.htm
l; Quote above from Jay Wilbur of Id software. “Jaguar Version of Wolfenstein 3D Restores Original Plot,
Unleashes the Power of 64-bit Technology; 64-bit Technology of the U.S.-Made Jaguar Flexes its Muscle Once
Again,” Business Wire, August 1, 1994.

154
 avoid litigation. In working primarily to create media that does not hurt children, Nintendo has

imagined the child as an almost entirely passive creature. This child is innocent and

impressionable; its pleasure is a species of “fun” of which it seems to be the passive recipient. Its

only active capacity seems to be growing, and even that, with regards to both educational and

recreational software, is so framed by mediated influence that it usually sounds like the

emergence of television's potentials rather than the child's own. The child as located by

Evangelical media, on the other hand, is not conceived as children-in-general, but quite the

opposite. The child growing to be in but not of the world is presumed to be an already moral

agent. What they put into their minds matters, not only because they may express undesirable

traits later, but because maturation is the process across which they “put on the whole armor of

God, that ye may be able to stand against the wiles of the devil” (Ephesians 6:11, KJV). Neither

game, again, might ever locate the child they seek, but these very different conceptions of the

player will mobilize the design and circulation of very different games.

Since the first Evangelical game-review websites appeared in the mid-1990s, they have

tended to rate games as mixtures of toxic elements, “violence,” “occultism,” (foul) “language,”

and “sex” being the most frequent list. The claim that a game contains a great amount of any

single element is sufficient reason to declare it inappropriate for Christians, or even for humans

at large. This mode of media critique is continuous with previous Evangelical critique of radio

and television in that Christians are trying to decide whether or not worldly modes of

communication are fit to transmit sacred messages. That said, we should not assume that

Evangelical critique has had any static set of concerns with worldy media. It seems that

Evangelical media critique emerged across the 19th century with a gradual shift of attention from

155
 the problem of sin to the problem of 'vice.'231 At both ends of this transition, the theater was a

dominant popular entertainment, and throughout, Evangelical declamations (though that medium

has rarely lacked battles) concerned “filth” and “licentiousness” rather than “violence.”232 The

following chapter follows the development of the word “violence,” as a lens through which we

can observe the emergence of Evangelical games. However, we cannot map “violence” onto a

curve of any kind.

Even were we to pursue the referent of “violence” within video games alone, we would

find an unruly collection of shifting criteria. While we could make a tidy chart of games that

include flesh-colored bipeds that emit red-stuff or cries of pain when removed from play, games

with items named after out-game firearms, or myriad other indexes for “violence,” none of these

would fit the occurrence of the word “violence” in Evangelical critique, nor for that matter its

worldly cognate. Any consistent criteria we choose will locate instances that diligent critics

ignore. Nor can we resolve this complexity with recourse to a hermeneutic of family

resemblance. There is no reason to assume in advance that the surname “Violence” is not a

homophone with several non-intersecting meanings. Should a family resemblance appear, our

task would be to try and discover what holds the family together, and to never presume things

similarly named are naturally related.

Nor have the laboratory studies of video games and violence that have proliferated over

231
Dominic Erdozain, The Problem of Pleasure: Sport, Recreation and the Crisis of Victorian Religion (Woodbridge,
UK: Boydell Press, 2010).
232
Herrick Johnson, A Plain Talk About the Theater (New York: Fleming H. Revell Company, 1882), accessed
January 20, 2014, http://books.google.com/books?id=1wIOAAAAYAAJ&dq ; Rev. Samuel Govern Winchester,
The Theater (Philadelphia: William S. Martien, 1840), accessed January 20, 2014,
http://books.google.com/books?id=v5MVAAAAYAAJ&dq ; James Buckley, Christians and the Theater (New York:
Nelson & Philips, 1875), accessed January 20, 2014, http://books.google.com/books?id=vZEXAAAAYAAJ&ots.

156
 recent decades solved this problem. In trying to correlate two things (and a distinct publication

bias seems to make trying a fair allegation), these studies have been unreliable on both ends.233

At times, indices for violence have presumed the neutrality of the state by tracking criminal

convictions, while at others they have imposed a neurological determinism by assuming certain

kinds of brain-waves are the site of “violence.”234 On the game-side, things are even less

reliable, as game selections have consistently introduced multiple variables, comparing, for

instance, puzzle games with fighters.235 There seems to never have been any quantitative attempt

to validate or debunk the actual practices of game studios seeking to avoid violence. If Chex

Quest actually causes anyone to go easier on a punching bag, it remains solidly unproven.

That said, though the object of the present study is the debate, and not its legitimacy,

whether or not video games do in fact cause out-game violence is an important question, and my

deconstruction should not be mistaken for a dodge. If we were to interrogate a “violence” which

includes all crippling force against human bodies or threats thereof, including those shielded by

state sanction or caused by dangerous labor conditions, that is, if we included institutional and

structural violence, we would require methods neglected in the debates considered here. Toward

an investigation of game-violence of this sort, Dyer-Witheford and De Peuter's Games of Empire

applies Hart and Negri’s Empire to investigate structural violence, global labor conditions under

233
Christopher J. Ferguson, “Evidence for Publication Bias in Video Game Violence Effects Literature: A
Meta-Analytic Review,” Aggression and Violent Behavior 12 (2007), 470-482.
234
Jeffrey Goldstein, “Violent Video Games” in The Handbook of Computer Game Studies, Joost Raessens and
Jeffrey Goldstein ed. (Cambridge, MA: MIT Press, 2005), 341-357.
235
Lillian Bensley and Juliet Van Eenwyk, “Video Games and Real-Life Aggression: A Review of the Literature,”
Journal of Adolescent Health 29 (2001): 244-257.

157
 neo-liberalism, and video games.236 If we were to include police and military violence as

possible effects of video gaming, we could even find concerted attempts to produce it. There

seems, in fact, to be a vast feedback loop in which technologies developed for the gaming

industry are applied by the US military and vice-versa, a military-entertainment complex.237

With reference to Atari games, Ronald Reagan famously quipped, “Many young people have

developed incredible hand, eye, and brain coordination in playing these games. The Air Force

believes these kids will be our outstanding pilots should they fly our jets.”238 The present study

cannot inject this concern into the game-violence debates, but perhaps we can move forward by

asking how it was written out of them.

Locating Violence

Between governmental critics, game designers, the Entertainment Software Ratings

Board [ESRB; the video game industry’s rating authority in the United States], television

pundits, child psychologists, ministers engaged in prophetic media criticism, video game review

websites, and the several other intersecting expert systems whose efforts to locate game-violence

shape the creation of Evangelical games, there is a surprising consensus concerning which games

include violence. It surprises because it emerges despite and not through efforts to define

game-violence. But the doxa successfully incorporates one of the tensions that causes “violence”

to resist definition: even in the Latin root word vis, the “force” denoted already includes both the

236
Nick Dyer-Witheford and Greig De Peute, Games of Empire: Global Capitalism and Video Games (Minneapolis:
University of Minnesota Press, 2009).
237
Lenoir and Lowood, “Theatres of War.”
238
Quoted in Detweiller, 2.

158
 imposition of force by one human on another, and the force of specific emotions over the human

subject (as in “violently in love”). At present, both senses display a strong, even determinative,

relationship with “violation” of good order.239 Since at least the 1960s, broadcast news media

have deployed “violence” to designate only force which is not authorized by properly constituted

authorities, classifying, for instance, harm done by protesters as “violence,” while applying a

variety of alternative terms to harm done by police.240 Simultaneously, in much popular

discourse, we find that even force against inanimate objects is liable to be identified as “violent”

if it is deemed inappropriate: In 1972, 58% of American men agreed that burning a draft card

was violent, and at present it is common for newspapers, when describing street protests, to

categorize dumpsters and windows as potential victims of violence.241 And public controversies

over “media violence” seem to apply the same conservative impulse to the good orders of

imaginary worlds: a British study of reactions to cinematic and televised images found the “most

prevalent general rule seems to be that behaviour which is judged to be appropriate, fair and

justified – even when overtly violent – is not usually seen to be seriously or ‘really’ violent.”242

Thus, when a particular instance of force is identified as violence, especially as serious violence,

we can read this classification as proposing appropriate relationships between entities of various

kinds.

239
Raymond Williams, Keywords: A Vocabulary of Society and Culture (New York: Oxford University Press,
1983), 330.
240
David Graeber, Direct Action: An Ethnography (Oakland: AK Press, 2009), 449.
241
Science 23 (June,1972),1300-1303, as cited in Alan Bäck, “Thinking Clearly About Violence,” Philosophical
Studies 117.1 (Jan. 2004). 219-230; 219.
242
David E. Morrison, et al., Defining Violence (Lutton, UK: University of Lutton Press, 1999), 6.

159
 In religious studies, then, we can often use locations of “violence” to mark the boundaries

of religious communities. When Dr. Thomas S. Fortson, President of Promise Keepers, says that

The Passion of the Christ “is not a violent film, but it is very graphic,” he is not measuring a

quantity of blood, but describing his organization's relationship to the film's sacra.243 And where

this fails, the difference between varieties of violence often does similar work: “Of all the violent

acts that have occurred in the history of the world, the Cross was by far the most important.”244

Thus, before we can evaluate the rhetorical development of these proprieties, we must

acknowledge that force applied in a digital world differs dramatically from either the secret

violence of emotions or the material violence of bodies. To understand the stakes, we must do

the word itself some violence, wrenching it out of its understood meaning.245

A conversion experience: In 1988 the game Maniac Mansion (Lucas Arts) was adapted

and rereleased for the Nintendo Entertainment System [NES]. The original game, produced for

home computers the previous year, cartoonishly parodied the conventions of low brow science

fiction and horror films: “Disembodied tentacles hopping around. Chainsaws in the Kitchen.

Plants with unusual appetites.”246 To release the game on the NES, that is, in order to market

243
Promise Keepers, “This is a Movie You Have to See!” archived by the Internet Archive, February 13, 2004,
accessed January 20, 2014,
http://wayback.archive.org/web/20040213013151/http://www.promisekeepers.org/paff/pass/paffpass20.htm#fortson
article .
244
Michael Karounos, "Movie Review: 300," accessed January 20, 2014,
http://www.christiananswers.net/spotlight/movies/2007/3002007.html ; Brett Willis, “Movie Review: The Passion
of the Christ,” accessed January 20, 2014,
http://christiananswers.net/spotlight/movies/2004/thepassionofthechrist.html.
245
A meaning of “violence” dating from the early 16th century. Williams, 331.
246
The specific home computers were the Commodore 64 and Apple ][. This is copy from the back cover of the
Apple ][ version. Petr Maruska, “My Lucasarts Collection: Maniac Mansion,” accessed May 4, 2011,
http://collection.maruska.cz/detail.php?id=01&name=Maniac_Mansion.
160
 Maniac Mansion to the four million American households which had made the console 1987's

best selling Christmas gift, the dark humor had to be tempered to fit Nintendo of America's

quality standards.247 Douglas Crockford, the programmer who headed the conversion, later

recalled that he was never quite sure what would offend Nintendo's quality controllers. He

explained that Nintendo's standards

“prohibit ‘depictions of excessive and gratuitous violence,’ which would seem to ban any game in
which your character met people, killed them, took their money, and then bought more weapons. But
in fact most Nintendo games are still faithful to that theme, so we were unclear as to how to interpret
Nintendo's policy. In the Super Mario Bros games, which are considered clean and wholesome, kids
248
routinely kill creatures, and the only motivation is that they are there.”

Crockford's reductio ad absurdum sets a logic baseline for our inquiry into

game-violence. Note that he is perversely using the word “kill” in places where Nintendo

consciously avoided it: Crockford continues, “The central activity in most Nintendo games is

killing things. The image and the act are good, but the word is bad, even if the word does not

suggest the image or the act.”249 But Crockford's grammar is more interesting still. What is

being killed, and by whom? The object is a set of entities that Crockford simultaneously

identifies as “things,” “people” and “creatures,” an ambiguity which makes sense because the

killing subject is not Super Mario or B. J. Blazkowicz, but an entity named both “your character”

and “kids.” Game heroes and game enemies emerge together from the immanence of code, only

247
Nathan Cobb, “'Gleelok's is Four' 'Digdogger's Five' Toys Go Back to the Future as Home Video Games Return
in a Big Way,” Boston Globe, 13 March 1988.
248
Douglas Crockford, “Now You're Really Playing With Power: The Expurgation of Maniac Mansion for the
Nintendo Entertainment System, The Untold Story,” accessed January 20, 2014
http://www.crockford.com/wrrrld/maniac.html .
249
Ibid.

161
 becoming distinct entities when distributed along the surface of the screen, so their killing can be

described by its graphical face (i.e. “Mario kills turtles”). The actions of the conjoined subject

“kid-character” (a subset of “player”), however, occur along a complex of loops cutting

orthogonal to on-screen representation. Thus entities that “kid-characters” kill need not be

described according to their visual similarity to human beings, as this has no consistent

relationship to the types of agency with which they engage their players.

The sequence of three Wolfensteins that opened this section demonstrate this fact,

showing how Nazis, non-descript villains, and angry animals can be graphical overlays on the

same algorithms. SOD (1999) by art-game designers Jodi pushes us to the brink of Crockford’s

reductio.250 Here Wolfenstein 3D is again modified, but now all images have been replaced with

non-representational monochromatic designs. The same AI controls the floating checkerboard

pattern as controlled the Nazi soldier and (unnervingly) it dies with the same scream. From the

dizzying incoherence of SOD and Crockford’s palpable bitterness, we can establish a logical

baseline for what “violence” might mean: action that overtakes other agents, even digital ones,

constraining their ability to act, and/or driving them toward the immanence in which they cease

to be agents.

Through this lens, a surprising amount of what one does on a computer could be

interrogated as forms of violence. For instance, Crockford’s reductio potentially allows us to see

the use of antivirus software as unambiguously violent, as its users constrain and destroy entities

capable of both resistance and reproduction. But so then is deleting any piece of software, and

perhaps so too is deleting a digital photograph, or backspacing over a single letter. But public

250
JODI, “SOD workshop,” accessed January 20, 2014, http://studio23.free.fr/JODI-workshop/ .

162
 scandals over violence concern force improperly applied, rather than force as such, so while the

“Antivirus is Murder” campaign will never be born, the actions of hacker collectives like

Anonymous are occasionally decried as “violence.”251 The negotiations concerning which

agencies can constrain and/or destroy which others with impunity comprise the movements of a

moral universe, a system of stratified powers within which human action has value. Thus the

debates over game-violence, even in their most general form, are an appropriate data set for

religious studies, but they will be especially instructive as their historical unfolding both binds

Evangelical to worldly publics and clarifies their different moral sensibilities.

In conclusion, to describe an event as “violence” (or “serious violence,” in some cases) is

a way of marking it as force in violation of good order. Thus, the declaration of violence should

be heard as a way groups separate themselves from what they oppose. Notably, only a tiny

fragment of what occurs in digital worlds tends to be described as violent, but the rule remains

that the label “violent” is leveraged against digital actions deemed to be violating good order.

With this established, we can now set out to trace the overlapping and divergent practices of

naming game-violence between Evangelicals and the world.

Evangelical and Worldly Histories of Game-Violence

Because the whole of Evangelical discourse on any given topic is too wide and wild to

examine coherently, I have selected a fragment. Between 1985 and 2008, the Southern Baptist

251
See, for instance: Tom Brewster, “Security Firms are Getting Hit by Increasing Numbers of Attacks, as Hackers
Get More Violent Against the Industry, a Security Expert Warns,” archived by The Internet Archive, April 17, 2011,
accessed January 20, 2014,
http://wayback.archive.org/web/20110417154447/http://www.itpro.co.uk/632788/hackers-get-more-violent-against-
security-firms .

163
 Periodical Index lists seventy-six articles referencing “video games.” This section will present

the sixty-four of these that I was able to access through the corporate library of LifeWay Books

as a telling slice of Evangelical Christian discourse, and place them alongside the results of

similar searches in worldly newspaper databases.252

...

Video games are born in the secrecy of the laboratory, and they jump sharply in

popularity when they move to the secrecy of nightclubs and bars.253 But neither Spacewar at

MIT, nor Pong in the corner of a tavern, became sites of controversy concerning violence.254 As

a bar game, Death Race (Exidy, 1976), wherein the only action is running over blocky,

monochromatic gremlins (“We were quite careful not to call these figures people”), garnered

condemnation, but this seems to have quieted again quickly as the scandal of a single violent

anomaly.255 The first moral panic concerning game-violence began when games began

circulating as objects of youthful secrecy, migrating into the dark, unregulated space of the video

arcade.256 In 1981, the year that Pac-Man (Namco, 1980) ate four billion American quarters, Dr.

252
That is, I am examining every instance of “video games” from Christian Health, Christian Single, Church
Recreation Magazine, Home Life, Living With Children, Living With Preschoolers, Leading Student Ministry,
Living With Teenagers, Proclaim, Parent Life, Youth Ministry Update between 1985 and 2008.
253
Dmitri Williams, “A Brief Social History of Game Play” in Playing Video Games: Motives Responses, and
Consequences edited by Peter Vorderer and Jennings Bryant, (Taylor & Francis e-library, 2009), 237.
254
Bar games did occasionally raise the specter of gambling, however, and thus share some territory with the
widespread banning of pinball in the 1930s. For a history of controversies and innovations in pinball and novelty
games as they contribute to the social possibility of the video arcade, see the opening chapter of Stephen Kent’s
Ultimate History of Video Games (Roseville, CA: Prima Publishing), 1-17. Especially valuable to the present
discussion is the image of New York’s mayor Fiorello LaGuardia smashing a pinball machine with a sledgehammer
to publicly inaugurate a ban against them.
255 “
Sick, Sick, Sick,” Newsweek, January 10, 1977, 54.
256 “
The Battle for America’s Youth,” The New York Times, January 5, 1982.

164
 Stuart Kaplan, chief of adolescent and child psychiatry at the Long Island Jewish-Hillside

Medical Center identified the draw of these spaces as “sublimated violence:” “It's the shooting,

killing and destroying, combined with the sounds and colors.”257 But it was the possibility that

young men, drawn in by the destroying and the colors (and by the greedy, exploitative

shopkeepers, another tantalizingly demonic figure in many of these stories) would gamble, fight,

and sell drugs in the arcades that led several American towns to regulate these spaces across the

early 80s:

“Only the bad kids go into them, and we worry about the young children not old enough to make value
judgments. Those without strong moral codes can be drawn in. […] The game rooms teach gambling and
breed aggressive behavior […] Children snatch purses and gold chains for money to put in these
258
machines.”

That is to say, the concern at this point was not that video games portrayed violent

actions, but that they cultivated an action-oriented atmosphere in which young men would be

prone to violence.

The first reference to video games in the Southern Baptist Periodical Index, notably, is to

a pair of articles in Church Recreation Magazine written to assess these specific fears about the

arcade and determine whether churches should install arcade-style machines on their premises.

One side was frankly bewildered – “there is no past experience to which we can refer”– but the

other presented a defense not only of the arcade, but of the video game as such, specifically

because, as long as the on-screen antagonists do not resemble humans, video games are “no more

violent than skeet shooting.” To fight with computerized enemies, in fact, was framed as a noble

257
“Pac-Man Fever,” Time, April 5, 1982; Ellen Mitchell, “Video Game Rooms Targeted by Towns,” The New York
Times, December 13, 1981.
258
Peter Kerr, “Issue and Debate: Should Video Games be Restricted by Law,” The New York Times, 3 June 1982.

165
 task which neither encouraged nor resembled interhuman conflict: “The machine itself is the

opponent, and of the highest caliber.”259

The Southern Baptist Periodical Index reports no instances of “video game” between

1986 and 1992, a silence which harmonizes elegantly with a period of relative quiet in the

game-violence debates, as observed through other newspaper and journal databases. But this

quiet does not mean that negotiations stopped, only that they were highly professionalized in this

period. I do not refer here to the fact that half of all psychological laboratory studies on

game-violence published before 2001 date between 1985-87, but to the shift that seems to

precipitate this research focus: across this period Nintendo’s game consoles became the most

popular toys in America, followed closely by Sega’s rival offerings.260 This means, on one hand,

games migrate from the public secrecy of the video arcade into the privacy of the living room,

and with that shift, talk of delinquent violence is replaced with talk of parental

mismanagement.261 And on the other, Nintendo of America’s quality control policies – those

which inspired Crockford’s reductio – seem to have largely succeeded in avoiding “random,

gratuitous, and/or excessive violence” as judged by purchasing parents.262 Kids were killing

appropriately.

But when video games came to share the living room TV, they also had to share a public

259
David Napier, “The Use of Video Games in the Church,” Church Recreation Magazine 15 (Jan. – Mar. 1985):
47-48; Robert Rauss, “Video Games: Another Perspective,” Church Recreation Magazine 15 (Jan. – Mar. 1985): 49.
260
Lillian Bensley and Juliet van Eenwyk, “Video Games and Real-Life Aggression: Review of the Literature,”
Journal of Adolescent Health 29 (2001): 244–257.
261
Though home consoles had been available since the early 1970s, home consoles only become more profitable
than arcade games in 1989. Dmitri Williams, 230.
262
This formula is taken from Nintendo of America’s “Quality Standards,” as discussed at length in chapter three.

166
 conversation on violence in children’s television that had grown increasingly ornate, though not

increasingly systematic, since the late 1960s when they were first suspected of causing Robert

Kennedy's assassination.263 Heather Hendershot notes that in the 1980s, “like today, violent

images on TV were often simply referred to as 'television violence,' as if television

representations were violence in the same way that, say, a kick in the head is violence.”264 But

there is an elegance to this sloppiness, and one which it will retain as it slides into video game

discourse: the standards boards of television broadcasters, the anonymous repositories of

expertise which exercised most power over television, were primarily concerned with imitable

violence. We might generously assume that media corporations are concerned with the health of

their youthful viewers, but we must also recognize that costly lawsuits are a primary way they

receive notice of failure. To prevent children from mimicking televised action, cartoon characters

with handguns are regulated in ways characters with lightning cannons are not; cartoon villains

tack toward the faceless, the robotic, and the inhuman.265

In 1993, the first congressional hearings on video games and violence opened by rooting

this concern with childhood imitation upon terrain shared among government, capital, and

religion: “Today is the first day of Chanukah and we’ve already begun the Christmas season; it is

a time when we think about peace on Earth and good will toward all people, and also about

giving gifts.” Throughout the hearings, Senators Lieberman and Kohl made it quite clear that

their purpose was to prevent Night Trap (Digital Pictures) and Mortal Kombat (Midway), two

263
Heather Hendershot, Saturday Morning Censors: Television Regulation Before the V-Chip (Durham: Duke
University Press, 1998), 28.
264
Hendershot, Saturday Morning, 34.
265
Hendershot, Saturday Morning, 50-51.

167
 popular games from the previous year, from being given to children as presents.266 What

enticement to childhood use of force was so dangerous that Congress had to work to prevent it?

The games on trial have little in common: one is a lonely strategic thriller, and the other a

competitive fighter; and most remarkably, Night Trap is almost entirely free of visible blood,

though Mortal Kombat will nicely redress the balance. Condemnations in the name of all

reasonable people (“Mortal Kombat and Night Trap are not the kinds of gifts that responsible

parents give”) and declarations concerning the games’ similar influence over children (they

“teach a child to enjoy inflicting torture”) serve to bind the games together, but tell us little about

how they were initially identified as “violent.” In this regard, the key word throughout the

hearings was “realism:” “Night Trap uses actual actors and achieves an unprecedented level of

realism.”

The “real” that includes Night Trap’s vampires and Mortal Kombat’s fire-breathing

ninjas seems to be almost exclusively an evaluation of the games’ shared deployment of gaming

technologies that had only recently become affordable for console development. Both Mortal

Kombat and Night Trap presented their in-game entities as digitized video footage of human

actors.267 Prior to these two, most games for arcades, home computers, or consoles employed

graphics that tended to evolve toward increasingly subtle cartoonishness rather than

photorealism, as only expensive laser disk players had previously been capable of digitized

video. But as technologies of digital photography became more pervasive, and the computational

power needed to place them in games less expensive, this sort of “realism” became a public

266
CSPAN, “Video Game Violence (December 9, 1993)” accessed January 21, 2014,
http://www.c-spanvideo.org/program/52848-1 .
267
Lethal Enforcers, to be released soon after the hearings was similarly a full motion video game.

168
 concern. And in 1993 Id games, the creators of Wolfenstein 3D, apply this technology to the FPS

for the first time. Doom, another frenetic, simplistic shooter, surrounded the player with demons

digitized from clay models.268 Echoed in contemporaneous journalism already nostalgic for the

innocence of Pac-Man, this is a “realism” identified by the density of its visual rhetoric, not by

its resemblance to any out-game world, allowing its referent to shift with technological advances.

The Washington Post, for instance, called Doom “ultra-realistic” and presented the production of

the real very clearly: “Like the best fantasy novels, all of the elements of Doom coalesce around

a clearly realized vision to create a believable -- if bizarre -- universe. Holding everything

together is the ingenious ‘Doom engine,’ a ‘spiffy algorithm’ that allows players to move

through the detailed landscape of interconnected tunnels and rooms.”269

Thus “realism” drifts, alarmists tending to agree with advertisers as to its referent in any

particular year. But Doom, unmentioned in the hearings, would soon assert itself its reality,

despite the polygonal “realism” (spatial models composed of geometrical shapes) popularized in

Id’s later shooters.270

The morning before the 1993 hearings, representatives from several large video game

corporations, including Nintendo and rival home console manufacturers, announced that they

would take up collective self-regulation before regulation was forced upon them. The two

268
David Kushner, Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture (New York:
Random House, 2003), 134.
269
Dave Nuttycombe, “Pac-Man, Tetris -- and Now It's Doom's Day; Here's a Game on the Cutting Edge. And the
Slicing Edge. And Hacking. And Gouging…” The Washington Post, October 10, 1994.
270
In August 2011, Germany’s 17 year long restriction of Doom to adult players was lifted, because the ongoing
graphics had become so dated that the game was no longer violent. “Germany lifts Doom sales ban after 17 years,”
BBC News, September 1, 2011, Accessed January 1, 2014, http://www.bbc.co.uk/news/technology-14748027.

169
 systems that emerged the next year each established graded scales for violence that identified

“blood and gore” as a mark of severe violence, but otherwise varied significantly.271 By 1997,

however, game designers were only applying for ESRB ratings.272 This new system resolved the

Illustration 9: Constructing Doom's Realism273

271
The Recreational Software Advisory Council [RSAC] system which rated computer software, as opposed to
console games, did not articulate violence to a typology of players, instead giving separate scales for “Sex,”
“Violence,” and “Language” running from zero to four. Violence was 1) “Harmless conflict; some damage to
objects,” 2) “Creatures injured or killed; some damage to objects; fighting;” 3) “Humans injured or killed with small
amounts of blood;” 4) “Humans injured or killed; blood and gore,” “Wanton and gratuitous violence, torture, and/or
rape.” C. Dianne Martin, “An Alternative to Government Regulation and Censorship: Content Advisory Systems for
Interactive Media,” in The V-Chip Debate: Content Filtering from Television to the Internet. Monroe Edwin Price,
editor (Mahwah, N.J.: Erlbaum, 1998), 179-194; 182.
272
Federal Trade Commission, “Marketing Violent Entertainment To Children: A Review Of Self-Regulation And
Industry Practices In The Motion Picture, Music Recording & Electronic Game Industries: A Report Of The Federal
Trade Commission,” (September 2000) Appendix D, 17, archived by The Internet Archive May 1, 2013, accessed
January 21, 2014, http://www.ftc.gov/os/2000/09/index.shtm.
273
John Romero, [Adrian Carmack modeling Doom's Baron of Hell, ca. 1993], accessed March 16, 2014
http://romero.smugmug.com/Video-Games/The-Archives/480_BdMqY#14482_rE9zd

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 problem of game-violence by proposing a taxonomy of humans correlated to the specific types

of violence “appropriate” to each of them, mimicking the strategy applied in MPAA ratings since

1968 (and consanguineous with TV Parental guidelines of 1996). The ESRB initially partitions

humans into “Early Childhood,” “Kids to Adults,” “Teen,” and “Mature,” marking

developmental breaks at 3, 6, 13, and 17.274 The first category includes no “objectionable words

or depictions whatsoever” (an interesting possibility, given the range of depictions to which

cultural critics from Adorno to Falwell have found objection), its early bound being defined by

cognitive and motor limitations rather than moral ones.275 The “Mild Animated Violence; Comic

Mischief; and Animated Violence” appropriate for six-year-olds (a group that will be renamed

“Everyone” as of 1998) is defined with reference to “Road Runner” cartoons and “The Three

Stooges.” At 13 it is safe to engage in “Realistic Violence,” though “Animated Blood and Gore;

Realistic Blood and Gore” is only appropriate for people over 17.276

If the notion that older children can participate in more “realistic” violence in-game

without becoming violent afterward, or the specificity of 17 and 13 as the moments of maturation

seems like a folksy application of the MPAA’s rather arbitrary schema for human development

274
The additional category “Adults Only” is not a demographic marker, as it designates only the “Mature” category
with the additional possibility of “Strong Sexual Content.” It marks an optional development for people over 17 who
happen to enjoy pornography. No game console has licensed games with this rating, and only 21 PC games have
ever received it and decided to publish with it rather than revising in order to earn a lower age rating. “List of AO
Rated Products,” accessed January 21, 2014, http://en.wikipedia.org/wiki/List_of_AO-rated_products.
275
Adorno’s critique of cartoons in general and Donald Duck in particular might be well considered here. Theodor
Adorno, The Culture Industry (Palo Alto, CA: Stanford University Press, 2002), 110.
276
Jack Heistand, “Video Rating System,” Testimony before U.S. Joint Congressional Committee. Rating Video
Games: A Parent's Guide to Games, Witness Panel #7. (HRG-1993-SJS-0035; Date: Dec. 9, 1993; Mar. 4, Jul. 29,
1994 ). Text in: ProQuest Congressional Hearings Digital Collection; Accessed: January 21, 2014.

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 to a new medium, that is because it was.277 The ESRB standards drew upon a variety of sources,

but they “placed priority on meeting consumer’ needs,” reflecting popular understandings of

child health as measured in focus groups rather than the positions of “social scientists.” Thus the

timing and character of maturity as understood by the MPAA (PG-13 was adopted in 1984, and

17 was set for X rated films in 1970) were carried over by parents already acclimated to them.278

And parents were told in no uncertain terms that they already agreed with the scheme for

humanity defined here. These are “independent judgments of people like themselves.”279 From

here legislation will primarily attempt to place the force of law behind ESRB ratings by

restricting the sale of games below their demographic, or mandating signs that explain the

ratings.

Evangelical game critique in this period largely echoes the concerns of the 1993 hearings

and the strategy of the ESRB. It is presumed that all children (and all boys particularly) enjoy

video games; “violence” is a primary concern that continues to be located primarily in “realism”

which must be sequestered from younger children to prevent contagious influence. But across the

1990s, Evangelical game critique also interrogates game-violence within a constellation of

concerns not voiced in the congressional hearings: “Tell your preschooler, 'We need to fill our

minds with good things, not bad things.’”280 At times these concerns share territory with

277
The break at 6 is rather harder to trace, but it may reflect the same tendency which made TV-Y7 and its cognate
TV-Y7 FV (with “fantasy violence”) thinkable in 1997.
278
Bruce A. Austin, Immediate Seating: A Look at Movie Audiences (Belmont, CA: Wadsworth Publishing, 1989),
110; Claudia Eller, “FTC Playing Parent or Big Brother?” Los Angeles Times, September 29, 2000.
279
Heistand, “Video Rating System.”
280
Kay W. Moore, “Parents: Sharing and Supporting,” Living with Preschoolers 21, (October – December 1993),
26-27.

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 psychology, attending to violence in tandem with the possibility that “young teens can become

addicted” or develop “excessive preoccupation” with “mesmerizing” games, but they should not

be hastily glossed as another species of media “effects” literature.281 Though Evangelical game

criticism frequently attends to “effects,” there is a curious attention to the child-at-play which

does not necessarily concern the child-after-playing. Biblical verses that require Christians to

keep their minds pure (Mark 7:20-22),282 or exhort them to attend to “whatever is true, whatever

is right, whatever is pure, whatever is lovely, whatever is admirable (Phil. 4:8)” are entirely

foreign to the modes of play enjoined within a worldly public and will require separate analysis.

The question is: “Would I be embarrassed to play this game with Jesus?”283

Remembering Columbine

For both Evangelical and worldly game criticism, negotiations concerning game-violence

gained a new urgency on April 20th 1999, when Eric Harris and Dylan Klebold murdered

themselves and thirteen of their classmates at Columbine High School in Littleton Colorado. The

two boys' diaries –entitled The Book of God and A Virtual Book: Existences, respectively– reveal

that they had been planning far worse for over a year; guns, knives, and 99 explosive devices

were readied for a spree that would have killed everyone in the school and continued into

surrounding neighborhoods, had faulty equipment and (perhaps) cognitive dissonance not

281
Pete Carpenter, “Inside Out: Curing the Video Game Addict,” Living with Teenagers 17 (April 1995), 6; Carol L.
Bruning, “Video Mania,” Living with Children 15 (October - December 1992), 14-15; Wilson Wayne Grant, “Your
Teen's Health: Can My Teen Overdose on Video Games?,” Living with Teenagers 15 (April-June 1993), 41.
282
Charles Lawless, “Pharisees and Video Games,” Proclaim 22 (April – June, 1992), 48-49.
283
Robert G. (Bob) DeMoss Jr and G.W. Austin, “Media Play: The Games People Play,” Home Life 51 (June 1998),
60-61.

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 intervened.284 But, The Book of God and Existences also raise the alarming possibility that

playing FPS games might be, for some players, a process of ethical and metaphysical

reorientation that would be well characterized as religious. In Chidester's terms, the tragedy

cannot be separated from ways of being a “human person both in relation to the superhuman and

in relation to whatever might be treated as subhuman” that Klebold and Harris seem to have

found in the specific affordances of Doom.285

Not only had Doom introduced new technologies of photorealism and continued to

demonstrate the profitability of the FPS, driving well-financed creativity, its creators had also

released tools that allowed players to design their own gamescapes complete with new weapons

and enemies using the Doom engine: modding.286 In Doom and many subsequent FPS games,

the engine was deliberately left open for fan-created levels. That is to say, a game like S3DNA

could now be made by any sufficiently dedicated amateur.287 Further, though the frequent claim

that deathmatching (networked player-on-player fighting) starts with Doom displays a

tautological acceptance of branding logic, Doom made this sort of combat possible over the

Internet, and brought it wide recognition. Both modding and deathmatching facilitated the

284
The collapse of the two boys' horrific initiative is largely psychologist Jerald Block's extrapolation from survivor
accounts that observe Klebold and Harris sparing students without clear reason across the second half of the tragedy
and even appearing to lose interest. I will follow Block in refraining from trying to reconstruct what, precisely, was
happening in the boy's minds, but I would like to flag this moment as the process, viewed from without, of the
perpetrators coming to realize that their violent video games in fact did not train them to kill human beings. Jerald
Block, “Lessons from Columbine: Virtual and Real Rage.” American Journal of Forensic Psychology 28.2 (2007),
5-34.
285
David Chidester, Authentic Fakes, 18, viii.
286
Masters of Doom, 166.
287
I have been unable to locate any Doom mods that circulated as non-violent or biblical alternatives for Christians.
The Christ Killa mod, in which players shoot “hordes of homicidal Jesus Christs,” however, might give pause to
anyone who attempts to locate a meaningful difference in games along a line of “Christian symbolism.” Rachel
Wagner, “The Play is the Thing” in Halos and Avatars, 58.

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 growth of a lively online community in which Klebold and Harris were active. The boys seem to

have found community in deathmatching, and alienation among their high school peers, and Eric

Harris in particular was a talented level designer. Without Doom, of course, the boys may have

planned some different horrific act, but their very specific atrocity is poorly understood without

reference to how the specific affordances of Doom allowed them to play these games as members

of a counterpublic Doom’s developers had not anticipated.

Harris’ Book of God (apparently named for Doom’s “god-mode” in which the player was

invulnerable to attacks) seems to frame Doom as the template for a sort of ritual. The massacre

was planned as a species of human sacrifice that attempted to give the welter of high school

meaning by forcing its elements into the schema of the game world: “Everyone should be put to

a test, an ULTIMATE DOOM test.” And where reality exceeded that model, Harris planned to

access his memories of play as the monastic practice which had taught him to live in that world:

“I have a goal to destroy as much as possible so I must not be side-tracked by my feelings of

sympathy, mercy, or any of that, so I will force myself to believe that everyone is just another

monster from Doom like [Former Humans] or [Lost Souls] or Demons, so it is either me or them.

I have to turn off my feelings.”288

But Harris' journal only shows that Doom as religion is possible, not that it was

widespread beyond this tragic case. By April 1999, Doom II had already sold over a million

copies, the original Doom had already become one of the first three PC games ever to sell over 2

million copies, and approximately 15 million people had downloaded a sample version of the

288
Block, 18, 22.

175
 game that included nine levels and allowed deathmatching.289 Without access to their journals,

we cannot know how Doom related to the world making projects of these millions of Doom

players who seem never to have ritualized the game. We can, however, extend Chidester's line of

questioning to consider the religious dynamics of Colombine far beyond the school itself.

