The prelims comprise: Half‐Title Page Wiley Series Page Title Page Copyright Page Dedication Page Table of Contents Acknowledgments.

Although World of Warcraft utilizes ethnic and gender stereotypes in the construction of its playable characters, the structure of the gaming environment provides a modest utopian vision that is structurally just, maximizing both liberty and equality among participants in a way consistent with John Rawls's Theory of Justice. As a result, class, race, and gender are much more a matter of human (humanoid) variety, rather than a tool for hierarchically differentiation. Nevertheless, in players' engagement with the game, class, race, (...) and gender differences take on meaning well beyond the strucuture of the Warcraft universe demonstrating how real world values infect our imagination. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 127.1 (2006) 137-140 [Access article in PDF] Derek Collins. Master of the Game: Competition and Performance in Greek Poetry. Hellenic Studies 7. Washington, D.C.: Center for Hellenic Studies, 2004. Distributed by Harvard University Press, Cambridge, Mass. xx + 267 pp. Paper, $19.95. Collins states the purpose of his book clearly in the opening paragraph of his introduction (ix): "to offer a detailed examination (...) of the competitive performance of Greek poetry from the late archaic to the classical period. Its central argument is that the basic response pattern called "capping" is a pervasive competitive performance technique common to tragic and comic stichomythia, dramatic representations of lament, forms of Platonic dialectic and dialogue, the sympotic performance of elegy, skolia and related verse games, as well as the rhapsodic performance of epic." In order to fulfill this ambitious purpose, Collins divides his book into three parts: drama, symposia, and epic. An introduction, two appendices (one on ritual aischrologia and the other a brief survey of comparative typologies), bibliography, and indices complete the volume.Collins focuses on specific elements within these genres: stichomythia in Aeschylus, Aristophanes, Euripides' Cyclops, and Plato's Euthydemus occupy part 1. Part 2 is based on skolia, Aristophanes, and a selection of poets—Xenophanes, Heraclitus, Solon, and Anacreon—who offer a sympotic perspective on rhapsodes and competition. In part 3, Collins' evidence for the competitive and creative nature of rhapsodic performance ranges from scholiasts through Homer, the Certamen, Polybius, and inscriptions. Collins has brought together a very wide range of material, complete with translations, which he discusses in a way that I often found convincing and, even when I did not, found stimulating to consider.Collins bases much of his discussion on capping, enjambement, and word play, specifically riddles and puns. He offers a brief definition of capping, the fundamental concept of his work (ix): when two (or more) speakers or singers perform, "one participant sets a topic or theme in speech or verse to which another responds by varying, punning, riddling, or cleverly modifying that topic or theme." Without giving a detailed definition of enjambement, Collins shows its importance for the speaker who must respond to a line already sung by the first performer and argues that enjambement should be seen as a mark of a singer's creativity, his ability to adapt the material given him by the first singer. Collins applies the terms "pun" and "riddling" somewhat too loosely, I think, to many of the passages from tragedy that he discusses. If we understand a pun to be word play based on a word with more than one meaning or based on two different words that are similar in sound, then I am not certain why the image [End Page 137] of famine as an ally of the Greeks, in the words of Darius (Aeschylus, Persians 490–91) should be considered one (9). And what is riddling about the exchange between Talthybius and the elder coryphaeus (Agamemnon 538–50; pp. 15–16)? These passages seem to me simply to be ambiguous. Collins' discussion of puns and riddles in symposia is more convincing (124–29).Collins' reading of the exchange between Euripides and Aeschylus in Aristophanes' Frogs (1198–1248), in which Aeschylus caps Euripides' prologues with the tag ("he lost his little bottle of oil"), is particularly valuable, because he does not limit himself to one approach or perspective. He shows the many grammatical and metrical subtleties of the exchange, its links to other genres, and the possibly sexual jokes (33–43). We can imagine everyone in the audience finding something to laugh at in this scene.Collins conceives of symposia as occasions for amusement, intellectual discussion, and even for violence, if drinking or teasing get out of hand. He suggests that symposiasts and rhapsodes have more in common than we might imagine if we look only at what the symposiasts say about themselves or at the metrical and philosophical differences between the two kinds of performances (85, 135–46). Whether the antagonism toward rhapsodes expressed by oligarchs at symposia has any... (shrink)

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not resolve (...) the issue. -/- Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. -/- Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. (shrink)

This chapter contains sections titled: Welcome to Rapture Meet Niko Bellic Experiencing Game Worlds Acting in Game Worlds.

