Goofy is one of the most beloved and enduring members of the Disney family. In the course of A Goofy Movie, Goofy passes on to his son, Max, a fishing pole that is “been handed down from Goof to Goof to Goof.” Obviously, this pole is one of Goofy's prized possessions and he takes great pride in gifting it to Max. Unfortunately, in doing so, he violates Kant's categorical imperative, since the handing on of this pole is not something that (...) Goofy could mandate be done by everyone. He would not want Pete handing this rod to his son, PJ, since it is a Goof family heirloom. In considering why ordinary men and women start to wonder about ethical living, the authors used Goofy's example of humble but accident‐prone dedication to examine what constitutes success in moral decision‐making. (shrink)

This chapter discusses the versatile LEGO minifigure to introduce some major themes, questions, and problems tackled in the "philosophy of the human person". It begins with the question of just what parts are involved in making a human person. After that, the chapter considers the problems surrounding any individual's continued existence over time, and also discusses the philosophical view according to which the acts of decision‐making and imaginative creation are the very things. The cheerful yellow LEGO minifig presents a wonderful (...) tool for exploring the human person, who similarly appears unique within the complicated systems of reality. The issue of personal identity is as problematic as it is important for understanding our nature as human individuals in an ever‐changing world. The chapter further provides examples that focus on the problem of personal identity, particularly identity over time. (shrink)

If there's one element that glues together the various games connected to the BioShock series, it's a willingness to challenge players to think. Traditionally, philosophers have chosen one of two general candidates to serve as the criterion of personal identity, the feature or characteristic that makes a person who they are and not someone else. These two criteria are (1) our physical bodies and (2) our conscious experiences as a “psychological continuity.” SHODAN was the protagonist in the original System Shock (...) game, but aboard the Von Braun she must reluctantly rely on the player to stop the spread of the many and so serves as a support role for most of the game's engrossing narrative. The character of SHODAN doesn't depend on what computer she is accessed through, and neither is personal identity tied to what material body a person inhabits. (shrink)

During the android Ash's confession in Alien, peope learn a lot about the creature that has been stalking the crew of the Nostromo. Rather than give the human survivors some hope about their chances of overcoming the Xenomorph, Ash waxes poetic about the alien's nature, describing it as the “perfect organism”. The nature of the Xenomorph illustrates some of the core principles of Nietzschean philosophy. This chapter focuses on the idea of the Übermensch and how the aliens from this beloved (...) franchise so perfectly realize, in fiction, the kind of existence Nietzsche hoped to make a reality. It draws on not just the four films of the Alien quadrilogy, but also the franchise's expanded universe of comics, novels, video games, and other product tie‐ins. In order to introduce his cinematic terror in Alien, director Ridley Scott had to transport viewers to a harsh, distant world where strange vessels house even stranger mysteries. (shrink)