Within hours of the massacre, the names of these two boys and their school, this game

and its genre, become a technical argot for describing adolescent desire and the effects of video

gaming in American newspapers. Under Chidester's definition of religion, the sudden appearance

of a widespread notion that a set of humans can be turned into murderers by a specific

non-human agency should be understood as a religious moment. The formula, as presented in

news media, was “teenage boys enjoy games that are violent like Doom, but playing them may

lead to another Columbine.” In 1999, Factiva reports that 40% (608/1527) of newspaper articles

discussing "video game violence," "violent video games," or "violence in video games" did so

through reference to “Columbine.” This declines annually across successive years, but remains

significant: 24% (243/994), 20% (123/602), 13% (75/556), and 15% (106/708). Newspapers

discussing the possibility of “another Columbine” specifically hit 223 instances in 1999,

declining to 158, 107, 65 and 47 in 2003.290 After this and into the present, the memory of the

Columbine tragedy less fades than becomes inseparable from the larger cultural field. In 2002,

the US Army functionalizes the new conception of youth by publicly releasing a FPS as a

recruitment device: America's Army, the game.291

289 “
Id Software Names New Designer.” Business Wire, March 1, 1999; Wagner James Au. “Masters of 'Doom,'”
Salon.com, accessed January 21/2014, http://www.salon.com/tech/feature/2003/05/05/doom/print.html.
290
Factiva searches performed September 1, 2011.
291
Gloria Goodale, “Video Game Offers Young Recruits a Peek at Military Life,” Christian Science Monitor, May
176
 To say that the religious role of the Columbine tragedy was the creation of images

orienting the interactions of youth and media is not to dismiss the work of religious traditions in

mourning or organizing. Consider, for instance, the myth of the girl who said “Yes,” and how it

placed Evangelical identity near the center of collective memory on the tragedy. The story is that

while Kliebold and Harris were in the library, one of them aimed at a young woman, and asked

her if she believed in God. She said “Yes,” and in most accounts that was her last word. But

tellings vary. Valeen Schnurr, who survived, recalls the confession as her own and forensic

evidence seems to support her, but the families of Cassie Bernall and Rachel Scott, both of

whom died that day, each held that their daughter had said “Yes” before her death, and each

worked to spread their daughter's testimony as an inspiration to others.292 Of these, She Said Yes,

the account published by Cassie Bernall's mother, circulated most widely, even spending several

weeks on the New York Times best-seller list. Here we see a characteristic Evangelical attempt

to frame youth as moral agents rather than passive recipients of entertainment: “It is also easier

to get angry, to point fingers, or to lose oneself in what the media calls the 'larger' issues. In the

wake of Columbine that has meant gun control and video games, school security and Hollywood

violence, preventative education and separation of church and state. All of these issues are

important, but at the end of the day they may not be the things that really count.”293 She sees

teens “crying out for relationships” and frames her daughter's “Yes” as bravely “choosing to

31, 2002, accessed March 2, 2014, http://www.csmonitor.com/2002/0531/p18s01-algn.html .

292
Kevin Simpson, “Who Said 'Yes' Blurs With Time,” The Denver Post, December 16, 1999.
293
Misty Bernall, She Said Yes (Nashville: Word Publishers, 1999), 158.

177
 extend a hand rather than recoiling judgmentally.”294 The Christian youth is conceived, again, as

an active moral agent, here armed with friendship against alienation and tragedy.

Evangelical game criticism in response to the Columbine massacre, as in response to

video arcades, or game-violence in general, both shared the effects emphasis of worldly

criticism, and occasionally complicated matters with an attention to the moral status of the

player-in-play. Notably, these divergent rhetorics of violence often share close quarters. One

article, for instance, combines descriptions of school shootings with a grotesque echo of

Crockford’s reductio, identifying the violent act as that of play: “Severed heads and broken

spines in ‘Mortal Kombat IV.’ Your teen is the one who delivers the fatal blows.”295 And in Bob

DeMoss’ editorial response to Columbine in the Southern Baptist periodical Home Life, this

combination becomes a radical act of media criticism. He opens by agreeing with worldly news

reports in indicting violent video games as causes of the tragedy, but then subverts this

indictment by classifying the games and those news reports as part of the same problem. He

presents the news footage of Columbine as a species of “reality television,” implying that

television’s simplifications of Klebold and Harris’ motivations only serve to exacerbate the

“deficit in the souls of our kids.” He closes with a solution: “Kill your TV.”296

Even when Evangelical critique tacks hard toward emphasis on media effects, the

attention to the player as a moral agent opens these sorts of radical potentials. Richard Abanes,

for instance, places the Columbine massacre alongside military use of FPS games as training

294
Bernall, 159.
295
Mike Nappa, “Media Minutes,” Living With Teenagers October 1999, 32.
296
Bob DeMoss, “Media Play: Violence at School,” Home Life November 1999, 60.

178
 devices, producing the compound image he labels “little Manchurian Candidates.”And when he

seeks to dampen the mood of fear, the possibility of positively-valued media effects he adds

include some which are salient to the immediate well-being of the player: “[Video games] can be

fun, instructional, and therapeutic (intellectually, emotionally, and spiritually), not to mention

helpful in the creation of deep friendships and family relationships.”297

It is in this milieu of urgency concerning game-violence, and with this blend of positions,

that Christian video game review websites began to emerge. As I explained in my third chapter's

history of digital religion, “Christian Gamers,” “Christian Gaming,” The Dove Foundation,

Christiananswers.net’s “Guide 2 Games,” and “Shepherd's Staff,” all began to offer video game

reviews for Christian players in 2000; Christian Computer Game Reviews [CCGR] and The

Staging Point appeared the following year.298 These sites each host a wild diversity of

interpretations of “violence,” but all of them place it among their stated concerns, and the

discourse on each site, from the organizational level to the public discussion boards, locates

violence using the same aesthetic criteria as the ESRB. “Violence” remains strongly correlated to

technologies of photorealism whose productions range from “cartoonish” to “lifelike.”299 The

criteria of imitability is again located through a small set of iconic objects and tendencies, the

most consistent of which is blood. CCGR clearly marked the shared territory in their 2002

297
Richard Abanes, What Every Parent Needs to Know About Video Games (Eugene, OR: Harvest House, 2006), 76,
115.
298
Christian Gamers, “Main;” Christian Gaming Staff, “Main;” The Dove Foundation, “Game Search Results;”
Christiananswers.net, “Guide 2 Games;” Tim Emmerich, “Shepherd’s Staff;” CCGR, “Main;” The Staging Point,
“Game Ratings;” Pure Fun, “Games.”
299
"Sin," Staging Point.

179
 review of the Christian FPS Catechumen: “This game isn't violent, you don't see any blood.”300

And, like the ESRB, every one of these sites articulates danger to age distinctions, though these

now lose their clear year-based demarcation. For instance, though a cut-off age is never offered,

Shepherd’s Staff's reviews frequently state that a game with high “Overall Christian Rating” is

particularly appropriate for children or “the whole family,” while reviews offering “acceptable”

Christian Ratings frequently add that discretion should be made as to player age.301

But it seems that even in the structure of some of these sites we can still detect concerns

with violence attached to the moral status of the player-in-play, rather than concerns for his

behavior after play. The reviews on CCGR, for instance, have always located violence on the

terrain shared by Evangelical and worldly criticism, but as of 2005, these standards have been

presented as a grading rubric (that is to say, an algorithm), so the priority of various indices of

“imitability” can be compared. Of the 10 points allotted, one quarter are for “blood” and another

quarter for “gore,” with the remaining 5 points coding all other signs of violence. These later

points arrange a series of non-exclusive criteria from wildly divergent modes of game criticism

into a single scale, such that it would be difficult to “check only one” in most cases.302 In

300
CCGR, "Catechumen," accessed January 22, 2014,
http://www.christcenteredgamer.com/index.php/reviews/18-computer/4514-catechumen .
301
http://www.graceworksinteractive.com/ShepStaff/ (archived by the Internet Archive, Febuary 16, 2011, accessed
January 22, 2014.
302
That is, “Violence (Check only one)
___ - No Violence (-0 pts)
___ - Sports Violence (Ex. Fighting in Hockey or Rushing the Mound in Baseball) (-1pts)
___ - Cartoon Type Silly, Non-Deadly Violence (Ex. Simpson’s Hit and Run, Crash Bandicoot) (-2 pts)
___ - Non Deadly Violence (Ex. Knockout Kings, Teenage Mutant Ninja Turtles) (-2.5 pts)
___ - Killing non-human realistic creatures (Ex. Deer Hunting) (-2.5 pts)
___ - Shooting objects that represent enemy aircraft, tanks etc. (Ex. Star Wars Rogue Squadron) (-3 pts)
___ - RPG Violence (This is where you enter a command and watch it happen Ex. Final Fantasy) (-3 pts)
___ - Killing non-human, fictional beings (Ex. Robots or Aliens) (-3.5 pts)
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 general, visual depictions of humanity, and narrative implications of motive and mortality are the

criteria for severity of violence, criteria like those applied by the ESRB. But the territory shared

with worldly critique is marbled by Evangelical specificities: Both vehicular-shooting games and

menu-based Role Playing Games receive -3 points for violence, irrespective of the graphical

humanity or the narrative “cold-blood.” The specific number, like other algorithmic arbitrations

of morality, evades specific explanation, but it is certainly a ludic criterion where the ESRB

consists entirely of visual and narrative ones. Perhaps we are seeing a discomfort with

anti-human violence conducted from a dispassionate distance mapped onto certain

play-mechanics. We cannot know. But in drawing our attention to the ways game-violence is

connected to player interaction, this seems to be another Evangelical reminder to “Hate what is

evil; cling to what is good” even while playing games (Romans 12:9).303

Divine Violence and Sacred Play

This history will carry us from the first debates over game-violence through the creation

of the most recent Evangelical FPS game, but to understand its relationship to Evangelical play

requires theorization. Crockford’s reductio, which raises the potential reading of all force against

digital agencies as “violence,” produces a strange vantage upon the game-violence debates,

sensitizing us to the fact that in every case the removal of violence is in fact a strategy of

___ - People killing people in self-defense (Ex. Medal of Honor) (-4 pts)
___ - People killing people in cold blooded murder (Ex. Grand Theft Auto 3) (-5 pts);” CCGR, “Christ Centered
Gamer Reviewing Standard,” accessed July 12, 2012
http://www.ccgr/org/index.php/faqs/15-game-reviews/16-christ-centered-gamer-reviewing-standard .
303
Ken Reaves, “Video Game Violence,” Living with Teens,” September 2001, 31.

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 substitution.304 The question is perhaps necessarily what a video game will invite players to

destroy, rather than if.

And, it is clear that Evangelical and worldly game criticism tend to use the same criteria

to identify the violence. Problematic violence is 1) “realistic,” 2) “graphic,” and 3) “imitable.”

That is to say, more specifically, 1) it employs cutting-edge technologies of photorealism 2) to

depict the emission of “blood and gore” 3) where weapons (including bodies) presumed to be

accessible to audience members come into conflict. And, second, both ranges of game criticism

are strongly concerned that these games may provoke or train imitation by adolescent boys

outside of the game (or “desensitize” natural resistance to such behavior).

This sharing of analytical territory is consonant with the findings of studies in other

Evangelical media from Christian Contemporary Music to comics, cinema, and dating manuals:

“In other words, evangelicals, who strive to be ‘in but not of the world,’ have produced media

that overlap in interesting ways with unabashedly ‘worldly’ media. For nonevangelicals,

Christian media are uncanny: both distant and intimate, familiar and unfamiliar in their

references.”305 In Evangelical game critique, this distance seems to be the occasional (and this

inconsistency cannot be stated too clearly) tendency to interrogate the moral status of the player

in the act of play, and not only the ways game-play might translate into “real-world” action.

This difference can be well framed through Walter Benjamin’s “Critique of Violence.”

Here he notes that violence, as judged by the state, is always evaluated as a relationship between

304
This is a further extension of David Morgan’s work on “The Violence of Seeing:” “Iconoclasm, in other words,
is not a purging of images tout à fait but a strategy of replacement.” The Sacred Gaze (Berkeley, Los Angeles:
University of California Press, 2005), 117.
305
Hendershot. Shaking the World for Jesus, 212.

182
 means and ends, which is to say, it is evaluated teleologically. An application of force might be

judged illegal (under positive law) because it involves means without historical precedent, or

(under natural law) because it leads to ends that cannot justify the use of force. Together, these

two theories of law form a single mechanism that directs overwhelming force against violence

that threatens the present power structure.306

In the consensus shared between worldly and Evangelical game-criticism, a strictly

teleological system concerned primarily with the proper training of adolescent men, we find

responses to game-violence that mirror these theories of law. The problem of unjust means is

addressed mostly through Bowdlerization, making violence incoherent so it cannot be

imitated.307 We see this strategy, for instance, in the replacement of bullet-based weapons with

energy-weapons, or the substitution of zombies or robots for more explicitly humanoid victims

(note that this includes changes to enemies as well as weapons, as it is a reconfiguration of the

game itself as a means, and not merely means as represented in-game). The problem of ends,

conversely, is addressed largely by assenting to the notion that the game is a training exercise,

but changing the object of training. The FPS games made by the US Army or Hezbollah are the

most obvious instances of this tendency.308 Force can evade evaluation as “violence” either by

becoming just a game or by becoming a game of justice. Again, inasmuch as Evangelical

306
Walter Benjamin, “Critique of Violence,” in Selected Writings 1, edited by Marcus Bullock, and Michael W.
Jennings (Cambridge, Mass: Belknap Press of Harvard Univ. Press, 2005): 236-252.
307
To expurgate (a book or writing), by omitting or modifying words or passages considered indelicate or offensive.”
“bowdlerize, v.” Oxford English Dictionary Online. June 2011. Oxford University Press. Accessed January 24, 2014.
http://www.oed.com/view/Entry/22199 .
308
These two FPS games, each the licensed product of a standing military, each claiming to offer players the
experience of “real” soldiers have become a matched pair in critical game studies. For contextualization of both
within the military and publicity operations of each see “Banal War: Full Spectrum Warrior” (97-122) in Witheford
and De Peute, Games of Empire.

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 criticism is contiguous with worldly criticism, these are appropriate readings of the FPS games

that I examine in chapter five. Swords that shoot Holy Spirit beams are a species of energy

weapon, and firing it at a human to convert them to Christianity is a species of justified war.

But inasmuch as non-violence in Evangelical gaming can be read through that part of

Evangelical critique that engages the player non-teleologically, situating critique around their

moral status in the moment of play, these games seem to include instances of what Benjamin

calls “divine violence.” Divine violence, Benjamin claims, does not make law at all. It is a

boundless affirmation transmitted through unqualified negation. It is action already oriented to a

new world. Inasmuch as they are acts of moral consequence in the present, consuming

Bible-scrolls or using the Sword of the Spirit to tame demons (and other surprising events within

Evangelical games) are not metaphors. These are events occurring in an elsewhere inhabited by

the player who is somehow also still in her chair.

And it is in the possibility of a multiply-constituted player that we can finally understand

the work of non-violence with respect to Evangelical play. The games that occupy the following

chapter are voices within the Evangelical conversation on game-violence, meaning, in large part,

that they replicate worldly concerns and techniques, perhaps using biblical images rather than

other non-imitabilia, but nonetheless do the same work of defining the perimeter of the

authentically human. In the context of the Columbine massacre I suggested that this work might

be well classified as religious, in that it negotiates what it means to be a human person, both

within the tragic enclosure of the school and out in the world that attempted to make sense of

it.309 But calling it religious does not adequately address what makes the flickering, multiply-

309
Chidester. Authentic Fakes, viii.
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 embodied, emerging prayer warrior different from the worldly player. There may, after all, be a

religion out there as well. We could easily follow Agamben and frame the construction of

homines sacri –humans set apart for sacrifice – from the bodies of minorities, labor, and other

“exceptions” as a durable religious tradition in secularity.310 With the addition of Crockford's

reductio we could even begin to notice how the disposable bodies of First-Person Shooters create

a space for those desacralized victims, and consider the possibility of the military-entertainment

complex holding a transhuman deaconship in this religious tradition.

But something other than religious grouping may be located here. Inasmuch as there

exists an Evangelical Christian counterpublic bound without by its separation from the world and

within by individual attention to Evangelical subject formation, there exists an Evangelical mode

of play that invites players to deepen their Christianity through acts of concerted non-violence.

The vector of growth flickers between a developmental future-past axis, and a cosmological

upward-downward one. In terms of the first orientation, these games may present an immediate

danger, but in terms of the second, there may be good reason to endure it. Now the player is

invited to growth toward safety, and now to immediate performance of spiritual warfare.

Following the College of Sociology, then, I would like to emphasize that this mode of play is the

precarious work of co-emergence of the human and its world in the exercise of force upon

entities engaged as the barriers to subjectivization. It is “that which causes one to tremble with

fear and delight;” it is sacred play.311

In this sense the Evangelical FPS games might be read as a paradigmatic case of digital

310
Giorgio Agamben, Homo Sacer. Sovereign Power and Bare Life (Stanford, CA: Stanford University Press, 1998).
311
Georges Bataille, The Accursed Share (New York: Zone Books, 1991), 129.

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 religion, casting it as, again, something more than a re-use of existing technology. In Music

Machine, Pax Man, and The Jericho Game, religious video games began with what I have called

redeemed adaptations. Perhaps, though, we should remember that the allegedly former games

were still present alongside their religious doubles. Along a temporal axis, the consequentialist

concerns with games never entirely vanish, but the cosmological axis traces a line along which

the player can grow in relationship to his own spiritual capacity. Why did Evangelical game

designers make so many FPS games in the wake of Columbine? Perhaps they stage sacred play,

not despite the dangers of the medium, but because of them. The dangers of play and the urgency

of play oscillate rapidly. Both the entities within the games and the games themselves are

part-subject in the interactions that constitute Evangelical subjectivity, but only as they are being

actively managed by the always-emerging Evangelical subject. The player fights the game.

In the words of a prominent Evangelical game review site, “Is there a danger in pushing

through too much garbage to get a small nugget of goodness? A guiding verse might be

Philippians 4:8 Whatever is true, noble, lovely, admirable, excellent or praiseworthy... think

about these things.” But make no mistake, the urgency of non-violence is the context of spiritual

war: “We are the soldiers tasked with the rescue of this digital generation. God has put the

passion of gaming in our hearts to reach these people, and it is a high calling. ”312

Conclusion

You look down at your hands. What have you done?

312
Flyingmonk, “God Loves Gamers, Reaching the XBOX Generation,” accessed February 22, 2014,
http://www.christcenteredgamer.com/index.php/easyblog/entry/god-loves-gamers-reaching-the-xbox-generation

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 This chapter situated the word “violence” as, itself, a site of struggle. While it is

important for many activities to establish themselves as non-violent, the word resists definition

because its prevailing uses only mark violations of good order as seen from particular positions:

an unjustly broken window is violence, but a just execution is not. This situation becomes more

complex still where the word is applied to mediated creativities because extrinsic standards of

good order tend to lose much in translation. But across the twentieth century, the hegemonic

voices in media criticism have been those who risk lawsuits from imitations of their media, and

strong patterns have emerged. Problematic violence enjoins cutting-edge technologies of

photorealism to depict “blood and gore” from weapons presumed to be accessible to audience

members, and it is set aside for older audiences. Media that hope to avoid classification as

violent, and the age-limitation of their audience, need only avoid these traits, for instance by

substituting humans for robots, guns for magic, or applying cartoonish colors.

In general, Evangelical media shares this specific understanding of violence, and these

tactics for avoiding it, but a different standard which disrupts the world's consequentialist

motives for avoiding violence flickers alongside it: “whatever is true, whatever is noble,

whatever is right, whatever is pure, whatever is lovely, whatever is admirable – if anything is

excellent or praiseworthy – think on these things” (Philippians 4:8, NIV). Thus, for Evangelical

critique, the child-at-play is not merely a consumer who must be prevented from becoming a

murderer, but is also an active moral agent and his play is understood as meaningful in itself.

Thus, though Evangelical non-violence often resembles worldly attempts to remove the

dangerous possibilities of play, it can also be well framed as “divine violence.” Spiritual warfare

through non-violent games enjoins players to apply force in ways that escape all consequentialist

187
 logic, existing already in another world, rather than working to create a future. The prayer

warrior who comes into existence at this edge is engaged in sacred play. It took some time, but

this is a complete vision of the religious game as an affordance. These games do not only adopt

older technologies and transform them, but emerge as something new. This particularity will

only become clearer as we direct our attention to specific case studies.

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 Chapter 5
Taking the Kingdom By Force:
Living and Dying in the Evangelical First-Person Shooter

Shambler Teneb

Death Knight Captain

Illustration 10: Enemy morphology in Quake (left) and Eternal War: Shadows of Light (right)

The parallel increase in bodily complexity from Shambler to Teneb, and from Death

Knight to Captain, seems to evidence a parallel evolutionary leap: the limbs have become lithe,

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 and the teeth more numerous, the spattered blood has blended into the textures around it. We

might propose a variety of causes for this jump: the games were released eight years apart (Id ,

1995- Xrucifix, 2003), and the latter's creators described their work explicitly as an interpretation

of the former. But it is not clear how, from these bodies, we could detect that we are witnessing a

transition from worldly to Evangelical media, that the former are just monsters whereas the latter

are demons, or that when the former are destroyed it is violent and when the latter are destroyed

it is not. As this chapter explores the six Evangelical First-Person Shooters created across

approximately the same period, the reader would do well to be haunted by these creatures. Their

similarity and difference demonstrates the historical trajectory of a cultural form that blossomed

wildly, but has not been seen for a decade now, and which reveals much about the relationship

between digital religion, the Evangelical counterpublic, and violence.

The preceding chapter staged a simple question: How do Evangelicals decide what

constitutes violence in video games, and what happens when they try to remove it? Through

examination of the intersecting histories of the game-violence debates and Evangelical game

criticism as they develop across from the emergence of mass video gaming through the aftermath

of the Columbine massacre, this historical analysis arrived at four conclusions: The likelihood

that the dominant voices in both worldly and Evangelical media criticism will identify games as

“violent” increases in proportion to the presence of certain historically specific cues selected by

American movie and television rating authorities (i.e. when they use contemporary technologies

of photorealism to depict “blood and gore” released from humanoid bodies by weapons

presumed to be accessible to the audience); they also agree that this is primarily a problem

because these games may provoke, train, or encourage adolescent boys to perform similar acts

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 outside of their games; Evangelical critique diverges, however, by adding a supplemental

concern with the moral state of the player-in-play, claiming that the Bible forbids thinking about

this specific kind of violence; I then concluded that the non-violent struggles staged by

Evangelical games constituted “sacred play,” in that they allowed the player to manage her

relationship with God by performing non-violent sacrifices. Before moving on to historical

instances of this sacred play, we must slow down and observe how these sacrifices work.

To observe the space for sacred play staged in non-violent shooting, let us again consider

the Christian adaptation of Wolfenstein 3D into Super 3D Noah’s Ark [S3DNA] and its worldly

adaptation into the Super Nintendo game Wolfenstein. The original game included paradigmatic

acts of imitable and prohibited force: shooting humans and dogs with a handgun. Both

adaptations escape allegations of contagious violence by bowderlizing away the possibility of

imitation. Nintendo retained the imitable weapons, but replaced Germans with Masterstaters and

dogs with mutant rats. The Christian company Wisdom Tree, on the other hand, replaced the

guns with fruit-launchers, so while the new enemies simulate animals that exist out-game, the

device being used upon them does not, staying imitation. Both of these, clearly, are

modifications in the “means” by which games apply the force of influence upon players, and

both can be easily understood through the “effects” discourses shared between Evangelical and

worldly game criticism. Where, if anywhere, does the Evangelical game demonstrate the

attention to the player-in-play that distinguished Evangelical game critique? In light of the

previous chapter's conclusions, this is to say, what is sacred here?

The answer cannot simply be that S3DNA empowers players to participate in a Bible

story: The player-character does not perform any specific action ascribed to the biblical Noah,

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 the game ark does not match biblical specifications, and the casts of animals vary wildly. But we

can nonetheless locate sufficient similarity between the two Noahs to identify some of the

specific changes that make room for player engagement. Both Noahs are their world’s crucial

exception to otherwise universal destruction, both produce a habitable space for humans, and in

both cases, Noah’s movement toward a human place is paced by interaction with animals. Here

we can identify a difference rooted in emphasis on player interaction: the playable edition is a

ritual wherein player-action progressively creates that human place. This is clearest, perhaps, as

concerns the story’s temporality. In the biblical account of the Ark, Noah does not know how

long he will be on the Ark and animals (the dove and crow) pace the time to land by scouting. In

S3DNA, on the other hand, the anonymous (and potentially divine) narrator states plainly that

land will be reached in six days, but these days take exactly as long as it takes Noah to locate and

subdue six unclean animals (which, in gaming argot, are the level bosses). Likewise, the biblical

account of the Flood presents a tidy distinction between animals and humans, quite unlike those

other Bible stories which include animals that speak like humans, humans who graze like oxen,

bestiality, or winged humanoids; in the game, on the other hand, player action creates the

human/animal distinction. Awake, the game’s animals move like Noah and shoot like he does,

but when put to sleep, the animals stop resembling Noah and come to resemble the scenery

instead.

S3DNA escapes “effects” critiques through appeal to widespread disbelief in

fruitlaunchers, and otherwise by being rather implausible, but the possibility of sacred play is not

a matter of belief at all, and the sacred significance of in-game action is only indirectly related to

the out-game viability of the actions represented. That is to say, an act of sacred play with

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 S3DNA would be one wherein player action both situates Noah’s humanity with respect to the

animals, and the player’s humanity with respect to Noah’s God, but this does not require or

induce the player to carry Noah’s fruitlaunching subject position outside the game. What matters

is that the subjectivizing work within the game occurs with relation to entities that provide

reference to Christian subjectivizing practices on the far side of the screen. Though in some

senses this Noah resembles the Bible's Noah as little as either resembles the player, some players

are capable of holding the double reference in mind, turning “Noah” into an inhabitable space in

two different worlds. This identification does not coincide with the process of Evangelical

subjectivization in all cases, of course, but inasmuch as the Evanglical is a person who learns to

envision his own life as best understood through a particular reading of the Bible, play that holds

these Noahs together is a powerful invitation to self-understanding as part of the Evangelical

counterpublic. Alongside Noah, then, the animals and mysterious voices that describe boundaries

of humanity are likewise reference points for life in the game, in the Bible, and in the

Evangelical counterpublic that holds them together. Caring for animals or attending to the voice

of God out here is quite different, but if the player is part of a Christian community he or she will

be directed to the Bible for further clarification. By obeying the voice, and pressing back the

animals, the Evangelical player creates a human space, and (in some cases) becomes an

Evangelical subject.

It is notable, however, that of the seven widely-circulated Evangelical First-Person

Shooters [FPS games] to date, S3DNA is the only one where animals form the constitutive

outside of in-game humanity. In five of the others, demons are cast as the proper object of

First-Person Shooting (Saints of Virtue, the other exception, is explained below and found to

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 continue the pattern in most significant senses). The player will create a human place by marking

off the human from the demonic, and the sacra that bind the games to the Bible tend to be

scriptures that interpolate the player as a prayer warrior, and subject of spiritual warfare. This is

interesting for several reasons, not least of all because Doom, one of the most influential FPS

games, and the primary instance that cast the genre as a vector of contagious violence, was a

game about shooting demons as well. To understand the religious work of the Evangelical FPS

game, we must first understand in what sense their demons are sacra, and shooting them is thus a

ritual action, whereas in Doom they are not sacra.

The Demonic Archipelago

Let us imagine the demonic archipelago: Within the vast nebula of cultural productions

that contain demons, from ancient masked rituals to contemporary horror films, Doom and these

five Evangelical games form a small constellation. We are considering only ten years of FPS

demons. Their inhabitants, without ever meeting, share the characteristic marks of their shared

ancestry: leathery red skin, black horns, bulging, glowing eyes. Their basic form is

anthropomorphic, but occasionally and indiscriminately cut through with theriomorphisms,

wings and serpentine appendages, hooves and fangs. Explaining this trope of wild admixture,

Derrida identifies the demonic as the realm of undisciplined combination that precedes the

clarity and responsibility of the human subject, “that which confuses limits among the animal,

the human, and the divine, and which retains an affinity with mystery, the initiatory, the secret or

the sacred.”313 Demons are powers not yet tamed, and the demonic archipelago is a compound

313
Jacques Derrida, The Gift of Death (Chicago: University of Chicago Press, 1995), 2.
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 eye considering the paradox of the human before and outside of subjectivization.

Be that as it may, we must be cautious not to assume that every horned creature called

“demon” shares a single task, because the subject is not everywhere identical, nor are the

processes of its production. Bakhtin, for instance, points out that the demons of European folk

humor prior to the seventeenth century, and still visible in the writings of Rabelais, represent an

underworld as ambivalent as the lower half of the human body. They were both destructive and

generative, merciless in their pleasure seeking, but entirely without strategy. But these tendencies

were directly connected to the place of demons in the medieval carnival, a ritual practice that

brought even clergy, scholars, and royalty “low,” and which entirely lacked footlamps dividing

the actors from their audience. In such a space demons could not present a the curable lownesses

of satirical and didactic tales. The demons presented the absolute lowness that even hieratic

humanity retains, the organs of reproduction, excretion, and digestion. But when power came to

root itself in “the stability and completion of being” –Enlightenment in philosophy, bourgeois

Capitalism in economics, footlights in theatre, in a word, “modernity” – demons came to

increasingly present a relative rather than an absolute underside, a problem that could be

transcended, an image whose ambivalent form, in satire, retains moral polarization.314

And in large part this change prepares us for the twentieth century's contributions to the

demonic archipelago, which make Doom's demon's thinkable. While today’s popular demonic

only infrequently highlights the ambiguity of defecation and generation, it remains a space of

ambiguation between seriousness and levity. Some demons, of course, will seem to be held fast

314
Mikhail Bakhtin, Rabelais and His World (Bloomington, IN: University of Indiana Press, 1984), 101.

195
 within the weave of a particular theology, but they cannot be trusted. Casual demons can become

serious without notice; theologically bound demons can burst suddenly into dismissible,

humorous contexts. It would require a separate study to say with certainty when the ambiguously

playful devil was born, but the Underwood Deviled Ham mascot, appearing in 1895, seems to

have been an emergence. Though he signified the spicy indulgence of spiced meat, he was

nonetheless “a real he-goat, half man, half goat, with horns, pronged spear and a tail. He was a

leering demonic Lucifer, frequently portrayed in early ads dipping a whole ham into a boiling

caldron as flames roar in the background and Satan’s sons dance with glee.”315 We find another

early emergence in the writings of Mark Twain. Consider, for instance, the Satan of “Letters

from the Earth” (1909), striking hard at the theological and social fault lines running beneath the

church, his arguments crueler and harder to forget because of their humor.316 The cinema

offered at least two different lineages of half-serious devils, with horror's amusingly frightening

Satan emerging as early as 1913 in The Student of Prague, and a screwball comedy devil in

1929's Seven Footprints to Satan.317 An athletically-ambivalent devil, likewise, emerges across

the century as a sports mascot, striving to intimidate one team and encourage another: DePaul

gets “The Blue Demons” (1901); Duke, “The Blue Devils” (1922); Northwestern State

University, “ Vic the Demon” (1923); and Arizona State University, “The Sun Devils” (1946).318

315
BG Foods, “About,” Archived by the Internet Archive, February 20, 2009, Accessed May 5, 2011,
http://www.bgfoods.com/underwood/underwood_about.asp .
316
Mark Twain, “Letters from the Earth,” accessed January 25, 2014,
http://www.sacred-texts.com/aor/twain/letearth.htm .
317
Carlos Clarens, An Illustrated History of Horror and Science Fiction Films: The Classic Era (1895-1967) (New
York: Putnam, 1967),10; W. Scott Poole, Satan in America : The Devil We Know. (Lanham, Md.: Rowman &
Littlefield Publishers, 2009), 134.
318
DePaul University, “Welcome to DIBS Domain,” accessed January 25, 2014,
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 Around 1960, we see a dramatic change in Underwood's ham-demon – “The current red devil

has been stripped of evil. He is a happy Satan, smiling, carrying his spear, and apparently waving

at the potential customer. His footwear appears to be elves slippers.” – but this may be because

the notion of a devil that is merely spicy had become unextraordinary in American popular

culture.319 Doom's demons are true natives of the twentieth century's demonic archipelago; low,

but never genital, they are purchased like spicy ham, enjoyed like comic fops, feared like movie

monsters, and played like college sports.

The demons in Evangelical games, unlike those in Doom, are sacra. This claim does not

relate to the shape of the demons, their behavior, or the ways one addresses them; across the

demonic archipelago we find red, horned, AI controlled beings, and we shoot them. These

demons are sacra inasmuch as they are encountered in acts of play oriented to an Evangelical

counterpublic that frames humanity with respect to demons through various theologies of

spiritual warfare. Building upon the “Armor of God” described in Ephesians 6 and increasingly

prevalent in Evangelical media since the 1970s, these are Evangelical visions of Christian

subjects (whether individual or collective) that emerge in armed struggle against demons.320

Because Evangelical FPS games invite an embattled counterpublic constituted through this

http://www.depaulbluedemons.com/trads/dibs-den.html ; William E. King, “Why a Blue Devil: The Story of the

Duke Mascot,” accessed January 25, 2014, http://library.duke.edu/rubenstein/uarchives/history/articles/bluedevil ;
Leah Jackson, “Vic – The Next Generation,” accessed January 25, 2014,
http://news.nsula.edu/home/vic-the-next-generation/ ; Arizona State University, “The New ASU Story: Athletes,”
accessed January 25, 2014, http://www.asu.edu/lib/archives/asustory/athletes.htm .
319
B G Foods, “About;” The Gold Country Girls, “Then and Now #10: Underwood Deviled Ham,” accessed
January 25, 2014, http://goldcountrygirls.blogspot.com/2008/09/then-and-now-11-underwood-deviled-ham.html .

320
For the political valences of this theology, see Bivins, Religion of Fear, 34. For its global reach in Charismatic
Christianity see Joel Robbins, “The Globalization of Pentecostal and Charismatic Christianity,” Annual Review of
Anthropology 33 (2004), 117-143.

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 theology, killing demons in Evangelical games is religious, again in Chidester’s terms, because it

is “discourses and practices that negotiate what it is to be a human person both in relation to the

superhuman and in relation to whatever might be treated as subhuman.”321 So within this

Evangelical mode of play, demons are only the liveliest of a number of agents (others include

Bible-verses, the Armor of God, etc.) that make play a moment of being Evangelical.

Doom is a vehicle for the circulation of entities that are sacra in other contexts, but the

game does not invite sacred play. Consider the use of pentagrams; if the game stressed the

balance of the elements, the vital connection between nature and spirituality, or other concerns

that define a Wiccan counterpublic, these stars-in-circles could invite a Wiccan mode of sacred

play. Likewise, were the goal human betterment through alignment with Satanic power, the

inverted cross which began the second episode of Doom could hail play within a Satanic

counterpublic.322 The closest thing Doom provides to a point of connection to any further

ontological orientation is the elliptical statement that “You wonder where bad folks will go when

they die” when you have apparently destroyed Hell at the end of one episode.323 It may, of

course, occasionally become part of sacred play, but this will necessarily be an anomalous

moment in its circulation, as it does so little to invite it.

That said, the Evangelical counterpublic is neither a static nor a singular entity. Even

given that shooting demons in Evangelical FPS games is a sacred act, we can only understand it

321
Chidester, Authentic Fakes, vii-viii.
322
Episode 2, Map 1, The Deimos Anomaly.
323
In the “The Plutonia Experiment,” a set of separately playable Doom II levels released as part of Ultimate Doom
(id Software, 1996), there is one further hint that the Hell of Doom has some relationship to out-game theology.
Upon completing the game “Hell has gone back to pounding bad dead folks instead of good live ones.” “Hell,”
accessed January 22, 2014, http://doom.wikia.com/wiki/Hell .

198
 Ominous Horizons: Eternal War:
Super 3D Noah’s Ark The War in Heaven Saints of Virtue Catechumen Rev 7
A Paladin’s Journey Shadows of Light
Year 1994 1999 1999 2000 2001 2003 2003
N’Lightning N’Lightning 2 Guys Software /
Developer Wisdom Tree Eternal Warriors Shine Studios Marty Bee
Software Software XRUCIFIX
Genesis 3D / Barbie
Genesis 3D / Ethnic
Generation Girl Genesis 3D / Special Quake Engine /
Engine / WOLF 3D / “SNES A4 / 3D Hunting Cleansing
Custom engine / none Gotta Groove Force (Hezbollah, Half-Life (Valve,
Other Uses Wolfenstein” (MacMillan, 1998) (Resistance Records,
(Mattel Interactive, 2003) 1998)
2002)
1998)
Setting, Frame In-game “health,” Setting, Frame
Role of Bible Setting In-game “keys” In-game “health” Largely absent
quotations “objectives” quotations

Ephesians 6:10-18 “Spirit Sword,”

Equipment Fruit Launchers (and demonic Ephesians 6:10-18 Ephesians 6:10-18 Ephesians 6:10-18 Breakfast launchers Original Holy Energy
analogues) Weapons
199

Metaphorical vices Demons, possessed Demons, possessed Demons, mythical

Enemies Animals Angels / Demons (“Worldly humans, animals, humans, animals, creatures, Demons
Wisdoms”) mythical creatures mythical creatures metaphorical vices

Humans convert; Humans convert;

Angels fly away; Animals sleep(?); Animals sleep(?);
Effect of All fall over and
Animals fall asleep Demons descend in Wisdoms dissolve Demons and Demons and Demons are banished
player action fade
flames mythical creatures mythical creatures
dissolve dissolve

Figure 3: Evangelical First-Person Shooters

 as it relates to the shifting technological and theological fields through which the Evangelical

counterpublic was manifesting at any particular moment. From here we cannot yet see the

relationship between spiritual warfare theology and Evangelical concerns with the internal states

of children in general and adolescent boys in particular. From here we cannot yet see the specific

ways that coming to inhabit the overlapping worlds of these games and of the Bible works to

forge the identity of prayer warriors. And we cannot yet see the ways that changes in video

gaming seem to have produced changes in theology. To understand the sacred work of

non-violent struggle, I spent several months destroying the demons in these games. The second

section of this chapter attempts to string Christian FPS games into a single historical narrative.

The chapter then concludes with analysis, and reflections upon where this trajectory seems to

have led.

The War in Heaven324

The demons of Evangelical FPS games are sacra inasmuch as they are part-subject in

processes of human identity negotiation taking place on both sides of the screen. But only in

their first appearance, and never again, were these sacred demons an invitation for Christians to

play demonically. For the developers of The War in Heaven (Eternal Warriors LLC, 1999), this

was necessary in order to make player choice morally significant (“we really can't teach much

about making a good choice if there isn't any choice”), but many Christians found this an

irresponsible use of in-game freedom (“Our biggest hurdle there is that many Christian stores are

loathe to carry a title that has a demon on the cover, or that allows the player to choose the evil

324
Celia Wren, “Point, Click & Cheat: 'War in Heaven,' the Computer Game [Software Review], Commonweal
127.6 (March 24, 2000).