In lieu of an abstract, here is a brief excerpt of the content:Playing the Dummy:Maugham, Smartphones, and the End of EleganceEric BronsonIOn the Russian Trans-Siberian train from Vladivostok to Petrograd (now St. Petersburg), an American businessman won't stop talking for the entire ten-day journey. In his story, "A Chance Acquaintance," W. Somerset Maugham describes this 1917 meeting between Ashenden, a British character loosely based on himself, and the chatty American, named Harrington. The two passengers are blissfully unmoved by the (...) revolution unfolding all around them. Ashenden casually suggests the two of them try and find another pair to pass the time playing bridge. Harrington refuses. "It beats me how an intelligent man can waste his time card-playing," Harrington asserts, "and of all the unintellectual pursuits I have ever seen it seems to me that solitaire is the worst. It kills conversation. Man is a social animal and he exercises the highest part of his nature when he takes part in social intercourse."1 Ashenden doesn't understand the American's distaste for playing cards, especially bridge. "'There is a certain elegance in wasting time,' said Ashenden. … 'Besides,' he added with bitterness, 'you can still talk.'" [End Page 477]Like many of his fictional characters, Maugham enjoyed eloquent, "time-wasting" games like bridge. Unlike solitaire, bridge encourages social interaction. Once, when his confounded bridge partner confronted Maugham with evidence that his high-class opponents were cheating, Maugham was nonplussed. "They gave us double Martinis to start with," he noted, "a slap-up lunch with a particularly good bottle of white Burgundy and old brandy with our coffee."2 The dishonesty was irrelevant. For Maugham, a good bridge game, like the attendant conversation, should help temper one's moral outrage and skim over the unruly passions that so often plague our public and private lives. Elegance, for Maugham, meant presenting the appearance of calm and respectability, especially when such presentations conflicted with one's more turbulent emotions.In Maugham's short story "The Three Fat Women of Antibes," the women around the bridge table desperately try to keep up appearances, both physically and emotionally. When passionate arguments inevitably threaten to undo the air of genteel conversation, Lena, the newest addition to the table, states, "I think it's such a pity to quarrel over bridge. … After all, it's only a game."3 But while it might be true that bridge is "only a game," Maugham took games seriously. Parlor games like bridge were spaces to practice and perfect the social mores on which colonial hierarchies were solidified. In Maugham's England, the game of life required an elegant performance of the many roles the genteel class was expected to play. That performance was predicated on a relentless effort to keep up ordinary appearances by regulating emotional displays. As Maugham wrote in a 1944 article for Good Housekeeping, a good bridge game rewards people who are "truthful, clearheaded, and considerate," characteristics essential "for playing the more important game of life."4More than any other card game, bridge is built on conventions. Etiquette dictates how cards are shuffled, passed, and played. While there is always some room for surprise and risk, everyone around the table needs to know the bidding and playing conventions to ensure the best possible game. In every hand a silent partner, known as the dummy, lays their cards face up, thereby taking themself out of the action.The persistence of such conventions is a holdover from the game of whist, the predecessor of bridge. In an early-nineteenth-century story, "Mrs. Battle's Opinions on Whist," essayist Charles Lamb describes an elderly whist player who enjoys the elegant waste of time that such long card games encourage. While dances and parties help build social skills around untrustworthy passions, card games like whist, and later bridge, [End Page 478] were more like "a long meal; not like quadrille, a feast of snatches. One or two rubbers might co-extend in duration with an evening. They gave time to form rooted friendships." This kind of congeniality mattered to serious people like Mrs. Battle, people who "despised superficiality, and looked deeper than the colours of things."5The game of bridge... (shrink)

An unauthorized look behind one of the greatest video game franchises of all time, Final Fantasy The Final Fantasy universe is packed with compelling characters and incredible storylines. In this book, you'll take a fascinating look at the deeper issues that Final Fantasy forces players to think about while trying to battle their way to the next level, such as: Does Cloud really exist? Is Kefka really insane? Are Moogles part of a socialist conspiracy? Does the (...) end of the game justify the means? As Mages, Moogles, fiends, and Kefka are mashed together with the likes of Machiavelli, Marx, Foucault, and Kafka, you'll delve into crucial topics such as madness, nihilism, environmental ethics, Shintoism, the purpose of life, and much more. Examines the philosophical issues behind one of the world's oldest and most popular video-game series Offers new perspectives on Final Fantasy characters and themes Gives you a psychological advantage--or at least a philosophical one--against your Final Fantasy enemies Allows you to apply the wisdom of centuries of philosophy to any game in the series, including Final Fantasy XIII Guaranteed to add a new dimension to your understanding of the Final Fantasy universe, this book is the ultimate companion to the ultimate video-game series. (shrink)

: We investigate the role played by bodily self-perception and social self-presentation in addiction to massively multiplayer online role-playing games. In this paper we will develop the hypothesis that, at least in some cases, the habit of role-playing can be interpreted as a response to gamers’ need to explore a different bodily self-identity. Players tend to become deeply involved in this kind of game, especially in the character identity creation process. Participants might see and seek reflections of their (...) desired selves in their avatars. We suggest that in some cases gaming can be considered an addiction associated with self-perception, social acceptance, and body-image distortion. We explore how the phenomenological duality of body can be useful for analyzing the creation of game identities preferred by players. On the basis of this analysis, we sketch some therapeutic suggestions, combining aspect from two specific therapies: Internet Addiction-Cognitive Behavioral Therapy and Body Image Cognitive Behavioral Therapy. We hope these suggested approaches will be of value to gaming addiction specialists. Keywords: MMORPGs; Leib/Körper; Bodily Self-perception; Game Identity; Addiction L’abitudine ai giochi di ruolo in rete multigiocatore di massa : una analisi fenomenologica della percezione corporea di sé nella dipendenza da gioco Riassunto: Intendiamo indagare il ruolo svolto dalla percezione corporea di sé e dalla autopresentazione sociale nella dipendenza da gioco di ruolo in rete multigiocatore di massa. In questo lavoro illustreremo l’ipotesi per cui, quantomeno in alcuni casi, la disposizione al gioco di ruolo può essere interpretata come risposta al bisogno dei giocatori di esplorare una diversa identità corporea di sé. Chi partecipa a questo tipo di gioco tende a un coinvolgimento profondo, specialmente nel processo di creazione dell’identità caratteristica. I partecipanti possono vedere e cercare riflessi dei loro sé desiderati nei loro avatar. Noi suggeriamo che in alcuni casi il gioco può essere considerato una dipendenza associata alla percezione di sé, alla accettazione sociale e alla distorsione della immagine corporea. Esploreremo come la dualità fenomenologica tra corpo vissuto e corpo possa essere utile per analizzare la creazione delle identità di gioco preferite dai giocatori. Su questa base offriremo alcuni suggerimenti terapeutici, combinando aspetti tratti da due terapie specifiche: la Internet Addiction-Cognitive Behavioral Therapy e la Body Image Cognitive Behavioral Therapy. Auspichiamo che questi approcci possano essere validi per chi lavora nel campo della dipendenza da gioco. Parole chiave: MMORPGs; Leib/Körper; Percezione corporea di sé; Identità di gioco; Dipendenza. (shrink)

Games Studies reveals the performative nature of playing a character in a virtual-game-world (Nitsche 2008, p.205; Pearce 2006, p.1; Taylor 2002, p.48). Tbe Player/Character relationship is typically understood in terms of the player’s in-game “presence” (Boellstorff 2008, p.89; Schroeder 2002, p.6). This gives the appearance that living-into a game-world is an all-or- nothing affair: either the player is “present” in the game-world, or they are not. I argue that, in fact, a constitutive phenomenology (...) reveals the Player/Character relationship to be a multi-dimensional matter of empathy. I advance a broadly Schutzian framework, drawing on his 1932 discussions of “face-to-face encounters” and ”historical predecessors,” showing how at- tention to empathy reveals a variety of “presences” that different kinds of Player/Character relationships afford. The central determinants of empathetic affordances which I focus on here are (i) how much players know about a character (especially the character’s past) and (ii) how players learn this information.The purpose of this discussion will be to show that a phenomenological analysis reveals that the relationship between a player and their character is complex, highly variable, and inherently social. Furthermore, it will add to the growing body of scholarship that demonstrates that video games are rich social objects deserving of study. (shrink)

