Babeș-Bolyai University [630164]

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Babeș-Bolyai University
Faculty of Political, Administrative and Communication Sciences
Department of Journalism and Digital Media
Media Communication Master I
Student: [anonimizat]: 31 .01.2020

Fundamentals of Game Studies

The therapeutic function of Jungian archetypes in games

Introduction
Play is an essential part of both huma n and animal nature and it is recognised in both psychology
and educa tion as a form of learning. Through the act of playing, one develops cognitive skills ,
social interaction skills, eve n survival skills. Whatsmore, when talking about certain types of
games, the last decade saw a growing numer of researchers demonstrating ‘the potential role and
effectiveness of serious games within a psychotherapeutic context .’ (Eichenberg, et al., 2016)
This paper looks at how the use of imagination , which informs the gameplay experience, can
have a therapeutic function, facilitated by t he cognitive process of projection:
When winning a game by slaying a dragon, the dragon is not a real dragon but a
fictional one. To play a video game is therefore to interact with real rules while imagining
a fictional world, and a video game is a set of rules as well as a fictiona l world. (Juul,
2005)
In order to approach this idea, a phenomenological point of view needs to be adopted , looking at
gameplay experience as subjective rather than objective. Even though there is a vast pool of

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theories a nd perspectives that offer insight into subjective experiences, Jungian psychology could
be one of the most useful viewpoints to explore, due to his theory of archetypes.

What is an archetype ?
The concept of archety pe is partially rooted in Plato ’s ‚Ideas ’, but an initial clearer outline of it is
drawn by C.G.Jung. Even though it is impossible to perfec tly define archetypes , due to their
metaphysical nature , Jung attempts to delevop an explanation for them by borrowing the terms
‚primordial image ’ and ‚archaic image ’ from Jakob Burckhardt. (Jacobi, 2018) These terms can
be understood as motifs in stories, fairytales, fantasies , as Jung hi mself put s it:
‘The concept of the archetype… is de rived from the repeated observation that, for
instance, the myths and fairy tales of world literature contain motifs which crop up
everywhere. We meet these same motifs in the fantasies, dreams, deliria and delusions of
individuals living today…These typ ical images and associations are what I call arche typal
ideas ’ (Storr, 1983)
Therefore, a rchetypes are psychologic al patterns that encompass human and animal behaviours
within symbolic images. Some of the more c ommon archetypal images and processes that can be
found in myths, fantasies and games alike are: the father, the mother, the hero and the heroic
quest , the evil monster, the descend into the abyss/hell/underworld, the anim al companion, the
sun cycle, birth, death. ‘These archetypal ideas symbolize the universal components and
processes of the psyche and can often evoke a strong emotional impact. ’ (Dare, 2013)
Psychoanalysis uses collective unconscious manifestations such as archetypes, dreams and
complexes through the process of cognitive transference, dream anal ysis and projection to explore
traumas . Archetypes are also an important tool in psychodynamic psychotherapy, and their role in
identifying and understanding patterns of behavior , traumas and phobias is incontestable. (Gross,
2001) . The cognitive process of projection is used by play therapists, ‘who know that a child, who
may not be able to verbaliz e or consc iously understand their feelings, will often enact personal
issues through toys, with inner processes, conflicts and goals mirrored symbolically in the stories
and themes of play. ’ (Dare, 2013)

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This process of projection can describe how an individual experiences a video game in an
immersive manner, through identifying with various narratives or characters in a game. The player
is thus able to explore their goals, issues or ideals, as long as the game will act as an imaginative
space filled with potentia lly challenging scena rios, for example, inner conflicts as symboli zed by
two opposing characters or the precarious balance between g ood and evil (Black and White).
However, t he therapeutic function of these scenarios are dependent on an optimal gameplay
experience , through finding that particular state of flow where the challenging and the enjoyment
aspects of the experience are balance d. (Csikszentmihalyi, 1990)
The archetypes that are central to Jungian psychology are the shadow, the self, and anima/animus.
They are primary archetypes , which can be found in most video games, in a wide variety of
symbolic representations.