200
 path”).325 The sacred demons thus emerge through a fissure in the FPS’s Evangelical public,

defining the genre’s enduring dilemma: If player choice is morally significant, how can a game

empower significant good without also empowering significant evil?

Unlike most of the Christian FPS games that follow, this first instance refracted a

nameable theological movement, rather than claiming orientation to an unmarked “Christianity,”

or emerging simply from “the Bible.” Alongside the links to download a demo, read reviews, or

purchase the game, Eternal Warriors’ website offered a tab which led players to the writings of

Dr. Greg Boyd, a minister, scholar and prominent advocate of “openness theology.”326 While the

creators of War in Heaven knew Boyd first as their personal pastor and an inspiration in their

thinking on spiritual warfare, in 1999 he was a celebrity because of the divisions his theology

was causing among Evangelicals. The controversy of this game engages a larger Evangelical

controversy through the possibilities and constraints of digital gaming.

Openness theology had emerged in its mature form in 1994 with the publication of The

Openness of God: A Biblical Challenge to the Traditional Understandings of God, an edited

volume in which five Evangelical theologians had asserted that “God, in grace, grants humans

significant freedom to cooperate or work against God’s will for their lives, and he enters into

325
"Andrew Lunstad of Eternal Warriors, Makers of 'The War in Heaven' Offers Some Insights into their Game and
the Christian Gaming Market," archived by the Internet Archive, March 16, 2009, accessed January 22, 2014,
http://wayback.archive.org/web/20090316094147/http://www.christiangaming.com/Reviews/XWarInHeavenIntervi
ew.shtml .
326
The game manual also gives “Special Thanks To Dr. Greg Boyd, whose sermons on spiritual warfare first
inspired this game.” We can perhaps locate the entrance of sacred demons into the FPS at Boyd’s Woodland Hills
Church in St. Paul, Minnesota. Greg Boyd, “Spiritual Warfare: Free Will and the Legacy of Augustine” (1997).
Archived by the Internet Archive, February 26, 2000, Accessed January 22, 2014,
https://web.archive.org/web/20000301200152/http://www.eternalwarriors.com/ .

201
 dynamic give-and-take relationships with us.”327 This position, while it sounds much like the

choice-driven Semi-Pelagian theology of most American Evangelicals, emerges from a novel

understanding of the relationship between human volition and divine foreknowledge.328 Greg

Boyd expresses it well: “I affirm (because Scripture teaches) that God is absolutely all knowing.

There is no difference in my understanding of God’s omniscience and that of any other classical

theologian, but I hold that part of the reality which God perfectly knows consists of possibilities

as well as actualities. The difference lies in our understanding of the nature of the future, not in

our understanding of God’s omniscience.”329 The fissure this position defined in American

Evangelical thought is well located by the controversy stretching between 1999 and 2001

wherein Boyd’s theological position was officially rejected by the Baptist General Council, but

his professorial position at Bethel, the university and seminary represented by that same council,

was retained.330

Openness theology resembles Process Theology, in that God moves with humans through

327
Clark H. Pinnock et al., The Openness of God: A Biblical Challenge to the Traditional Understanding of God
(Downers Grove, IL: InterVarsity, 1994), 7.
328
That is, most American Evangelicals hold that “the initiative in salvation is on the human side even though full
salvation can only be by God’s grace” even if this is in conflict with their church’s official doctrine. Though we
could locate the choice-emphasis in American Evangelical belief through a variety of sources, I find Roger Olson’s
reflections as an Arminian minister and seminarian especially telling. He offers ethnographic notes from the
seminary demonstrating that his students could not distinguish Arminian theology from Calvinist, because they had
always taken a folk theology of almost total freedom for granted. Roger E. Olson, “American Christianity and
Semi-Pelagianism,” accessed January 22, 2014,
http://www.patheos.com/blogs/rogereolson/2011/02/american-christianity-and-semi-pelagianism/ .
329
Greg Boyd, “A Brief Outline and Defense of the Open View,” accessed January 22, 2014,
http://www.gregboyd.org/essays/essays-open-theism/response-to-critics/ .
330
Truett M. Lawson, “A Personal Account of the Foreknowledge Dispute at the Conference,” archived by The
Internet Archive, March 5, 2001, accessed January 22, 2014,
https://web.archive.org/web/20010305214118/http://www.bgc.bethel.edu/4know/report.htm; Ross Moret. “Beyond
Sola Scriptura: Open Theism within American Cultural Trends.” Stone-Campbell Journal 10 (Fall 2007), 213-229;
216.
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 time, but it directs this temporality in the service of a literalist hermeneutics emphasizing willed

choice. This reading practice, for instance, clarifies God regretting Creation because of human

choices, and gives moral weight to the War in Heaven mentioned in Revelation; God could, in

some sense, be surprised by these willed decisions because the moment we share with God is

conceived as the seam between two different textures of time. God is omniscient in that God not

only knows the smooth, stable time of the past, but knows the future as well, a time textured by a

finite number of choices that branch the universe into real, but really limited, trees of possibility.

God strategizes, then, by knowing the finite number of possible choices and outcomes, and

accounting for all possible choice: “We might compare this view of God to a master chess

player… He ‘wins the game’ not by meticulously controlling it or by possessing ‘inside

information,’ but by being the infinitely wise God that he is.”331

Boyd and other openness theologians orient the choices made by humans to this cosmic

game through biblical images of demons: “The challenge of explaining how God could create

beings who can resist his will and genuinely war against him is epitomized in Satan.”332 But the

chess-demons of openness theology are not yet the FPS demons that concern us in this

chapter.333 Theodor Beale, The War in Heaven’s primary designer (and author of a Biblical

fictional novel of the same name), proposes the necessary jump by equating the faculty for

choice shared among humans, angels, and demons with the problem-solving capacities of

331
Greg Boyd, Satan and the Problem of Evil: Constructing a Trinitarian Warfare Theodicy” (Downers Grove, IL:
InterVarsity Press, 2001), 113.
332
Boyd, Satan, 17.
333
Greg Boyd did endorse the final product, however, allowing his own 14 year-old son to play it, and comparing it
favorably to previous Christian games. Ellen Barry, “New Media Let Christians See No Evil, Hear No Evil,” Boston
Globe, 12 December 1999.

203
 Artificial Intelligence: “When seen from the posthuman point of view, we are all nothing more

than [AI Controlled Characters] running around the virtual environment of [a Massively

Multiplayer game] called the World of Man.”334 He is not, notably, saying that the model we are

about to see is actually a fair representation of our own Artificial Intelligence, but Beale’s

reduction of choice to algorithmic processes lays the ground for a game wherein player decisions

can be meaningfully paralleled to those of their Artificial Interlocutors.

Because Beale modified Boyd’s theology so human and angelic choice could now be

imagined as resembling the decisions made by AI, conceived as resembling moves in a

computerized game, the sacred demon can be born in a moment of player choice: “While some

Christians may object to our decision to allow the gamer to play as a fallen angel and receive

short-term rewards in return for evil actions, we believe that our design is in accordance with

Biblical teachings. God gave every individual the gift of free will, and because the choice to

serve Him or not is so vitally important, we felt that the ramifications needed to be highlighted,

not avoided, in this game.” And highlight the ramifications they did: immediately upon starting

The War in Heaven, the player can choose "The Divine Path of Obedience" or "The Fallen Path

of Power.”

A cruciform mouse cursor passes back and forth between an angel and a demon, the

female protagonists of the game’s two paths, standing armed in discrete panels. The decision to

obey or oppose God is reduced to a single decision across an absolute binary, less like making a

move in chess game than choosing to play as black or white (or, to use the convention of

334
Vox Day [Theodor Beale], The Irrational Atheist Dissecting the Unholy Trinity of Dawkins, Harris, and Hitchens
(Dallas, Tex: BenBella Books, 2008), 283.

204
 team-based FPS deathmatching, already well established in 1999 and perhaps visible here, red or

blue). During play, the moral weight of this initial decision relative to other in-game entities will

become clear, but upon first play, the decision is informed only by the images on screen and

whatever theological presumptions the player has about them. If one’s presumptions were drawn

from openness theology the very starkness of the choice may be theologically-compelling, as this

theology maps the forks in textured future-time to a form of choice that is beyond persuasion:

“agents (human and angelic) are the ultimate cause and explanation for their own free

behavior.”335

Once the choice is made, in whichever direction, the next six hours will be spent in

battlefield ethnography. In either direction, the player moves from one stronghold to the other,

learning first her own culture and proceeding into that of the enemy. And to designate the

patterns of life of angels and demons “cultures,” is at most mildly hyperbolic. In each location

the angelic player gains one article of the “Full Armor of God” as described in Ephesians 6, but

for each Godly article there is a corresponding demonic one (The “Breastplate of

Righteousness,” for instance, and the “Breastplate of Sin”). The differences between the two

sides reveal the opposition of life-worlds in which each side is deeply invested. When the player

enters as an angel, the toad-like Lo Nakei [Hebrew: Unclean] will only reveal its capacities to

lumber, waggle, and belch lightning, but Eternal Warriors filled this world with evidence that

these monsters are engaged in aesthetic, and even moral collaboration and growth.

Angelic aesthetics emphasize singularity, and demonic aesthetics emphasize

multiplicities: An untrained angel wields the single line of a sword, and an inexperienced demon

335
Boyd, Satan, 420.

205
 meets it with a two fingered claw; elite angels call down fire and lightning with long smooth

trumpets, unbroken by slides or valves, and demons do the same by splaying their tattooed

fingers. While both sides keep books of instructive poetry on their battlefields, enshrined on

lecterns, lit by candles and sealed with sacred images (crosses or pentagrams, respectively), these

books contain different scripts, and, most importantly, their poetry addresses the player from the

consistency of mutually exclusive ontologies. Demonic poetry calls the player “Goddess” and

demands merciless self-improvement even at the expense of other demons. Angelic poetry calls

the player “daughter of the King” and demands submission to and reliance upon the Lord. And

these visions of the good are grounded in sacred space at both ends. In their fifth mission, in

either direction, the player must defile the enemy’s sanctuary. An angel must enter “The Hall of

Idols” (which a demon would remember as their second level, “The Tree of Knowledge”) and

destroy statues of great demonic generals, now revered as Gods. A demon must climb to “The

Shrine of the Lion,” which resembles images of the Jerusalem temple designed for Sunday

school felt-boards, all white marble and grassy courtyards, to smash golden crosses and colossal

scrolls.

All of this, even if casting Christian children as demons defiling the things of the Lord is

disturbing to some, can be read as the symmetry necessary for a good faith demonstration of how

choice works in openness theology. But, as will frequently be the case, the procedural rhetoric

exceeds its inspiration in out-game theology. Late in The War in Heaven, demons acquire “The

Corruption Spell,” the single ability for which angels have no parallel. While angelic folklore

says that demons can repent, and should be accepted if they do, this would presumably be a

private affair between one demon and her own conscience before the Lord, and in any case the

206


Illustration 11: Destroying Sacra on the Path of Fallen Power (top), and the Path of Divine Obedience (bottom)

game never illustrates the possibility. But demonic religion drives toward apotheosis, so by the

fifth level when the Spell becomes available, the player’s character recognizes herself as a

Goddess. While one could only become an angel by submitting to the Single, High God, angels

can become demons by pursuing the vision of strength embodied in any great demon. The

Corruption Spell makes this playable; if a Goddess allows a weak angel to attack her, waving her

hand over the angel’s face rather than fighting, the exposed angel will convert and become a

demon as well.

In this moment we can see the complex situatedness of sacred demons. Clearly, we

cannot say that the game simply presents simulations of demons in which Evangelical players
207
 believe. The corruption spell presents a moment wherein the game betrays openness theology’s

emphasis on freedom and moral responsibility, the very emphasis that was the developers’

defense against detractors. In Boyd’s words, “Admitting that Satan and demons can sometimes

influence our thinking and behavior does not mean they can determine our thinking and

behavior.”336 But the same stark classificatory divide that made the initial selection such an

exemplary frame for an openness theology vision of choice, when applied to the ways AI can be

“influenced,” created a vision of choice that no longer made sense outside the game and sealed it

with the shocking blasphemy of the player-character being adored as a demi-goddess.

But the player does not learn to do out here what they do in there. The sacred demon has

one face inside of the screen against which players can develop a subjectivity as a chooser,

experiencing the paths as almost perfectly symmetrical, though one ends with generosity and

reward and the other with cruelty and betrayal. And the sacred demon has a face on this side of

the screen that may in some cases articulate to Boyd’s specific spiritual warfare theology and in

others to the variety of ways that Evangelicals understand demons. But the demons’ manifold

tasks on this side of the screen, like appearing on the games’ packaging, marking it as a

controversial Evangelical commodity, are always also the scene of their subjectivizing work. In

all cases the two sides remain in unstable relation. Just as the player and the player-character

form a flexible whole, so too do these demons, and interacting with them negotiates on both

sides of the screen. It is not surprising that many Evangelicals thought this sacred work was not

appropriate for their children. An anonymous reviewer on CNET speaks eloquently for the part

of the Evangelical counterpublic uncomfortable with the moral dilemma The War in Heaven

336
Boyd, Satan, 168.

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 stages: “Any Christian who would make a game in which people could choose to fight against

God and/or God's angels as a demon is seriously weak in his Christianity. Sick idea. Skip this

game - playing 'demon' is not something anyone should do, whether or not this game teaches The

Bible the context in which it teaches is WRONG.”337

Saints of Virtue

In 1996 David Slayback, then a member of Evangelical Free Church in Fresno California,

was a programmer at Sierra Online, working on The Realm, a cartoonish role-playing world that

allowed players to fight one another for their possessions.338 He quit, complaining that his work

was “increasingly violence-oriented,” and used personal loans and money from relatives to start

Shine Studios with artist Michael Ulrich.339 "We lived on faith -- faith in the vision God gave

us.” Saints of Virtue, their only game, sold 15,000 copies in its first year (War in Heaven had sold

10,000 across the same period), and was praised by Christian game critics for its “cutting-edge

3D graphics [and] great sound.”340 Of course, some part of this praise was hyperbolic, and it

seems that many Christian gamers could enjoy the game while recognizing that the user-friendly

Gamestudio A4 engine was not “graphically up to par” with contemporary offerings from better

337 “
Hmmm,” User Review (June 5, 2000), accessed January 22, 2014,
http://download.cnet.com/The-War-In-Heaven-demo/9241-2095_4-1498884.html?messageID=781233 .
338 “
David Slayback,” accessed January 22, 2014,
http://www.mobygames.com/developer/sheet/view/developerId,14233/ .
339
John G. Taylor, “Spiritual Battlefield: Fresno Man Creates a Computer Game that Puts Right Over Might,” The
Fresno Bee, Monday, September 11, 2000.
340
Ken Reaves, “Video, Computer, and Internet Games (Review),” Living With Teenagers (Parent Ministry Edition)
22 (March 2000), 31; Julio Ojeda-Zapata, “Christian Video Games: Teen-Age Gamers Pick Up the Battle of Good
Vs. Evil,” The Vindicator (Youngstown, OH), October 14, 2000.

209
 funded game developers.341

Saints of Virtue opens with a short video illustrating the stakes of the game to follow. We

see a character who seems to be Shine Studios’ imagined public, an adolescent White male,

standing between his bed and his personal computer, contemplating his own precarious moral

situation: “I fight the powers of darkness for control of my mind. The battlefield isn’t even a

physical one, the battles rage within the kingdom of my heart, deep within my very soul.” Then a

rogue’s gallery of the game’s enemies flashes past in unsituated darkness. The “masks of

humanity” are a series of floating blue masks covering totemic objects: Worldliness conceals a

globe, Self-Righteousness a powdered wig, and Self-Indulgence a brain seething with lightning.

Back in the bedroom, the boy says “I truly am a warrior” as the camera zooms into his right eye,

down a spiraling red tube of meat, to his beating, schematic heart. Now we see the boy in the

darkness, progressively encased in Ephesians 6’s “full armor of God.” Once he is wearing gold

from head to toe and armed with “the Sword of the Spirit,” a great television screen tuned to

static lights up the dark room and the masks flee down a hallway. Where are we?

The manual, box, and in-game text situate game-action within “the Kingdom of the

Heart” and describe the masks as “personified tendencies of the flesh.”342 This is to say, the

adolescent boy who opened the game is both the hero and the battlefield; he is fighting inside

himself to expel the semi-foreign presence of his own body. Gameplay precedes from the

“Amphitheatre of Apathy,” through the “Labyrinths of Legalism,” and “New Age Nirvana,” until

341
Ojeda-Zapata, “Christian Video Games;” Shine Studios, “FAQ,” accessed January 22, 2014,
http://saintsofvirtue.com/faq.html .

342
See, for instance, Shine Studios, “Gameplay,” accessed January 22, 2014
http://saintsofvirtue.com/game.html#gameplay .

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 the player-character arrives at the “Domain of the Heart,” each of these areas being further

subdivided into allegorical environments.343 Every location presents a set of thematically

appropriate moral problems translated into the ludic idiom of a FPS. Often these encounters

require the player to enact a parable in order to proceed (e.g. smashing an idol in “The Temple of

Man”), but in others the player is invited only to observe an allegory (e.g. the pendulum in “The

Caves of Loneliness” “has no purpose other than as a reminder of the lonely things of life”).344

Between these two poles, the Heart is full of optional interactions. “The Mall of Distraction,” for

instance is crowded with Vanity masks and commodities like sports equipment or clothing on

mannequins, those presumed to be desirable to the ideal player. Interaction with these objects is

of consequence for the player, not for the in-game character: “You try to take it. But it crumbles

in dust.”

Consistently across its various biomes, the Heart is partitioned by gates that are sealed

with “Worldly Wisdoms” and unlocked with Bible verses. In S3DNA the game had been an

illumination of a Bible story, but no scripture had been quoted in game at all. War in Heaven

both illustrated a Bible story and included scripture as the Angelic counterpart to Demonic

poetry. But in Saints of Virtue scripture enters the game as a swarm of interactive objects. One

must find “Words of Truth” and use them to refute untruths which bar progress between areas,

for instance using “Store up for yourselves treasures in heaven, where moth and rust do not

destroy and where thieves do not break in and steal. For where your treasure is, there your heart

343
These are 1) “Caves of Loneliness,” “Pits of Despair,” “Mall of Distractions,” “Gallery of Nothingness,” “Media
Maze;” 2) “Twisty Maze,” “Trap Dungeon,” “Trap Room,” “Abstract Maze,” “Rules Maze;” 3) “Love and Peace
Temple,” “Mountains of Relativity,” “Shrine of Heaven,” “Earth Shrine,” “Temple of Man;” 4) “Swamplands of
Selfishness,” “Ruins of Pride,” “Paths of Perseverance,” and “Temple of the Heart.”
344
Shine Studios, "Hints," accessed January 22, 2014, http://saintsofvirtue.com/hints1.html .

211
 will be also." (Matthew 6:20-21)” to refute "The one with the most toys wins."345

For the present study, what is most interesting about the Kingdom of the Heart is that it

seems to be simultaneously the heart of the player-character and the player him/herself. Ignoring

the character’s (hegemonic and unmarked) gender/sex, race, and class, the game’s accompanying

materials describe both the protagonist and their ideal player as a young Christian: “When it

comes to this generation of young people, Christians are out of excuses for not providing them

with world class products for thinking and playing.” “We developed Saints of Virtue with the

viewpoint that the player is a Christian. While the game can be enjoyed by anyone, it has far

greater meaning and depth for the Christian.”346 Thus the curious fact that the character is both

the adventurer and the terrain to be explored, through the FPS convention of looking out through

the eyes of the player-character, seems to cast the player as both terrain and adventurer as well.

Thus, at the game’s end, when the player places Jesus on the throne in “the Temple of the

Heart,” we need not claim that the moment is accompanied by a percussive instant of conversion

to say that it is a Christianizing performance. The game hails a counterpublic that is Evangelical

inasmuch as they fight to order a Christian interior.

This makes SoV’s sacred play decidedly unlike the morality plays from which it draws

inspiration. We still have vices surrounding and challenging “Christian,” our “Everyman,” and

the story still stages moral conflicts on homiletically named landscapes.347 But the relationship

345
Shine Studios, “Game,” http://saintsofvirtue.com/game.html (accessed 8/20/2011)
346
Shine Studios, “Shine Studios: Our Mission,” accessed January 22, 2014, http://saintsofvirtue.com/shine.html;
Shine Studios, “Core Issues,” accessed January 22, 2014, http://saintsofvirtue.com/core.html;
http://saintsofvirtue.com/game.html .
347
This is, of course, a simplification. For a detailed historical exploration of narrative movement in morality plays,
see C. N. Manlove, “The Image of the Journey in "Pilgrim's Progress": Narrative versus Allegory,” The Journal of
212
 between the human-figure in a morality play and the implied audience seems relatively

sympathetic rather than empathetic when held alongside this new medium.348 Where the

morality play always moved through its conflict by illustrating moral combat, SoV only reaches

its end for players who enact several hours playing as if they are themselves infested with vices

that must be placed into proper relation to the emerging Christian subject. And though we cannot

know how many of the thousands of purchasers completed the story, because Eternal Warriors

invited “winners” to post their comments online, we know that it was done at least hundreds of

times: “This game lead me a lot closer to God!” “I am 8 years old and the game helped me learn

to be brave.” “The hard level was very difficult, just like our real battles of spiritual warfare.

Praise God for the victory!”349

Catechumen and Ominous Horizons: A Paladin’s Journey

Though both of the previous two FPS games had been released after the Columbine

massacre, their production was well in advance of it, so while their reception was doubtlessly

changed by that tragedy, it is unreasonable to examine game structures for traces of its influence.

In Catechumen and its sequel Ominous Horizons: A Paladin’s Journey (2000-2001, N-Lightning

Software), however, perhaps we can see both sacred demons and the subjectivizing work of play

presented in a distinctly post-Columbine form.

Narrative Technique, Vol. 10, No. 1 (Winter, 1980), pp. 16-38.

348 “
Empathy – projecting oneself into the situation of another – and sympathy – the correspondence or harmony of
feelings among people – are similar emotional processes but ultimately quite different in their ethical and social
consequences.” David Morgan. Visual Piety (Berkeley and Los Angeles: University of California Press, 1998), 59.
349
Quotes are from Jonathan N., Brett J., and Bill W. Shine Studios, “Saints Hall of Fame (May 1999- May 2000),”
accessed January 22, 2014, http://saintsofvirtue.com/hallfame2.html .

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 Ralph Bagley, the founder of N’Lightning Software, had long been disturbed by the

violence he saw in popular games, but was unable to find any investors who would help finance

a non-violent game of the quality he envisioned. “I submitted the concept for Catechumen to

some investors and they flatly turned me down. Then, after Columbine, they called me back and

said, 'Let's do this thing.’”350 The $830,000 that went into Catechumen’s production, advertising

and distribution was explicitly and consciously applied to match the moral sensibilities of

Evangelical families concerned that adolescent boys were particularly susceptible to the

contagious violence of FPS games.

As in nearly all Christian FPS games, the primary weapon in these games is the Sword of

the Spirit, and the enemies are largely demons. However, while the angels used the Sword to

order heaven in War in Heaven, and the hero (and the player) used the Sword to order his own

heart in SoV, N’Lightning’s two heroes use the Sword to manage demonic activity in terrestrial

human history. And while the player-character is described as a (White, male) Christian in both

games, his efforts no longer work to create a Christian interior, but to create an external world in

which Christianity is possible. This change significantly complicates the work of establishing a

human place through First-Person Shooting, because the Sword will now have to interact

simultaneously with entities already organized into strata as humans or animals. It is the

incompletion of N’Lightning’s solution to this challenge that most clearly bears the signature of

post-Columbine negotiations.

In Catechumen, set beneath Rome, circa 171 CE, all humans are either Christians or

350
Adrian Chen, “Q & A: Ralph Bagley,” Willamette Week, July 20, 2005, accessed January 22, 2014,
http://www.wweek.com/portland/article-4626-ralph_bagley.html .

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 demon-possessed. The player character is the eponymous catechumen, a young Christian whose

teacher has been captured by a Romano-Satanic alliance and is being held underground. Along

the path downward, a series of angels present the player with various forms of the Sword of the

Spirit, and other weapons that fire beams of holy light. This light is Catechumen’s primary mode

of social interaction, and when it contacts various entities it has various effects depending on the

place of its recipient in a particular Evangelical hierarchy of beings. When a non-Christian is

exposed to light fired from the Sword or other holy weapons, he or she converts, falling to kneel

in prayer. Christians seem not to be affected in any way. Demons scream and writhe, burning

into smears of red light. Though they are never explicitly described as “demons,” shooting

Catechumen’s human/animal hybrids –ogres, minotaurs, sea-monsters, and werewolves–

positions them upon the same moral stratum as demons, burning them alive, producing similarly-

simulated pain. Lions, Catechumen’s only unambiguous animal antagonists, fall on their side

when defeated and stay physically present. Here, perhaps, we are observing a pacifying effect of

holy energy derived from the story of Daniel in the lion’s den and applied in a historical situation

of Christian martyrdom. Halfway through the game, however, the player climbs down into “The

Abandoned Farm” and finds a place where design exceeds any out-game theology. Here,

guarded by exploding demons, are some small pens of pigs. It seems the designers placed these

pigs in Catechumen’s underworld as mere scenery, but their place in its economy of violence

should give us pause.

Because the game booklet listed “lions” as enemies, but not “pigs,” I was unsure what

these creatures were doing here. Nearby, a group of exploding demons were sitting around

campfires, a first in the game. “Maybe,” I considered, “demons had farms.” The game gave no

215
 further clue, so I climbed into the pen with the pigs. They ran around randomly, neither causing

me harm nor really seeming to notice me. So I shot them. At first, the pigs ran from me and

squealed. Apparently holy energy is painful for pigs. So I shot the adorable piglets a thousand

times. I poured an incredible amount of holy energy into them, keeping one of the game’s

strongest Swords focused on a single pig. And after a full 15 seconds of light from the

tri-repeater Sword, the pig charged me. Instead of dying, the piglet suddenly became the most

dangerous enemy in the game.

Punishing in-game cruelty is not itself a novel feature distinguishing Catechumen as a

Evangelical game. For instance, from 1992 on, games in the Legend of Zelda franchise have

frequently included chickens which displayed this same mechanic: when struck a few times they

would squawk and run away, but when exposed to extravagant violence, the chickens would

retaliate as formidable enemies.351 Within worldly modes of play, cruelty punishments are

interesting, first, as cruelty acknowledgements. It is much more common in situations of player

cruelty –when the player treats a harmless or helpful simulation of out-game life (“an innocent”)

as an enemy– for a game to give no confirmation of the act at all, keeping player action against

them out of the game’s economy of violence. That is, generally, chickens and shopkeepers are

impervious to player attacks, so attacking them is either impossible (e.g. the “attack” button is

disabled) or produces no consequential effect (e.g. bullets cause them to complain, but they

never die). Notably, this non-recognition of player violence is the surest way for game

developers to evade public critique. Making violence against innocents possible, required, or

351
In The Legend of Zelda: The Wind Waker (Nintendo, 2002), this tendency was displayed through pigs. For a
growing fan-produced catalog of games displaying this tendency, see
http://tvtropes.org/pmwiki/pmwiki.php/Main/VideoGameCrueltyPunishment (accessed January 22, 2014).

216
 beneficial though optional, tends to be treated as morally equivalent in non-academic game

criticism, whether worldly or Evangelical.352 In worldly modes of play, even when cruelty is

acknowledged, at present there seems to be no pattern to when it will be punished or rewarded.353

Evangelical games tend not to acknowledge cruelty any more than worldly games do, and

this single instance in all FPS games reviewed, may just be a riff on Zelda. But situated within an

Evangelical mode of play, considering the moral work performed during play, the cruelty

punishment becomes interesting precisely because it belongs in a worldly game. The pig is a

reflective boundary between two modes of play. Quite simply, it should not be here: unlike

pacifying lions, where the light seemed to be directing miracles into historical martyrological

narratives, shooting a peaceful piglet invites no miraculous intervention. And in this moment of

misuse, it becomes clear, suddenly, that the holy light hurts. And it does not only hurt demons, if

it is used for a purpose aside from creating divine order, it hurts whatever it faces. But when that

pain crosses a critical threshold, it again does the sacred work of classification by creating a new

hero. The light creates a monster that evicts the perverse player from the game, managing the

boundary of Evangelical play.

352
For instance, Duke Nukem 3D, allowed players to give money to pole-dancers and then shoot them, but the
money was not deducted from any quantified fund, giving it to the dancers had only graphical and auditory effects,
and shooting them did not yield any points. Grand Theft Auto III, on the other hand, allowed players to expend
in-game currency to have implied sex with sex-workers, granting a health bonus, then kill the sex-workers to recover
the money. Setting aside the small expenditure of ammunition in each case, these might be regarded as roughly
equivalent acts of cruelty, though the first game makes it optional, while the second rewards. Bloggers criticizing the
violence in these games generally failed to note the distinction, however. Mediawatch, for instance, says that “In
Duke Nukem bonus points are awarded for the murder of these mostly prostituted and partially nude women” Media
Watch Blog, “Teaching Boys to Kill,” archived by the Internet Archive, March 13, 2005, accessed January 22. 2014,
http://wayback.archive.org/web/20050313213900/http://www.mediawatch.com/wordpress/ .
353
This inconsistency is visible even within single games. The Legend of Zelda: A Link to the Past, while it does
contain the aforementioned punishment for striking chickens, also fails to acknowledge violence against humanoids,
and contains creatures as harmless as unprovoked chickens against whom violence is rewarded (“rock/bush-crabs”).

217
 Ominous Horizons: A Paladin's Calling (OH:PC; 2001, N-Lightning Software),

Catechumen’s more sophisticated sequel, again offers a vision of human history infested with

sacred demons and holy weapons. In this story, told through the same shooting mechanics,

Gutenberg’s press has been destroyed by demons and the player must travel around the world

gathering pieces of his first printed Bible so he can emerge from despair and resume his printing

efforts. But OH:PC draws just barely to the Evangelical side of the porcine border, never

allowing the holy light to be misused, but also never attaining the theological clarity present in

most of Catechumen.354 Instead of focusing on the power of the Sword to convert people,

OH:PC has most enemies occupy the quasi-demonic space that lions or mythical creatures held

in Catechumen. The protagonist travels around the world being attacked by rats, bats, beetles on

one hand, and Grendel, “ninja-demons,” and Annubis on the other, but every human in the game

is a Christian who fails to react when fired upon.355 The game neither presents the possibility of

redemptive miracles, nor the possibility of misuse.

Though I do not want to cast the Columbine massacre as too firm a border in the history

of Evangelical play, it does seem that the simplification of the game’s ethical problematics only

continues the shift that both of the N’Lightning shooters demonstrate when contrasted with the

previous two FPS games. These games offer no suggestion that the evil to be managed is within

354
As Ominous Horizons is not one of my primary field sites, this data has been gathered from examinations of
recorded game-play. DragonsDream18, “Videos,” accessed January 22, 2014,
http://www.youtube.com/user/DragonsDream18 and Altmer451, “Videos,” accessed January 22, 2014,
http://www.youtube.com/user/altmer451/videos .
355
Though some enemies are called “druids” in the official walk-through, they have skulls for faces and bones for
hands. When they are shot sufficiently they vanish into a cloud of smoke. The one unambiguous human who appears
in the Anasazi ruins is apparently also a Christian, protecting a cross that mysteriously appeared there from demons,
and claiming no other religious orientation.

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 the player herself. Subjectivity is still won by arranging a self with respect to demons, but these

demons are neither playable, nor are they cast as dangers within the player. Spiritual warfare is

now the work of creating an exterior world habitable by a Christian subject rather than an

internal one. The question of whether Evangelical youth (particularly those who enjoy FPS

games) have within themselves a potential to misuse force is no longer raised at all. Whether this

reflects the important place of Columbine in Evangelical game criticism or not cannot be

determined, but it is clear that N’Lightning, financed to create a shooter that would not lead to

“another Columbine,” figured the sacred work of Evangelical play in the same way as those

who found War in Heaven’s active management of evil unthinkable.

Rev 7
By his own account, Marty Bee took up game design “after seeing a demon-head and

pentagram displayed prominently on a CNN special on game designers.” His ongoing efforts to

create a non-violent shooter then were perhaps less about demons indigenous to adolescent

minds than those within the game industry: “The industry is built on four pillars or false gods

[…] Baal (the god of sex and eroticism), Molech (violence and mayhem), Mammon (money),

and finally Satan himself (the occult).”356 But the primary strategies for removing violence from

his Rev 7 (2003, Marty Bee) mirror the consensus between Evangelical and worldly criticism

wherein violence is only bloody or imitably inter-human force: “Seeing as you are really not

shooting anything human, that solves the moral conundrum of killing things in games for a

concerned Christian or parent. Also the enemies dont [SIC] explode in a spray of blood and guts,

356
Bee and Van Nattan, “Computer Games: Are they Honoring to God?”

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 they just fade away most times (its just a story anyway.)357”

Inspired by the best-selling Left Behind novels, Marty Bee decided to make the book of

Revelation playable.358 Had he taken a resolutely historicist hermeneutics, the result may have

resembled Catechumen, crafting a specific embattled Christian community in the past; a futurist

hermeneutics could have produced a range of soon-to-come end times simulators (like the Left

Behind games, for instance); Rev 7, however, applies an idealist hermeneutics, imagining the

drama of Revelation neither suspended in the past nor the future, but subsisting transtemporally

within Christian experience blended freely with elements from the other two.359 In particular, the

game creates a shooter environment from each of the seven churches described in the second and

third chapters of Revelation by applying several different canons of interpretation and aesthetic

styles simultaneously.

Rev 7 anticipates a counterpublic for which every aspect of play is simultaneously an

engagement with a computer and with a Bible. Its player’s manual is two pages of technical

information followed by twenty pages of questions reflecting on scripture.360 And while

installing the game, as with most software, one must click a button which confirms that the user

“agrees with the above terms and conditions.” Here, the entire text of the terms reads “artwork

357
Marty Bee, “Post-Mortem: Rev 7,” accessed January 22, 2014,
http://firstpersonshooters.net/Games/Rev%207/postmortem.html .
358
Marty Bee, "Interview," accessed January 22, 2014,
http://firstpersonshooters.net/Games/Rev%207/interview.html .
359
These three possible readings of Revelation are taken from Mark Reasoner, “What Does the Bible Say About the
End Times?” in Rapture, Revelation, and the End Times: Exploring the Left Behind Series, Bruce David Forbes and
Jeanne Halgren Kilde, eds. (New York: Palgrave Macmillan, 2004), 71-98; 78-9.
360
Marty Bee, "To Him That Overcometh," accessed January 22, 2914,
http://firstpersonshooters.net/Games/Rev%207/Overcomers%20Study%20Rev7.html .

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 and interpretation (c) Marty Bee, 2004 / original manuscript, John (c) A.D. 90 / original message,

Christ (c) A. D. 90.”361

The hermeneutic of Bible study in Rev 7’s instruction manual invites untutored reflection

on every word of the text as explications of the player’s own experience: “List some ‘false

apostles’ that you might know of today,” “If the seven lamps are the seven churches, what do

you think can put out our ‘light’ today?” But this radical nearness of the FPS to the practice of

Bible study seems to bring Marty Bee’s own unsystematic associations into the game from all

sides. Because “quiet time” with Jesus “usually” happens in the morning, ammunition and health

items are donuts and coffee.362 Some enemies are metaphorical images of vices, like clocks with

handguns, while others are horned demons. The landscapes sometimes reference the historical

cities in the book of Revelation and at others include images decrying 20th century New Age

spirituality. The aesthetics in some places are grim, even grisly, and in others reflect the

quasi-futurist aesthetic of the Jetsons or antique motel signs. This, we must remember, is one

thing that might be meant by “literalism.”

The demons emerge with the complex markings of this biblical hermeneutic. Because the

letter to Smyrna says “the devil is about to cast some of you into prison, that ye may be tried”

(Rev 2:10), the accompanying Bible study invites serious reflection on the possibility of

persecution. The game, however, condenses several lines of reflection into the image of

“Beezlebubba, the Sherriff of Smyrna,” a horned demon that speaks like a cartoon's stereotype of

a poor white southerner, chasing the player-character shouting “Get over heah boy!”

361
Bee, “Rev 7 Interview.”
362
More specifically, the dart-gun requires cookies, the grenade launcher requires pie, and both the chain gun and
rocket launcher use donuts; Bee, “Rev 7 Interview.”

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 An Evangelical mode of play that develops through interaction with Beezlebubba and

these other intuitive blendings welcomes the player as an invested but unsystematic reader of the

Bible. The game, in fact, seems to be a machine for desystematizing Bible-study, welcoming

play into the Christian subject’s moral reflection.

Eternal War: Shadows of Light

Eternal War: Shadows of Light (2003, XRUCIFIX), the last Evangelical FPS game to

date, returns us to the explicit concern with adolescent interiority that characterized Saints of

Virtue. We again begin in a teenage boy’s bedroom, but John’s voice does not resemble our

brave anonymous hero/battlefield from SoV:

“I'm sitting on my bed, holding a knife to my throat. A war rages within my mind, to simply
make one strong thrust and end my pain forever, or hold onto what remaining shards of reality I still grasp
and try to regain my life. Images pierce my mind like nails into my skull. I can't take this tormenting life
anymore, I want to end it. I will end it!”

But John does not need to be brave, only willing. In this game, unlike SoV, the haunted

adolescent is merely a patient, simultaneously acted upon by angels and demons, both conceived

as autonomous agencies. And, pointedly, the player is always an angel. This is, in fact, the only

Evangelical FPS to include any multiplayer mode – a surprising lacuna given how influential

“deathmatch” practices have been in the popularization of the genre – but “Players can only

assume the roles of angels in single player and multi player.”363 This means that the developers

have successfully deployed the “lifematch,” reconceiving the FPS as a space of collaboration

between angels, but have done so by making the player the solution to adolescent malaise but not

363
Tim Emmerich, "An Interview with Two Guys Software, the Producers of Eternal War: Shadows of Light,"
accessed January 23, 2014, http://www.christiananswers.net/spotlight/games/2002/interview-eternalwar.html .