In a seminal paper, Aumann (1987, Econometrica 55, 1–18) showed how the choices of rational players could be analyzed in a unified state space framework. His innovation was to include the choices of the players in the description of the states, thus abolishing Savage’s (1954, The Foundations of Statistics. Wiley, New York) distinction between acts and consequences. But this simplification comes at a price: Aumann’s notion of Bayes rationality does not allow players to evaluate what would happen were they to (...) deviate from their actual choices. We show how the addition of a causal structure to the framework enables us to analyze such counterfactual statements, and use it to introduce a notion of causal rationality. Under a plausible causal independence condition, the two notions are shown to be equivalent. If we are prepared to accept this condition we can dispense with the causal apparatus and retain Aumann’s original framework. (shrink)

In fantasy sports, the goal is to gain as many points as possible. To get there, users have to choose players with the optimal price-to-performance ratio. However, finding these optimal players requires a great amount of time and effort, in which the users might not be willing to invest. Instead, they can use heuristic strategies. This paper investigates one such strategy for choosing squads based on the assumption that athletes starting for the favourite team of the match would bring (...) users more points—in line with the representativeness heuristic. The data come from the Czech fantasy league according to the Premier League in the season 2015–16. The econometric model examines the percentage of squads a player was chosen into. The Ordinary Least Squares method used here uses control variables indicating performance, price, Czech nationality, and the game position of the athletes. The results show that users choose their squads primarily based on players’ past performances, but also take the favourite team into account. By applying the latter heuristic users aim to simplify the process decision-making but they overestimate the impact of belonging to a favourite team. (shrink)

Research on video game violence has focused on the impact of aggression, but has so far neglected the processes and mechanisms underlying the enjoyment of video game violence. The present contribution examines a specific process in this context, namely players' strategies to cope with moral concern that would arise from violent actions. Based on Bandura's theory of moral disengagement, we argue that in order to maintain their enjoyment of game violence, players find effective strategies to avoid or (...) cope with the moral conflict related to their violent behaviors in the game world. Exploratory interviews with ten players of violent video games revealed some relevance of moral reasoning to their game enjoyment, and several strategies that help players to ‘manage’ moral concern. Most importantly, respondents referred to the game-reality distinction and their focus on winning the game when explaining how violent action is a by-product of good performance. Findings are discussed in light of further theorizing on ‘moral management’ and potential links to the media violence debate. (shrink)

Non-player characters (NPCs) are a common feature in contemporary videogames, particularly role-playing games (RPGs). Evidence suggests player relationships with these fictional, digital characters can manifest as deeply emotional experiences that can ‘bleed’ off the screen and affect the daily lives of players. However, research in this area is still in its infancy, and as yet has not been given a thorough conceptual treatment. Applying the sociological phenomenology of Alfred Schütz, this paper will examine the structure of the experiences that players (...) have with NPCs, and how these experiences manifest as meaningful social experiences. By a reconceptualization of the player-NPC relationship as a deeply mediated human-human relationship, this paper aims to build a foundation for further phenomenological study into how players engage with fictional characters in immersive videogame worlds. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Making a New Man: Ciceronian Self-Fashioning in the Rhetorical WorksAndrew M. RiggsbyJohn Dugan. Making a New Man: Ciceronian Self-Fashioning in the Rhetorical Works. Oxford: Oxford University Press, 2005. x + 388 pp. Cloth, $120.The title somewhat undersells this book in two respects. First, in addition to treating several of the rhetorica (De Oratore, Brutus, Orator), it also offers readings of two actual orations (Pro Archia and In Pisonem). (...) Second, and more importantly, self-fashioning in the narrow sense is only half of the project Dugan analyzes. As interested as Cicero was in offering versions of himself to a variety of audiences, he seems to have been at least as interested in fashioning an audience that would evaluate those versions properly (that is, positively). The theatrical character some have noted in much of Roman culture might lead one not to be surprised to find late Republican interest in self-fashioning; and, as Dugan points out, a "new" man such as Cicero would have been particularly self-conscious about the matter. One might even have expected that attempts to change the rules on the fly would be fair game (cf. Pliny Ep. 4.17.3, 6.17.4, 7.4.10). Still, the scale of Cicero's enterprise seems to have no classical parallel and was badly in need of description and analysis. This is the work carried out effectively by Dugan's book. The Cicero being fashioned is in part the togate general and hero of the Catilinarian affair. He is also, however, the cultural producer who tests cultural limits and standards of acceptability and is eventually displaced by his own product.The first chapter argues that Pro Archia adopts an essentially epideictic form to exploit, on the one hand, the ludic associations of that genre and, on the other, its proximity to the aristocratic laudatio funebris. The former licenses Cicero's valuation of literary polishing (roughly, ornatus), explicitly in poetry, but also in history and oratory. The latter co-opts a highly traditional mode of fashioning for a new man who might not have literal access to it. The speech is both an argument for a certain set of values and a demonstration of Cicero's possession of the same: the value of cultural production to the community, the [End Page 473] value of formal polish and aestheticization to that production, the role of texts in processes of exchange, personal auctoritas as the ultimate guarantor of value, and semiotic transparency. This speech and its hoped-for responses would be able to canonize Cicero's version of the Catilinarian conspiracy, a version in which he was the hero. In Pisonem attempts to canonize a vice-ridden Piso by similar means and also sets him in a world where the same values (especially transparency) break down.The second chapter reads De Oratore as a defense of a novel, Ciceronian construct of the ideal orator as in fact traditional. The key to the new aesthetic (beyond its being an aesthetic in sometimes moralizing terms) is "controlled transgression," that is, a tolerance for the metaphorical, the theatrical, the humorous, and in general the potentially indecorous and effeminate. This is made tolerable by a variety of strategies. The overt arguments of the text constantly police the boundaries of decorum (even if they protest too much). The whole is projected back onto ancestors who are automatically respectable and from whom Cicero personally can construct an intellectual genealogy. (Here again we have potential contact with the laudatio funebris.) At the same time, parts of the reputations of some of those maiores are cleaned up to suppress potential controversy. The dialogue form displaces responsibility for any particular claim of characters in the text, even though Cicero does in places stress his own authorship of the whole. Not only are Cicero's would-be weaknesses (such as his perhaps over-ready wit) justified, but he also assumes the role of the regulator. Heavy use of bodily metaphors and refusal of the conventional form/content distinction serve to naturalize Cicero's preference for risking effeminacy for the sake of ornatus.Brutus, the topic of chapter 3, gives a "history" of oratory with a point... (shrink)

