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Taking influence from new Lacanian film theorists such as Joan Copjec and Todd McGowan, this article contends that the gamic gaze is an object in the visual field of play that disrupts the mastery of the player\u2019s look. I develop this argument through an analysis of the 2017 videogame Gorogoa. By confronting the player with the gaze, Gorogoa reveals that the jouissance (enjoyment) of videogame play consists in the player\u2019s unconscious drive to fail rather than their conscious wish for pleasure or mastery. To borrow terminology from Copjec, the gamic gaze marks the point of the player\u2019s culpability\u2014rather than visibility\u2014in the visual field of play.<\/jats:p>","DOI":"10.1177\/15554120211048016","type":"journal-article","created":{"date-parts":[[2021,10,4]],"date-time":"2021-10-04T16:08:49Z","timestamp":1633363729000},"page":"528-551","update-policy":"https:\/\/doi.org\/10.1177\/sage-journals-update-policy","source":"Crossref","is-referenced-by-count":2,"title":["Looking for the Gamic Gaze: Desire, Fantasy, and Enjoyment in\n                    <i>Gorogoa<\/i>"],"prefix":"10.1177","volume":"17","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-9424-6439","authenticated-orcid":false,"given":"Benjamin","family":"Nicoll","sequence":"first","affiliation":[{"name":"School of Communication, Digital Media Research Centre, Queensland University of Technology, Brisbane, Australia"}],"role":[{"role":"author","vocabulary":"crossref"}]}],"member":"179","published-online":{"date-parts":[[2021,10,3]]},"reference":[{"key":"bibr1-15554120211048016","doi-asserted-by":"publisher","DOI":"10.5040\/9781501352294"},{"key":"bibr2-15554120211048016","doi-asserted-by":"publisher","DOI":"10.5749\/j.ctt20mvgwg"},{"key":"bibr3-15554120211048016","volume-title":"The Interface Envelope: Gaming, Technology, Power","author":"Ash J.","year":"2015"},{"key":"bibr4-15554120211048016","unstructured":"baXcast. 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