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 its victim.

Separated from the paradoxical identification of the player with both the protagonist and

the infested game-world that characterized SoV, the adolescent interior becomes a landscape of

death: “In the distance, I saw several tall, dark strongholds pierce out of the harsh wasteland. The

cries and screams of demons echoed from the monuments of evil.” When the developers describe

this as “The Quake of Christian Games” they seem not to be referring to the fact that this is in

fact an application of the Quake Engine, but to the gruesome aesthetics that opened this chapter's

inquiry.364 In some places, in fact, the demons that inhabit John’s heart do Id’s successor to

Doom one better, adding extra jaws, rows of teeth, and rotting tentacles in the process of

sacralizing the monsters. The gruesomeness, however, still invites a consciously contrived act of

non-violence, at least in as much as it continues to avoid the criteria for identifying violence

shared between Evangelical and worldly critique: “Gore isn’t a factor in Eternal War, you can’t

rip demons up into red meaty pieces. When you strike demons with your holy weapons, darkness

will emit from them and they’ll groan, that’s about the extent of it.”365

Having removed the specific cues that raise the question of violence, Eternal War moves

outside of the game-violence debate, and is now at liberty to include flourishes that sharply draw

our attention to the erotics of game-violence. First, unlike the protagonists in any of the FPS

games discussed here so far, Evangelical or worldly, the Angel Mike seems to get pleasure from

shooting his opponents. Were we firing bullets at humans, a hero who shouts “Does that sting?”

or “Yes!” when his shots make contact would run the risk of disgusting players and inciting

364
CCGR, “Two Guys Interview Part One,” accessed January 23, 2014,
http://www.ccgr.org/index.php/reviews/21-misc-articles/4263-two-guys-software-interview-part-1 .
365
CCGR, “Two Guys Interview Part One.”

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 censors.366

And while the most humanoid demons in Eternal War are rotting zombies, their

intelligence exceeds anything attempted in previous Christian FPS games. When the genre

finally includes demons that can hide, collaborate, and use multiple attacks, they have been

separated entirely from identification with the player. They move like humans, but they are

problems in someone else’s soul. Our last vision of FPS non-violence invites play as a merciless

therapist/exorcist, a lifematch warrior. One plays as an Evangelical by solving the problem of

adolescent interiority, but not one’s own.

Afterward: Into the Rain

Comparing the modes of play welcomed by Evangelical FPS games, we seem to observe

a single, slow shift that is simultaneously technological and theological. In 1994, Super 3D

Noah’s Ark situated players as already a biblical hero, divinely commanded to engage physical

danger, but morally secure. There were no demons. But with the boom in FPS popularity that

cast the entire genre as “Doomclones,” shooting became a space for engagements in spiritual

warfare. In early 1999, The War in Heaven and Saints of Virtue both imagined Evangelical play

as a process of moral development. Here the Christian subject was embattled within, and putting

on Ephesians 6’s armor of God became a process of managing internal demons. But after the

Columbine massacre, Evangelical game criticism came to face a possibility of adolescent evil too

palpable to be played with. N’Lightning’s two FPS games, Catechumen (2000) and Ominous

366
Duke Nukem 3D (3D Realms, 1996) included comments of this kind, the player-character saying “Oooh, that's
gotta hurt!” or “Hehehe... what a mess” when an enemy is killed, but this game received the highest possible RSAC
rating for violence.

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 Horizons: A Paladin’s Calling (2001), financed specifically as games that would not turn

adolescents into killers, cast the player as the protector of the Christian tradition, just as

inevitably virtuous as Noah, but now responsible for the salvation of others.

My research has not uncovered any Evangelical FPS games released between 2003 and

2014, not so much as a Fight-the-Pharaoh mod for Quake, nothing.367 But perhaps we had

reached a sort of stopping point, an elegant ambivalence on the meaning of spiritual warfare and

its relation to adolescent amusement. On the right hand, in the stark clarity of Eternal War, the

Evangelical shooter becomes a single-minded attempt to clear out the demons in the adolescent

interior. And on the left hand, the player is simultaneously suspended at all of the borders which

game-violence crosses, through the dizzying polyphony of Rev 7: it is a grotesque cartoon, the

trademarked property of Christ, in the head and in the world, historicist, futurist, and praeterist.

But both strategies found ways to welcome players into an Evangelical subjectivity defined by

spiritual warfare without having to impute that there is something potentially demonic about or

within the player.

But elegance is not an explanation for the end of Christian FPS creativity. The decline of

a curve, no less than its rise, is an interference pattern of innumerable other trends. And,

pointedly, the disappearance of the Evangelical FPS has not signaled a decline of the Evangelical

video game. Perhaps in the vanishing of Evangelical FPS games we witness the diffusion of

spiritual mapping into an Evangelical practice rather than a network of Evangelical

organizations. The decade without an Evangelical FPS has also been the Facebook decade, so

367
This is corroborated by Nick Gibson's recent article on Christian FPS games. Nick Gibson, “Christian FPS
Games,” accessed January 23, 2014, http://www.hardcoregaming101.net/christianfps/christianfps.htm .

225
 perhaps we are seeing a shift toward more broadly shareable Christian software for the context of

“social media.” Maybe the growing alienation of the player-character from the demonic

landscape has mimicked the movement of video game culture from a sub-cultural edge to a

cultural center, and a movement, with it, of Evangelical gamers out from a space where they had

to justify their games with unambiguous spiritual warfare.

We might begin by observing the emergence of networks emerging to share a new way of

playing a FPS as an Evangelical FPS in this period, moving away from concerns with violence as

previously defined. Around 2002-2003, often networking through the emerging culture of online

Evangelical game criticism, several groups like “Tribe of Judah” began to appear, using private

servers to play FPS games like Unreal Tournament, Team Fortress, and Counter-Strike in

distinctly Evangelical ways.368 These games tend to feature humanoid opponents, but with the

possibility of disabling on-screen blood. “Christian Crew Gaming,” one of the oldest and most

vibrant of these communities, shows a new set of concerns in the story of their own emergence:

“The Christian Crew came about amongst a group of gamers who were tired and distressed at the

continuing lack of social morals and overwhelming profanity, pornography, and outright

disregard for fair play and good sportsmanship found on the average game servers, specifically

Counter-Strike game servers of the time.”369 Echoed in the parallel emergence of Evangelicals

guilds in Massively Multiplayer Online Games like World of Warcraft (Blizzard), it seems a

growing number of Evangelicals have lost the need for their own shooters, developing, instead,

modes of sacred play and Christian communities of play for worldly games.

368
Tribe of Judah, "Community FAQ," accessed January 23, 2014, http://www.toj.cc/toj.php?x=main/faq/2 .
369
Christian Crew Gaming, "History," accessed January 23, 2014, http://ccgaming.com/about/history/ .

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 In early July 2011, as this chapter was cooling and taking on its present shape, I traveled

to George Fox University in Newberg, Oregon to attend the tenth annual Christian Game

Developers’ Conference. In-flight, I spent the majority of my time considering the interaction of

sacred violence and interiority. The proximate cause of my reflection may have been my

decision to do fieldwork from the plane; I was both immersed in the violence of The War in

Heaven and itchingly aware that the pleasant elderly man sitting next to me was either making

faces because I was furiously killing angels and taking notes, or that was just the face he tended

to make on planes. I couldn’t know. But as I subtly shifted my screen angle, deadened my facial

affect, and lowered the volume of my headphones, I realized I was participating in one of the

mysteries explored in this chapter: game-violence, like the mythic violence that orients

Christianity, is the migration not only of images of public violence, but of their enactments, into

human interiority, and the public displays this movement compels.

The following evening, in the parking lot of George Fox University, not having

previously studied Christian Crew Gaming and similar groups, I was surprised to find myself

playing Halo: Reach (Bungie, 2010), a popular, worldly FPS, with prominent Christian game

developers and their children. Violence was again drawn toward an interior, but here the mode of

Christian interiority was the XBUS, “a converted 40′ transit bus that has been outfitted [with] 16

networked Xbox 360 game consoles so […] each player gets their own 27” HDTV.”370 Inside,

the blood invisible to anyone else on the street, a (small, but literal) busload of attendees at the

Christian Game Developers’ Conference was playing the current edition of Microsoft’s

370
Xbus Games, “About,” archived by the Internet Archive, April 9, 2012, accessed January 23, 2014,
http://wayback.archive.org/web/20120409093949/http://www.xbusgames.com/about-xbus-games .

227
 best-selling FPS series. To consider the game through the various semiotic indexes of violence

that have proven significant thus far, blood spattered when players were shot, and for one round

we played the “head hunter” mode, which caused a skull to appear whenever a player was killed,

but in neither case would “gore” be a likely complaint (the skull was clean and was not visibly

extracted from the fallen body); while some imitable weapons like combat knives and a golf club

are included in the game, the XBUS employees consistently selected an assortment of “energy”

weapons instead.371 Relationally, of course, it was more complicated. The XBUS allowed me to

be killed by the other players in diverse ways, as the modes changed every few minutes, and I

was exceptionally poor at all of them. Aside from the conspicuous absence of swearing, the

shouts inside the XBUS were the typically paradoxical chatter of competitive gaming: “Arg!

Who killed me?! Ha! He’s killing everyone!” It sounded like a sort of answer to the Baptist

debate almost twenty years before on whether churches should install arcade cabinets.

While Halo deathmatches at the Christian Game Developers’ Conference seem to reflect

the change in Evangelical FPS gaming since 2003, my experience at the conference showed that

this has not been a homogenous movement, nor should it be understood as a stopping point. The

conversations I had with participants revealed a divide between those who had gathered for a

conference of “Christian-Game Developers” and those who came for a conference of “Christian

371
Christ Centered Game Reviews gave the game 5.5 for violence, explaining “Halo: Reach is pretty tame for an
M-rated game, much like the other games in the series. The entire game is spent shooting things, but the violence is
not graphic. The enemies are all aliens, and none of them look even a little human. There are blood splotches
throughout the game (and depending on the weapon, blood will hit the walls) but no dismemberment.” “Headhunter
is pretty simple, with control points scattered around that periodically move as the map continues. Kill opponents
and capture their skull (it’s nothing graphic), then take it to a control point to gain a point. You need points to win,
so capturing skulls is vital to winning. It’s a pretty crazy and hectic variation on standard Halo play, and adds a lot to
the game.” CCGR, “Halo: Reach,” accessed January 23, 2014,
http://www.ccgr.org/index.php/reviews/19-console/5204-halo-reach-xbox-360 .

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 Game-Developers.” Chris Skaggs, proprietor of Soma Games, and organizer of this year’s

conference, figured it as the latter:

“While Soma Games is a group of Christians making video games, we're not what you might call a
‘Christian Video Game company’ and it's important for us to be very clear about this to avoid inaccurate
expectations. We're making games that will be founded upon, and informed by Christian thought and the
Christian understanding of reality - however, we don't plan on making games that teach Christian theology.
There are no scripture references, no Biblical characters and no telling of the Jonah story - other companies
372
have been there and done a fine job. We hope to try something a little different. ”

Soma Games’ first release, G: Into the Rain, however, is in some sense a single prolonged

retelling of the Noah’s ark story, again, specifically configured to answer concerns about

violence. As a strategic, top-down, space shooter wherein the player must harvest resources from

an encroaching cloud of “The Rain,” “The Arc series provides a stimulating alternative to

violence-packed games.”373 Because of this intentional concealment of sacra and attempt at

cross-over appeal, G did not find a place in this dissertation's catalog of religious games.

As in The War in Heaven, the game opens with a choice, but the moral significance of

this choice is radically different. One now chooses for which of ten corporations they will

become an employee. These corporations, with names like “Panis Global,” “DASA Corp,”

“Clarifex” and smoothly designed geometrical logos, seem to be entirely plausible entries into

the corporate culture of the early 21st century. G even follows this choice with an unnerving

simulacrum of a contract: “I, the oversigned, understand that this constitutes a working

agreement between myself and New World Incorporated and that failure to complete my duties

faithfully and effectively will result in breach of contract and subsequent denial of pay.” Barker,

372
Soma Games, "About Us," accessed January 23, 2014, http://www.somagames.com/about_us.php .
373
Soma Games, "G: Into the Rain," accessed January 23, 2014, www.somagames.com/ARC/index_g.php .

229
 your in-game guide, speaking as a fellow crew member, incentivizes the game’s point system by

identifying it with unjust labor practices: “Time doesn’t matter, but supplies do. Each rocket you

use comes out of our pay.” And regardless of one’s choice of corporation, it quickly becomes

clear that play is always configured as morally dubious: “Be Advised: Several competitive firms

making conflicting claims. Legal status of your mission is unclear and ambiguous. Do not

engage.”

Echoing this concern with the violence that comes with working for an unethical

corporation, the Christian Game Developers Conference was largely preoccupied with the

question of how to influence game design in a Christian direction if one happens to be a game

designer working for a non-Evangelical company. But, at present, this new imagination of an

Evangelical counterpublic that emerges in interaction with the corporations that create games as

much as the communities that play them, or the entities within them, still seems to be only

partially imagined. A vocal minority was fearful, telling stories of game designers who requested

not to work on a game because it included excessive violence only to be fired and blacklisted

from future employment, and motivational speaker Os Hillman framed the work in Dominionist

terms as an Evangelical subversion, “Taking back the mountains of culture.” But the dominant

tone was the curious and playful ethical reflection one might expect of game designers, straining

toward a vision of Evangelical play unmarked by explicit sacra.

One discussion session, led by Tim Johnson, an entertainment consultant who worked on

several Veggie Tales games, asked how participants could design games that “reflected God’s

truth” in the mode of Christ’s parables: “If you open a treasure box [in a game] and there is a

Bible inside, we lose the metaphor … When Jesus told a parable, he didn’t tell the parable of the

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 man who sold everything he had to buy a field because there was a Torah buried in it.” His

session cited Bible verses and encouraged designers to make games that enjoined “Cooperation,”

“Individuality,” “Sacrifice for Later Reward,” and “Eucatastrophe,” taking his examples of these

“Christian principles” from Nintendo games and other “family friendly” productions rather than

Evangelical ones. During the question and answer session, the room descended into confusion.

Several participants had worked in the game industry for years and had specific anecdotes about

the resistance of players to any moment wherein these mechanics became ethically challenging

enough to merit description as specifically Christian. One designer related that he had made a

game where players had to sacrifice a well-liked, AI-controlled teammate in the act of play. But

players wouldn’t do it. They would play the scene again and again, convinced that they will

eventually stop making what they could only perceive as a mistake. Tim Johnson’s response was

two-fold: it has to be fun, and there has to be an analog Christian outside the game to explain the

greater truth to which the game points. Again, Chris Skaggs set the tone: “This isn’t about

converting people, it is about blessing people… Just to bless people, all the people, the secular

people.”

Alongside established patterns, a new kind of sacred play seems to be emerging wherein

the Evangelical player is interpellated as an exegete, sacralizing worldly games into the service

of Christian truths, and the Evangelical designer labors to better fit games for that task. And like

the earlier shifts in Evangelical play, it is again visible in game criticism. The recent edited

volume Halos and Avatars: Playing Video Games with God contains articles by Kevin Newgren

and Craig Detweiler that propose that worldly FPS games like Fallout 3 and Bioshock are

already better for Christian subject formation than the last generation of explicitly Evangelical

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 entries because their blood and gore are context for complex moral dilemmas in-game.374

At the conference, I found neither the end of Evangelical concern with violence, nor with

spiritual warfare (I have not, in fact, ever been told so regularly that demons are a live issue in

my own life). But attention may be shifting to another contact zone, one that figures Evangelical

gamers themselves as sacra, binding out game religion to algorithmic structures through their

own presence on either side of the screen. In some ways it seems that the next mode of

Evangelical play may be the play of Evangelism itself, and we cannot know in advance how it

will relate “blood and gore” to the blood of Christ.

Conclusion

This chapter set out to explore Evangelical FPS games as sacred play, then considered

why there have not been any new instances of this genre in ten years. If the development and

disappearance of these games are told as singular narrative, the overall trajectory seems to begin

with the player as both soldier and battlefield, and end with the player as a confident angelic

being who intervenes in a spiritual war outside of himself. Faced with the horror of the

Columbine massacre, these games pressed moral ambiguity to the margins, increasingly

envisioning a player who fights evil but does not contain any. It is a story of clarification and

maturation across which the subject of sacred play seems to grow in coherence until it is capable

of walking out of Evangelical media without losing an Evangelical humanity.

The sacred demons of Evangelical gaming, like other video game characters, can easily

374
Kevin Newgren, “BioShock to the System: Smart Choices in Video Games” 135-149; Craig Detweiler, “Born to
Play,” 190-196; see also Mark Hayse, “Ultima IV: Simulating the Religious Quest,” 34-47.

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 feign death without disappearance. No amount of Holy Spirit launching can prevent them from

reappearing when the game is started anew. But as these Evangelical FPS games recede in

memory and their publishing companies close, some kinds of demon seem to be drifting into

obsolescence. While later games still often include demonic opponents, they tend not to

approach as a horde that fills the whole field of vision. They are now more likely to be final

bosses or rare enemies, evil concealed behind the world. As the spiritual mapping movement

transformed from a network of organizations into a network of practices, so too has sacred play

apparently become a paradigm for engagement with (and avoidance of) the demons in the world.

This transformation does not seem to presage the disappearance of Evangelical gaming, but a

shift in Evangelical human-computer interfaith.

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 Chapter 6

Digital Baptists Against Digital Immersion:

An Eschatology for Evangelical Gaming

“In the classic sense of the word, anything is baptised that is immersed. Immersion alone is
classic baptism. But immersion alone is not Christian baptism. Christian baptism demands faith
and repentance in the thing baptised.”
- F. G. Allen375

Illustration 12: Firewall Defender

The first game-within-the-game(-within-the-game) is called Firewall Defender. You seem

375
F. G. Allen, “The New Birth: Its Nature and Necessity,” accessed January 23, 2014,
http://www.sermonindex.net/modules/articles/index.php?view=article&aid=3452 .

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 to be facing down into a ravine of abstract information. In the deep distance, binary code slides

past in punctuated green columns; the data-aesthetics evokes The Matrix, conveying a vague

flurry of digital activity beyond your comprehension. Nearer to you, thickening out of the

informatic mixture like curds out from milk, the field of play is peopled by solid algorithmic

entities such as “viruses,” “logic gates,” and “the firewall” itself, all of which resemble tiny

spaceships. The game between these entities is scored on an interface resembling burnished steel,

dotted with colored lights and single-purpose screens, closer and more communicative than the

game field. And then, off the screen through the speakers, in the air over your shoulder, the

voices of two children take credit for your actions in the game and disagree about what they

mean. Both rejoice when you win, and groan when you lose, bickering intermittently like a

vaudeville comedy duo.

“What's this game rated anyway?”

“U... for even YOU could play it.”

You are of two minds. Specifically, your minds are two teenagers, a bookish blonde girl,

and an excitable African American guy. Both are residents of Odyssey, Ohio. As Mandy, you are

cautious, awkward, and distracted; as Michael, you are reckless, computer savvy, and

game-focused. Both of you, in the opening cinema, agreed to go inside the computer using “the

Room of Consequence,” a poorly-explained sort of virtual reality chamber in your local

community center's “Bible Room.” As Mandy, you went in because you are writing a paper

about computers for school; as Michael, you seem to pursue flashing lights without reserve or

explanation. Your Michael-self goads you toward danger, and your Mandy-self answers with

calls to discretion.

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 Unsurprisingly, then, it is as Michael that you disable the “safety protocols,” allowing

deeper entry into the game, but barring escape. And as Mandy, discovering you are trapped, you

quickly forget why you came inside at all:

“I could have done a report on okra. Why did I choose computers?”

“You can't play with okra.”

Michael presses you onward and inward through six more games - Spam Dodger, Binary

Bridge, Virus Viper, Brig Breakout, Debugger, and Hard Drive Havoc. Each game brings

multiple levels of computerized reality into collision: circuitry, email messages, raw binary, the

mouse cursor, and the physical magnetic hard drive apparatus all appear to interact visibly. In

each game, your task is managing the interaction of “good” and “bad data” (“Grab the good and

zap the bad,” Michael explains).Your reward after the games is access to emails from friends

back in physical reality, but instead of explaining how to get out of the computer (which one may

reasonably expect, as one of those friends designed the Room of Consequence), the emails offer

only aphorisms, most of which concern the importance of time management:

Choices and Consequences 098: “One should be just as careful in choosing one's
pleasures as in avoiding calamities.” -Intercultural Wisdom
Value of Time 032: “Dost thou love life? Then do not squander time, for that is the
stuff that life is made of.” -Benjamin Franklin, American Statesman, Scientist, and
Philosopher (1706-1790)

At the center of the system, you encounter Seepi Yu, the computer's Central Processing
Unit [CPU] reimagined as a kind of Dracula whose body integrates an exposed human brain and
electronic circuitry. The eloquent parasite first offers, then compels you (both of you) to stay
forever inside of the computer playing video games. Seepi-Yu maintains a slave-colony of
hideously aged children, and feeds upon the time they waste playing games: “Time, life, same
thing.”

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 Illustration 13: A Designer of Immersive Games and His Audience

But when you finally defeat the monster, you discover that it was all a ruse; you were

safely inside a simulation that dramatized the danger of computers. But your Michael-self learns

a valuable lesson about time-management nonetheless, and your Mandy-self is still vindicated,

and neither seem upset about being trapped in a seamless simulation of mortal danger.

I open this study's last substantive chapter with Adventures in Odyssey: The Great Escape

because a cultural history does well to settle its accounts by establishing an orientation to the

future, and at present it seems quite nearly impossible to describe the future of gaming without

saying the word “immersive.” This is not to say that the games of the future will immerse us, but

rather that media criticism – both Evangelical and worldly – seems to anticipate that they will.

Given my present attention to the human-computer interfaith, I take the possibility of immersion

seriously, but I must regard the proposition that computers will ever contain as much life as

humans can experience as a statement of faith rather than one of fact. That conviction, however,

mobilizes material productions of the future, and the ambivalence The Great Escape presents
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 concerning the entry of humans into computers will allow us to close this study with a sense that

Evangelical gaming might proceed into the future quite differently than its worldly equivalent.

In the context of Evangelical gaming, our approach to the word “immersion” well begins

with the Michael-Mandy dialectic, an interplay of fear and fascination at the prospect of being

pulled inside a computer. As with game-violence, Evangelical understandings of immersion are

not contrary to their worldly cognate, but are densely entangled and frequently inseparable.

Again, the possibility of a radically divergent understanding seems to flicker within Evangelical

critique, and an attempt to isolate it will be worth the effort. Immersion, in either case, presents a

curious chronotope, a co-emergent spatiality and temporality, a time-space.376 The time-spaces

of immersion appear where the human-computer interfaith confronts the possibility of the human

with relation to the ongoing development of computer technology: As more and more of life

becomes computable, humans are both thrilled and terrified that we seem to be going inside. We

can easily locate worldly narratives of immersion ranging from the fearful (e.g. The Matrix, or

the periodic public concerns over “internet addiction”) to the fanatical (e.g. ReBoot or The

Quantified Self Movement).377 These two faces of worldly immersion, however, are united as

surface effects of computing technology's leading edge; even cautionary discourses on

immersion are frequently held together by their production as consumer computing’s current

marketing sensation, and by their attentive anticipation of another leading edge. Consider The

Matrix as a significant synecdoche of this tendency: a blockbuster movie that unveils dazzling

new computer technology to foretell a future of oppression by computers.

376
M.M. Bakhtin, The Dialogic Imagination (Austin, TX: University of Texas Press, 1981), 84.
377
Quantified Self Labs, “About the Quantified Self,” accessed January 24, 2014, http://quantifiedself.com/about/.

238
 Evangelical stories of immersion, on the other hand, occasionally disrupt the vision of

consistently progressing time upon whose horizon immersion appears to be inevitable with a

quite different notion of time. As Evangelical critique of game-violence occasionally abandoned

teleological motivations, considering instead the player-in-play, this is a vision of time that

stretches down into the present rather than out into the future. It is not a time that one uses

efficiently or inefficiently toward future projects, but a time that one treasures or squanders in the

present. To use Walter Benjamin's theoretical argot, we could call it jetztzeit, “now-time.” In

biblical terms, this is the chronotope in the parable of the ten virgins: “Therefore keep watch,

because you do not know the day or the hour (Matthew 25:13).” But the formula presented by

Adventures in Odyssey is elegant as well: “Time, life, same thing.”

Journey to the Center of the Art

We should not be surprised that the first discussions of entrapment in a computer

emerged when the computers were becoming increasingly present to public consciousness. Like

digital religion, the notion that there is a space for humanity inside the computer seems to have

been a product of specific human-computer interfaith movements emerging in the wake of the

Second World War. Arthur C. Clarke's 1948 story “Against the Fall of Night” concerned a future

humanity who had conquered death and mastered memory technologically, but his recreation of

the story in 1953 as The City and the Stars seems to have been the first work of fiction to suggest

that a human personality could be stored inside of a computer.378 This story, as well as Frederick

378
Robert Geraci, Apocalyptic AI: Visions of Heaven in Robotics, Artificial Intelligence, and Virtual Reality (New
York: Oxford University Press, 2010), 54-55.

239
 Pohl's “The Tunnel Under the World” (1955), and those contemporaneous stories by Stanislaw

Lem that present human minds as storable on computer hardware, however, do not consider the

computer as a place for the human, but as a substitute for the fleshy brain: “An electronic brain,

gentlemen, wishes us nothing but good; however the endurance of coils and tubes has its limits

too.”379 The eponymous “total environment simulator” in Daniel Galouye's Simulacron 3 (1964),

seems to have been the first literary projection of a computer system in which human minds

could conduct what seem to them to be complete lives: “I brushed straggling hair off my

forehead and gazed out on my counterfeit world. It screamed back at me that what assailed my

eyes was only a subjective, simuelectronic illusion. I cast about for something that would blunt

the impact of that staggering realization.”380

To this point, however, we can frame these visions of entry into computers as instances

of a trend that predates computers. The fantasy/fear of passage into a medium seems to

frequently accompany a widespread cultural fascination with that medium. For instance, consider

the similarly ambivalent fantasies that emerge alongside the early twentieth century's fascination

with the cinema: Buster Keaton climbs into a movie screen in Sherlock Junior (1924) and his

body is bizarrely stable alongside the flickering cinematic natives, producing some danger and

much comedy as lions and cliffs appear and vanish around him. Similarly, in Hellzapoppin

(1941), a fight in the projector room causes Ole Olsen and Chic Johnson to be comically pinched

when their own film goes out of frame, and humorously endangered when they are accidentally

379
Frederick Pohl , The Tunnel Under the World (Project Gutenberg ebook collection, April 14, [1955] 2010),
accessed January 24, 2014, http://www.gutenberg.org/files/31979/31979-h/31979-h.htm ; Stanislaw Lem, "The
Eleventh Voyage," The Star Diaries: Further Reminiscences of Ijon Tichy (New York: Seabury Press, 1979), 38-73;
45.
380
Daniel F. Galouye, Simulacron 3 (Phoenix Pick, 2011), 86.

240
 thrust into a western. Elmer Rice's literary serial in the New Yorker, “A Voyage to Purilia”

(1930) offers a vision of the improbable, action-packed world where all movies take place: “I

shall make only passing reference to the floods, the avalanches, the tornadoes, the

mine-explosions, the bursting dams, and the forest fires which impeded our progress and

imperiled our lives.”381 In these cases at least, wandering inside reveals the incompatibility of

the human with the media-world, and the results are darkly comical.

And so too with the immediately following fascination concerning television: In Roald

Dahl's 1964 novel Charlie and the Chocolate Factory, Mike Teavee insists on being “the first

person in the world to be sent by television,” and is thus miniaturized to his parents' dismay.382

Hanna-Barbera's The New Alice in Wonderland (1966) opens the story with Alice chasing her

dog through the TV, rather than a rabbit down a hole, then proceeds to depict joys and perils

much like those of the novel, though now with Flintstones cameos. EL Doctorow's Book of

Daniel (1972) imagines children escaping a world of political and economic oppression by

getting into the box: “The children were sitting on the floor, too close he thought. Too close. He

made no move to interrupt their attention. If they could get inside the television set they would

be better still.”383 And these ambivalent visions of immersion were followed soon after by

grotesque possibilities as in Poltergeist (1982) and the Twilight Zone Movie (1983), where the

television becomes a space where children can be trapped, even a kind of cartoonish hell.

The difference between immersion in a computer and immersions in television or cinema

381
Elmer Rice, “A Voyage to Purilia – X,” The New Yorker December 14, 1929, 130; Ian Jarvie, Philosophy of the
Film: Epistemology, Ontology, Aesthetics (New York: Routledge, 1987), 33.
382
Roald Dahl, Charlie and the Chocolate Factory (Alfred A. Knopf, Inc., 1964), 152-155.
383
E. L. Doctorow, The Book of Daniel (New York: Random House, 2007), 155.

241
 is not that one fantasy outlives another (the three presently coexist happily), nor certainly that

immersion in computers is somehow real where immersion in television or cinema was

metaphorical. The significant difference is that immersion in computers, unlike the other two,

became a widespread theoretical construct. The notion that people can currently go partially into

computers, and the attendant anticipation that we will soon be able to immerse ourselves entirely

have become principles of design and widespread conceptions of computer users' own practices.

The Emergence of the Immersive

The second edition of the Oxford English Dictionary declared the word “immersive”

obsolete. Though one might be immersed in mathematics, superstition, or a book any time from

the 1660s to the present, as of 1989, the adjectival form, “Characterized by or involving

immersion,” was temporarily antiquated.384 Without this word, however, the popularization of

home computing and video gaming was becoming tangled up with new stories about humans

going inside computers. Like prior vogues for stories of this sort, the tone was decidedly

ambivalent. William Gibson's novel Neuromancer (1984), for instance, described a space called

both “cyberspace” and “the matrix” that “has its roots in primitive arcade games […] and

military experimentation with cranial jacks.”385 The Lawnmower Man (1992), visually,

presented filmic representations of life in a computer that have influenced game and interface

design, and, narratively, offered a wild array of possibilities for better sex, augmented

intelligence, and a sort of non-metaphorical Godhood complete with psychic powers that

384
“2. transf. and fig. To plunge or sink into a (particular) state of body or mind; to involve deeply, to steep, absorb,
in some action or activity. Chiefly pass. or refl.” "immerse, v.," OED Online. December 2013, Oxford University
Press, accessed January 24, 2014, http://www.oed.com/view/Entry/91880?result=2&rskey=NAdHqk& .
385
William Gibson, Neuromancer (New York: Ace Books, 1984), 69.
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 continue to work offline. The Net (1995), with its protagonist whose social world is entirely

mediated through – and in danger from – the Internet, presented a differently digitized humanity

that would soon be remembered through the archaic neologism.

Factiva's first citation for the word “immersive” in any newspaper comes from 1991, and

concerns the development of virtual reality for military training. Dennis Breglia hoped that

computers would soon train soldiers in “a three-dimensional, dynamic, interactive,

computer-generated, highly compelling environment, which is perceived by the user as

immersive. He shouldn't be able to tell if it's real or artificial.”386 Here, notably, “immersive” is

aspirational, it describes soon-coming technologies (particularly virtual reality), and it is in this

context that the word begins to circulate rapidly: “Will users be able to cope with the immersive

(and possibly drug-like) aspects of virtual worlds?”387 Across the late nineties, however, the

word “immersive” went from aspiration to advertisement, and had to increasingly bear the load

of a diverse field of variously impressive things: “Today, immersive gaming is the sound of

bullets ricocheting around you, spent shell casings bouncing off a stone floor, the roar of a beast

behind you, and a thumping techno soundtrack shaking your game room.”388

This usage of “immersive” has remained dominant into the present, so it is this one we

must consider when asking what the next generation of games will be like. In both worldly and

Evangelical game critique, players call a medium “immersive” when it looks, sounds, or feels

386 “
Navy Ponders Move to Virtual Reality,” Defense and Aerospace Electronics 1.20 (November 4, 1991).
387
IFIP World Computer Congress, Karen Duncan, and Karl Krueger. Linkage and Developing Countries
Information Processing '94: Proceedings of the IFIP 13th World Computer Congress, Hamburg, Germany, 28
August - 2 September, 1994 (Amsterdam: North-Holland, 1994), 192.
388
Gordon Ung, “Big Audio,” Maximum PC (May, 1999), 51.

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 like they are somehow inside of it. It is a flexible notion that can identify as many different

media tendencies as there are ways of identifying the boundaries of a fiction. “Immersive” can be

used to describe encounters with convincing character dialog, novel modalities of game control,

or contemporary technologies of photorealism.

In this sense, Evangelical game review sites seem to use the word “immersive” and its

cognates in quite the same way worldly websites do. Plain Games presents a range of meanings:

Call of Duty 3 (Activision, 2006) on Wii is immersive because of motion controls; Scratches is

immersive at least partially because of “excellent music and ambient noises;” Two Worlds

(Reality Pump, 2007) is immersive because the game world changes dynamically.389 Christ

Centered Gamer, similarly, locates games with “immersive story lines,” “music,” and “control

schemes,” among other indexes.390 Shepherd’s Staff uses it to praise relatively high tech

Christian games, like Catechumen, and One Nation Under God (Inspired Idea, 2002), though

without explaining what the word means.391

Taken together, all such applications of the word in popular discourse on technology

seem to gesture toward a possible synthesis: new technologies are called “immersive” when they

389
James Tench, “Call of Duty 3,” archived by the Internet Archive, February 10, 2007, accessed January 24, 2014,
http://wayback.archive.org/web/20070210175825/http://www.plaingames.com/games/reviews/review.asp?id=215;
Stephan Mack, “Two Worlds,” archived by the Internet Archive, February 14, 2008, accessed January 24, 2014,
http://wayback.archive.org/web/20080214123805/http://www.plaingames.com/games/reviews/review.asp?id=241 .
390
Werner, "Call of Duty," accessed January 24, 2014,
http://www.christcenteredgamer.com/index.php/reviews/18-computer/5376-call-of-duty-modern-warfare-3 ;
Deepfreeze32, “The Wolf Among Us,” accessed January 24, 2014,
http://www.christcenteredgamer.com/index.php/reviews/18-computer/5603-the-wold-among-us-pc ; IBJamon, “The
Legend of Spyro: The Eternal Night,” accessed January 24, 2014,
http://www.christcenteredgamer.com/index.php/reviews/19-console/4943-the-legend-of-spyro-the-eternal-night-wii-
ps2 .
391
Tim Emmerich, "Exceptional Game List," accessed January 24, 2014,
http://www.graceworksinteractive.com/ShepStaff/exceptional.htm .

244
 interrupt the feedback loops through which humans find their place in the world, but obscure

those disruptions such that users continue to report full use of their faculties. At least to date, this

effect is only possible temporarily. A virtual reality helmet is a window when it is new, but it

becomes a blindfold when what it shows is no longer regarded as realistic. As technologies and

their accompanying rhetorics of immersion are replaced, new advertising and fan-speech across

successive generations promises immersion, pointing toward a future where no new replacement

will be necessary. In this way, something we might call “the Tron Ideology” has emerged as a

given within popular technological discourse: There is a place in the computer for us, and a new

interface will take us there soon.

These last two sections presented the story of a new conception of media emerging in

continuity with an older one. When cinema, the mainframe computer, and television took hold of

creative imaginations, stories began to present the ambivalent possibility that people would soon

go inside of the medium. Perhaps unsurprisingly, then, when personal computers became

increasingly popular, a new wave of media told similar stories. The difference, however, is that

the notion that we can, that we shall, even that we should go into the computer, has become a

relatively unified discourse on technology shared among theorists, technicians, and casual

computer gamers. The word “immersive” presently does much of the work that holds this field

together. Successive generations of computer technology enjoyed in this environment gesture

toward a future where we will finally go inside the computer. With this groundwork laid, we can

consider how Evangelical games do and do not reinforce the Tron Ideology.

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 Evangelical Disruptions to Immersion

As we saw in game review sites, Evangelical game critique frequently shares the

language and practice of immersion with its worldly counterparts. The Christian Developers

Network forums, for instance, use the word “immersive” over a hundred times to refer to

cutting-edge monitors, graphical engines, sound systems, and narrative styles. But, as with

game-violence there seems to be a second possibility flickering through Evangelical video

gaming. This section locates that possibility across the period of The Great Escape's emergence,

considering, first, that story's various strands, then three specific moments in Evangelical

computing that appeared in the years between its cartoon and video game versions.

In making Adventures in Odyssey: The Great Escape, the Evangelical parachurch media

empire Focus on the Family greatly resembles the characters Eugene and Geoffrey who make the

deceptive game-within-the-game (also called “The Great Escape Simulation”). This CD-ROM

game, based upon prior moralistic radio dramas and cartoons, cultivates a player who is both

Mandy and Michael, who desires entry into computers but regards them with suspicion. Notably,

Christian computing is not exempt from this ambivalence. Though the eponymous town of

Odyssey “has a small-town feel about it, and most folks there still live by the traditional values

that often characterize such places” – that is, though it is a fantasy of a space where organic

conservatism could flourish – the very popular Adventures in Odyssey radio show nonetheless

also presents it as a space where Evangelical Christians produce hyper-advanced technology to

forward the teaching of the gospel.392 The 1993 story “Into Temptation” introduced the Room of

392
For a list of inventions in the radio program, see Aoiwiki Contributors, “List of Inventions,” accessed January 24,
2014, http://www.aiowiki.com/wiki/Inventions ; Description quoted from Aoiwiki Contributors, “Odyssey,”
accessed January 24, 2014, http://www.aiowiki.com/wiki/Odyssey .
246
 Consequence specifically to show how dangerous Evangelical games could be if mismanaged.393

Despite his parents' exhortation that he not do so, Jimmy Barclay considered buying “the

ultimate portable action video game experience,” the “Mach-10 Bible action computer game.”