There are several types of characters in video games: the main protagonist/hero, the countless non-player characters (NPCs), and persistent non-player characters (PNPCs). While there is a substantial body of research about PNPCs from a game design point of view, they have been largely ignored by the academic community from a narrative perspective. The current essay aims to evaluate whether video game playing experience has an impact on a player’s reliance on the guidance of PNPCs in game play (...) and if a higher degree of experience enables a player to have a better appreciation for the narrative qualities of PNPCs as well as their complexity as characters. (shrink)

Digital games have matured substantially as a narrative medium in the last decade. However, there is still much work to be done to more fully understand the poetics of story-based-games. Game narrative remains an important issue with significant cultural, economic and scholarly implications. In this article, we undertake a critical analysis of the design of narrative within Mass Effect 2: a game whose narrative is highly regarded in both scholarly and vernacular communities. We follow the classic humanities methodology (...) of “close-reading”: the detailed observation, deconstruction, and analysis of a text. Our close-reading employs a critical framework from our previous work to isolate and highlight the central narrative design parameters within digital games. This framework is grounded in the scholarly discourse around games and narrative, and has been tested and revised in the process of close-reading and analyzing contemporary games. The narrative design parameters we examine are character, storyworld, narrativized interface, emotion, and plot coherence. Our analysis uses these parameters to explicate a series of design decisions for the effective creation of narrative experience in Mass Effect 2, and by extension, for game narratives in general. We also expand our previous methodology through a focused “edge-case” strategy for exploring the limits of character, action, and story in the game. Finally, we position our analysis of Mass Effect 2 within contemporary discourses of “bounded agency”, and explore how the game negotiates the tension between player-expression, and narrative inevitability to create opportunities for sophisticated narrative poetics including tragedy and sacrifice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Iconicity, Romance and History in the Crónica SarracinaMarina S. Brownlee (bio)Though seemingly alien discourses, romance and historiography are perennially linked. Far from offering an atemporal imaginary universe that bears no resemblance to historical specificity, romance is constructed as a response to it. Rather than simply projecting for the reader the naïve appeal of a prelapsarian escapism from the harsh realities of history, romance involves a continuous and sophisticated reinvention (...) of itself as a response to an ever-changing historico-political configuration. It is, in fact, a reciprocal relationship. We frequently see history appropriating romance paradigms explicitly, as, for example, when Bernal Díaz chooses to present Spain’s New World conquest and colonization as a continuation of the exploits of Amadís [see Gilman].Whatever form it takes, romance is committed to the celebration of a coherent system of socio-political values. This extra-textual frame of reference can take a variety of forms—from political propaganda that offers a self-aggrandizing depiction of the nobility or patron for whom the text is produced, to escapist fantasy—futuristic or archaizing. It is nostalgia for the lost world of chivalric romance which Cervantes embodies in the figure of Don Quijote, a foolish old man driven mad by his obsession with this perennial literary form. Cervantes is rightly credited with a brilliant and programmatic use of romance constructs to communicate the ongoing historical crisis of the Spanish empire. A byproduct of this romance scrutiny of history was his invention of the modern novel.Testimony to the long-standing interaction between romance and history in Spain, as elsewhere in Europe, is evident in the fact that its first romances were based on history, the so-called “romances of antiquity.” In those texts historical figures and events are evoked for the purpose of legitimating the present, vernacular poets as they celebrate the empowering myths projected by their society, as well as their own literary endeavors by invoking venerable Latin models. The well known translatio studii et imperii topos offers such allegory of empire.At the same time, the confrontation of romance and historical representation can also have a destabilizing effect, and this is programmatically explored in Pedro del Corral’s Crónica sarracina (c. 1430). His text ponders the possibilities of romance and historiography in an obsessive manner and he accomplishes his task by examining representation of the most iconic figures associated with the fall of Spain in 711, namely, La Cava and her father, Count Julián, King Rodrigo, and Pelayo, the messianic hope of the Reconquest effort which would last nearly 800 years.Of related and perhaps even broader importance, Corral’s text merits careful reading because its exploration of iconicity related to Spain’s fall offers meditations on the workings of ideology, which inevitably proposes “imaginary or formal solutions to unresolvable contradictions” [Jameson 79]. Ideology—its unmasking—is intriguingly posited by Corral in powerful ways.If we turn to Corral’s text, we find a work offering an extraordinary consideration of history and romance—their profound interaction—whose full title reads, La crónica [End Page 119] del rey don Rodrigo con la destrucción de España (The Chronicle of King Rodrigo with the Destruction of Spain). My interest in the Crónica here is primarily to consider the mechanisms by which it gestures boldly toward what Žižek has described as the project of the postmodern critique of ideology—though it is clearly a recurring cultural constant—namely to “designate the elements which point towards the system’s antagonistic character, and thus ‘estrange’ us to the self-evidence of its established identity” [Žižek 7]. A reading of the Crónica provides an extended paradigm of such estrangement.Iberia is the area of the Mediterranean which underwent the most protracted encounter between Christianity and Islam, and the events of the Moorish invasion of 711 constitute Spain’s unique foundational subject-matter—on a par with the Troy legend and with King Arthur [see Deyermond 355]. Like them, the retelling of 711 is all about forging mythic connections in order to legitimize empire in a temporally remote time-frame. What interests me in this essay is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Videogames and Interactive FictionGrant TavinorIIn the third-person crime simulator Grand Theft Auto 3, the fictional performing of all sorts of criminal nuisance is a possibility. (Squeamish readers, or those that are adamant videogames are playing a decisive role in the moral degeneration of modern society might want to turn away now!) Here is one possibility for players of the game: while driving around in the rundown red-light district (...) of Portland Island, try stopping beside one of the women dressed in leather dresses and knee-high stockings who say things like "Have you ever been down south?" The fictional woman will bend down to the car window and eventually hop in. Now drive to a secluded area, stop the car, and wait. What happens? The car begins to rock up and down, slowly at first, and then more quickly, squeaking all the while. As it does, your health meter increases and the cash meter decreases. Eventually, after the car has stopped rocking, the prostitute exits and walks away. This is all obviously of questionable taste. But the really horrible part is that it is possible to mug the prostitute and take back your money!Though I am reluctant to tell you this, the first time I discovered the trick, I felt a sort of sadistic joy at my reprehensible behavior. Friends in the room at the time thought the whole incident hilarious; except for one who thought it extremely revolting. Perhaps now though, I feel guilty for what I did to the prostitute. (Hence my reluctance to let you know of my sinister fictional activities!) Of course, this episode raises a host of ethical questions; I will not attempt to answer them here. What I am interested in is the possibility of fictional interaction itself. The important point is that this fictive episode seems to show that it is possible in the case of videogames to feel guilty or ashamed for what one [End Page 24] does in a fictional world. But how is this possible? What does interacting with a videogame amount to that it allows for this intimate (and dubious) emotional connection?There is a wide and impressive literature in the analytic philosophy of the arts concerning the nature of fiction and the practice that surrounds it; this literature gives us an ideal theoretical basis from which to explore the topic of videogames. But also, videogames will allow us to return our attention to the theory, perhaps perceiving areas in which it can be improved, so as to become more generally applicable. I begin this paper by setting out some initial descriptive examples of the ways in which videogames are interactive fictions. After discussing an ambiguity in the notion of what it is to interact with a fiction, I deal with two prominent aspects of that interaction; that focused on fictive props, and the apparent interaction players have with fictional worlds. Next, I argue that the interactive nature of videogames alters the character of our interest in them. Rather than a focus on interpretive and sympathetic engagement with narratives, videogames involve their appreciators in an active engagement with the problem spaces or kinetic narratives of gameplay. Finally, I argue that because action and emotion are close cognitive bedfellows, and because emotion plays an important role in the psychology of fictive practice, that the emotions experienced by videogame players will be distinctive to that fictive form.IIVideogames provide their players with a variety of opportunities for interactive engagement. The last ten years have seen significant development in the extent of the fictive interactivity of videogames, especially with the advent of the "next generation" consoles such as Playstation 2 and X-Box, and the burgeoning genre of PC gaming. With the intention of providing some descriptive substance for the following theoretical discussions, in this section I present some examples of the ways in which modern videogames are interactive fictions, and how they differ to more traditional fictive forms in this respect.Many videogames involve exploring an environment. In Grand Theft Auto 3, the player, in the guise of a criminal protagonist, is able to explore the streets of Liberty City. Completing the objectives of the... (shrink)