The Shado w
According to Jung, the shadow is a negative archetype , which represents underdeveloped or
repressed part s of the subconscious . (Jung, 1994) It often shows up as a threatening figure that
when confronted, forces individuals to become aware of whatever it is that they might not accept
about themselves and at times proje ct unto others, for instance through racist or homophobic hate
or fear of the ‘other ’.
This shadow archetype is almost universal to video games, as every threatening idea, character,
enemy, and scenario represents it . ‘A gamer might choose ga mes that depict the destruction of a
certain order of enemy, reflecting his own relationship with his shadow. A designer may also create
enemies and processes that reflect his own inner concerns. ’ (Dare, 2013)

The Self
The self is a n archetypal impulse for the coordin ation, relativization and reunification of
opposites , thus it contains the entirety of an individual ’s psychic potentialities and it is more
comprehensive than consciousness. (Jung, 1994) In myths, stories and dreams, it shows up as
circles, mandalas, squares, or is personified by a wise old wo man or man, a divine figure, often a
child , or else it shows up as a helpful animal who assists the hero. ‘The drawings of children who
are in the midst of divorce or family difficulties often c ontain circular motifs, symboliz ing the

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attempt of the self to bring some unity and he aling to a child's fragmenting inner world .’ (Dare,
2013) In games, the healing aspect of this archetype is often represented through circular energy
or force fields .

Anima/Animus
Anima/Animus represents the female unconsciou s dimension of the male, respectively the male
dimension of the female. In games, the anima often shows up as a female character to be rescued
(Ico) , while the animus can often appea r as the ever handsom e hero or as a spiritual guide.
‘Gamers might choose games with themes that reflect their own relationship with their anima or
animus, and designers might create characters and stories that reflect theirs. ’ (Dare, 2013)
These archetypes are often projected onto other individuals or onto objects, including games. A
vast number of games are littered with symbols of self, shadow, anima/animus.
These archetypes relate to psychological development and hold a therapeutic function when met
with in various scenarios, their applicability depending on player type (Bartle, 1996) , gameplay
experience optimization and of course, the individual ’s personal set of neurose s, fears, traumas
or qualities to be explore d.

The Heroic Quest
The main archetypal proc ess that is manifested in game scenarios is the heroic quest (Zelda,
Final Fantasy, Pokemon), a universal symbol, which appears in most RPG genre ga mes, but is
not limited to them . Accord ing to Jung, this sort of quest, characterized by its cycle of departure,
followed by initiation and subsequent return, ‘reflects the inner process of encountering the
unconscious mind, integrating previous ly unknown psychological contents, and making them a
part of the conscious personality ’. (Dare, 2013)
The hero motif and the quest are symbolic reflections of an important stage of development and
growth .

Conclusion
When an individual projects their imagination onto an object, in this case a game scenario or
character, they award it with new subje ctive meaning, allowing them to enact fantasy play.

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When these objects/scenarios are of archetypal quality, the game as it is can potentially act as a
therapeut ic medium, facilitating self -awareness, growth and development, thus a stronger sense
of self -identity.

References

Bartle, R., 1996. Hearts, clubs, diamonds, spades: Players who suit MUDs. Journal of MUD
research, 1(19).
Csikszentmihalyi, M., 1990. Flow : the psychology of optimal experience. New York: Harper &
Row.
Dare, R., 2013. Games and the Imagination. [Online]
Available at: https://www.gamedev.net/articles/game -design/game -design -and-theory/games –
and-the-imagination -r3178/
[Accessed 25 January 2020].
Eichenberg, C., Grabmayer, G. & Green, N., 2016. Acceptance of Serious Games in
Psychotherapy: An Inquiry into t he Stance of Therapists and Patients. Telemedicine and e –
Health, 22(11).
Gross, R., 2001. Psychology: The Science of Mind and Behaviour. IV ed. London: Hodder and
Stoughton Educational.
Jacobi, J., 2018. Complex, arhetip, simbol în psihologia lui C.G. Jung . București: Editura Trei.
Jung, C., 1994. În lumea arhetipurilor. București: Jurnalul Literar.
Juul, J., 2005. Half-Real: Video Games between Real Rules and Fictional Worlds. London: MIT
Press.
Storr, A., 1983. In: The Essential Jung. New York: MJF Books, p. 65 – 128; 331 – 346.