Mr. Whittaker, Adventure in Odyssey's central character, offered the Room of Consequence as a

device that “will let you play out the future,” and see what would happen if Jimmy made the

wrong decision. As we watch the tragic consequences of disobedience unfold, the show's moral

concerns are fairly unambiguous: Jimmy shouts, “I mean it is a BIBLE GAME!” to which

Whittaker's voice replies “That doesn't matter.”

The plot wherein the Room of Consequence became both the game apparatus and a

simulation of its own dangerous inner workings was first presented in the radio play “Gloobers”

(November 14, 1998), then again in the cartoon Escape from the Forbidden Matrix (2001).394 In

these cases the plot was almost identical to that later presented in The Great Escape, but the

games being played were not yet about computers themselves, and the time-leech was called

“Master Brain.” Also, the less adept second player was not yet feminized, though his hesitation

was absolutely consistent. Likewise, the ambiguation between the informatic and mechanical

strata of the computer was established in Gloobers where, already, the characters cannot stop

“playing the game from the inside” because of the “big drop to the keyboard.” And the moral

payload challenging the value of time spent immersed in video games was already established

here, before the message was carried by a video game: “You see, time is one of God's most

393
Aoiwiki Contributors, "Into Temptation," accessed January 24, 2014,
http://www.aiowiki.com/wiki/Into_Temptation .
394
Aoiwiki Contributors, “Gloobers,” accessed January 24, 2014, http://www.aiowiki.com/wiki/Gloobers .

247
 precious gifts. It is a shame to squander it on such frivolous activities as computer games. Of

course that doesn't mean you can't play computer games on occasion; the key is to master them

instead of letting them master you.”

Between the release of Escape from the Forbidden Matrix as a video and its playable

adaptation, The Great Escape, a few new pieces of digital Evangelical media offer compelling

extensions of this principle. Consider, for instance, Covenant Eyes, an online accountability

system launched in 2001, and “Fully recommended and endorsed by Focus on the Family.” To

quote their statement of purpose, “Job 31:1 states, 'I have made a covenant with my eyes.' It is

our stated purpose to provide a tool enabling Internet users to maintain that covenant, regardless

of whether their temptation is to pornography, gambling, or simply time spent on the Internet.”395

The software monitors users' internet activity and sends reports to the user's “accountability

partners.”

The model was soon imitated by other Evangelical services like Accountable2You

(2006), Safe Eyes (2006), and Saavi Accountability (2010), and whatever conclusions we draw

from these software will to some extent apply to similar software for other religious publics, like

WebChaver (2008) and Halal Gate (2008). Accountability services of this kind should not be

confused with content filtering services like Integrity Online and Safeplace.net presented in

chapter three. In fact, though both are operating properly when they are preventing users from

looking at pornography, in terms of immersion these two ranges of software are quite nearly

opposites. Whereas filters attempt to produce a seamless presentation of a clean Internet,

395
Covenant Eyes, “Purpose Statement,” archived by the Internet Archive, April 7, 2003, accessed March 8, 2014,
http://wayback.archive.org/web/20030407062654/http://www.covenanteyes.com/about.php .

248
 accountability software aims to disrupt the Internet experience by injecting the presence of an

extrinsic humanity.

In the five years we are considering here, 137 new Evangelical games were released and

most of them are not terribly forthcoming on the time-management principles they propose for

their users. There are two in particular, however, that gesture along the same line as the above

accountability software. First, Caught in the Web (Gibson Productions, 2002) is an interactive

fiction programmed using the Windows help file format, and packaged with a stand-alone die

rolling program.

Illustration 14: Caught in the Web

You are surfing the Internet when something quite remarkable and distressing happens to you. By
mistake you end up at a dark website called 'The Dark Druid' and, as you enter the page, you feel
yourself grow drowsy and your head slumps down onto the desk before your computer monitor.
Before you know it, you find yourself reappearing in cyberspace as a 'Cyber Spirit Warrior'.

Scenes alternate between those textually describing you trapped in a “small virtual prison

cell,” “a virtual dungeon,” or other online oubliettes, and those which use the help file format to

produce web-like pages for the player to click on directly. The image is a unified field of online

danger complete with pornography, gambling, and get rich quick schemes. In victory, you escape

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 from the Internet by assembling clues, and solving embedded jigsaw puzzles. In failure, the

player is forced to manually reset the game, staring at a screen with no links, options, or

narrative, just the words “The Dark Lord.”

A second resonant game bridging the adaptations of The Great Escape was in fact

published, as was that game, by Digital Praise. Light Rangers: Mending the Maniac Madness

(Digital Praise, 2005), is a cartoonish action game starring AJ, Angel and Amos, crime-fighting

child heroes whose secret base is hidden in the Angel Town Community Church. The game's

presentation of technology is crisply dichotomous. On one hand, the Rangers' mentor “Dr.

Goodman has designed all his villain-stopping gadgets in such a way that only those with a good

understanding of God's word can charge up their energy.” On the other hand, four villains are

using different technologies to control the minds of Angel Town's children. In three quadrants of

town, the no-ma-virus is making children disobedient, billboards are making them vain, and

robotic teddy bears are making them selfish. Though each of these demonstrate interesting fears

of the technological control of children, the toy factory relates most directly to the present

conversation. Here the villain Fast Forward is creating toys “programmed to say things that make

kids impatient.” The Light Rangers, however, cannot infiltrate the factory because “His

zoom-bots are way too fast” so, instead, the player controls Crash, the Light Rangers' robot. That

is to say, the digital can accelerate children until they cannot bear the slowness of analog life, but

it can also accelerate them so they can selectively dismantle those technologies from inside.

Here, solidly in 2005, the year The Great Escape was released as a video game against

the dangers of video games, we can consider how these Evangelical technologies might imply a

chronotope of immediacy that intersects that of immersion. As The Great Escape's story

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 developed, the medium of its transmission and the media it examined underwent a gradual

convergence. A vector from radio shows, to cartoons, to video games joined up with a vector

from out-game life with video games, to video games themselves, to video games about video

games. Quite unlike the progression of the Evangelical FPS in the preceding chapter, which

seemed to distance the player from his or her own conflicted interior, The Great Escape is a

video game that challenges the player's present playtime. The reminders about time-management

challenge the player to ask whether he or she should have done what it took to earn those

reminders.

The Evangelical games and Internet accountability software that appeared in the space

just before The Great Escape's convergence, some of which were connected to Adventures in

Odyssey by shared publishers and endorsements, show a similarly active ambivalence.

Accountability software facilitates counter-networks, inviting trusted humans to disrupt the

dangerous slickness of the Internet by using Internet. Likewise, Caught in the Web and Light

Rangers propose different dangers for their different playerships, but both the adults of the

former and the children of the latter are endangered by immersion. In both cases, the

technologies of enjoyment can either entrap users through time-distortion, or, if skillfully and

properly used, free them.

“Immersion” has several homophonic meanings, but in Evangelical and worldly game

critique it describes a specific chronotope, a time-space in which moving forward in time means

moving also into the computer's interior. Though Evangelical gaming frequently performs its

creativity in ways that match this chronotope, the subject of Evangelical computing is also

invested with a flickering potential that seems not to move forward in time, but more deeply into

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 the present. In Walter Benjamin's terms, Evangelical computing locates a messianic potential in

its users by situating them as “subject of a structure whose site is not homogenous empty time,

but time filled by the presence of the now [Jetztzeit].”396 Immersion is not something on the

horizon, but a present possibility and a potentially dangerous one. The player is addressed as

already inside the computer in some significant sense, but still able to receive messages that

remind him or her how precious time is. This is not time that moves forward at all, it is time in

the immediate.

The question, in this light, is not whether there will someday be computers large enough

for humans to fit into them entirely, but whether we shall allow ourselves to become small

enough to fit. There may someday be a culture whose members overwhelmingly accept

themselves as having only capacities that can be expressed digitally, and who contain those

capacities entirely within digital systems. The creation of such a world requires further expansion

of digital technology, and further reduction of our notion of the human. These might be

understood as the material practice implied by the chronotope of immersion.

As we move in this direction, there are new problems to address, problems that

Crockford’s reductio might productively help us designate “violence.” The parts of ourselves

that we locate inside of computers are subject to specific dangers not present in the analog world.

Consider webpages, for instance. While (one is tempted to say “because”) they are endlessly

reproduceable, they are also absolutely disposable. As of 2013, humans seem not to know, nor

have any way to reliably reconstruct, what the first webpages looked like in 1990. “We don’t

396
Walter Benjamin, “Theses on the Philosophy of History,” in Illuminations, trans. Harry Zohn, ed. Hannah
Arendt (New York: Schocken Books, 1968), 261.

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 really know what the first one looked like,” said Dan Noyes, a web manager at CERN. “It may

be impossible to get it back – it may be overwritten.”397

A shape of this principle particularly relevant to the present study would be the tendency

of Bible reading apps to delete all of a user’s notes when the software updates. Todd75238

complains of NIV Bible (2012, Tecarta), “This used to be a great app until they just couldn't leave

it alone. With a new update I have lost all my margin notes (tons of notes) and all my highlights.

The newest update was supposed to correct that but still can't find any of notes. They are

somewhere saved online, but how I get them back to my iPhone app I haven't figured out.”398

When this occurred on the GLO Bible app, a creation of “Immersion Digital,” CK complained “I

currently have lost trust and will now return to my faithful paper Bible with all of its notes,

highlights, and post-its.”399 The contrast between the physical and digital Bible resembles a

question of family-time presented by Covenant Eyes: “Are you less involved with your spouse or

friends because of your involvement with the Internet?”400

The subjects of immersion, should they ever exist, will be humans for whom violence

against their digital aspects will be understood as violence against their whole selves. We heard

fore-echoes of it in the prior chapter's closing, where the players of First-Person Shooters shout

397
John Murawski, "Hunt for the World's Oldest WWW Page Leads to UNC Chapel Hill," News & Observer May
24, 2013 http://www.newsobserver.com/2013/05/24/2915835/hunt-for-worlds-oldest-www-page.html .
398
Todd75238, comment on "NIV Bible (Tecarta): Customer Reviews," accessed January 24, 2014,
http://app-store.appspot.com/?url=viewContentsUserReviews%3FpageNumber%3D0%26type%3DPurple%2BSoft
ware%26id%3D310295776%26onlyLatestVersion%3Dtrue .
399
CK, comment on “Important Update for PC, Mac, iPad, and iPhone,” accessed January 24, 2014,
http://globible.com/blog/?p=1826&cpage=1#comment-59996 .
400
Covenant Eyes, “Danger Signs of Internet Addiction ,” archived by the Internet Archive December 11, 2001,
accessed March 8, 2014,
http://wayback.archive.org/web/20011211181344/http://www.covenanteyes.com/addictionsigns.php .
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 “Argh! I am dead again!” Or imagine the strange sentences people would say if Facebook were

to suddenly lose all of its data, “I have lost all of my friends,” “How am I supposed to remember

what I like?” But for now these are homophones for which we assume every computer user has

at least two meanings (“I don't mean I really died, I just died in the game”). The Tron Ideology

guides the emergence of a human for whom such words refer only to aspects of themselves fully

subject to the special vicissitudes of digital removal. And it seems there is a flickering possibility

within Evangelical media critique that conceives of the human as a being that does not move

forward in this way, but is invested, instead with precious immediacy.

We could propose several reasons for why Evangelicals seem to have a disruptive

attention to the immediacy of their computer interactions alongside the immersion they share

with the world. Perhaps successive generations of Christian computer users, each framing the

digital medium as temporary in comparison to the eternal message of the Bible – a contrast all

the more distinct when the computer carries the Bible – came to share a conception of the digital

as shallow waters and never grew entirely comfortable with the notion of immersion. Perhaps the

rival future of eternity in heaven has resonated powerfully alongside the emerging tales of

transhuman immersion, leaving fissures in the latter and preventing it from hardening into its

worldly form. Perhaps because Evangelical Christians have souls and they do not fit without

remainder into computers. It is hard to say, but we need not close our eschatological arrival in

the present with etiological myths.

What matters is that there is a difference here, a sense in which the human-computer

interfaith of Evangelical Christians cannot be equated with that of the world. As with “violence”

this difference is, again, an attention to computer users, even in their most dismissible moments,

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 as consequential moral agents. Even when they eagerly anticipate the next-generation game

consoles (and they often do), Evangelical Christians are sometimes called back to the present by

a voice that exists in a more deeply embedded now.

With respect to the chronotope of immersion, we might have closed this dissertation by

asking whether more and more convincing technologies of play will be applied by Evangelical

Christians in the future. It is fortunate that Evangelical media critique has demonstrated this to be

an inadequate frame for the time-space of technology, because instruments for measuring future

events are not amenable to academic citation. But to attend to the present, we might notice that

the massive spike in Evangelical game production that ended chapter three’s history seems to be

dominated by what are commonly referred to as “casual games,” games designed to host play

sessions potentially scalable down to a few minutes, or even a few seconds. In fact, though

“casual” was not yet a major genre designation among game critics, the online suites that

transform Evangelical gaming around the turn of the century tended to be quite “casual” as well.

Perhaps, finally, Evangelical casual play should not be hastily equated with its worldly

equivalent, nor only read as a result of ease of programming. Perhaps Evangelical games are

narrowing to become a film that the player can flit in and out of, always coming back, an

anti-immersive digital space that one plays to return from playing.

Conclusion

The future presents a horizon rolled up like a scroll. This chapter examined a curious

phenomenon, usually called “immersion,” wherein new digital media obscure their interruption

of the analog world such that humans say that they are inside those media. With successive

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 generations of digital media, this has developed into a worldly mythology that there is room for

us inside of the computer, and that some new interface will soon arrive to welcome us into it.

While “immersion” is an ideal shared by many Evangelical game designers and players, there

seems to be some significant dissonance within Evangelical gaming, much like the dissonance on

the problem of violence. Evangelical media production draws users back to the present, offering

an immediacy that complicates immersion.

As the dominant chronotope of unchallenged immersion continues to mobilize the

creation of new technologies, and an attendant humanity that increasingly comes to understand

themselves as potential inhabitants of the computer, the Evangelical attention to immediacy is

evocative. It is unlike the ambivalence that tends to accompany popular exuberance myths about

entry into one’s media (including recent health discourse concerning “unplugging”), because the

time retrieved has no future-directed purpose. This is not the time of health or efficiency. On one

hand, it seems to be unnecessary to even stop using the computer to experience this now-time,

but on the other, it creates a situation from which immersion becomes temporarily unthinkable.

Significantly, Evangelicals have forged this alternate relationship to the worldly chronotope of

digital progress, not despite but through their own digital projects.

We can anticipate the subjects of immersion, the humans who cannot imagine a part of

themselves that does not fit into a computer, but we cannot know whether they will ever arrive.

Should they eventually appear, it is difficult to predict how they might interface with Evangelical

Christianity. Christians may dedicate themselves to explaining that this full immersion is a

misconception, that the complete person has a significantly analog life, or they may cheerfully

embrace the subjects of immersion as potentially Christian people, extending current projects in

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 digital religion to meet the needs of an immersible humanity. Evangelicals have created a digital

culture that draws their own attention back to the present, to rediscover the urgent work of living

now, when humans are always still outside, and it makes the speculative futures of immersion

hard to tell. We can be certain, however, that should the subjects of immersion ever arrive, they

will have Bibles and religious games to instruct them.

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 Chapter 7

Conclusion:
The New Creation

“Everyone who competes in the games goes into strict training.

They do it to get a crown that will not last, but we do it to get a crown that will last forever.”
- I Corinthians 9:25 (NIV)

Illustration 14: Game Saved

Your grandmother's face is different in heaven. But then again, everything is different.

When you were a child, she gave you a toy rocket ship, and after she passed away it helped you

to remember her. Even when you became an adult, and an astronaut, you wore that toy rocket as

a necklace. You had it on when your real ship was struck by an asteroid. But it seemed to be

gone when your grandmother found you lying there – somehow – on the green grass of heaven.

She thought it was funny that you didn't recognize her perfected form.

In her new body and under her new name, Axis, your grandmother leads you to Christ's
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 Great Throne. She guides you through the golden streets, explains heaven's radiant machinery,

and shows you a modified Hebrew alphabet for solving puzzles. She walks on water and rides a

winged horse – anything she can do to bring you to Christ. Everything is glorious, and

everything is surprising.

….

Heaven: The Game (Genesis Works, 2009) is a particularly fitting beginning for our

parting reflections because it merges several different kinds of last-things, materials from the

book of Revelation, from science-fictional futures, and from personal reflections on human

mortality. Paul McCauley first registered www.lastdays.org in 1998 as an online ministry

focused on end-times preparation. Between then and his trademark on “Heaven: the Game” in

2002, several components of the final game seem to have already come together under the names

LD2, The Awakening and Heaven: Home of the Kings.401 Heaven's architectural style already

included golden towers, spinning rings, and a great gate like a single shimmering pearl, the roar

of the lions had already been recorded, the spaceship theme was established, and the face of your

angelic grandmother had already appeared, though it once belonged to “Trishal,” whose hair and

clothing were slightly different.402 But early promotional materials also describe scenes

featuring a “Book of Life,” and “Marriage Supper,” neither of which arrived in the final game.403

These might appear in McCauley's later games, or they may vanish entirely. At present, we are

401
Last Days.org, “LD2: Music Internet Video,” archived by the Internet Archive, May 1, 2002, accessed March 14,
2014, http://wayback.archive.org/web/20020501115907/http://www.lastdays.org/ld2lowt.htm .
402
Heaven the Game, “Enter,” archived by the Internet Archive, October 17, 2002, accessed March 14, 2014,
http://wayback.archive.org/web/20021017103929/http://www.heaventhegame.com/ .
403
Heaven the Game, “Time Dome,” archived by the Internet Archive, October 24, 2002, accessed March 14, 2014,
http://wayback.archive.org/web/20021210220305/http://heaventhegame.com/timedomet.htm .

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 almost a year past the promised release date for Journey to Heaven, but this may not mean

anything. Heaven itself was promised for six years before players could access its “World

Immersion Technology.”404

Heaven: The Game thus reminds us that our visions of things to come are tangled up with

the present from which we view them. To see what is coming changes us, and as we change so

too does our vision of the future. McCauley’s vision of Heaven bears bright marks of his own

milieu, but this is harmonious with his intent to deploy visions of the future in saving souls now.

My own present task lacks these dramatic stakes, but it is structurally similar. I must now

consider what will come after a study from which I have not yet extricated myself. To envision a

horizon beyond the present text mobilizes conclusion, but it seems we must move forward

through recapitulation.

This study began by situating religious video games within Karen Barad's objective

realist ontology, discovering the “digital,” “religious,” and “playful” as relational dynamics

rather than fields of objects. Each of these came to resemble an involution at a border of

humanity – with algorithms, non-human agents, or playthings, respectively – and the religious

video game, as located though all three, was discovered to be a site of extraordinary liveliness.

We then began to clarify this study's particular object by considering the stakes of gaming for

Evangelical Christianity. Evangelicals share a media project in that they seek to draw people out

from the world and organize their lives around the Bible and the Cross, conducting this work

through any medium that will sustain it. But this requires Evangelical media criticism to discern

404
Genesisworks LLC, “What is Heaven?” archived by the Internet Archive April 5, 2013, accessed March 14, 2014,
http://wayback.archive.org/web/20130405055943/http://www.heaventhegame.com/

260
 which part of any given cultural form can transmit the Gospel, and which part must be discarded.

Evangelical media criticism encounters the video game through two very different tensions that

add up to more than a single whole. The first project, the human-computer interfaith, extends far

beyond nameable religions and helps us understand what Evangelical creativity can tell us about

the religious dynamics of digital culture more generally. The second project, spiritual warfare,

helped us to grasp the specificity of Evangelical media, not only as the engagement of different

cultures, but of different creatures. On one side, Evangelical video games negotiate what it

means to live among the digital, and on the other they negotiate what it means to live among the

demonic.

The following pair of chapters then offered historical specificity for this engagement’s

halves. First, the work of religious game creation and critique in ongoing negotiations between

computers and communities of faith was further clarified through a full history of digital

religion. I explained how I located 773 religious games released between 1982 and 2010, and

presented that list’s four major curves as an interference pattern produced by other technocultural

phenomena like changes in licensing, the creation of new systems of distribution, and shifting

Internet cultures. The three decades of digital religion before religious games set the stage for

their emergence by showing how computers first entangled with religious communities, and

recent app based computing granted them a dramatic finale, skyrocketing beyond this study’s

capacity.

Spiritual warfare was then clarified through an exploration of the place of Evangelical

Christianity in the game-violence debates. This chapter found that criteria for identifying

game-violence are largely shared by Evangelical Christian critique and its worldly parallel:

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 “blood and gore,” cutting edge technologies of photorealism, and presumed imitability. Worldly

media, however, orient the problem with game-violence as a consequentialist matter, working

primarily to prevent murder and its attendant litigation, while Evangelical media critique

contributes the additional possibility of treating the player-in-play as a significant moral agent.

In response to video arcades, the appearance of “Full Motion Video” in games, and the

Columbine massacre, Evangelical critique consistently disrupts their own agreement with

worldly understandings of violence by refusing to accept out-game shooting as the only

meaningful danger of games. This flickering further possibility of critique created room for what

we might call sacred play, and after theorizing it through Walter Bejnamin’s “Critique of

Violence,” I devoted the following chapter to tracing one vector of its historical transformation.

A focused examination of Evangelical First-Person Shooters demonstrated that both

demons and the ritual practices of video game nonviolence are in constant motion. Six

successive First-Person Shooters stage conflict against demons who relate variously to the

player’s own moral terrain. Taken as a series, these games seem to other the demons further and

further, moving them from positions wherein they can entice the player to make mistakes and

face the consequences, to locations where they can only serve as villains without motives. I did

not attempt to explain the sudden (and now decade-long) vanishing of the Evangelical FPS, but I

shared my experiences in First-Person Shooting at the Christian Game Developers Conference to

frame a closing possibility that these games may have been replaced by an emerging mode of

sacred play that extends into worldly shooters.

Rather than closing with predictions for the future of Evangelical gaming, my study

instead closed with some specific reflections on how Evangelical gaming might relate to futures

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 as such. As Evangelical and worldly media critique had tended to agree on the referent of

“violence,” but not on its importance, so too do these fields of critique tend to use the word

“immersive” to describe a progressive tendency of users being further and further brought inside

computers, but Evangelical media critique seems to present a variant temporality that injects

caution into our understanding of the process. Examining Evangelical games alongside Internet

accountability software, I presented the possibility that, again, Evangelical critique contains a

possibility for considering human-computer interactions in the present that disrupts future driven

worldly understandings. An attention to the player's present seems to disrupt any approach to an

immersed future.

Where to Go From Here

To return again to the vision of Heaven above, I offer a “save game” screen because, of

the various kinds of ending video games offer, these greatly resemble the ideal conclusion for a

study of this sort. Digital religion is a field in motion, and Evangelical video gaming shows no

sign of losing its place as one of digital religion’s most vibrant ranges of creativity. This

summary seems to be neither an unqualified defeat (“Game Over”), nor a conclusive victory

(“The End”), but a pause where we can record our progress, a place to begin again later. The

saved game is a place to which we can return.

What, then, are the affordances of a study of this sort? What can one do with it? It

depends, I suppose, which parts one interacts with and how. Some elements are relatively

detachable, while others could only be extracted in connection with their various examples,

arguments, and puns. Immediately after this concluding chapter, for instance, my table of

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 religious video games presents the most comprehensive vision of this field yet complied, and I

formatted it specifically for easy portability. I hope someone tries simply offering the list to

undergraduates stumped for research topics. On the other hand, I expect “Crockford’s Reductio”

would help scholars of game-violence understand the debates, but I would recommend that one

let the phrase pack some context when it travels, lest it arrive sounding like frivolous, if poetic,

bitterness. In either case, the dearth of attention that has been paid to religious video gaming thus

far is surprising, and I hope this dissertation will help to attract that attention, and perhaps even

help to focus it in valuable directions. I will close, then, with four possibilities for how this

material might be well extended into later studies.

Evangelical media critique is complex and in constant motion. The traction it provides

against worldly media critique, including our own as scholars of religion, merits further

appreciation. Like the chapters above examining different applications of “violence” and

“immersion,” future studies would do well to consider other matters of concern around which

Evangelical critique clusters. Studies of how Evangelical games negotiate the meaning of “sex,”

for instance, could examine song selections in Christian dance-pad games, and draw findings

into conversation with material cultural artifacts like purity rings, and finally even bodily

structures, and comportments. A study of “occultism,” likewise, might examine Evangelical

alternatives to Role-playing games like the Forgiveness trilogy, or situate Spiritual Warfare and

Axys Adventures as specific responses to the Legend of Zelda series, but it could then tie these to

the religious debates surrounding Harry Potter, Dungeons & Dragons, and the Ouija Board.

But this study also hopes to inspire focused research projects running parallel to this one,

outside of the Evangelical counterpublic. A thorough examination of Jewish or Muslim games,

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 for instance, would be particularly valuable, and the appendix to this study would provide

hundreds or dozens of case studies, respectively. Traditions like Yoga, Tarot, and Mormonism,

because their game creation has been relatively limited, have not even received the scant

scholarly attention that has been paid to the larger gaming cultures, and the instances I found

could easily ground a chapter in a larger study of these religions’ various digital explorations.

Though this dissertation focused on religious traditions, further, I also attempted to gesture

toward other phenomena in the broader nebula of religious activity unmoored to religions: The

travels of sometimes-sacred materials like crosses and pentagrams outside of religious

playerships would be immense, but rewarding. In particular, concerted studies of blasphemy and

fantasy in video games would allow us to speak with new clarity on practices of

meaning-making and meaninglessness in contemporary play.

As two final possibilities for future research, I would like to recommend experience-near

experiments in digital religion. I was asked several times, as I conducted this study, whether I

was going to set up situations in which I could observe people playing Christian games. The

short answer is that I did, but I situated my findings as background information. In the end, I

applied my own experience of play as a necessary part of the research apparatus and

contextualized myself among the ghostly players implied by published accounts, and by the

games themselves. I adopted this tact because, early in my research process, I taught a course on

“Religious Games and Sacred Play” in which I invited all of the undergraduate participants to

play religious games and document their experiences. I learned from this work that researching

particular instances of play requires methods almost wholly incompatible with the cultural

history I hoped to perform. In the context of the classroom, the students encountered the games

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 as exercises rather than as evangelism or entertainments, and their descriptions of play reflected

this, but their descriptions were also brilliantly perverse and particular, reflecting biographical

specifics that I was not equipped to contextualize. No player can stand in for any other. To

understand players instead of games, scholars would have to apply intensive psychological

attention to specific people, or ethnographic attention to particular communities. What is needed

is the opposite of the laboratory studies that reduce children to abstract quanta of potential

violence. Inspired by the attention that Evangelical critique directs toward them, scholars whose

disciplines specialize in such things would do well to perform intimate studies of players-at-play.

But the study which I most hope follows the present one would be a more personally

opinionated academic study, perhaps like Andrew Beaujon's Body Piercing Saved My Life.405 As

a music critic, he crafted his study of Evangelical popular culture from an academic margin that

both demanded historical rigor, and offered space for nuanced reflections on his own enjoyment

of, and frustration with, Christian rock music. I have argued that video games are a special sort

of software primarily because they mobilize play, and a study that centers the writer's own

jouissance while engaged with religious games would reveal a great deal. Though I suspect that I

will not write it, I hope someday to read an autoethnography in which the author undergoes

religious conversion through engagement with digital religion. On which note, though I have

shared some specific moments of joy, confusion, and moral perplexity, this dissertation avoided

any general statement on whether Evangelical video games are enjoyable. So, in closing, yes,

some of them are wonderful, unforgettably good games. And all of them are surprising.

405
Andrew Beaujon, Body Piercing Saved My Life (Cambridge, MA: Perseus, 2006).

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 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Computer Bible Games 1982 Christian / Biblical BASIC BibleBytes

1
http://www.computerscienceforkids.com/Pages/BibleGamesHistory.aspx
Family Bible Fun:
1982 Christian / Biblical Atari 400/800 Homecomputer Software Inc.
2 Book of Acts I
http://www.atarimania.com/game-atari-400-800-xl-xe-family-bible-fun-book-of-acts_13319.html
Family Bible Fun:
1982 Christian / Biblical Atari 400/800 Homecomputer Software Inc.
3 Great Men
http://www.atarimania.com/game-atari-400-800-xl-xe-family-bible-fun-great-men-of-the-bible_13318.html
Family Bible Fun:
1982 Christian / Biblical Atari 400/800 Homecomputer Software Inc.
4 Great Women
http://www.atarimania.com/game-atari-400-800-xl-xe-family-bible-fun-great-women-of-the-bible_13317.html
Family Bible Fun:
1982 Christian / Biblical Atari 400/800 Homecomputer Software Inc.
5 Know Your Bible I
http://www.atarimania.com/game-atari-400-800-xl-xe-family-bible-fun-know-your-bible-i_13316.html
Family Bible Fun:
267

1982 Christian / Biblical Atari 400/800 Homecomputer Software Inc.

6 Know Your Bible II
http://www.atarimania.com/game-atari-400-800-xl-xe-family-bible-fun-know-your-bible-ii_13315.html
Family Bible Fun:
1982 Christian / Biblical Atari 400/800 Homecomputer Software Inc.
7 Life of Christ I
http://www.atarimania.com/game-atari-400-800-xl-xe-family-bible-fun-life-of-christ-i_13314.html
Family Bible Fun:
1982 Christian / Biblical Atari 400/800 Homecomputer Software Inc.
8 Life of Christ II
http://www.atarimania.com/game-atari-400-800-xl-xe-family-bible-fun-life-of-christ-ii_13313.html
Family Bible Fun:
1982 Christian / Biblical Atari 400/800 Homecomputer Software Inc.
9 Life of David
http://www.atarimania.com/game-atari-400-800-xl-xe-family-bible-fun-life-of-david_13312.html
Family Bible Fun:
1982 Christian / Biblical Atari 400/800 Homecomputer Software Inc.
10 The Patriarchs
http://www.atarimania.com/game-atari-400-800-xl-xe-family-bible-fun-the-patriarchs_13311.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Family Bible Fun:The Prophets 1982 Christian / Biblical Atari 400/800 Homecomputer Software Inc.
11
http://www.atarimania.com/game-atari-400-800-xl-xe-family-bible-fun-the-prophets_13310.html
The Great Gospel Game 1982 Christian / Biblical Atari 400/800 Endehl Public Domain Software
12
http://www.atarimania.com/game-atari-400-800-xl-xe-great-gospel-game-_20040.html
Christian
Pax Man 1982 VIC 20 Brother Tobias Stanislaus
13 (Episcopalian)
http://books.google.com/books?id=FzAEAAAAMBAJ&lpg=PP1&pg=PA15
Children's Bible Quiz 1983 Christian / Biblical Atari 400/800 Moses Engineering
14
http://books.google.com/books?id=40a5AAAAIAAJ&q=%22moses+engineering%22
Music Machine 1983 Christian / Biblical Atari 2600 Sparrow
15
https://atariage.com/software_page.html?SoftwareLabelID=321
268

Bible Baseball 1983 Jewish Apple II Davka Software

16
http://bjpa.org/Publications/downloadPublication.cfm?PublicationID=3591
Brachot Boxes 1983 Jewish Atari 800 Davka Software
17
http://bjpa.org/Publications/downloadPublication.cfm?PublicationID=3591
Catch a Hamantash 1983 Jewish Apple II Davka Software
18
http://bjpa.org/Publications/downloadPublication.cfm?PublicationID=3591
Game of the Macabees 1983 Jewish Atari 800 Davka Software
19
http://bjpa.org/Publications/downloadPublication.cfm?PublicationID=3591
Israel Geography Game 1983 Jewish Atari 800 Davka Software
20
http://bjpa.org/Publications/downloadPublication.cfm?PublicationID=3591
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Purimaze 1983 Jewish Apple II Davka Software

21
http://bjpa.org/Publications/downloadPublication.cfm?PublicationID=3591
Samson and Delilah 1983 Jewish Commodore 64 The Software Group
22
http://www.lemon64.com/?mainurl=http%3A//www.lemon64.com/games/details.php%3FID%3D4152
The Game of Jericho 1983 Jewish Atari 400/800 Davka Software
23
http://www.atarimania.com/game-atari-400-800-xl-xe-game-of-jericho-_2157.html
The Lion's Share 1983 Jewish Apple II Davka Software
24
http://www.retrogames.co.uk/036052/Other-Formats/The-Lions-Share-by-Davka-Corporation
The Philistine Ploy 1983 Jewish Apple II Davka Software
25
http://www.lysator.liu.se/adventure/Davka.html
The Party Quiz Game:
269

1984 Christian / Biblical Atari 400/800 Suncom

26 Bible Edition
http://www.atarimania.com/game-atari-400-800-xl-xe-pq-the-party-quiz-game-bible-edition-1_3892.html
Crumb Chaser 1984 Jewish Commodore 64 Davka Software
27
http://www.commodore.ca/gallery/magazines/ahoy/Ahoy-issue-08.pdf
Search for Your
1984 Jewish Commodore 64 Davka Software
28 Israeli Cousin
http://archive.org/stream/run-magazine-16/Run_Issue_16_1985_Apr_djvu.txt
Mom and Me 1985 Jewish Atari ST Just For You, Inc.
29
http://wayback.archive.org/web/20110914071220/http://www.asterius.com/atari/pdf/catalog-1986-q2.pdf
Murray and Me 1985 Jewish Atari ST Just For You, Inc.
30
http://wayback.archive.org/web/20110914071220/http://www.asterius.com/atari/pdf/catalog-1986-q2.pdf
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Bible-Q 1986 Christian / Biblical DOS Wisdom Research

31
http://cd.textfiles.com/pcsig08/601_700/DISK0628/BIBLEQ.DOC
Christian Text Adventure #1 1986 Christian / Biblical DOS Bob Nance
32
http://wayback.archive.org/web/20111012231126/http://www.wurb.com/if/game/53
Moses:
1987 Christian / Biblical DOS Three Rivers Software
33 Old Testament Text Adventure #1
http://www.mobygames.com/game/moses-old-testament-adventure-1
Computer Bible Games
1989 Christian / Biblical BASIC BibleBytes
34 Book 3
http://www.computerscienceforkids.com/Pages/ComputerBibleGamesBook3.aspx
Destiny 1989 Christian / Biblical DOS PC-Sig
35
http://cd.textfiles.com/pcsig08/1301_400/DISK1327/FILE1327.TXT
270

Heather's Easter Egg Hunt 1989 Christian / Biblical DOS Ginnie and Tom Reynolds
36
http://wayback.archive.org/web/20110701141416/http://wurb.com/if/game/75
Taboo: The Sixth Sense 1989 Christian / Biblical NES Tradewest
37
http://www.mobygames.com/game/nes/taboo-the-sixth-sense
Christian
Nephi's Quest 1990 DOS TechnoCrafts Unlimited Inc.
38 (LDS)
http://www.mobygames.com/game/nephis-quest
NES / DOS / Sega
Bible Adventures 1991 Christian / Biblical Wisdom Tree
39 Genesis
http://www.wisdomtreegames.com/games/bibleadv/
Exodus: NES / DOS / Sega
1991 Christian / Biblical Wisdom Tree
40 Journey to the Promised Land Genesis
http://www.wisdomtreegames.com/games/exodus/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

King of Kings:
1991 Christian / Biblical NES Wisdom Tree
41 The Early Years
http://www.wisdomtreegames.com/arcadeking.html
Moses: Bound for
1991 Christian / Biblical CDi Interlight Productions, Inc.
42 the Promised Land
http://www.mobygames.com/game/cd-i/moses-bound-for-the-promised-land
Noah's Ark 1991 Christian / Biblical CDi Interlight Productions, Inc.
43
http://www.mobygames.com/game/cd-i/noahs-ark
Panoplia:
1991 Christian / Biblical DOS Choice Software
44 The Full Armor of God
http://www.mobygames.com/game/panoplia-the-full-armor-of-god
Paul's First Journey 1991 Christian / Biblical DOS RMC Software
45
http://cd.textfiles.com/psl/pslv2nv08/FILESBBS/BIZ_DOS/RELIGION.BBS
271

Bible Builder 1992 Christian / Biblical DOS Everbright

46
http://www.hotud.org/component/content/article/47-education/22146
David and Goliath 1992 Christian / Biblical CDi Interlight Productions, Inc.
47
http://www.mobygames.com/game/david-and-goliath
Defender of the Faith 1992 Christian / Biblical DOS Solid Rock (David Gosset)
48
http://www.hotud.org/component/content/article/43-action/22760
Gold Mine 1992 Christian / Biblical DOS Castle Enterprises
49
http://web.archive.org/web/20000201060412/http://www.castle-ent.com/coffee3.html
Joshua: NES / DOS / Sega
1992 Christian / Biblical Wisdom Tree
50 Battle of Jericho Genesis
http://www.wisdomtreegames.com/games/joshua/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Moses: The Exodus 1992 Christian / Biblical CDi Interlight Productions, Inc.
51
http://www.mobygames.com/game/cd-i/moses-the-exodus
Noah's Ark 1992 Christian / Biblical Windows / Mac Wisdom Tree
52
http://www.wisdomtreegames.com/games/noahsark/
Onesimus:
1992 Christian / Biblical Windows Ark Multimedia Publishing
53 A Quest for Freedom
http://www.mobygames.com/game/onesimus-a-quest-for-freedom
NES / DOS / Sega
Spiritual Warfare 1992 Christian / Biblical Wisdom Tree
54 Genesis
http://www.wisdomtreegames.com/games/spiritualwarfare/
The Story of Jonah 1992 Christian / Biblical CDi Interlight Productions, Inc.
55
http://www.mobygames.com/game/story-of-jonah
272

The Story of Samson 1992 Christian / Biblical CDi Interlight Productions, Inc.
56
http://www.mobygames.com/game/cd-i/story-of-samson
Words of Jesus 1992 Christian / Biblical DOS Testament Software
57
https://archive.org/details/WordsofJesus_1020
Hebrew: Divide and Conquer 1992 Jewish Apple II Davka Software
58
http://www.worldcat.org/title/hebrew-divide-conquer/oclc/32877972
Jerusalem Stones 1992 Jewish Windows Davka Software
59
http://www.thejewisheye.com/pack2.html
Assorted Trivia 1993 Christian / Biblical DOS Genesoft
60
http://cd.textfiles.com/psl/pslv2nv07/FILESBBS/GAMES/DOS/TRIVIA.BBS
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Bcryp 1993 Christian / Biblical DOS Jim Fox