This study dealt with the interaction between two important trends in future Western societies, i.e. the greying of society and the technology-induced transformation of everyday life. It aimed at formulating a framework of policy recommendations with regard to the elderly and ICT in 2030. To meet this objective a three-phased methodology was developed, relying on methods of participatory technology assessment and technology foresighting. In the first phase of the project, a literature study, semi-structured expert discussions and focus groups with (future) (...) elderly provided the necessary information for the development of scenarios about the future. In the second phase, these scenarios were transformed into a theatre play, which was performed for elderly audiences. Group discussions with senior participants led to the formulation of the “desired” future with regard to the elderly and ICT. During the last phase of the project—a backcasting exercise—experts and stakeholders from different fields formulated policy recommendations, necessary to achieve this future. (shrink)

Previous work by Diffo Lambo and Moulen [Theory and Decision 53, 313–325 (2002)] and Felsenthal and Machover [The Measurement of Voting Power, Edward Elgar Publishing Limited (1998)], shows that all swap preserving measures of voting power are ordinally equivalent on any swap robust simple voting game. Swap preserving measures include the Banzhaf, the Shapley–Shubik and other commonly used measures of a priori voting power. In this paper, we completely characterize the achievable hierarchies for any such measure on a swap (...) robust simple voting game. Each possible hierarchy can be induced by a weighted voting game and we provide a constructive proof of this result. In particular, the strict hierarchy is always achievable as long as there are at least five players. (shrink)

Digital games can be considered as composed of two main components: the props, i.e. visual, textual, and aural elements such as codes, 3D models and animations; and the form, specially the interaction between players and games, the act of playing itself. This dichotomy thus begs the question whether digital games are indeed games if nobody plays them, and ultimately: who is the owner of the gameplay and any by-product of the interaction between the game and the players? This paper (...) explores the copyright status of content created by users with digital games, such as gameplay videos and images, for example art based on digital game assets, namely virtual photography; as well as customized in-game objects. Many modern digital games offer considerable freedom to players, in terms of how the action on screen evolves and the visual outcomes that the game can produce. Scholars have asserted that digital games avatars, the characters created in games, should be considered a joint work between players and the game developers and some game companies allow the commercial use of videos created from their games. Conversely, other companies expressly prohibit such use, and issue DMCA takedown notices to infringers. Attention will be devoted to specific games as authorial tools, such as _SpaceEngine_ and _Townscaper_, where there are neither objectives nor challenges, but they are rather tools that enable players’ creativity. (shrink)

In the ever-evolving landscape of video game development, mythology serves as a rich source of inspiration, providing developers with a wellspring of narratives, characters, and themes that resonate with players. This article, "Gaming the Gods: How Mythology Inspires Game Development," explores the intricate relationship between ancient myths and contemporary gaming. By examining various titles that draw upon mythological elements—from the pantheons of Greek and Norse mythology to the folklore of diverse cultures—we uncover how these stories enhance gameplay, deepen (...) character development, and create immersive worlds. The article also discusses the challenges and responsibilities developers face when adapting these age-old tales, including cultural sensitivity and authenticity. Through case studies of popular games, we illustrate how mythology not only enriches storytelling but also fosters a deeper connection between players and the narratives they engage with. Ultimately, this exploration highlights the enduring power of myth in shaping the future of interactive entertainment, inviting both players and creators to embark on epic journeys through the realms of legend and lore. (shrink)

Free games that are monetized by selling virtual items, such as cosmetic microtransactions for one’s avatar, seem to offer a better gaming experience to paying players. To experimentally explore this phenomenon, the effects of character customization with cosmetic microtransactions on objective and self-estimated player performance, subjective identification with the avatar, fun and the players’ perceived competence were examined in the game League of Legends. This study introduces a new laboratory-based, experimental task to objectively measure within-game player performance. (...) Each participant performed this game-based task in two different conditions: With a character that was customized using a provided set of cosmetic microtransactions and with a default character. Results showed that customization increased subjective identification with the player character. However, objective performance measures were unaffected by this manipulation although the novel experimental approach provided reliable performance results. Additionally, identification was positively related to perceived competence, fun, and self-estimated performance. Implications for the design of cosmetic microtransactions and their influence on competitive gaming are discussed. (shrink)

The use of human language is a hallmark of human consciousness, even when it is not used publicly. Inner speech is the way humans consciously communicate with themselves and arguably a key factor contributing to the formation of more self-aware selves. From the perspective of cognitive science and artificial cognitive architectures, inner speech can be also seen as a meta-management system that modulates some cognitive processes of the subject. In this paper, we describe a preliminary version of a computational model (...) of inner speech generation based on the cognitive architecture CERA-CRANIUM. This inner speech generation method is illustrated using a video game non-player character as the subject of the first-person narratives to be produced. We also use this model of inner speech generation to discuss the possibilities of using such a first-person narrative stream as a meta-control input to the artificial cognitive architecture. We argue that this verbal input might be used as an integrated self-explanation of the agent in the world and thus contribute to the formation of self. (shrink)

Japan is the world’s largest producer of love simulation games, revealing a curious feature: these games, in theory, assign female players to the unique task of seducing a male character, but, in reality, they promote the establishment of a network of friendship between women. Love cannot be achieved if this network is not carefully woven both in play and in real life. Based on the analysis of this double dynamics, outwardly contradictory, I would like to advance the following hypothesis: (...) that such games enable their users to ‘outsmart’ gender expectations. These games, called otome games, became popular in the context of a national panic related to the declining birthrate: they target the market of women who – living alone or with their parents – are held responsible for the future shortfall of the system. These new generations of women don’t start a family. They have no children. How do they manage to ward off exclusion and stigma? The study will focus on the strategies collectively devised to turn otome games into an identity-building tool, promoting friendship between players as a means of resistance against social norms. (shrink)

This paper discusses the nature and limits of player embodiment within digital games. We identify a convergence between everyday bodily actions and activity within digital environments, and a trend towards incorporating natural forms of movement into gaming worlds through mimetic control devices. We examine recent literature in the area of immersion and presence in digital gaming; Calleja’s (2011) recent Player Involvement Model of gaming is discussed and found to rely on a probematic notion of embodiment as 'incorporation'. We go on (...) to further reflect on the nature of player involvement in digital gaming environments by applying insights from Maurice Merleau-Ponty's Phenomenology of Perception. It is argued that digital embodiment differs so significantly from primordial embodiment that any idea of total immersion is simply fantasy. We subsequently argue that digital game media nonetheless provide us with unique opportunities for exploring the nature of distinctively human forms of embodiment, and so we need more complete and more reliable phenomenological descriptions of the experiences associated with computer games. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Suitors' GamesRuth ScodelScholars disagree about the goals of Penelope's suitors in the Odyssey-do they seek kingship, Odysseus' property, Penelope herself, or some combination? This disagreement is unsurprising: different passages imply different goals. Twice the suitors speak of dividing Odysseus' property (2.335-36, 16.384-86). In other passages, however, the kingship seems to be at issue; so Telemachus says that Eurymachus "is most eager to marry my mother and possess the (...) honor [geras] of Odysseus" (15.521-22)-which would seem to imply that he would have all Odysseus' wealth as well. Other passages stress the suitors' sexual desire for Penelope (1.365-66, 18.212-13). Hence scholars have often emphasized one aspect of the suitors' aims. Some think that Penelope herself is a mere excuse and the suitors' real desire is kingship in Ithaca.1 Others argue that Penelope is the only object and that "kingship" does not even exist.2 Many believe that Penelope and the kingship are somehow connected, and that the suitors seek both, while some admit that they are perplexed.3 The poet's failure to clarify Penelope's motives complicates the issue even further and has led to even more debate. Is she as loyal to [End Page 307] Odysseus as the poet claims? If so, why has she led the suitors on? Why does she appear before them in book 18? Why does she choose to hold the bow contest when there are so many indications of Odysseus' imminent return?4Scholars, however, have made the problems worse by assuming a single underlying situation. The suitors' actions, and those of Penelope, are easier to understand if we follow the narrative with the expectation that the characters adapt to changing situations. There are three basic situations in the poem, and so three "games." The first we must reconstruct, because Telemachus' new assertiveness ends it as the poem starts. His declaration of hostility toward the suitors and his attempt to use the assembly against them mark the transition to a new game. This game, too, fails to achieve an outcome, when the suitors fail to kill Telemachus on his return and an omen warns them against trying again. The third game begins when Penelope's appearance before the suitors inflames their desire for her and leads to the bow contest.I borrow the term "game" from the game theory widely used in the social sciences.5 In game theory, a "game" is a rule-governed situation in which each person must make choices in the knowledge that other people are also choosing and that the outcome depends in a prescribed way on all the choices. Game theory assumes "instrumental rationality": without considering why people want what they want, it assumes that people have preferences and use rational means to achieve them.6 Ends do not need to be rational, but means do. A rigorous application of game theory to a literary text would be foolishly reductive. Furthermore, game theory would require assigning a quantitative value to each possible outcome for each player. Still, a perspective influenced by game theory can clarify what strategies are available to the characters and the rationality or lack of rationality of their choices. [End Page 308]This argument treats the characters as possible people for whom the audience infers rational motives, provided that the narrator does not provide other motivations and such inferences offer an adequate explanation for otherwise confusing actions. This is the easiest way to discuss the narrative sequence, and it is not an inappropriate procedure for the authorial audience of this poem.7 After all, the Odyssey celebrates the cleverest of heroes and implies that Odysseus' wife resembles him. Without imagining people who calculate quite as tidily as the analysis does, we may still see them as consciously evaluating their options. However, even interpreters who reject the view of the characters as rational choosers may find this analysis helpful. They may, for example, see the characters as behaving more intuitively than through calculation yet still find it useful to examine how far their actions conform to a rational model. Even if the characters' motives are bracketed, this discussion seeks to... (shrink)