61
http://cd.textfiles.com/sv/svgold/TEXT/DIR19
Bible Book Scrambles 1993 Christian / Biblical DOS Dale Heinold
62
http://cd.textfiles.com/psl/psl9312/REVIEWS/CH_03
Bible Buffet 1993 Christian / Biblical NES Wisdom Tree
63
http://www.wisdomtreegames.com/arcadebb.html
Bible in Mind 1993 Christian / Biblical DOS Reno Proulx
64
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
Bible IQ Challenge 1993 Christian / Biblical DOS R. K.West Consulting ASP
65
http://cd.textfiles.com/psl/psl9312/REVIEWS/CH_03
273

Bible Jigsaw 1993 Christian / Biblical DOS Dale Heinold

66
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
Bible Jumbles 1993 Christian / Biblical DOS Jerry D. King
67
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
Bible Mixer 1993 Christian / Biblical DOS Affordable software
68
http://cd.textfiles.com/psl/psl9312/REVIEWS/CH_03
BibleMen 1993 Christian / Biblical DOS Byxbe, Ronald B. ASP
69
http://cd.textfiles.com/psl/psl9312/REVIEWS/CH_03
Church Works 1993 Christian / Biblical DOS Software Sharing Ministries
70
http://cd.textfiles.com/psl/psl9312/REVIEWS/CH_03
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Jesus Matchup 1993 Christian / Biblical DOS Godly Games

71
http://www.godlygames.com/software/dosfreeware.htm
Multiple Choice Challenger 1993 Christian / Biblical DOS Useful Software Systems
72
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
Sunday School Colors 1993 Christian / Biblical Windows Randall Alaimo
73
http://thelutheran.net/christmas/children.htm
The Pesach Adventure 1993 Jewish DOS Avi Gobbler Productions
74
https://archive.org/details/ThePesachAdventure_1020
Animated New Testament 1994 Christian / Biblical DOS Tom IV Guthery
75
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
274

Bible Books 1994 Christian / Biblical DOS Bible Games

76
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
Bible Logic 1994 Christian / Biblical DOS Wisdom Research
77
http://cd.textfiles.com/goldmedal/volume3/ALLFILES/RELIGION.BBS
Bible Super Games 1994 Christian / Biblical Windows Bob Thompson
78
http://web.archive.org/web/20020202033226/http://www.biblepuzzlepro.com/history.htm
Captain Bible in
1994 Christian / Biblical DOS Bridgestone Multimedia Group
79 Dome of Darkness
http://www.mobygames.com/game/dos/captain-bible-in-the-dome-of-darkness
Church Games IV 1994 Christian / Biblical DOS Software Sharing Ministries
80
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Forerunners 1994 Christian / Biblical DOS Godly Games

81
http://www.godlygames.com/software/dosfreeware.htm
In Christ 1994 Christian / Biblical DOS Godly Games
82
http://www.godlygames.com/software/dosfreeware.htm
King's Glory 1994 Christian / Biblical DOS Godly Games
83
http://www.godlygames.com/software/dosfreeware.htm
Kingdom Keys 1994 Christian / Biblical DOS Godly Games
84
http://www.godlygames.com/software/dosfreeware.htm
Men of Renown 1994 Christian / Biblical DOS Integrity Software
85
https://archive.org/details/MenofRenown_1020
275

New Testament Quizzler 1994 Christian / Biblical DOS Lawrence Truett

86
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
Proverbs of Solomon 1994 Christian / Biblical DOS Philip Kapusta
87
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
Rhema 1994 Christian / Biblical DOS Godly Games
88
http://www.godlygames.com/software/dosfreeware.htm
Sanctified Scrolls 1994 Christian / Biblical DOS Godly Games
89
http://www.godlygames.com/software/dosfreeware.htm
SNES/
Super 3D Noah's Ark 1994 Christian / Biblical Wisdom Tree
90 DOS
http://www.wisdomtreegames.com/games/super3dnoahsark/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Sword of the Spirit 1994 Christian / Biblical DOS Godly Games

91
http://www.godlygames.com/software/dosfreeware.htm
Sword of the Spirit 2 1994 Christian / Biblical DOS Godly Games
92
http://www.godlygames.com/software/dosfreeware.htm
Swordmaster 1994 Christian / Biblical DOS Capstone Software
93
http://cd.textfiles.com/psl/pslv2nv08/FILESBBS/BIZ_DOS/RELIGION.BBS
Three Fold 1994 Christian / Biblical DOS Godly Games
94
http://www.godlygames.com/software/dosfreeware.htm
Tidbit Bible Trivia 1994 Christian / Biblical DOS Matthew Fecher
95
http://cd.textfiles.com/beachware/DOSGAMES/TRIVIA/CGABIBLE/README.TXT
276

Acts of the Apostles 1995 Christian / Biblical DOS Philip Kapusta

96
http://www.scovetta.com/archives/nightowl/nopv20/050A
Adventure Bible Handbook:
1995 Christian / Biblical Windows Zondervan
97 The Rescue
http://www.amazon.com/The-Rescue-Zondervan-Publishing/dp/0310204739
Adventures in the Old Testament 1995 Christian / Biblical DOS Stacy Mueller
98
http://cd.textfiles.com/psl/pslv3nv04/DOS/RELIGION/FILES.BBS
Animated Old Testament 1995 Christian / Biblical DOS Tom IV Guthery
99
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
Bible Concentration 1995 Christian / Biblical DOS SONsoft
100
http://cd.textfiles.com/psl/pslv3nv10/DOS/RELIGION/files.bbs
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Bible Crossword Puzzles 1995 Christian / Biblical DOS Philip Kapusta

101
http://cd.textfiles.com/psl/pslv3nv05/DOS/RELIGION/FILES.BBS
Bible Marathon 1995 Christian / Biblical DOS Melvin E. Chasteen
102
http://cd.textfiles.com/teacher2000/MSDOS/RELIGION/FILES.BBS
Every Good Gift 1995 Christian / Biblical DOS Godly Games
103
http://www.godlygames.com/software/dosfreeware.htm
Fruit of the Spirit 1995 Christian / Biblical DOS Godly Games
104
http://www.godlygames.com/software/dosfreeware.htm
Here a Little, There a Little 1995 Christian / Biblical DOS Philip Kapusta
105
http://cd.textfiles.com/jcs/bestbestzips/HTML/10430/HAL.HTM
277

Jonah 1995 Christian / Biblical DOS Godly Games

106
http://www.godlygames.com/software/dosfreeware.htm
Kids' Bible Quiz 1995 Christian / Biblical DOS Rev. Thomas O. Scarborough
107
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
King James Quest 1995 Christian / Biblical DOS Randall Alaimo
108
http://cd.textfiles.com/aspcd9605/PROGRAMS/RELIGION/FILES.DOS
Questions from the Bible 1995 Christian / Biblical DOS Philip Kapusta
109
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
Scrypt-o-grams 1995 Christian / Biblical DOS H. F. Buerer
110
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Sunday Funday 1995 Christian / Biblical NES Wisdom Tree

111
http://www.wisdomtreegames.com/arcadesundayf.html
The Fall of Jericho 1995 Christian / Biblical DOS Sonsoft
112
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
The Little King:
1995 Christian / Biblical Windows King's Crown Games
113 The Story of the Nativity
http://wayback.archive.org/web/20070427180734/http://www.kingscrowngames.com/
Versequest 1995 Christian / Biblical DOS ATS Software
114
http://web.archive.org/web/19970412124404/http://clcoc.simplenet.com/games.htm
Where's Noah? 1995 Christian / Biblical Windows SONsoft
115
http://cd.textfiles.com/psl/pslv3nv10/DOS/RELIGION/files.bbs
Noah and
278

1995 Jewish Windows Davka Software

116 The Rainbow
http://huc.edu/tartak/guide/SoftwareHJ.pdf
Bible Grand Slam 1996 Christian / Biblical Windows Sunday Software
117
http://www.sundaysoftware.com/grandslam.htm
Bible Puzzle Pro 1996 Christian / Biblical Windows Bob Thompson
118
http://web.archive.org/web/20020202033226/http://www.biblepuzzlepro.com/history.htm
Bible Wonders 1996 Christian / Biblical Windows Adaptive Systems
119
http://www.worldcat.org/title/bible-wonders-a-game-of-bible-knowledge/oclc/49282237
Big Genius Bible Trivia 1996 Christian / Biblical Windows King's Crown Games
120
http://wayback.archive.org/web/20070427180734/http://www.kingscrowngames.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Crossing the Red Sea 1996 Christian / Biblical Windows H. F. Buerer

121
http://cd.textfiles.com/psl/pslv4nv09/FILES.BBS
Grape Vine 1996 Christian / Biblical DOS Philip Kapusta
122
http://cd.textfiles.com/psl/pslv4nv11/HOME/DOS/BIBLE_GA.TXT
Noah's Ark 1996 Christian / Biblical Windows Family Interactive
123
http://www.worldcat.org/title/noahs-ark-version-103/oclc/52982577&referer=brief_results
Scripture Challenge 1996 Christian / Biblical Windows Philip Kapusta
124
http://cd.textfiles.com/jcs/bestbestzips/HTML/10430/CHALL.HTM
The New World:
1996 Christian / Biblical Windows King's Crown Games
125 The Story of Creation
http://wayback.archive.org/web/20070427180734/http://www.kingscrowngames.com/
279

Ami: My People 1996 Jewish Windows Melitz

126
http://www.sites.huji.ac.il/melton/cdmelt.html
Gemara Tutor 1996 Jewish Windows Torah Educational Software
127
http://www.worldcat.org/title/gemara-tutor-technology-for-learning-gemara/oclc/741057223
Hanukkah Activity Center 1996 Jewish Windows Davka Software
128
http://www.worldcat.org/title/hanukkah-activity-center/oclc/35901602&referer=brief_results
Hebrew Game Time 1996 Jewish Windows Davka Software
129
http://www.davka.com/cgi-bin/cgi-bin/product.cgi?product=235
Mitzva Man 1996 Jewish DOS Torah Educational Software
130
http://wayback.archive.org/web/20050224002130/http://www.jewishsoftware.com/products/107.asp
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Search for Your Israeli Cousin II:
1996 Jewish Windows Davka Software
131 Global Quest
http://www.att.org/pages/judaic_software_page/108.php?cid=253
The Hannukah House 1996 Jewish Online Zig Zag Inc.
132
http://www.zigzagworld.com/hh/
Why Don't Zebras Play Chess 1996 Jewish Online Zig Zag Inc.
133
http://www.zigzagworld.com/zebraChess/
American Indian Tarot 1996 Occult Windows Dr. Scott Swanson
134
http://cd.textfiles.com/psl/pslv5nv04/HTML/1HO.HTM
Egyptian Tarot 1996 Occult Windows Dr. Scott Swanson
135
http://cd.textfiles.com/psl/pslv5nv04/HTML/1HO.HTM
280

Rider Tarot 1996 Occult Windows Dr. Scott Swanson

136
http://cd.textfiles.com/aspcd9606/PROGRAMS/RELIGION/FILES.WIN
Heavenword Children's Bible 1997 Christian / Biblical Windows HeavenWord
137
http://web.archive.org/web/19980203124218/http://www.heavenword.com/cb.html
Jezus Messias 1997 Christian / Biblical Cdi/ Windows Zoutewelle Multimedia
138
http://www.mobygames.com/game/jezus-messias
Life's Battle 1997 Christian / Biblical DOS Hummer Software
139
http://web.archive.org/web/20011020123211/http://hummersoftware.com/about.html
Time Travelers:
1997 Christian / Biblical Windows Standard Publication Company
140 Explore the Bible
http://www.amazon.com/The-Time-Travelers-Explore-Bible/dp/555937315X
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Aleph Bet
1997 Jewish Windows Davka Software
141 Schoolhouse II
http://huc.edu/tartak/guide/SoftwareHJ.pdf
Aleph Bet Puzzle 1997 Jewish Online Nurit Reshef
142
http://web.archive.org/web/20060813224604/http://www.bus.ualberta.ca/yreshef/funland/funland.html
Bible Quiz 1997 Jewish Windows Computronic
143
http://www.allgame.com/game.php?id=29103
Bible Trivia 1997 Jewish Online Nurit Reshef
144
http://web.archive.org/web/20060813224604/http://www.bus.ualberta.ca/yreshef/funland/funland.html
Hangduke 1997 Jewish Online Nurit Reshef
145
http://web.archive.org/web/20060813224604/http://www.bus.ualberta.ca/yreshef/funland/funland.html
281

Hebrew Picture Game 1997 Jewish Online Nurit Reshef

146
http://web.archive.org/web/20060813224604/http://www.bus.ualberta.ca/yreshef/funland/funland.html
Israel's Map
1997 Jewish Online Nurit Reshef
147 (and other Puzzles)
http://web.archive.org/web/20060813224604/http://www.bus.ualberta.ca/yreshef/funland/funland.html
Israeli Prime Ministers 1997 Jewish Online Nurit Reshef
148
http://web.archive.org/web/20060813224604/http://www.bus.ualberta.ca/yreshef/funland/funland.html
Who Stole Hanukkah 1997 Jewish Windows / Mac JEMM Productions
149
http://web.archive.org/web/20010219122732/http://www.ejemm.com/cdroms.html#hanukkah
Word Match 1997 Jewish Online Nurit Reshef
150
http://web.archive.org/web/20060813224604/http://www.bus.ualberta.ca/yreshef/funland/funland.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Word Search 1997 Jewish Online Nurit Reshef

151
http://web.archive.org/web/20060813224604/http://www.bus.ualberta.ca/yreshef/funland/funland.html
At Home 1997 Muslim Windows FutureSoft
152
http://web.archive.org/web/19990417034719/http://www.future-soft.com/newweb/Home.htm
At Street 1997 Muslim Windows FutureSoft
153
http://web.archive.org/web/19990417062402/http://www.future-soft.com/newweb/Street.htm
Juz Amma 1997 Muslim Windows FutureSoft
154
http://web.archive.org/web/19990424155145/http://www.future-soft.com/newweb/Amma.htm
Stories From Ahadith 1997 Muslim Windows FutureSoft
155
http://web.archive.org/web/19991008002519/http://www.future-soft.com/newweb/feat-s1.htm
282

Stories from Al Seera 1997 Muslim Windows FutureSoft

156
http://web.archive.org/web/19990417050719/http://www.future-soft.com/newweb/Seera.htm
The Prophet's Wars
1997 Muslim Windows FutureSoft
157 (Al-Ghazawat al-Kubra)
http://web.archive.org/web/20030222131522/http://www.future-soft.com/newweb/feat-gzw.htm
Enochian Chess 1997 Occult Windows Steve Nichols
158
http://wayback.archive.org/web/20061230092553/http://www.enochianchess.com/
ABC Bible 1998 Christian / Biblical DOS John McKissack
159
http://cd.textfiles.com/psl/pslv6nv12/FILES.BBS
Actual Reality 1998 Christian / Biblical Windows Sunday Software
160
http://web.archive.org/web/19991106050142/http://www.sundaysoftware.com/actual.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Adventures in Odyssey 3D 1998 Christian / Biblical Windows Rhinosoft

161
http://www.odysseyscoop.com/merchandise/softwareA.htm
Adventures with Chickens 1998 Christian / Biblical Windows Xtreme Games
162
http://www.mobygames.com/game/adventures-with-chickens
Bible Books Quiz 1998 Christian / Biblical Windows David James
163
http://web.archive.org/web/20040605124113/http://www.christians.freeserve.co.uk/Downloads.html
Bible Memorize and
1998 Christian / Biblical Windows Kingdom Software
164 Word Search Game
http://www.kingdomsoftware.com/Pages/BibleMemorize.htm
Bible Sequence 1998 Christian / Biblical Windows David McMaster
165
http://cd.textfiles.com/psl/pslv7nv06/FILES.BBS
283

Heaven Quest 1998 Christian / Biblical Windows Top Meadows

166
http://www.christiananswers.net/spotlight/games/2000/heavenquest.html
Interactive Parables 1998 Christian / Biblical Windows GraceWorks
167
http://interactiveparables.com/
Space Race 1998 Christian / Biblical Windows Castle Enterprises
168
http://web.archive.org/web/20000201060412/http://www.castle-ent.com/coffee3.html
AlefBetGo Challenge 1998 Jewish Online Zig Zag Inc.
169
http://www.zigzagworld.com/AlefBetGo/
Aleph Bet
1998 Jewish Windows Davka Software
170 Schoolhouse Collection
http://huc.edu/tartak/guide/SoftwareHJ.pdf
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Hanukkah Lights 1998 Jewish Online Zig Zag Inc.

171
http://www.zigzagworld.com/hanukiah/
Jewish Holiday Funhouse 1998 Jewish Windows Davka Software
172
http://www.judaicacatalogs.com/davka-computer-software/jewish-holiday-funhouse.html
Language Fun 1998 Jewish Online Nurit Reshef
173
http://web.archive.org/web/20060813224604/http://www.bus.ualberta.ca/yreshef/funland/funland.html
Islamic Thought 1998 Muslim Windows Innovative Minds
174
http://www.inminds.co.uk/islamic-thought.html
Bible Basher 1999 Christian / Biblical Online Creation Tips
175
http://web.archive.org/web/19990915075730/http://www.users.bigpond.com/rdoolan/games.html
284

Bible Birdie 1999 Christian / Biblical Windows Achieve Software

176
http://cd.textfiles.com/psl/pslv7nv06/FILES.BBS
Bible Books Match Game 1999 Christian / Biblical Windows Steeple Top Software
177
http://web.archive.org/web/20010309165221/http://steeple-top-software.8m.com/
Bible Cryptos 1999 Christian / Biblical Online Harry Buerer
178
http://web.archive.org/web/19991012053747/http://smartquiz.com/index.phtml
Bible Hangman 1999 Christian / Biblical Online Harry Buerer
179
http://web.archive.org/web/19991012053747/http://smartquiz.com/index.phtml
Bible IQ 1999 Christian / Biblical Online Harry Buerer
180
http://web.archive.org/web/19991012053747/http://smartquiz.com/index.phtml
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Bible Quiz 1999 Christian / Biblical Online Harry Buerer

181
http://web.archive.org/web/19991012053747/http://smartquiz.com/index.phtml
Bible Quizzes 1999 Christian / Biblical Online Cliff Leitch
182
http://web.archive.org/web/19991118231505/http://www.twopaths.com/biblequizzes.html
Bible Scrambles 1999 Christian / Biblical Online Harry Buerer
183
http://web.archive.org/web/19991012053747/http://smartquiz.com/index.phtml
Bible Time Machine 1999 Christian / Biblical Windows Gibson Productions
184
http://wayback.archive.org/web/20070430053137/http://www.timshen.truepath.com/indexgames.html
Bible Touchdown 1999 Christian / Biblical Windows Barbour Software
185
http://www.barborsoftware.com/btd.html
285

Bible Treasure Hunt 1999 Christian / Biblical Online Harry Buerer

186
http://web.archive.org/web/19991012053747/http://smartquiz.com/index.phtml
Bible Trivia for Children 1999 Christian / Biblical Online Christ-Centered Mall
187
http://web.archive.org/web/19991013140322/http://christcenteredmall.com/kids/games/index.htm
Gil's Bible Jumble 1999 Christian / Biblical Windows Top Meadow
188
http://www.topm.com/jumble/index.php
God$ Money 1999 Christian / Biblical Windows Castle Enterprises
189
http://wayback.archive.org/web/20050208050656/http://castle-ent.com/down.html
Hang Haman 1999 Christian / Biblical Online Christ-Centered Mall
190
http://web.archive.org/web/19991013140322/http://christcenteredmall.com/kids/games/index.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

James Games 1999 Christian / Biblical Windows Castle Enterprises

191
http://wayback.archive.org/web/20050208050656/http://castle-ent.com/down.html
Kingdom Games 1999 Christian / Biblical Windows Castle Enterprises
192
http://wayback.archive.org/web/20050208050656/http://castle-ent.com/down.html
Luke's Journal 1999 Christian / Biblical Windows Castle Enterprises
193
http://wayback.archive.org/web/20050208050656/http://castle-ent.com/down.html
Qoheleth 1999 Christian / Biblical DOS / Windows Rothware Christian Software
194
https://web.archive.org/web/20010515225550/http://www.rothware.com/index.html
Quiz Team 1999 Christian / Biblical Windows Castle Enterprises
195
http://wayback.archive.org/web/20050208050656/http://castle-ent.com/down.html
286

Roman Road 1999 Christian / Biblical Windows Castle Enterprises

196
http://castle-ent.com/down.html
Saints of Virtue 1999 Christian / Biblical Windows Shine Studios
197
http://www.saintsofvirtue.com/index.html
Sheep Maze 1999 Christian / Biblical Online Christ-Centered Mall
198
http://web.archive.org/web/19991013140322/http://christcenteredmall.com/kids/games/index.htm
Stop Satan 1999 Christian / Biblical Windows Gibson Productions
199
http://www.timshen.truepath.com/bwg.html
The Beginner's Bible: Birth
1999 Christian / Biblical Windows Graceworks / Brighter Child Interactive
200 Of Jesus Activity Center
http://www.amazon.com/The-Beginners-Bible-Activity-Software/dp/1577910249
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

The Beginner's Bible:
1999 Christian / Biblical Windows Graceworks / Brighter Child Interactive
201 Moses Activity Center
http://www.amazon.com/The-Beginners-Bible-Activity-Activities/dp/1577910273
The Beginner's Bible:
1999 Christian / Biblical Windows Graceworks / Brighter Child Interactive
202 Young David Activity Center
http://www.amazon.com/Beginners-Bible-Activity-Melodies-Software/dp/1577910257/
The Call 1999 Christian / Biblical Windows Gibson Productions
203
http://wayback.archive.org/web/20070430053137/http://www.timshen.truepath.com/indexgames.html
The War in Heaven 1999 Christian / Biblical Windows Eternal Warriors
204
http://www.mobygames.com/game/war-in-heaven
The Way 1999 Christian / Biblical Windows Gibson Productions
205
http://wayback.archive.org/web/20070430053137/http://www.timshen.truepath.com/indexgames.html
287

Towers of Babel 1999 Christian / Biblical Online Christ-Centered Mall

206
http://web.archive.org/web/19991013140322/http://christcenteredmall.com/kids/games/index.htm
Visitor's Quiz 1999 Christian / Biblical Online Creation Tips
207
http://web.archive.org/web/19990915075730/http://www.users.bigpond.com/rdoolan/games.html
Word Search 1999 Christian / Biblical Online Christ-Centered Mall
208
http://web.archive.org/web/19991013140322/http://christcenteredmall.com/kids/games/index.htm
Christian
LDS Seminary Scripture Mastery 1999 Online Ben Holladay
209 (LDS)
http://web.archive.org/web/19991012053730/http://geocities.com/Heartland/Garden/2852/sm/default.htm
Christian
Divine Destiny 1999 Windows Krohne Family Media
210 (SDA)
http://wayback.archive.org/web/20010826082340/http://www.twlakes.net/~dkrohne/divine.html#top
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

(Holiday) Sliding Puzzle 1999 Jewish Online Jewish People

211
http://www.jewishgames.com/hanukkah-slide.html
(Holiday) Word Search 1999 Jewish Online Jewish People
212
http://www.jewishgames.com/hanukkah-seek.html
Parsha on Parade:
1999 Jewish Windows Torah Educational Software
213 Bereishit
http://www.torahtots.com/shoppingcart/cds.htm
The Book of Allah 1999 Muslim Windows Innovative Minds
214
http://www.inminds.com/fun-learn.html
The Life of Muhammad 1999 Muslim Windows Innovative Minds
215
http://www.inminds.com/fun-learn.html
288

The Lion of Allah 1999 Muslim Windows Innovative Minds

216
http://www.inminds.com/fun-learn.html
Adventsquiz 2000 Christian / Biblical Windows Robert Augustin
217
http://www.mobygames.com/game/adventsquiz
Amen 2000 Christian / Biblical Windows Bible Games Company
218
http://www.biblegamescompany.com/AmenHelp/amenGame_Rationale.htm
Battles of the Bible:
2000 Christian / Biblical Online The Faith Lobby
219 Joshua
http://web.archive.org/web/20050207223557/http://www.faithlobby.com/lobbypages/arcadegames.html
Bible Quizzes 2000 Christian / Biblical Online Eden Communications
220
http://web.archive.org/web/20000229123942/http://christiananswers.net/kids/menu-act.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Bible Word Search 2000 Christian / Biblical Online Cliff Leitch

221
http://web.archive.org/web/20001017230426/http://www.twopaths.com/wordsearch.htm
Catechumen 2000 Christian / Biblical Windows N-Lightning Software
222
http://www.christcenteredgamer.com/index.php/reviews/18-computer/4514-catechumen
Epic:
2000 Christian / Biblical Online CCC Ministries
223 Choose the Adventure
http://web.archive.org/web/20030622233946/http://www.choosetheadventure.com/credits.html
Firey Darts 2000 Christian / Biblical Windows Godly Games
224
http://www.godlygames.com/software/
Firey Darts 2 2000 Christian / Biblical Windows Godly Games
225
http://www.godlygames.com/software/
289

Fruit Games 2000 Christian / Biblical Online The Faith Lobby

226
http://web.archive.org/web/20050207224423/http://www.faithlobby.com/lobbypages/fruitgame.html
Galatians 6:9
2000 Christian / Biblical Online Roxie Carroll
227 Getting the Harvest
http://web.archive.org/web/20081008042323/http://www.akidsheart.com/bible/oct/gl69wg.htm
Good Sam the Samaritan 2000 Christian / Biblical Windows / Mac Sunday Software
228
http://web.archive.org/web/20001101164347/http://www.sundaysoftware.com/sam.htm
Jarod's Journey 2000 Christian / Biblical Online Tim Emmerich
229
http://wayback.archive.org/web/20130211042553/http://www.wurb.com/if/game/1134
Jigsaw Puzzles 2000 Christian / Biblical Online The Faith Lobby
230
http://web.archive.org/web/20050207224151/http://www.faithlobby.com/lobbypages/puzzles.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Jonah and the Whale 2000 Christian / Biblical Online Zeitun-eg.org

231
https://web.archive.org/web/20011224030043/http://www.zeitun-eg.org/jonah/jonah.htm
Josh and the Big Wall 2000 Christian / Biblical Online Big Idea Productions, Inc.
232
http://web.archive.org/web/20001109002000/http://www.bigidea.com/kids/
Lobby Solitaire 2000 Christian / Biblical Online The Faith Lobby
233
http://web.archive.org/web/20050207225127/http://www.faithlobby.com/lobbypages/cardgames.html
Mark 13:31
2000 Christian / Biblical Windows Roxie Carroll
234 Catch the Stars
http://web.archive.org/web/20000816095312/http://akidsheart.com/bible/august/mk13_31.htm
Matthew 2:10
2000 Christian / Biblical Online Roxie Carroll
235 Decorate a Star
http://web.archive.org/web/20011215190541/http://akidsheart.com/bible/dec/mt20wg.htm
Matthew 9:38
290

2000 Christian / Biblical Online Roxie Carroll

236 Bobbling for Apples
http://web.archive.org/web/20001208082500/http://akidsheart.com/bible/oct/applebob.htm
Parable of the Weeds 2000 Christian / Biblical Online The Faith Lobby
237
http://web.archive.org/web/20050207223557/http://www.faithlobby.com/lobbypages/arcadegames.html
Phillipians 4:13
2000 Christian / Biblical Online Roxie Carroll
238 Picture This Rebus
http://web.archive.org/web/20020701010749/http://akidsheart.com/bible/august/ph413wg.htm
Proverbs 22:2
2000 Christian / Biblical Online Roxie Carroll
239 Coming Together
http://web.archive.org/web/20000816095320/http://akidsheart.com/bible/august/prv22_2.htm
Psalm 56:3
2000 Christian / Biblical Online Roxie Carroll
240 Find the Verse
http://web.archive.org/web/20000816095308/http://akidsheart.com/bible/august/ps563wg.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Scripture Solitaire 2000 Christian / Biblical Windows / Mac Inspired Idea

241
http://wayback.archive.org/web/20050306053550/http://www.inspiredidea.com/home/index.html
The Picnic Miracle
2000 Christian / Biblical Windows Shaddai Software
242 (Christian Critters in...)
http://www.amazon.com/Picnic-Miracle-Christian-Critters-In/dp/0965489000
The Sojourner 2000 Christian / Biblical Windows Gibson Productions
243
http://wayback.archive.org/web/20080605234323/http://timshen.esmartguy.com/thesoj/whole.html
The Wise Men's Journey 2000 Christian / Biblical Online The Faith Lobby
244
http://web.archive.org/web/20050207230143/http://www.faithlobby.com/lobbypages/mazes.html
Trivia Games 2000 Christian / Biblical Online The Faith Lobby
245
http://web.archive.org/web/20050308033317/http://www.faithlobby.com/lobbypages/trivia.html
291

Word Search Game 2000 Christian / Biblical Online Eden Communications

246
http://web.archive.org/web/20001205111800/http://christiananswers.net/kids/menu-act.html
Xerxes Jigsaw 2000 Christian / Biblical Online Big Idea Productions, Inc.
247
http://web.archive.org/web/20001120052900/http://www.bigidea.com/esther/funstuff.htm
The Catholic Church 99 2000 Christian (Catholic) Windows Catholic Software
248
http://www.worldcat.org/title/catholic-church-99/oclc/47103707
Conflict in Jerusalem 2000 Christian (Messianic) Windows Saltshakers ltd
249
http://www.saltshakers.com/mall/ama.htm
Risen! 2000 Christian (Messianic) Windows Saltshakers ltd
250
http://www.saltshakers.com/mall/ama.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Unity 2000 Christian (Messianic) Online Yeshuateinu Company

251
http://web.archive.org/web/20001029151630/http://oursalvation.com/unity.htm
Avner and Brachot 2000 Jewish Windows / Mac Torah Educational Software
252
http://www.avnergames.com/edu01.htm
Bible Challenge Game 2000 Jewish Online Nurit Reshef
253
http://web.archive.org/web/20001202103700/http://www.bus.ualberta.ca/yreshef/funland/funland.html
Interactive Haggadah 2000 Jewish Windows Davka Software
254
http://www.yomtovstars.com/store/judaica-interactive-haggadah-win.html
Jewish Fact Attack 2000 Jewish Windows Davka Software
255
http://davka.com/cgi-bin/graphics.cgi?product=77
292

Let's Keep Kosher 2000 Jewish Windows Torah Educational Software

256
http://www.jewishsoftware.com/products/Let39s_Keep_Kosher_88.asp
Mitzvah Mania 2000 Jewish Windows Davka Software
257
http://web.archive.org/web/20080415164444/http://www.davka.com/cgi-bin/product.cgi?product=97
The Story of Prophet Eisa 2000 Muslim Windows Harf
258
http://web.archive.org/web/20040207220837/http://shop.harf.com/shopexd.asp?id=43
The Story of Prophet Ibrahim 2000 Muslim Windows Harf
259
http://web.archive.org/web/20031215232251/http://shop.harf.com/shopexd.asp?id=44
The Story of Prophet Musa 2000 Muslim Windows Harf
260
http://web.archive.org/web/20031215232259/http://shop.harf.com/shopexd.asp?id=42
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

ArmoQuest I 2001 Christian / Biblical Online Rick Ellinger

261
http://rhinoprints.net/games/
Bible ABC 2001 Christian / Biblical Online Christian Computer Games.Net
262
http://web.archive.org/web/http://www.christiancomputergames.net/dutch/OL_abc/a_b_c_gb.html
Bible Crossword 2001 Christian / Biblical Online Drew's Animals
263
http://web.archive.org/web/http://www.drewsanimals.com/Games/Crosswords/crosswords.shtml
Bible Game B 2001 Christian / Biblical Palm Danny Newport
264
http://www.freewarepalm.com/religion/biblegamec.shtml
Bible Time Fun:
2001 Christian / Biblical Windows Krohne Family Media
265 Old Testament
http://wayback.archive.org/web/20021012124112/http://krohnefamilymedia.com/Children.html
Bible Time Fun:
293

2001 Christian / Biblical Windows Krohne Family Media

266 New Testament
http://wayback.archive.org/web/20021012124112/http://krohnefamilymedia.com/Children.html
Colouring Book 2001 Christian / Biblical Online Christian Computer Games.Net
267
http://web.archive.org/web/http://www.christiancomputergames.net/english/OL_colouringbook/index.html
Diggin Deeper 2001 Christian / Biblical Online Christian Character Builders
268
http://web.archive.org/web/20011212072749/http://www.christiancharacterbuilders.com/page4.html
Epic 2: Intensity 2001 Christian / Biblical Online CCC Ministries
269
http://web.archive.org/web/20010412235511/http://choosetheadventure.com/index.html
Flash Cards 2001 Christian / Biblical Online Christian Character Builders
270
http://web.archive.org/web/20011212072749/http://www.christiancharacterbuilders.com/page4.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

II Corinthians 6:18
2001 Christian / Biblical Windows Roxie Carroll
271 Breakout Game
http://web.archive.org/web/20010618031126/http://akidsheart.com/bible/june/iicor6_18.htm
Interactive Animation 2001 Christian / Biblical Online Christian Computer Games.Net
272
http://web.archive.org/web/http://www.christiancomputergames.net/english/OL_in_the_beginning/index.html
Jigsaw Lost Son 2001 Christian / Biblical Online Christian Computer Games.Net
273
http://web.archive.org/web/http://www.christiancomputergames.net/english/OL_puzzel_verlorenzoon/index.html
Life of Jesus Quizzes 2001 Christian / Biblical Online Christian Character Builders
274
http://web.archive.org/web/20011212072444/http://www.christiancharacterbuilders.com/page5.html
Memory Game 2001 Christian / Biblical Online Christian Character Builders
275
http://web.archive.org/web/20011212071732/http://www.christiancharacterbuilders.com/page3.html
Moses and the Burning Bush Slide
294

2001 Christian / Biblical Online Christian Computer Games.Net

276 Puzzle
http://web.archive.org/web/http://www.christiancomputergames.net/english/OL_schuifpuzzel_mozes/index.html
Nacah 2001 Christian / Biblical Windows Virtue Games
277
http://www.gameboomers.com/reviews/Dd/Derekbynamma.htm
Old Test. Books 2001 Christian / Biblical Online Christian Character Builders
278
http://web.archive.org/web/20011212071732/http://www.christiancharacterbuilders.com/page3.html
Ominous Horizons 2001 Christian / Biblical Windows N'Lightning Software
279
http://www.christcenteredgamer.com/index.php/reviews/18-computer/4121-ominous-horizons
Proverbs 20:12
2001 Christian / Biblical Online Roxie Carroll
280 Baby Parts
http://web.archive.org/web/20010412103113/http://www.akidsheart.com/bible/april/pr2012wg.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Psalm 3:5
2001 Christian / Biblical Online Roxie Carroll
281 Going to Bed
http://www.akidsheart.com/bible/march/ps35wg.htm
Put Us In the Right Order 2001 Christian / Biblical Online Christian Computer Games.Net
282
http://web.archive.org/web/http://www.christiancomputergames.net/english/OL_rightorder_OT/index.html
Quest of the Apostles 2001 Christian / Biblical Windows New Mercies Ministries
283
http://web.archive.org/web/20061124225600/http://www.tsm-soft.com/category/games/gmspro014.html
Square Puzzles 2001 Christian / Biblical Online The Faith Lobby
284
http://web.archive.org/web/20050207225237/http://www.faithlobby.com/lobbypages/squarepuzzles.html
Stories About Jesus 2001 Christian / Biblical Online Christian Character Builders
285
http://web.archive.org/web/20011212072444/http://www.christiancharacterbuilders.com/page5.html
295

The Adventures of CJ's Closet 2001 Christian / Biblical Windows Kay Productions
286
http://wayback.archive.org/web/20050206035656/http://kayproductions.com/products.html
The Key 2001 Christian / Biblical Windows Mug Software
287
http://web.archive.org/web/20021121222623/http://www.godcentric.com/thekey/games.htm
The Last Bible 2001 Christian / Biblical Windows DistantStar Productions
288
http://web.archive.org/web/20051210062655/http://www.distantstarproductions.com/
The Prodigal Son 2001 Christian / Biblical Windows / Mac Sunday Software
289
http://web.archive.org/web/20011006034745/http://sundaysoftware.com/prodigal/prodigal.htm
The Ten Commandments 2001 Christian / Biblical Windows / Mac Sunday Software
290
http://web.archive.org/web/20021205012120/http://sundaysoftware.com/tenbrief.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Word Search Studio:
2001 Christian / Biblical Windows Family Interactive
291 Bible Edition
http://www.christianbookstore.net/wordsearch-studio-bible-edition-by-nlc/catalog-3923921/
Challenge Catholic Bible Game 2001 Christian (Catholic) Windows Divinity Religious Products
292
http://www.amazon.com/Catholic-Challenge-Bible-Game/dp/1586260227
Challenge Catholic Catechism
2001 Christian (Catholic) Windows Divinity Religious Products
293 Game
http://www.guidinglightvideo.com/shop/catholic.html
Prophecy 2001 Christian (Messianic) Online Dan Olds
294
http://www.unitygame.com/prophecy/prophecy.html
Review and Herald
Caption the Critter 2001 Christian (SDA) Online
295 Publishing Association
http://guidemagazine.org/gamelaunch/caption.asp?type=cartoon&id=9
296

Ramayana Interactive Epic 2001 Hindu Windows Image Infotainment Limited

296
http://www.image-in-asian.com/ramayana.html
(Holiday) Hangman 2001 Jewish Online Jewish People
297
http://www.jewishgames.com/tubshevat-hangman.html
Bubbe-Meisas 2001 Jewish Online Behrman House Inc.
298
http://replay.waybackmachine.org/http://babaganewz.com/games/babameisas/babameisas.htm
Caves Logic Game
2001 Jewish Online Behrman House Inc.
299 ("Where's David")
http://replay.waybackmachine.org/http://www.babaganewz.com/games/caves/puzzle0/caves.html
Crossword 2001 Jewish Online Behrman House Inc.
300
http://web.archive.org/web/20021209153442/http://babaganewz.com/games/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Dreidel 4 2001 Jewish Online Jewish People