This book synthesizes the game-theoretic modeling of decision-making processes and an ancient moral requirement, called the Golden Rule of ethics (GR). This rule states, "Behave to others as you would like them to behave to you." The GR is one of the oldest, most widespread and specific moral requirements that appear in Christianity, Islam, Judaism, Buddhism, and Confucianism. The book constructs and justifies mathematical models of dynamic socio-economic processes and phenomena that reveal the mechanism of the GR and are (...) based on the concept of Berge equilibrium. The GR can be naturally used for resolving or balancing conflicts, and its "altruistic character" obviously excludes wars, blood-letting, and armed clashes. The previous book of the authors, The Berge Equilibrium: A Game-Theoretic Framework for the Golden Rule of Ethics, covers the static case of the GR. In this book, the dynamic case of the GR is investigated using the altruistic concept of Berge equilibrium and three factors as follows: a) a modification of N.N. Krasovskii's mathematical formalization of differential positional games (DPGs), in view of the counterexamples given by A.I. Subbotin and A.F. Kononenko; b) the method of guiding control, proposed by N.N. Krasovskii; c) the Germeier convolution of the payoff functions of different players. Additionally, the book features exercises, problems, and solution tips collected together in Appendix 1, as well as new approaches to conflict resolution as presented in Appendices 2-4. The book will be of use to undergraduate and graduate students and experts in the field of decision-making in complex control and management systems, as well as anyone interested in game theory and applications. (shrink)

The article is devoted to the question of the categories of the epic as part of the theoretical paradigm of contemporary musicology. It is proven that nowadays there are many books, magazines and articles about the epic genre of music. The concept of a soundtrack that appeared in the 1950s is highlighted of XX century. The compilation of songs “Carmina Burana”, which became the reason for the appearance of the music for the trailers was investigated. It has been established that (...) since the 90s of the XX century, the first companies that were engaged in the creation of music for trailers began to appear - “Globus” and “Inmediate Music”. It is determined that the first studio album of the group “Globus” was “Epicon”. It is noted that video games belong to epic music. It has been studied that epic soundtracks are most often used in video games with the plot of war, confrontation and battles. It is noted that Jeremy Soule, who gained fame thanks to the game series “Elder Scrolls” and “Harry Potter” is the most famous composer of orchestral music video games. The importance of music is emphasized for the video games of the famous American composer Garry Schyman. Emphasis is placed on the talented works of German instrumentalist Hans Zimmer. It is noted that the music is epic and cinematic. Samples of the musical epic of Ukrainian composers are highlighted. Explored Japanese anime style animation. Revealed that talented artists receive the MTV Video Music Awards every year. (shrink)

Is there any difference between playing video games in which the player’s character commits murder and video games in which the player’s character commits pedophilic acts? Morgan Luck’s “Gamer’s Dilemma” has established this question as a puzzle concerning notions of permissibility and harm. We propose that a fruitful alternative way to approach the question is through an account of aesthetic engagement. We develop an alternative to the dominant account of the relationship between players and the actions of their (...) characters, and argue that the ethical difference between so-called “virtual murder” and “virtual pedophilia” is to be understood in terms of the fiction-making resources available to players. We propose that the relevant considerations for potential players to navigate concern (1) attempting to make certain characters intelligible, and (2) using aspects of oneself as resources for homomorphic representation. (shrink)

Within the framework of Viewpoint Spaces (Dancygier, Barbara. 2012. The language of stories: A cognitive approach. Cambridge: Cambridge University Press), this paper investigates viewpoint interactions in a mobile game’s plot to show how the game’s structural framing leads to meaning construction, specifically the construal of irony. The notion of (meta-)Ground Viewpoint Space is proposed not only to provide a generalized account of a global mental space where local spaces and viewpoints relate to one another, but also to elucidate (...) how the invoked genre-specific expectation makes a significant meaning contribution to the player’s overall construal of the game. This study presents a case study of the mobile game Liyla and the Shadows of War (Abueideh, Rasheed. 2016. Liyla and the Shadows of War) as a viewpoint phenomenon whose construal involves the interaction of multiple viewpoints. The game depicts the consequences of the 2014 Gaza conflict from the perspective of an unnamed Palestinian father struggling to escape the war zone with his daughter Liyla. It deviates from prototypical games in that it is impossible to complete the expected narrative, regardless of the player’s skill, although its ostensible goal is to let the protagonists survive and escape to a safer place. The mismatch between the player’s goal to clear all the stages, the character’s goal to survive, and the developer’s goal to convey a message is a source of ironic meaning, and this study focuses on how the network of multiple viewpoints – of the game developer, the character, and the player – constructs the intended meaning for players. (shrink)

In Epistemology of the Closet, Eve Kosofsky Sedgwick explores the connection between the binaries of heterosexuality/homosexuality and the utopian/apocalyptic. In doing so, she exposes the commonplace of a “fantasy trajectory toward a life after the homosexual.”1 In this narrative model, once the queer has completed its function of purging the symbolic of its sins, the character is eliminated from the text as part of the emergence of a postnarrative hetero-normative utopia. In a similar vein, Lee Edelman’s “Against Survival: (...) Queerness in a Time That’s Out of Joint,” an essay on the quintessential revenge tragedy, Hamlet, notes that the revenger’s death ensures a return of society’s idealized vision of the future.2... (shrink)