301
http://www.jewishgames.com/dreidel4.html
Hanukkah Refrigerator Poetry 2001 Jewish Online Behrman House Inc.
302
http://replay.waybackmachine.org/http://www.babaganewz.com/index_main.cfm?cat=9&sub=hanfridge
Hebrew Match Game 2001 Jewish Online Behrman House Inc.
303
http://davka.com/cgi-bin/graphics.cgi?product=77
Parsha on Parade:
2001 Jewish Windows Torah Educational Software
304 Shmot
http://wayback.archive.org/web/20011007154823/http://www.torahtots.com/parshacd.htm
Parsha on Parade:
2001 Jewish Windows Torah Educational Software
305 Vayikra
http://wayback.archive.org/web/20011007154823/http://www.torahtots.com/parshacd.htm
297

Shuki 2001 Jewish Windows / Mac Davka Software

306
http://www.davka.com/cgi-bin/product.cgi?product=116
Slider Puzzle 2001 Jewish Online Behrman House Inc.
307
http://web.archive.org/web/20021209153442/http://babaganewz.com/games/
Space Arcade 3D 2001 Jewish Windows Torah Educational Software
308
http://www.jewishsoftware.com/products/Space_Arcade_3D_342.asp
Torah Tots:
2001 Jewish Online Torah Tots
309 Jigsaw
http://web.archive.org/web/20010828180631/http://www.torahtots.com/holidays/rosh/roshfng.htm
Torah Tots:
2001 Jewish Online Torah Tots
310 Word Find
http://web.archive.org/web/20010828180631/http://www.torahtots.com/holidays/rosh/roshfng.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Wisecrackers! 2001 Jewish Windows / Mac JEMM Productions

311
http://www.judaism.com/display.asp?etn=JDCCC
Wordfind 2001 Jewish Online Behrman House Inc.
312
http://web.archive.org/web/20011108110811/http://www.babaganewz.com/games/wordfind/wordfind.html
Abu Saleh 2001 Muslim Windows Sound Vision
313
http://www.soundvision.com/shop/pview.asp?item=3369-001
Islamic Fun 2001 Muslim Windows Innovative Minds
314
http://www.inminds.co.uk/islamic-fun.html
Journey to the Three Mosques 2001 Muslim Windows Harf
315
http://web.archive.org/web/20031013092409/http://shop.harf.com/shopexd.asp?id=45
298

Rashid and the World of Quran 2001 Muslim Windows Harf

316
http://www.eislamicsoftware.com/rashidquran-a.htm
Rashid Games 2001 Muslim Windows Harf
317
http://www.eislamicsoftware.com/rashidgames.htm
The Story of Prophet Sulaiman 2001 Muslim Windows Harf
318
http://web.archive.org/web/20031219063706/http://shop.harf.com/shopexd.asp?id=40
The Story of Prophet Yusuf 2001 Muslim Windows Harf
319
http://web.archive.org/web/20031208150359/http://shop.harf.com/shopexd.asp?id=41
Ummah Defense 2001 Muslim Windows Islam Games
320
http://web.archive.org/web/20040923145708/http://islamgames.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Abraham and Sarah 2002 Christian / Biblical Windows / Mac Sunday Software
321
http://web.archive.org/web/20020207045217/http://www.sundaysoftware.com/abe/abe.htm
Acts 13:30
2002 Christian / Biblical Windows Roxie Carroll
322 Memory Match
http://web.archive.org/web/20020310083949/http://www.akidsheart.com/bible/april/act13_30.htm
ArmoQuest II 2002 Christian / Biblical Online Rick Ellinger
323
http://web.archive.org/web/20031011104926/http://www.rhinoprints.net/games/
ArmoQuest III 2002 Christian / Biblical Online Rick Ellinger
324
http://web.archive.org/web/20031011104926/http://www.rhinoprints.net/games/
Babble 2002 Christian / Biblical Windows Good Book Games
325
http://web.archive.org/web/20031204160613/http://www.goodbookgames.com/GBGames/Babble/index.html
The Good News Broadcasting
299

Bible Challenge 2002 Christian / Biblical Online

326 Association Inc.
http://web.archive.org/web/http://drewsanimals.com/Games/Bible_Challenge/bible_challenge.shtml
Bible Contents 2002 Christian / Biblical Palm John Woo
327
http://www.freewarepalm.com/religion/biblecontents.shtml
Cal and Marty's Scripture
2002 Christian / Biblical Windows / Mac Sunday Software
328 Memory Game
http://web.archive.org/web/20020213220638/http://www.sundaysoftware.com/luther-calvin/index.htm
Caught in the Web 2002 Christian / Biblical Windows Gibson Productions
329
http://web.archive.org/web/20061121055446/http://www.timshen.truepath.com/indexgames.html
Christmas Quiz 2002 Christian / Biblical Online Christian Computer Games.Net
330
http://web.archive.org/web/20021225222946/http://www.christiancomputergames.net/english/frame_home.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Crossword Puzzles 2002 Christian / Biblical Online BibleWise

331
http://web.archive.org/web/20021213122238/http://biblewise.com/kids_korner/fun_games/fun_games.htm
David and Goliath 2002 Christian / Biblical Online Christian Computer Games.Net
332
http://web.archive.org/web/20020912190259/http://www.christiancomputergames.net/english/frame_home.html
Feed my Sheep 2002 Christian / Biblical Windows Philip Kapusta
333
http://www.pc-shareware.com/sheep.htm
Fish Tales 2002 Christian / Biblical Windows Gibson Productions
334
http://web.archive.org/web/20061121055446/http://www.timshen.truepath.com/indexgames.html
Fishermen 2002 Christian / Biblical Online Christian Computer Games.Net
335
http://web.archive.org/web/20020623011111/http://www.christiancomputergames.net/english/frame_home.html
Fluffy and God's Amazing
300

2002 Christian / Biblical Windows / Mac Sunday Software

336 Christmas Adventure
http://web.archive.org/web/20021204213425/http://sundaysoftware.com/fluffy/index.html
Galilee Flyer 2002 Christian / Biblical Windows / Mac Sunday Software
337
http://web.archive.org/web/20020604001227/http://sundaysoftware.com/flyer.htm
Gil's Quiz Show 2002 Christian / Biblical Windows Top Meadow
338
http://web.archive.org/web/20020813141913/http://www.topm.com/
Godspeed 3D 2002 Christian / Biblical Windows Inspired Idea
339
http://wayback.archive.org/web/20060103203432/http://www.inspiredidea.com/home/index.html
I John 4:19
2002 Christian / Biblical Windows Roxie Carroll
340 Decorate a Heart
http://web.archive.org/web/20020816195320/http://akidsheart.com/bible/june/Ij4_19.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

I John 4:8
2002 Christian / Biblical Windows Roxie Carroll
341 Order the Critters
http://web.archive.org/web/20020816194923/http://akidsheart.com/bible/july/Ijhn4_8.htm
Job 27:4
2002 Christian / Biblical Windows Roxie Carroll
342 Monkey Mouth Game
http://web.archive.org/web/20020601222441/http://akidsheart.com/bible/may/job27_4.htm
Joseph's Story 2002 Christian / Biblical Windows / Mac Sunday Software
343
http://web.archive.org/web/20021204220002/http://sundaysoftware.com/joseph/index.htm
King's Call 2002 Christian / Biblical Online CBH Ministries
344
http://www.kingscall.org/index_nodetect.html
Legends of Leefe:
2002 Christian / Biblical Windows Living Rock Production
345 The Great Volcano
http://www.gog.com/forum/general/legends_of_leefe_the_great_volcano_free_game/page1
Leviticus 22:31
301

2002 Christian / Biblical Windows Roxie Carroll

346 Picture Puzzles
http://web.archive.org/web/20021203074237/http://www.akidsheart.com/bible/sep/lv22_31.htm
Mission Zone:
2002 Christian / Biblical Online CBH Ministries
347 Cross Word
http://web.archive.org/web/20030201081539/http://cbh.gospelcom.net/zone/games/crossword/
Mission Zone:
2002 Christian / Biblical Online CBH Ministries
348 Word Search
http://www.cbhministries.org/zone/mission_zone_wordsearch.php
Monsters from Hell 2002 Christian / Biblical Windows Robert W. Benjamin
349
http://wayback.archive.org/web/20040713113029/http://www.rb59.com/software/monsters/
One Nation Under God:
2002 Christian / Biblical Windows Inspired Idea
350 Christian Founders
http://wayback.archive.org/web/20060103203432/http://www.inspiredidea.com/home/index.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Proverbs 14:34
2002 Christian / Biblical Windows Roxie Carroll
351 Color the Flags
http://web.archive.org/web/20010725052957/http://www.akidsheart.com/bible/july/pr14_34.htm
Proverbs 4:23
2002 Christian / Biblical Online Roxie Carroll
352 Snatch Your Heart
http://web.archive.org/web/20010817194109/http://akidsheart.com/bible/august/pr423a.htm
Psalm 14:83
2002 Christian / Biblical Windows Roxie Carroll
353 Picture Fill-In Game
http://web.archive.org/web/20020310083733/http://www.akidsheart.com/bible/may/ps148_3.htm
Romans 13:10
2002 Christian / Biblical Windows Roxie Carroll
354 Jigsaw Puzzle
http://web.archive.org/web/20021203074829/http://www.akidsheart.com/bible/sep/rm13_10.htm
Secret Message 2002 Christian / Biblical Online Child Evangelism Fellowship
355
http://web.archive.org/web/20021015152341/http://wonderzone.com/games/?type=word
302

Spiritual Millionaire 2002 Christian / Biblical Palm John Woo

356
http://www.freewarepalm.com/religion/spiritualmillionare.shtml
The Shepherd 2002 Christian / Biblical Windows Gibson Productions
357
http://www.timshen.truepath.com/indexgames.html
The Sojourner 2:
2002 Christian / Biblical Online Gibson Productions
358 Warriors of the Ssorc
http://wayback.archive.org/web/20130302154829/http://www.timshen.truepath.com/thesoj.html
The Zambardi Mystery 2002 Christian / Biblical Windows Gibson Productions
359
http://timshen.tripod.com/
Veggie Tales:
2002 Christian / Biblical Windows Big Idea Productions, Inc.
360 Jonah
http://www.christiananswers.net/spotlight/games/2002/jonahaveggietalesgame.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Veggie Tales:
2002 Christian / Biblical Windows Big Idea
361 Mystery of Veggie Island
http://www.gamefaqs.com/pc/915350-veggie-tales-the-mystery-of-veggie-island/reviews
Word Puzzle 2002 Christian / Biblical Online Child Evangelism Fellowship
362
http://web.archive.org/web/20040817022155/http://www.wonderzone.com/games/?type=thinkers
Yield:
2002 Christian / Biblical Online The Faith Lobby
363 Parable of the Sower
http://web.archive.org/web/20050207225127/http://www.faithlobby.com/lobbypages/cardgames.html
LDS Games:
2002 Christian (LDS) Online LDSGames.org
364 Bible Brain Twister
http://web.archive.org/web/20021021110130/http://www.ldsgames.org/
LDS Games:
2002 Christian (LDS) Online LDSGames.org
365 Coloring Book
http://web.archive.org/web/20021021110130/http://www.ldsgames.org/
LDS Games:
303

2002 Christian (LDS) Online LDSGames.org

366 Concentration
http://web.archive.org/web/20021021110130/http://www.ldsgames.org/
LDS Games:
2002 Christian (LDS) Online LDSGames.org
367 Crossword
http://web.archive.org/web/20021021110130/http://www.ldsgames.org/
LDS Games:
2002 Christian (LDS) Online LDSGames.org
368 Jumble
http://web.archive.org/web/20021021110130/http://www.ldsgames.org/
LDS Games:
2002 Christian (LDS) Online LDSGames.org
369 Quiz
http://web.archive.org/web/20021021110130/http://www.ldsgames.org/
LDS Games:
2002 Christian (LDS) Online LDSGames.org
370 Scriptorian
http://web.archive.org/web/20021021110130/http://www.ldsgames.org/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

LDS Games:
2002 Christian (LDS) Online LDSGames.org
371 Swap Puzzle
http://web.archive.org/web/20021021110130/http://www.ldsgames.org/
LDS Games:
2002 Christian (LDS) Online LDSGames.org
372 Wordsearch
http://web.archive.org/web/20021021110130/http://www.ldsgames.org/
Review and Herald
Dress Guide Dog For Camporee 2002 Christian (SDA) Online
373 Publishing Association
http://web.archive.org/web/20021026131539/http://www.camporee.org/html/games_index.htm
Avner Travels in Time 2002 Jewish Windows Torah Educational Software
374
http://www.avnergames.com/edu02.htm
Brachot Blastoff 2002 Jewish Windows Davka Software
375
http://www.davka.com/cgi-bin/product.cgi?product=237
304

Find the Afikomen 2002 Jewish Online Behrman House Inc.

376
http://web.archive.org/web/20021105005853/http://www.babaganewz.com/index_main.cfm?cat=9&sub=afikomen
Goldie's Thrift Shop 2002 Jewish Online Behrman House Inc.
377
http://replay.waybackmachine.org/20021027141901/http://www.babaganewz.com/shop.html
Hebrew Learning 2002 Jewish Windows CE Ulrich Greve
378
http://web.archive.org/web/20050209162936/http://www.tichnut.de/jewish/hebrewlearning.html
Jewish Heroes 2002 Jewish Online Behrman House Inc.
379
http://web.archive.org/web/20031202020955/http://babaganewz.com/games/
Jewish Memory
2002 Jewish Windows CE Ulrich Greve
380 Matching Game
http://web.archive.org/web/20050306021527/http://www.tichnut.de/jewish/wincememory.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Pesach Memory Game 2002 Jewish Online Behrman House Inc.

381
http://replay.waybackmachine.org/http://www.babaganewz.com/index_main.cfm?cat=9&sub=memory
Purim Costume Maker 2002 Jewish Online Behrman House Inc.
382
http://replay.waybackmachine.org/http://babaganewz.com/index_main.cfm?cat=9&sub=costumemaker
Schin Game 2002 Jewish Windows CE Ulrich Greve
383
http://web.archive.org/web/20050306022029/http://www.tichnut.de/jewish/winceschin.html
Shabbos with Shuki 2002 Jewish Windows / Mac Davka Software
384
http://www.davka.com/cgi-bin/product.cgi?product=236
Sukkah Builder 2002 Jewish Online Behrman House Inc.
385
http://replay.waybackmachine.org/http://babaganewz.com/index_main.cfm?cat=9&sub=sukkahmaker
305

Truth Games 2002 Jewish Online Behrman House Inc.

386
http://web.archive.org/web/http://www.babaganewz.com/thinking.htm
Bah ya Bah Activity Center 2002 Muslim Windows Fine Media Group
387
http://www.furqaanbookstore.com/bah-ya-bah-activity-center-cd-rom-english.html
Maze of Destiny 2002 Muslim Windows Islam Games
388
http://web.archive.org/web/20041016142505/http://www.islamgames.com/maze.html
Rashid and the Clock 2002 Muslim Windows Harf
389
http://www.islamicbookstore.com/a5857.html
Rashid and the Treasure 2002 Muslim Windows Harf
390
http://www.simplyislam.com//iteminfo.asp?item=60368
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Rashid at the Library 2002 Muslim Windows Harf

391
http://www.furqaanbookstore.com/rashid-at-the-library-arabic-pc.html
Qabalah Trainer 2002 Occult Palm Brian L. Berge
392
http://lilytears.com/software/qabalahtrainer/
ABC With David 2003 Christian / Biblical Online Christian Computer Games.Net
393
http://web.archive.org/web/20030429002436/http://www.christiancomputergames.net/english/frame_home.html
ArmoQuest IV 2003 Christian / Biblical Online Rick Ellinger
394
http://web.archive.org/web/20031011104926/http://www.rhinoprints.net/games/
Bible Books 2003 Christian / Biblical Online Drew's Animals
395
http://web.archive.org/web/20031205004119/http://drewsanimals.com/Games/games.shtml
306

Bible Names 2003 Christian / Biblical Online Christian Computer Games.Net

396
http://web.archive.org/web/20030621102313/http://www.christiancomputergames.net/english/frame_home.html
Bible Search with Heidi 2003 Christian / Biblical Online Christian Computer Games.Net
397
http://web.archive.org/web/20030429002436/http://www.christiancomputergames.net/english/frame_home.html
David vs. Goliath 2003 Christian / Biblical Windows Full Armor Studios
398
http://web.archive.org/web/20041027002631/http://www.fullarmorstudios.com/index.html
Eternal War:
2003 Christian / Biblical Windows XRUCIFIX
399 Shadows of Light
http://wayback.archive.org/web/20100818152537/http://www.twoguyssoftware.ca/games.html
G-Force 1.1 2003 Christian / Biblical Windows Fellowship Church
400
http://www.lifeway.com/Product/g-force-vol-1-1-powercel-cards-older-children-P001208777
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

G-Force 1.2 2003 Christian / Biblical Windows Fellowship Church

401
http://www.lifeway.com/Product/g-force-vol-1-2-powercel-cards-older-children-pkg-5-P001231846
G-Force 1.3 2003 Christian / Biblical Windows Fellowship Church
402
http://www.lifeway.com/Product/g-force-vol-1-3-powercel-cards-older-children-pkg-5-P001234657
Heaven Bound 2003 Christian / Biblical Windows Emerald Studios
403
http://www.christianbook.com/heaven-bound-on-rom/9780972896603/pd/896603
Isles of Derek 2003 Christian / Biblical Windows Virtue Games
404
http://www.gameboomers.com/reviews/Dd/Derekbynamma.htm
Millionairs 2003 Christian / Biblical Online Christian Computer Games.Net
405
http://web.archive.org/web/20030429002436/http://www.christiancomputergames.net/english/frame_home.html
Minnesota Cuke
307

2003 Christian / Biblical Windows Big Idea Productions, Inc.

406 And the Coconut Apes
http://www.christcenteredgamer.com/index.php/reviews/25-faqs/4417-veggie-tales-minnesota-cuke
Rev 7 2003 Christian / Biblical Windows Marty Bee
407
http://firstpersonshooters.net/Games/Rev%207/
Sheep Game 2003 Christian / Biblical Online Christian Computer Games.Net
408
http://web.archive.org/web/20030621102313/http://www.christiancomputergames.net/english/frame_home.html
Sim Abraham 2003 Christian / Biblical Online Good Book Games
409
http://web.archive.org/web/20041109114334/http://www.goodbookgames.com/Educational/SimAbraham/help.html
The Grace Quiz 2003 Christian / Biblical Windows Gibson Productions
410
http://web.archive.org/web/20061121055446/http://www.timshen.truepath.com/indexgames.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

The Jesus Quiz 2003 Christian / Biblical Online Salvation Outreach Ministry
411
http://web.archive.org/web/20031228150915/http://www.matthew223.org/
The Nem Rehsif 2003 Christian / Biblical Windows Gibson Productions
412
http://wayback.archive.org/web/20040205210211/http://www.timshen.truepath.com/tag.html
Treasure 2003 Christian / Biblical Online Christian Computer Games.Net
413
http://web.archive.org/web/20030621102313/http://www.christiancomputergames.net/english/frame_home.html
Veggie Tales:
2003 Christian / Biblical Mac / Windows ValuSoft, Inc.
414 Veggie Carnival
http://www.allgame.com/game.php?id=43863
Veggie Tales:
2003 Christian / Biblical Windows ValuSoft, Inc.
415 Creativity City
http://www.allgame.com/game.php?id=42953&tab=screen
308

Victory at Hebron 2003 Christian / Biblical Windows Brethren Entertainment

416
http://www.brethrenentertainment.com/products_vah.html
2,000 Stripling
2003 Christian (LDS) Online LDSGames.org
417 Warriors Maze
http://web.archive.org/web/20030801073537/http://www.ldsgames.org/stripling/
LDS Games:
2003 Christian (LDS) Online LDSGames.org
418 Hangman
http://web.archive.org/web/20030807163057/http://www.ldsgames.org/
LDS Games:
2003 Christian (LDS) Online LDSGames.org
419 Jigsaw Puzzles
http://web.archive.org/web/20030408133930/http://ldsgames.org/
Quest for the
2003 Christian (LDS) Online LDSGames.org
420 Plates of Brass
http://web.archive.org/web/20030815231517/http://www.ldsgames.org/quest/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

BabagaNewz Sports Mania 2003 Jewish Online Behrman House Inc.

421
http://replay.waybackmachine.org/20030514234643/http://www.babaganewz.com/index_main.cfm?cat=9&sub=baseball
Parsha on Parade:
2003 Jewish Windows Torah Educational Software
422 Bamidbar
http://wayback.archive.org/web/20031204000934/http://www.torahtots.com/parshacd.htm
Shalom Uvrachah
2003 Jewish Windows Behrman House Inc.
423 Interactive
http://huc.edu/tartak/guide/SoftwareHJ.pdf
Silly (Holiday) Story 2003 Jewish Online Jewish People
424
http://www.jewishgames.com/sillyhanukkah.html
Special Force 2003 Muslim Windows Hezbollah
425
http://wayback.archive.org/web/20101126150738/http://www.owfiles.com/spf/
309

The Jar Activity Center 2003 Muslim Windows Fine Media Group
426
http://www.noorart.com/the_jar_activity_center_arabic_software
The Journey to Wild Divine:
2003 New Age Windows Wild Divine Project
427 The Passage
http://web.archive.org/web/20051203044742/http://www.wilddivine.com/20J3K4K1/
ABC Bible Coloring Book 2004 Christian / Biblical Windows Roxie Carroll
428
http://web.archive.org/web/20041126045910/http://akidsheart.com/gamesd/biblegames.htm
Adventures in Odyssey:
2004 Christian / Biblical Windows Digital Praise
429 The Sword of the Spirit
http://www.christcenteredgamer.com/index.php/reviews/18-computer/4686-adventures-in-odyssey-sword-of-the-spirit
Adventures in Odyssey:
2004 Christian / Biblical Windows Digital Praise
430 The Treasure of the Incas
http://www.christcenteredgamer.com/index.php/reviews/18-computer/4491-adventures-in-odyssey-treasure-of-the-incas
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Armor of God 2004 Christian / Biblical Online Christian Computer Games.Net

431
http://web.archive.org/web/20040430174313/http://www.christiancomputergames.net/english/frame_home.html
Awesome Bible Stories 2004 Christian / Biblical Windows / Mac Sunday Software
432
http://web.archive.org/web/20041024211136/http://www.sundaysoftware.com/awesome/
Bible Knowledge Quiz 2004 Christian / Biblical Online BibleWise
433
http://web.archive.org/web/20051219235346/http://biblewise.com/kids_korner/fun_games/quiz.htm
Bible Scrambles 2004 Christian / Biblical Windows Krohne Family Media
434
http://wayback.archive.org/web/20040610113300/http://krohnefamilymedia.com/Mini_CD_Children.html
Fish Dodge 2002 Christian / Biblical Online Big Idea Productions, Inc.
435
http://web.archive.org/web/20041207035326/http://www.bigideafun.com/jonah/default.htm
310

G-Force 1.4 2004 Christian / Biblical Windows Fellowship Church

436
http://www.lifeway.com/Product/g-force-vol-1-4-leader-guide-P001243860
G-Force 2.1 2004 Christian / Biblical Windows Fellowship Church
437
http://www.lifeway.com/Product/g-force-vol-2-1-cd-rom-dvd-pack-P001244772
G-Force 2.2 2004 Christian / Biblical Windows Fellowship Church
438
http://www.lifeway.com/Product/g-force-vol-2-2-leader-guide-P001244768
G-Force 2.3 2004 Christian / Biblical Windows Fellowship Church
439
http://www.lifeway.com/Product/g-force-vol-2-3-leader-guide-P001244769
Library of Ages 2004 Christian / Biblical Windows Full Armor Studios
440
http://web.archive.org/web/20041027002631/http://www.fullarmorstudios.com/index.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Manna Munchers 2004 Christian / Biblical Windows Full Armor Studios

441
http://web.archive.org/web/20041027002631/http://www.fullarmorstudios.com/index.html
Noah's Adventures 2004 Christian / Biblical Windows Cougar Interactive
442
http://www.gamealbum.com/game/noah-s-adventures/
Secret Chamber 2004 Christian / Biblical Windows Full Armor Studios
443
http://web.archive.org/web/20041027002631/http://www.fullarmorstudios.com/index.html
The Walls of Jericho 2004 Christian / Biblical Windows Full Armor Studios
444
http://archive.org/details/TheWallsOfJericho
Gospel Trivia 2004 Christian (LDS) Palm Chuck Banes
445
http://wayback.archive.org/web/20091024140647/http://geocities.com/gospeltrivia/
311

Outpost Zarahemla 2004 Christian (LDS) Windows Cleanware

446
http://www.cleanware.com/lds-games/
Review and Herald
Guide Factory Pop Quiz 2004 Christian (SDA) Online
447 Publishing Association
http://wayback.archive.org/web/20110108154049/http://www.guidemagazine.org/gamelaunch/game.asp?id=1
Review and Herald
Instant Recall 2004 Christian (SDA) Online
448 Publishing Association
http://web.archive.org/web/20111230190716/http://www.guidemagazine.org/gamelaunch/playgame.asp?id=3
Dig it 2004 Jewish Online Behrman House Inc.
449
http://babaganewz.com/games/dig-it-masada
Dreidel 6000 2004 Jewish Online Behrman House Inc.
450
http://www.babaganewz.com/kids/dreidel-6000/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

jbop 2004 Jewish jbop JEMM Productions

451
https://web.archive.org/web/20101020121332/http://www.jbop.com/jbop3/product.htm
Jewpardy 2004 Jewish Online Behrman House Inc.
452
http://babaganewz.com/games/jewpardy-classic
Mitzvah Car 2004 Jewish Windows Torah Educational Software
453
http://wayback.archive.org/web/20040623042403/http://www.jewishsoftware.com/products/Mitzvah_Car_678.asp
Parasha Challenge 2004 Jewish Windows / Mac Davka Software
454
http://web.archive.org/web/20041114010209/http://www.davka.com/cgi-bin/product.cgi?product=345
Parsha on Parade:
2004 Jewish Windows Torah Educational Software
455 Devarim
http://wayback.archive.org/web/20041014023122/http://www.torahtots.com/parshacd.htm
312

Pop 613 2004 Jewish Windows Torah Educational Software

456
http://pop613.com/
Shimon 2004 Jewish Online Behrman House Inc.
457
http://web.archive.org/web/20041204071932/http://www.babaganewz.com/games/shimon
Tanach Quest: Ehud's Courage and
2004 Jewish Windows / Mac Davka Software
458 the Cunning Blade
http://web.archive.org/web/20041205234617/http://www.davka.com/cgi-bin/product.cgi?product=344
Torah Tots:
2004 Jewish Online Torah Tots
459 Paint and Print
http://web.archive.org/web/20040914030603/http://www.torahtots.com/holidays/rosh/roshfng.htm
Torah Tots:
2004 Jewish Online Torah Tots
460 Sliding Puzzle
http://web.archive.org/web/20040914030603/http://www.torahtots.com/holidays/rosh/roshfng.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Ulpan Alef
2004 Jewish Windows Behrman House Inc.
461 Interactive
http://huc.edu/tartak/guide/SoftwareHJ.pdf
Zoons 2004 Jewish Online Behrman House Inc.
462
http://babaganewz.com/games/zoons
Children of Jerusalem 2004 Muslim Windows Hezbollah
463
http://www.digitalislam.eu/videoAndGames.do?articleId=1425
Ummah Defense 2 2004 Muslim Windows Islam Games
464
http://web.archive.org/web/20040923145708/http://islamgames.com/
31 Realms of Existence 2005 Buddhist Online Dharma Media
465
http://www.dharmagames.org/Buddhist%20Games/RealmsOfExistence/RealmsOfExistence_02_content.html
313

Abhidhamma Puzzle 2005 Buddhist Online Dharma Media

466
http://www.dharmagames.org/Buddhist%20Games/AbhidhammaPuzzle_1/abhidhammaPuzzle1_10_content.html
Bad Deeds 2005 Buddhist Online Dharma Media
467
http://www.dharmagames.org/Buddhist%20Games/TenBadDeeds/badDeeds6_content.html
Buddhist Quiz 2005 Buddhist Online Dharma Media
468
http://www.dharmagames.org/Buddhist%20Games/BuddhistQuiz/buddhistQuiz4_content.html
Dharma Dancer 2005 Buddhist Online Dharma Media
469
http://www.dharmagames.org/Buddhist%20Games/DharmaDancer/danceDoGoodMain_content.html
Feed the Turtles 2005 Buddhist Online Dharma Media
470
http://www.dharmagames.org/Buddhist%20Games/FeedTurtle/feedTurtle03_content.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

In the Footsteps of the Buddha 2005 Buddhist Online Dharma Media

471
http://www.dharmagames.org/Buddhist%20Games/BuddhaFootsteps/budJigsawMain1_content.html
It's Meditation Time 2005 Buddhist Online Dharma Media
472
http://www.dharmagames.org/Buddhist%20Games/MeditationTime/meditationTime3_content.html
Mara's Garden 2005 Buddhist Online Dharma Media
473
http://www.dharmagames.org/Buddhist%20Games/MaraGarden/maraGarden5_content.html
Save the Swan 2005 Buddhist Online Dharma Media
474
http://www.dharmagames.org/Buddhist%20Games/SaveSwan/saveSwan5_content.html
Three Roots of Evil 2005 Buddhist Online Dharma Media
475
http://www.dharmagames.org/Buddhist%20Games/EvilRoots/evilRoots3_content.html
314

Wheel of Life Pinball 2005 Buddhist Online Dharma Media

476
http://www.dharmagames.org/Buddhist%20Games/WheelLifePinball/wheelLifePinball6_content.html
Words of Wisdom from the
2005 Buddhist Online Dharma Media
477 Dhammapada
http://www.dharmagames.org/Buddhist%20Games/DhammapadaWords/dhammapadaWords05_content.html
Your Six Senses 2005 Buddhist Online Dharma Media
478
http://www.dharmagames.org/Buddhist%20Games/SixSenses/sixSenses05_content.html
Adventures in Odyssey:
2005 Christian / Biblical Windows Digital Praise
479 The Great Escape
http://www.christcenteredgamer.com/index.php/reviews/18-computer/4725-adventures-in-odyssey-the-great-escape
Bible Catch 2005 Christian / Biblical Online Christian Computer Games.Net
480
http://web.archive.org/web/20050507181136/http://www.christiancomputergames.net/english/frame_home.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Bible in Mind 2005 Christian / Biblical Online Cyberspace Ministry

481
http://www.cyberspaceministry.org/Menu/eng/eng-game.html
Bible Man:
2005 Christian / Biblical Windows Covenant Studios
482 A Fight for Faith
http://www.familyfriendlygaming.com/Reviews/Review%20Bibleman%20A%20Fight%20For%20Faith.html
Bongo Loves the Bible 2005 Christian / Biblical Windows Sunday Software
483
http://www.sundaysoftware.com/bongo/index.html
Buzby:
2005 Christian / Biblical Windows Digital Praise
484 Breakin' All the Rules
http://www.lifeway.com/Product/hermie-and-friends-buzby-breakin-all-the-rules-computer-game-P001293071
Captain Saint 2005 Christian / Biblical Windows 3rd Day Studios
485
http://www.3rddaystudios.com/captainsaint/
315

Creation Design 2005 Christian / Biblical Windows Roxie Carroll

486
http://web.archive.org/web/20050718073321/http://akidsheart.com/gamesd/biblegames.htm
Dance Praise 2005 Christian / Biblical Windows / Mac Digital Praise
487
http://web.archive.org/web/20080914082506/http://www.digitalpraise.com/
Elijah and Jonah 2005 Christian / Biblical Windows / Mac Sunday Software
488
http://web.archive.org/web/20050419205517/http://www.sundaysoftware.com/Elijah-Jonah/
G-Force 2.4 2005 Christian / Biblical Windows Fellowship Church
489
http://www.lifeway.com/Product/g-force-vol-2-4-family-cd-rom-P001244791
G-Force 3.1 2005 Christian / Biblical Windows Fellowship Church
490
http://www.lifeway.com/Product/g-force-vol-3-1-leader-guide-P001274546
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

G-Force 3.2 2005 Christian / Biblical Windows Fellowship Church

491
http://www.lifeway.com/Product/g-force-vol-3-2-visual-pack-P001274559
G-Force 3.3 2005 Christian / Biblical Windows Fellowship Church
492
http://www.lifeway.com/Product/g-force-vol-3-3-cd-rom-dvd-pack-P001274564
Hermie and Friends – Flo:
2005 Christian / Biblical Windows / Mac Digital Praise
493 Return of the Water Beetles
http://intellichristian.com/store/Hermie_Flo_Return_of_the_Water_Beetles
Light Rangers: Mending
2005 Christian / Biblical Windows Digital Praise
494 The Maniac Madness
http://www.lightrangers.com/
Solomon Says 2005 Christian / Biblical Windows Cloud 9 Games
495
http://www.prweb.com/releases/2005/12/prweb320085.htm
The Beginner's Bible:
316

2005 Christian / Biblical Windows Brighter Minds Children's Pub.

496 Noah's Ark Activity Pack
http://www.amazon.com/Beginners-Bible-Noahs-Ark-Multimedia/dp/1577911423
Game Boy
The Bible Game 2005 Christian / Biblical Crave Games
497 Advance
http://www.cravegames.com/games/BibleGame/gba.html
Playstation 2/
The Bible Game 2005 Christian / Biblical Crave Games
498 Xbox
http://www.cravegames.com/games/BibleGame/ps2_xbox.html
Veggie Tales:
2005 Christian / Biblical Windows / Mac Big Idea Productions, Inc.
499 Super Silly Fun!
http://www.amazon.com/Veggie-Tales-Super-Silly-Cd-rom/dp/B001E91ELA
ZJ the Ball 2005 Christian / Biblical Windows Breakthrough Gaming
500
http://www.zjtheball.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

20-in-1 Minigames 2005 Christian (LDS) Online BoMToons

501
http://www.bomtoons.com/playgame.php?id=7
Baptism Racer 2005 Christian (LDS) Online BoMToons
502
http://www.bomtoons.com/playgame.php?id=4
BMX LDS 2005 Christian (LDS) Online BoMToons
503
http://www.bomtoons.com/playgame.php?id=3
James H. Fullmer
Book of Mormon Challenge 2005 Christian (LDS) Online
504 And Mark Anderson
http://web.archive.org/web/20050210184439/http://www.jamesfullmer.com/game/
Brother Nephi's Adventure 2005 Christian (LDS) Online BoMToons
505
http://www.bomtoons.com/playgame.php?id=9
317

Donkey BoM 2005 Christian (LDS) Online BoMToons

506
http://www.bomtoons.com/playgame.php?id=8
Elder 2005 Christian (LDS) Online BoMToons
507
http://www.bomtoons.com/playgame.php?id=2
Gideon Fu 2005 Christian (LDS) Online BoMToons
508
http://www.bomtoons.com/playgame.php?id=6
Overcome 2005 Christian (LDS) Online BoMToons
509
http://www.bomtoons.com/playgame.php?id=5
The Missionary Game 2005 Christian (LDS) Online BoMToons
510
http://www.bomtoons.com/playgame.php?id=1
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Twinkle 2005 Christian (LDS) Palm Michael Duersch

511
http://web.archive.org/web/20061027204019/http://twinkle.sourceforge.net/
Review and Herald
Pathfinder Pairs 2005 Christian (SDA) Online
512 Publishing Association
http://wayback.archive.org/web/20110927115841/http://www.guidemagazine.org/gamelaunch/playgame.asp?id=4
Review and Herald
River Run Game 2005 Christian (SDA) Online
513 Publishing Association
http://wayback.archive.org/web/20110927115824/http://www.guidemagazine.org/gamelaunch/playgame.asp?id=2
Review and Herald
Search for the Sons of Jacob 2005 Christian (SDA) Online
514 Publishing Association
http://wayback.archive.org/web/20110928154810/http://www.guidemagazine.org/gamelaunch/playgame.asp?id=7
(Holiday) Memory Game 2005 Jewish Online Jewish People
515
http://www.jewishgames.com/purimpairs.html
318

AfikoMan 2005 Jewish Online Behrman House Inc.

516
http://web.archive.org/web/20051205025012/http://www.babaganewz.com/games/afikoman/
Holli Day's Putt Putt World 2005 Jewish Online Behrman House Inc.
517
http://babaganewz.com/games/holli-days-putt-putt-world
Nano Bob's Rescue Adventure 2005 Jewish Online Behrman House Inc.
518
http://babaganewz.com/games/nanobobs-rescue-adventure
People in the Torah Crossword 2005 Jewish Online Jewish People
519
http://www.jewishgames.com/crossword/torahpeople.html
Tanach Quest: Devorah's Song and
2005 Jewish Windows / Mac Davka Software
520 The Battle of Kishon
http://www.davka.com/cgi-bin/product.cgi?product=359
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Activity Mosque 2005 Muslim Windows Emaan Productions

521
http://web.archive.org/web/20051104042755/http://www.emaanproductions.com/
The Journey to Wild Divine:
2005 New Age Windows Wild Divine Project
522 Wisdom Quest
http://web.archive.org/web/20051201032546/http://www.wilddivine.com/20J3K4K44/
ArmoQuest V 2006 Christian / Biblical Online Rick Ellinger
523
http://web.archive.org/web/20051215202103/http://www.rhinoprints.net/games/
ArmoQuest VI 2006 Christian / Biblical Online Rick Ellinger
524
http://web.archive.org/web/20071112071140/http://rhinoprints.net/games/
Axel 2006 Christian / Biblical Windows Breakthrough Gaming
525
http://www.breakthroughgaming.com/axel/
319

Bible Defenders 2006 Christian / Biblical Windows AV 1611 Productions

526
http://www.freewebs.com/av1611games/
Breakthrough Gaming Arcade 2006 Christian / Biblical Windows Breakthrough Gaming
527
http://www.breakthroughgaming.com/arcade/
Breakthrough Gaming Bounce 2006 Christian / Biblical Windows Breakthrough Gaming
528
http://www.breakthroughgaming.com/bounce/
Breakthrough Gaming Match 2006 Christian / Biblical Windows Breakthrough Gaming
529
http://www.breakthroughgaming.com/match/
Deliverance:
2006 Christian / Biblical Windows West Creek Studios
530 Moses in Pharaoh's Court
http://www.parable.com/i.Deliverance-Moses-in-the-Pharaohs-Courts-West-Creek-Partners.0689076927666
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Forgiveness 2006 Christian / Biblical Windows Breakthrough Gaming

531
http://www.forgivenessrpg.com/
Hermie and Friends:
2006 Christian / Biblical Windows / Mac Digital Praise
532 Camping the Bug-a-boo Way
http://www.christiancinema.com/catalog/product_info.php?products_id=2938
Game Boy
LarryBoy and the Bad Apple 2006 Christian / Biblical Crave
533 Advance
http://www.ign.com/games/larryboy-and-the-bad-apple/gba-823041
LarryBoy and the Bad Apple 2006 Christian / Biblical Playstation 2 Crave
534
http://www.gamefaqs.com/ps2/932577-big-ideas-veggie-tales-larryboy-and-the-bad-apple/critic
Left Behind:
2006 Christian / Biblical Windows Left Behind Games
535 Eternal Forces
http://www.mobygames.com/game/windows/left-behind-eternal-forces
320

Missions Match 2006 Christian / Biblical Online CBH Ministries

536
http://www.cbhministries.org/zone/missions_zone/mission_match/mission_match.html
Nik and Kit 2006 Christian / Biblical Windows Breakthrough Gaming
537
http://www.breakthroughgaming.com/store/nikandkit.html
Quest for God's Armor 2006 Christian / Biblical Windows Cyberspace Ministry
538
http://wayback.archive.org/web/20061205053823/http://tagnet.org/cyberspace/eng-menu.html
Soldier of God 2006 Christian / Biblical Windows AV 1611 Productions
539
http://www.freewebs.com/av1611games/
The Missionary Game 2006 Christian / Biblical Online Kommunion
540
http://web.archive.org/web/20060806030359/http://www.themissionarygame.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Tina's Pinball Game 2006 Christian / Biblical Windows Breakthrough Gaming

541
http://www.breakthroughgaming.com/pinball/
Veggie Tales:
2006 Christian / Biblical Windows Big Idea Productions, Inc.
542 Dance Dance Dance
http://wayback.archive.org/web/20111120081225/http://store.veggietales.com/veggietales-dance-game-with-pad.html
Word Search 2006 Christian / Biblical Online Christian Character Builders
543
http://web.archive.org/web/20061114001924/http://www.christiancharacterbuilders.com/
Zippy the Circle 2006 Christian / Biblical Windows Breakthrough Gaming
544
http://www.breakthroughgaming.com/store/zippythecircle.html
ZJ the Ball 2 2006 Christian / Biblical Windows Breakthrough Gaming
545
http://www.breakthroughgaming.com/store/zjtheball2.html
Book of Mormon Battles:
321

2006 Christian (LDS) Online James H. Fullmer

546 Matching Game
http://web.archive.org/web/20060505022159/http://www.bookofmormonbattles.com/More/Matching/index.html
Keep Your VL 2006 Christian (LDS) Online BoMToons
547
http://www.bomtoons.com/playgame.php?id=11
Moroni's March 2006 Christian (LDS) Online BoMToons
548
http://www.bomtoons.com/playgame.php?id=12
Michael Herrmann
Noah's Ark 2006 Christian (LDS) Online
549 And Peter Lewis
http://web.archive.org/web/20080218045934/http://www.mormonfind.com/mf_games/ark
Review and Herald
Get a Clue 2006 Christian (SDA) Online
550 Publishing Association
http://web.archive.org/web/20061209001423/http://www.guidemagazine.org/gamelaunch/CLUE_OTChars_fin.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Review and Herald
Quizzin' With King Sol 2006 Christian (SDA) Online
551 Publishing Association
http://web.archive.org/web/20111230185642/http://www.guidemagazine.org/gamelaunch/playgame.asp?id=11
Review and Herald
Shoot the Numbers Bible Game 2006 Christian (SDA) Online
552 Publishing Association
http://web.archive.org/web/20111230185637/http://www.guidemagazine.org/gamelaunch/playgame.asp?id=10
Gospel Champions vol. 1 2006 Christian (Catholic) Windows Third Day Games
553
http://www.thirddaygames.com/bibleChampions/retail/order.asp
Christian (Lutheran,
Rescue Riders 2006 Windows The Deaconess Community ELCA
554 ELCA)
http://www.thelutheran.org/article/article.cfm?article_id=6339
Bubbie's Bubble Adventure 2006 Jewish Online Behrman House Inc.
555
http://www.babaganewz.com/kids/bubbies-bubble-adventure/
Interactive Hanukkah
322

2006 Jewish Windows Torah Educational Software

556 Treasure Hunt
https://www.jewishsoftware.com/products/Interactive_Hanukkah_Treasure_Hunt_506.asp
The Shivah 2006 Jewish Windows / iOS Dave Gilbert
557
http://www.wadjeteyegames.com/the-shivah.html
Abu Isa: A New Dawn 2006 Muslim Windows Abu Isa Games
558
http://wayback.archive.org/web/20070719022647/http://www.abuisagames.com/and.html
Abu Isa's Arabic Adventures 2006 Muslim Windows Abu Isa Games
559
http://wayback.archive.org/web/20070719022647/http://www.abuisagames.com/aa.html
Abu Isa's Quest For Knowledge 2006 Muslim Windows Abu Isa Games
560
http://wayback.archive.org/web/20070717152156/http://www.abuisagames.com/qfk.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Alphabet Puzzle 2006 Muslim Online Emaan Productions

561
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Apple Drop 2006 Muslim Online Emaan Productions
562
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Arabic Alphabet 2006 Muslim Online Islamic Playground
563
http://web.archive.org/web/20060810192930/http://www.islamicplayground.com/Scripts/default.asp
Build a Mosque 2006 Muslim Online Emaan Productions
564
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Camel Collection 2006 Muslim Online Emaan Productions
565
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
323

Camel Run 2006 Muslim Online Emaan Productions

566
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Chubby Skiekh and his Plane 2006 Muslim Online Emaan Productions
567
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Chubby Skiekh Coin Game 2006 Muslim Online Emaan Productions
568
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Islamic Crossword Puzzle 2006 Muslim Online Islamic Playground
569
http://web.archive.org/web/20060810192930/http://www.islamicplayground.com/Scripts/default.asp
Islamic Jigsaw Puzzle 2006 Muslim Online Islamic Playground
570
http://web.archive.org/web/20060810192930/http://www.islamicplayground.com/Scripts/default.asp
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Kaba Jigsaw 2006 Muslim Online Emaan Productions

571
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Letter Blast 2006 Muslim Online Emaan Productions
572
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Matching Games 2006 Muslim Online Emaan Productions
573
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Mecca Bus Driver 2006 Muslim Online Emaan Productions
574
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Memory Game 2006 Muslim Online Emaan Productions
575
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
324

Memory Game 2006 Muslim Online Islamic Playground

576
http://web.archive.org/web/20060810192930/http://www.islamicplayground.com/Scripts/default.asp
Prophet Nuh and the Ark 2006 Muslim Online Emaan Productions
577
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Quran for Kids 2006 Muslim Online Emaan Productions
578
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Quranic Study Pack 2006 Muslim Online Emaan Productions
579
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Salat Wordsearch 2006 Muslim Online Islamic Playground
580
http://web.archive.org/web/20060810192930/http://www.islamicplayground.com/Scripts/default.asp
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Skateboard Ali 2006 Muslim Online Emaan Productions

581
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Special Force 2 2006 Muslim Windows Hezbollah
582
http://wayback.archive.org/web/20101126150738/http://www.owfiles.com/spf/
Spot the Difference 2006 Muslim Online Islamic Playground
583
http://web.archive.org/web/20060810192930/http://www.islamicplayground.com/Scripts/default.asp
Underground Mine 2006 Muslim Online Emaan Productions
584
http://web.archive.org/web/20060226023356/http://www.emaanproductions.com/
Ethic Game 2007 Buddhist Windows Khondee
585
http://www.theregister.co.uk/2007/03/13/kids_video_for_good/
Adventures in Odyssey:
325

2007 Christian / Biblical DVD Digital Praise

586 Answer that!
http://www.odysseyscoop.com/merchandise/AnswerThatDVDGame.htm
ArmoQuest VII 2007 Christian / Biblical Online Rick Ellinger
587
http://web.archive.org/web/20071112071140/http://rhinoprints.net/games/
ArmoQuest VIII 2007 Christian / Biblical Online Rick Ellinger
588
http://web.archive.org/web/20071112071140/http://rhinoprints.net/games/
Axel 2 2007 Christian / Biblical Windows Breakthrough Gaming
589
http://www.breakthroughgaming.com/store/axel2.html
Bartimaeus 2007 Christian / Biblical Online Bible Game Zone
590
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Breakthrough Gaming Activity
2007 Christian / Biblical Windows Breakthrough Gaming
591 Center
http://www.breakthroughgaming.com/store/activitycenter.html
Breakthrough Gaming Activity
2007 Christian / Biblical Windows Breakthrough Gaming
592 Center: Geography
http://www.breakthroughgaming.com/store/activitycenter_geography.html
Breakthrough Gaming Activity
2007 Christian / Biblical Windows Breakthrough Gaming
593 Center: Math & Numbers
http://www.breakthroughgaming.com/store/activitycenter_mathandnumbers.html
Breakthrough Gaming Activity
2007 Christian / Biblical Windows Breakthrough Gaming
594 Center: Words and Letters
http://www.breakthroughgaming.com/store/activitycenter_lettersandwords.html
Breakthrough Gaming Arcade 2 2007 Christian / Biblical Windows Breakthrough Gaming
595
http://breakthroughgaming.com/store/arcade2.html
326

Breakthrough Gaming Gym 2007 Christian / Biblical Windows Breakthrough Gaming

596
http://www.breakthroughgaming.com/store/gym.html
Breakthrough Gaming Match 2 2007 Christian / Biblical Windows Breakthrough Gaming
597
http://www.breakthroughgaming.com/store/match2.html
Charlie Church Mouse
2007 Christian / Biblical Windows Life Line Studios
598 Early Elementary
http://www.charliechurchmouse.com/games.html
Charlie Church Mouse
2007 Christian / Biblical Windows Life Line Studios
599 Kindergarten
http://www.charliechurchmouse.com/games.html
Charlie Church Mouse
2007 Christian / Biblical Windows Life Line Studios
600 Preschool
http://www.charliechurchmouse.com/games.html
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Dance Praise 2:
2007 Christian / Biblical Windows / Mac Digital Praise
601 The ReMix
http://www.christcenteredgamer.com/index.php/reviews/18-computer/4955-dance-praise-2-theremix
Dance Praise Party 2007 Christian / Biblical Windows Digital Praise
602
http://www.cbn.com/700club/guests/bios/peter_fokos_082907.aspx
David and Goliath 2007 Christian / Biblical Online Bible Game Zone
603
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
Easter Egg Hunt 2007 Christian / Biblical Online LittleAngelsGames.com
604
http://wayback.archive.org/web/20081121081529/http://www.littleangelsgames.com/games.aspx
Exodus Adventure 2007 Christian / Biblical Windows Sunday Software
605
http://web.archive.org/web/20070513212309/http://www.sundaysoftware.com/Exodus/
327

Finding Adina 2007 Christian / Biblical Windows Washburn Bros.

606
http://finding-adina.software.informer.com/
Forgiveness:
2007 Christian / Biblical Windows Breakthrough Gaming
607 The Second Chapter
http://www.forgivenessrpg.com/
Genesis 2007 Christian / Biblical Online Bible Game Zone
608
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
Gethsemane 2007 Christian / Biblical Online Bible Game Zone
609
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
Hearts 2007 Christian / Biblical Online Bible Game Zone
610
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Inkvisitor 2007 Christian / Biblical Windows West Coast Entertainment

611
http://games.softpedia.com/get/Shareware-Games/Inkvisitor.shtml
InVerse Bible Memory Software 2007 Christian / Biblical Windows BerBible
612
http://www.bibleinverse.org/
Jericho 2 2007 Christian / Biblical Online Bible Game Zone
613
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
Jewels of Sinai 2007 Christian / Biblical Windows Bible Arcade
614
http://www.biblearcade.com/plume/?/Games/
Jigsaw Puzzle 2007 Christian / Biblical Online Bible Game Zone
615
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
328

Mission Journey 2007 Christian / Biblical Online CBH Ministries

616
http://wayback.archive.org/web/http://cbhministries.org/zone/missions_zone/mission_journey/mission_journey.html
Nik and Kit 2 2007 Christian / Biblical Windows Breakthrough Gaming
617
http://www.nikandkit.com/
Noah 2007 Christian / Biblical Online Bible Game Zone
618
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
Noah's Ark 2007 Christian / Biblical Online LittleAngelsGames.com
619
http://wayback.archive.org/web/20081121081529/http://www.littleangelsgames.com/games.aspx
Paul's Second 2007 Christian / Biblical Online Bible Game Zone
620
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Rainbow 2007 Christian / Biblical Online LittleAngelsGames.com

621
http://wayback.archive.org/web/20081121081529/http://www.littleangelsgames.com/games.aspx
The Antique Chronicles 2007 Christian / Biblical Windows Distant Star Productions
622
http://www.distantstarproductions.com/antique/episode.asp
The Axys Adventures:
2007 Christian / Biblical Windows Rebel Planet Productions
623 Truth Seeker
http://www.therebelplanet.com/axys-adventures-truthseeker/232.html
The Sower 2007 Christian / Biblical Online Bible Game Zone
624
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
The Ten Commandments 2007 Christian / Biblical Online LittleAngelsGames.com
625
http://wayback.archive.org/web/20081121081529/http://www.littleangelsgames.com/games.aspx
329

Three Wise Men 2007 Christian / Biblical Online Bible Game Zone
626
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
Timothy and Titus 2007 Christian / Biblical Windows Sunday Software
627
http://www.sundaysoftware.com/titus/
Tower of Babel 2007 Christian / Biblical Online Bible Game Zone
628
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
Tower of Babel 2007 Christian / Biblical Online LittleAngelsGames.com
629
http://wayback.archive.org/web/20081121081529/http://www.littleangelsgames.com/games.aspx
Two of Each Kind 2007 Christian / Biblical Online Bible Game Zone
630
http://web.archive.org/web/20080815103122/http://www.biblegamezone.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Veggie Tales:
2007 Christian / Biblical Gamewave Big Idea Productions, Inc.
631 Veg out family tournament
https://web.archive.org/web/20120226054547/http://playgamewave.com/product/detail.cfm?product_id=18
Where is that? 2007 Christian / Biblical Online CBH Ministries
632
http://web.archive.org/web/20070209204324/http://cbh.gospelcom.net/zone/mission_zone.php
Zoo Race:
2007 Christian / Biblical Windows Cougar Interactive
633 Noah's Adventures 2
http://www.zoorace.com/
BoM Beat Battle 2007 Christian (LDS) Online BoMToons
634
http://www.bomtoons.com/playgame.php?id=15
BoM Search 2007 Christian (LDS) Online BoMToons
635
http://www.bomtoons.com/playgame.php?id=14
Review and Herald
330

Puzzle Out these Plates 2007 Christian (SDA) Online

636 Publishing Association
http://web.archive.org/web/20111230185712/http://www.guidemagazine.org/gamelaunch/playgame.asp?id=12
Christian
Bible Champions, vol 2 2007 Windows Third Day Games
637 (Ecumenical)
http://www.thirddaygames.com/bibleChampions/retail/order.asp
Christian
Jesus in Space 2007 Windows Sunday Software
638 (Ecumenical)
http://www.sundaysoftware.com/jesus/
Strip Dreidel 2007 Jewish Online Yenta North America
639
https://web.archive.org/web/20120311201919/http://www.stripdreidel.com/
Al Quraish 2007 Muslim Windows Afkar Media
640
http://www.quraishgame.com/qe_index.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Arabian Lords 2007 Muslim Windows Quirkat

641
http://www.quirkat.com/site/our-games/arabianlords/
Arabic Alphabel Drag and Match 2007 Muslim Online Islamic Playground
642
http://web.archive.org/web/20071127211259/http://www.islamicplayground.com/Scripts/default.asp
Arabic Alphabet Memory Game 2007 Muslim Online Islamic Playground
643
http://web.archive.org/web/20071127211259/http://www.islamicplayground.com/Scripts/default.asp
Islamic Coloring 2007 Muslim Online Islamic Playground
644
http://web.archive.org/web/20071127211259/http://www.islamicplayground.com/Scripts/default.asp
Begin with the DS: Tipness's Yoga 2007 Yoga Game Boy DS Square Enix
645
http://www.joystiq.com/2007/10/04/the-yoga-game-arms-race-heats-up/
331

Let's Yoga 2007 Yoga Game Boy DS Konami

646
http://www.nintendo.com/games/detail/yM75veVCOtxdSKdo6Kca8PYw97-SPber
Antagonist 2008 Christian / Biblical Windows Rebel Planet
647
http://antagonist.theproject.us/
Build a Church 2008 Christian / Biblical Online Child Evangelism Fellowship
648
http://web.archive.org/web/20120908155640/http://www.wonderzone.com/games/load/church
Chariots 2008 Christian / Biblical Windows Heaven's Blessing Tiny Zoo
649
http://www.chariotsgame.com/
Forgiveness:
2008 Christian / Biblical Windows Breakthrough Gaming
650 The Third Chapter
http://www.forgivenessrpg.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Guitar Praise 2008 Christian / Biblical Windows / Mac Digital Praise

651
http://web.archive.org/web/20080914082506/http://www.digitalpraise.com/
Heavenly Harmony Gold 2008 Christian / Biblical Windows Cloud 9 Games
652
http://www.christcenteredgamer.com/index.php/reviews/18-computer/5015-heavenly-harmony-gold
Left Behind:
2008 Christian / Biblical Windows Left Behind Games
653 Tribulation Forces
http://www.christcenteredgamer.com/index.php/reviews/18-computer/4937-left-behind-tribulation-forces
Old Testament Mothers and
2008 Christian / Biblical Online BibleWise
654 Children
http://web.archive.org/web/20080505011609/http://www.biblewise.com/kids_korner/fun_games/old_testament.htm
Quest for Compassion 2008 Christian / Biblical Online Compassion
655
http://questforcompassion.org/
332

Rhematype 2008 Christian / Biblical Online Pneuma Game Studios

656
http://wayback.archive.org/web/20140205225445/http://www.artwerkz.com/ws/index.htm
Solomon Says Bible Trivia for
2008 Christian / Biblical Windows Cloud 9 Games
657 Kids 2: Amazing Animals
http://www.rejoicechristian.com/products/kids/solomon_says_bible_trivia_for_kids:_vol._2_amazing_animals/
The Tomb of Moses 2008 Christian / Biblical Windows Vida Entertainment
658
http://www.tomb-of-moses.com/
Weekly Interactive Wordoku 2008 Christian / Biblical Online Cyberspace Ministry
659
https://web.archive.org/web/20081103093334/http://www.cyberspaceministry.org/Wordoku/eng-inte.html
Words of Light 2008 Christian / Biblical Windows Tireswing Games
660
http://www.tireswinggames.com/wol.htm
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Review and Herald
Escape from Punch Bully Ranch 2008 Christian (SDA) Online
661 Publishing Association
http://web.archive.org/web/http://guidemagazine.org/guide-online-games/727-escape-from-punch-bully-ranch-
Review and Herald
Mouthless Bob's Balloon Shoot 2008 Christian (SDA) Online
662 Publishing Association
http://web.archive.org/web/20111230190343/http://www.guidemagazine.org/gamelaunch/playgame.asp?id=13
Review and Herald
Mouthless Bob's Bounce 2008 Christian (SDA) Online
663 Publishing Association
http://web.archive.org/web/http://www.guidemagazine.org/guide-online-games/12-mouthless-bobs-bounce
Moksha 2008 Hindu Windows Elektromedia
664
http://www.swarnabumi.com/em/msp.html
Is it Kosher? 2008 Jewish Online Behrman House Inc.
665
http://babaganewz.com/games/is-it-kosher
333

The "Ha'adamah" Blessing Game 2008 Jewish Windows / Mac Yalon Keret
666
http://web.archive.org/web/http://yalonkeret.info/index.php?option=com_content&view=article&id=5&Itemid=6
The "Ha'etz" Blessing Game 2008 Jewish Windows / Mac Yalon Keret
667
http://web.archive.org/web/http://yalonkeret.info/index.php?option=com_content&view=article&id=5&Itemid=6
The "Hagefen" Blessing Game 2008 Jewish Windows / Mac Yalon Keret
668
http://web.archive.org/web/http://yalonkeret.info/index.php?option=com_content&view=article&id=5&Itemid=6
The "Hamotzi" Blessing Game 2008 Jewish Windows / Mac Yalon Keret
669
http://web.archive.org/web/http://yalonkeret.info/index.php?option=com_content&view=article&id=5&Itemid=6
The "Mezonot" Blessing Game 2008 Jewish Windows / Mac Yalon Keret
670
http://web.archive.org/web/http://yalonkeret.info/index.php?option=com_content&view=article&id=5&Itemid=6
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

The "She'hakol" Blessing Game 2008 Jewish Windows / Mac Yalon Keret
671
http://web.archive.org/web/http://yalonkeret.info/index.php?option=com_content&view=article&id=5&Itemid=6
Ulpan Arcade 2008 Jewish Windows Davka Software
672
http://www.davka.com/cgi-bin/product.cgi?product=467
Parasha Challenge 2008 Jewish Online Chabad-Lubavitch Media Center
673
http://www.chabad.org/kids/itchekadoozy/parshah_game_show_cdo/aid/725535/jewish/Ki-Teitzei.htm
Ali's Baggy Thoub 2008 Muslim Online Emaan Productions
674
http://web.archive.org/web/20080306010027/http://www.emaanproductions.com/
FAARIS:
2008 Muslim Windows Qadimoon
675 The Boy Who Became a Warrior
http://www.qadimoon.com/index.php?option=com_content&view=article&id=99&Itemid=127
334

Islamic Word Scramble 2008 Muslim Online Islamic Playground

676
http://web.archive.org/web/20081217021332/http://www.islamicplayground.com/Scripts/default.asp
Muxlim Pal 2008 Muslim Online Muxlim
677
https://web.archive.org/web/20081212035051/http://pal.muxlim.com/
Space Search 2008 Muslim Online Emaan Productions
678
http://web.archive.org/web/20080306010027/http://www.emaanproductions.com/
Guru Meditation 2008 New Age iPhone/ Atari Ian Bogost
679
http://www.bogost.com/games/guru_meditation.shtml#meditation
The Night Journey 2008 New Age Windows Bill Viola
680
http://www.thenightjourney.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Quick Yoga Training 2008 Yoga Game Boy DS Ubi Soft

681
http://www.nintendo.com/games/detail/xNm6eE72agGKw9MGt6U0WECjQETHeaS_
Adam's Venture 2009 Christian / Biblical Windows Vertigo Games
682
http://www.adams-venture.com/
Amazing Bible 2009 Christian / Biblical Windows / Mac Digital Praise
683
http://www.christcenteredgamer.com/index.php/reviews/18-computer/5095-amazing-bible-pc
Attack of the Sunday School
2009 Christian / Biblical Windows Sunday Software
684 Zombies
http://www.sundaysoftware.com/zombies/
Bible 101 Jigsaw Puzzles 2009 Christian / Biblical Windows Krohne Family Media
685
http://wayback.archive.org/web/20040610113300/http://krohnefamilymedia.com/Mini_CD_Children.html
335

Bible Blocks 2009 Christian / Biblical iOS Jonathan Giles

686
https://itunes.apple.com/app/bible-blocks/id304711588?mt=8
Bible Reference Game 2009 Christian / Biblical iOS Thy Word Is True
687
https://itunes.apple.com/us/app/bible-reference-game/id335724587?mt=8&ign-mpt=uo%3D6
Breakout the Bible 2009 Christian / Biblical Windows / Mac Divine Games
688
http://www.divinegames.net/?page_id=43
Chris and Joy's
2009 Christian / Biblical Online Christian Broadcasting Network
689 Super Splash
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/chris-and-joys-supersplash.aspx
Followers of Christ 2009 Christian / Biblical Online My Bible Games
690
http://www.mybiblegames.com/games.php
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Giant Puzzle Adventure 2009 Christian / Biblical Online Christian Broadcasting Network
691
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/a-giant-puzzle-adventure.aspx
Gizball 2009 Christian / Biblical Online Christian Broadcasting Network
692
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/gizball.aspx
Gizmo's 3 Point Shootout 2009 Christian / Biblical Online Christian Broadcasting Network
693
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/gizmos-3-point-shootout.aspx
Gizmo's Gigabyte Grab 2009 Christian / Biblical Online Christian Broadcasting Network
694
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/gizmos-gigabyte-grab.aspx
Gizmo's Lab Round-Up 2009 Christian / Biblical Online Christian Broadcasting Network
695
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/gizmos-lab-round-up.aspx
336

Heaven: The Game 2009 Christian / Biblical Windows Genesis Works

696
http://wayback.archive.org/web/20120503153813/http://www.heaventhegame.com/
Joy's Super Word Search 2009 Christian / Biblical Online Christian Broadcasting Network
697
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/joys-super-word-search.aspx
Manna from Heaven 2009 Christian / Biblical Online My Bible Games
698
http://www.mybiblegames.com/games.php
My Adventures Through Heaven 2009 Christian / Biblical Windows Wisdom Spiral
699
http://wayback.archive.org/web/20101117002912/http://www.wisdomspiral.com/main_en.html
My Bible Millionaire 2009 Christian / Biblical Online My Bible Games
700
http://www.mybiblegames.com/games.php
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Phoebe's Photo Recall 2009 Christian / Biblical Online Christian Broadcasting Network
701
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/phoebes-photo-recall.aspx
Superbook Artifact Adventure 2009 Christian / Biblical Online Christian Broadcasting Network
702
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/superbook-artifact-adventure.aspx
Superbook Matchup 2009 Christian / Biblical Online Christian Broadcasting Network
703
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/superbook-match-up.aspx
Superbook Says 2009 Christian / Biblical Online Christian Broadcasting Network
704
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/superbook-says.aspx
Tower of Babel 2009 Christian / Biblical Online My Bible Games
705
http://www.mybiblegames.com/games.php
337

Vorago 2009 Christian / Biblical Online Godlimations

706
http://wayback.archive.org/web/20110130090251/http://www.godlimations.com/games/vorago.php
Wheel of Verses 2009 Christian / Biblical Online My Bible Games
707
http://www.mybiblegames.com/games.php
World's Greatest Guitar Star 2009 Christian / Biblical Online Christian Broadcasting Network
708
https://web.archive.org/web/20091118134247/http://superbook.cbn.com/games/worlds-greatest-guitar-star.aspx
Hidden Pictures 2009 Christian (LDS) Online Intellectual Reserve, Inc.
709
http://wayback.archive.org/web/http://www.lds.org/friend/online-activities/activities/hidden-pictures?lang=eng
Matching Games 2009 Christian (LDS) Online Intellectual Reserve, Inc.
710
http://wayback.archive.org/web/20130525042144/http://www.lds.org/friend/online-activities/activities/matching?lang=eng
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Puzzles 2009 Christian (LDS) Online Intellectual Reserve, Inc.

711
http://wayback.archive.org/web/20130523041547/http://www.lds.org/friend/online-activities/activities/puzzles?lang=eng
How Mitzvah Giraffe Got His
2009 Jewish Windows / Mac Davka Software
712 Long, Long Neck
http://www.davka.com/cgi-bin/product.cgi?product=493
Eli's Matzah Grabber 2009 Jewish Online Chabad-Lubavitch Media Center
713
http://www.chabad.org/article.asp?aid=863551
Luvav Mitzvah Matcher 2009 Jewish Online Chabad-Lubavitch Media Center
714
http://www.chabad.org/kids/whatif/default_cdo/aid/989952/jewish/Game.htm
Mitzvah Moonwalk 2009 Jewish Online Chabad-Lubavitch Media Center
715
http://www.chabad.org/kids/whatif/default_cdo/aid/902760/jewish/Game.htm
338

The Rambam Game 2009 Jewish Online Chabad-Lubavitch Media Center

716
http://www.chabad.org/kids/whatif/default_cdo/aid/951801/jewish/Game.htm
Tzedakah Tracks 2009 Jewish Online Chabad-Lubavitch Media Center
717
http://www.chabad.org/kids/whatif/default_cdo/aid/884570/jewish/Tzedakah-Tracks.htm
Fix the Letters 2009 Muslim Online Islamic Playground
718
http://web.archive.org/web/20100104153948/http://islamicplayground.com/Scripts/default.asp
Slide Puzzle: Mosques 2009 Muslim Online Islamic Playground
719
http://web.archive.org/web/20100104153948/http://islamicplayground.com/Scripts/default.asp
Yoga 2009 Yoga Wii Trine Games
720
http://trinegames.com/yoga/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

12 Apostles Quiz 2010 Christian / Biblical Online Big Light Games

721
http://web.archive.org/web/http://www.biglightgames.com/cat/106/-bible-games-for-christians/newest-1.html
4 Degrees: Bible Trivia 2010 Christian / Biblical Gamewave ZapiT Games
722
https://web.archive.org/web/20120226053019/http://playgamewave.com/product/detail.cfm?product_id=4
Bible Brain Busters 2010 Christian / Biblical Online Christian Broadcasting Network
723
https://web.archive.org/web/20100926163357/http://superbook.cbn.com/games/bible-brain-busters.aspx
Bible Catcher 2010 Christian / Biblical Online Big Light Games
724
http://web.archive.org/web/20100424073348/http://www.biglightgames.com/index.php?task=category&id=106
Bible Characters
2010 Christian / Biblical Online Big Light Games
725 (and other word finds)
http://web.archive.org/web/20100819232942/http://www.biglightgames.com/index.php?task=category&id=106
339

Bible Match Up 2010 Christian / Biblical Online Big Light Games

726
http://web.archive.org/web/20100819232942/http://www.biglightgames.com/index.php?task=category&id=106
Bible Stories Word Search 2010 Christian / Biblical Android LittleIslandGames
727
http://appgravity.com/android-app/brain/com-devnetmedia-BSWSOT
Bible Tic Tac Toe 2010 Christian / Biblical Online BibleWise
728
http://web.archive.org/web/20100314132428/http://www.biblewise.com/kids_korner/fun_games/tictactoe/index.htm
Bible Traveler:
2010 Christian / Biblical Android Sam Mejias
729 Bible Numbers
http://bible-traveler-bible-numbers.soft112.com/
BibleTet 2010 Christian / Biblical Android ApproS
730
http://appgravity.com/android-app/brain/net-appros-biblesequencesfree
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Big Bible Town 2010 Christian / Biblical Online Third Day Games
731
www.BIGBibleTown.com
Brain Cafe:
2010 Christian / Biblical Android Urbian
732 Test Your Faith
http://appgravity.com/android-app/brain/org-urbian-android-quiz-bible/
Build a Church 2010 Christian / Biblical Online Big Light Games
733
http://web.archive.org/web/20100819232942/http://www.biglightgames.com/index.php?task=category&id=106
Crossman 2010 Christian / Biblical Online Big Light Games
734
http://web.archive.org/web/20100819232942/http://www.biglightgames.com/index.php?task=category&id=106
Feed the Cows 2010 Christian / Biblical Online Barry Ijmker
735
http://christgaming.com/feed-the-cows/
340

G.M.L. Armor 2010 Christian / Biblical Online Barry Ijmker

736
http://christgaming.com/g-m-l-armor/
Game – Books of the Bible 2010 Christian / Biblical Android PaKeSoft
737
http://appgravity.com/android-app/brain/com-BibleBooksGame/updates
Get Bob to Church 2010 Christian / Biblical Online Big Light Games
738
http://web.archive.org/web/20100819232942/http://www.biglightgames.com/index.php?task=category&id=106
Gizmo's Firm Foundation 2010 Christian / Biblical Online Christian Broadcasting Network
739
https://web.archive.org/web/20100926163357/http://superbook.cbn.com/games/gizmos-firm-foundation.aspx
Godstoria 2010 Christian / Biblical Windows FIAA GmbH
740
http://godstoria.browsergamez.com/
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Jesus Birth Bibleionaire 2010 Christian / Biblical Online Big Light Games
741
http://web.archive.org/web/20100819232942/http://www.biglightgames.com/index.php?task=category&id=106
Keys of the Kingdom 2010 Christian / Biblical Windows Left Behind Games
742
http://web.archive.org/web/20101102171028/http://lbgstore.com/keysofkingdom.html
Left Behind 3:
2010 Christian / Biblical Windows Left Behind Games
743 Rise of the Antichrist
http://web.archive.org/web/http://www.leftbehindgames.com/LBGStore/index.php/leftbehind/left-behind-3.html
Little Shepard 2010 Christian / Biblical Online Big Light Games
744
http://web.archive.org/web/20100424073348/http://www.biglightgames.com/index.php?task=category&id=106
Noah's Ark Hidden Objects 2010 Christian / Biblical Online Big Light Games
745
http://web.archive.org/web/20100819232942/http://www.biglightgames.com/index.php?task=category&id=106
341

Noah's Memory Mixup 2010 Christian / Biblical Online Tireswing Games

746
http://web.archive.org/web/20100531054151/http://www.tireswinggames.com/freegames.htm
Online Coloring Book 2010 Christian / Biblical Online BibleWise
747
http://biblewise.com/kids_korner/fun_games/online_coloring/index.htm
Pattern Word 2010 Christian / Biblical Windows Wisdom Spiral
748
http://www.wisdomspiral.com/freegames.html
Praise Champion 2010 Christian / Biblical Windows Left Behind Games
749
http://web.archive.org/web/20101102171335/http://lbgstore.com/praise-champion.html
Praying Jesus Jigsaw 2010 Christian / Biblical Online Big Light Games
750
http://web.archive.org/web/20100819232942/http://www.biglightgames.com/index.php?task=category&id=106
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

Professor Quantum's
2010 Christian / Biblical Online Christian Broadcasting Network
751 Amazing Fruit Tree
https://web.archive.org/web/20101206071158/http://superbook.cbn.com/games/amazing-fruit-tree.aspx
Race on Squares:
2010 Christian / Biblical Android ApproS
752 Bible Edition
http://appgravity.com/android-app/brain/net-appros-raceonsquares/
Save the Bibles 2010 Christian / Biblical Online Big Light Games
753
http://web.archive.org/web/20100819232942/http://www.biglightgames.com/index.php?task=category&id=106
Sort the Name:
2010 Christian / Biblical Android Sam Mejias
754 Bible Puzzle
http://www.androidpit.com/en/android/market/apps/app/samsapps.games.sortthename/Sort-the-Name-Bible-Puzzle
Souling's Quest 2010 Christian / Biblical Online Hanclinto Games
755
http://christgaming.com/soulings-quest/
Tap and Teach:
342

2010 Christian / Biblical Game Boy DS Southpeak Interactive

756 The Story of Noah's Ark
http://www.familyfriendlyvideogames.com/TapAndTeachTheStoryofNoahsArk
Testament 2010 Christian / Biblical Windows Immersive Learning
757
http://wayback.archive.org/web/20100819044942/http://www.testamentgame.com/
The Edge 2010 Christian / Biblical Online Barry Ijmker
758
http://christgaming.com/the-edge/
Two By Two 2010 Christian / Biblical Online Untold Entertainment Inc
759
http://christgaming.com/two-by-two/
Word Cross 2010 Christian / Biblical iOS Michael Surran
760
https://itunes.apple.com/us/app/word-cross-bible-study-game/id377784964?mt=8
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

YaHero 2010 Christian / Biblical Online Yahero

761
https://web.archive.org/web/20100308155744/http://play.yahero.com/
Paolo’s Journey 2010 Christian (Catholic) Windows Fr. Maximo Villanueva Jr.
762
http://balangadiocese.com/FrJun/Resources/Brochure_Paolo's%20Journey2.pdf
Articles of Faith
2010 Christian (LDS) Online Intellectual Reserve, Inc.
763 Memory Quest
http://www.lds.org/friend/online-activities/activities/articles-of-faith-memory-quest?lang=eng
Missionary Maze 2010 Christian (LDS) Online Intellectual Reserve, Inc.
764
http://www.lds.org/friend/online-activities/activities/mazes/missionaries?lang=eng
Spot the Differences 2010 Christian (LDS) Online Intellectual Reserve, Inc.
765
http://www.lds.org/friend/online-activities/activities/spot/differences?lang=eng
Review and Herald
343

Fellow Sheep 2010 Christian (SDA) Online

766 Publishing Association
http://web.archive.org/web/20111230181711/http://www.guidemagazine.org/gamelaunch/playgame.asp?id=16
Review and Herald
Missionary Plumber 2010 Christian (SDA) Online
767 Publishing Association
http://web.archive.org/web/20111206043917/http://guidemagazine.org/gamelaunch/playgame.asp?id=6
Review and Herald
Nile River Frog 2010 Christian (SDA) Online
768 Publishing Association
http://web.archive.org/web/20110927115812/http://www.guidemagazine.org/gamelaunch/playgame.asp?id=15
Do You Know Your Berakhot? 2010 Jewish Online Behrman House Inc.
769
http://babaganewz.com/games/do-you-know-your-berakhot
Do You Know Your Seder Plate? 2010 Jewish Online Behrman House Inc.
770
http://babaganewz.com/games/do-you-know-your-seder-plate
 Appendix: Religious Video Games (1982-2010)

Title of Game Year Religious Group Platform Developer / Publisher

High Holiday Raceway 2010 Jewish Online Behrman House Inc.

771
http://babaganewz.com/games/high-holiday-raceway
Po (Here) or Sham (There)? 2010 Jewish Online Behrman House Inc.
772
http://babaganewz.com/games/po-here-or-sham-there
Latke Stacker 2010 Jewish Online Chabad-Lubavitch Media Center
773
http://www.chabad.org/kids/whatif/default_cdo/aid/1063365/jewish/Latke-Stacker-Game.htm
344
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