In this paper, we argue that mating games, a concept that denotes cultural practices characterized by a competitive element and an ornamental character, are essential drivers behind the emergence and maintenance of human cultural practices. In order to substantiate this claim, we sketch out the essential role of the game’s players and audience, as well as the ways in which games can mature and turn into relatively stable cultural practices. After outlining the life phase of mating games – (...) their emergence, rise, maturation, and possible eventual decline – we go on to argue that participation in these games (in each phase) does make sense from an adaptationist point of view. The strong version of our theory which proposes that all cultural practices are, or once were, mating games, allows us to derive a set of testable predictions for the fields of archaeology, economics, and psychology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 127.2 (2006) 309-312 [Access article in PDF] Mark Buchan. The Limits of Heroism: Homer and the Ethics of Reading. The Body, In Theory: Histories of Cultural Materialism. Ann Arbor: University of Michigan Press, 2004. x + 282 pp. Cloth, $65. Buchan's introduction challenges the critical consensus on the Odyssey as both "too teleological" and "not teleological enough." The epic's partisan perspective on its hero, (...) with an ethical universe designed to exculpate his violence, has been too long taken for granted. Meanwhile, critics do not take seriously enough the epic's insistence that Odysseus' return to his home is not the end he longs for. Buchan thus raises the hope for a genuinely new reading of the Odyssey, and to a great degree, the book lives up to its promise with close textual studies framed by Lacanian theory on human desire. Buchan's opening gambit of defining his ideas against a consensus grows less appealing, however, when it becomes a trope that cites only two or so scholars on any issue. The gesture conforms to Buchan's method of textual analysis, which exploits the provocative detail or juxtaposition, and his approach suggests how fruitfully psychoanalytic readings can expose a text's unconscious universe. But the lure of the big picture—the telos of the epic—irresistibly draws Buchan onto less yielding interpretive ground. Still, his results are illuminating for Homer and instructive about the limits of psychoanalytic interpretation.Buchan studies the "dangers of certain fantasies of the self" exploited by Odysseus in his return home (4). The fantasies that define the Phaeacians and Cyclopes are exposed and ruined through their encounters with Odysseus, in part because these peoples arrive at a correct interpretation of themselves too late. Odysseus has already gotten what he needs and left his victims with rocks hanging over them and a new sense of identity wrought by loss. Buchan's view of Odysseus is unexpected and provocative; it rejects his ethics and reads him purely as the agent of trauma that introduces those he meets to the human condition of desire. This style of analysis yields its best results in the early chapters on the "victims" of the returning hero: the Cyclops, the Phaeacians, and, with Menelaus, the sea-god Proteus.Each of these chapters reveals an artifact of human culture that comes into being at a moment of loss and thus marks an awakening to self-consciousness. These artifacts represent for the newly acculturated their loss as a predication of their humanity. Polyphemus' blinding causes the Cyclops to name him for the [End Page 309] first time, creating social language as a symptom of his loss and a concomitant desire for the Father as authority. Competition with Odysseus is the beginning of a truly human culture for the Phaeacians, who were formerly self-sufficient, never doubting themselves as contestants or fathers. When Odysseus defeats their athletes, they learn that their "games-without-loss" culture is no longer a sustainable system. Buchan's perspective yields arresting insights on both episodes, including a suggestive dialectic among the images of stone imperiling the Phaeacians, from the discus throw that opens an insurmountable gap to a mountain hanging over them when they vanish from our view. But Buchan's insights come at a cost of readerly indulgence, because they depend on a decidedly selective treatment of the text. For instance, he insists on Polyphemus' namelessness before he meets Odysseus and the lack among the Cyclopes of a father as an authority figure. His discussion of the Phaeacians requires the assumption that they have never lost a competition, although they compel every visitor to participate (197 and n. 29).Buchan's final study of a victim of an heroic nostos best illustrates the gains and costs of his method. Menelaus tricks Proteus into human desire by disguising himself and three comrades as seals: the god is compelled to count himself, a deft double entendre (4.453) to make up the counting unit of five by which he keeps track of his seals Proteus thus confounds... (shrink)

This article analyses the phenomenology and ontology of videogames through the lens of semiotics. The difference between games and more traditional narrative models (such as those found in books and movies) lies on the structural level. The game narrative needs to be ‘written’ (played) before it can be ‘read’ (interpreted). Games provide fluidity of interactive immersion: the interface as the place of the merger between the player and the game. A connection, without delay, is established between the movement (...) of the player’s hands and the virtual movement across virtual space-times of the virtual characters/events on the screen. The connection is cybernetic, of course, and real. The actuality of the virtual is established as the action of the finger movements of the player. Games require at least a minimum degree of interaction. The player has a role as the master of the code, as the last string of code attached to complete the sequence. Such is the definition of the Cinematic under the formal demands of the Ludic: the defining-delimiting-restricting background which nonetheless, by its very (fixed) presence, provides the nurturing ground for the appearance and presence of (fluid) malleability as the ‘gap’ or ‘lack’ in the structure to be filled – in whatever manner – by the player in the act of his or her (world-constitutive) existential engagement. (shrink)

Purpose: This study aimed to develop a stroke effectiveness test in table tennis based on the temporal game structure to assess the ball speed and ball placement of the players, with a purpose to analyze its reproducibility and validity. Methods: Nineteen male table tennis players participated in this study. The test was performed twice during the first session and once during the second session to assess the intrasession and intersession reproducibility, respectively. Moreover, the test was examined on its ability (...) to discriminate between regional and local performance-level players and on the relationship between the test results and the table tennis performance to assess the discriminant and concurrent validity, respectively. In general, the test consisted of 11 simulated rallies of 2–5 balls with the effort and rest ratio of 0.5, and focused on attack with offensive strokes at defensive balls delivered by a robot randomly between the left and right positions on the table. Results: Ball speed, ball placement, and ball speed-ball placement index showed satisfactory reliability and agreement outcomes. Additionally, the Bland-Altman plots show the systematic error of the analyses closer to 0, and that most values were within the limits of agreements. Concerning validity analyses, regional players had higher scores of ball placement and ball speed-ball placement index as well as made fewer errors than local players. Moreover, ball placement, ball speed-ball placement index, and percentage error presented a strong and significant correlation with table tennis performance. However, ball speed was slightly different between the regional than local players and this variable was not related to table tennis performance. Conclusion: Our findings show evidences that the test is reproducible. Moreover, discriminant and concurrent validity are confirmed for ball placement and ball speed-ball placement index. (shrink)

This paper has a twofold scope. The first one is to clarify and put in evidence the isomorphic character of two theories developed in quite different fields: on one side, threshold logic, on the other side, simple games. One of the main purposes in both theories is to determine when a simple game is representable as a weighted game, which allows a very compact and easily comprehensible representation. Deep results were found in threshold logic in the sixties (...) and seventies for this problem. However, game theory has taken the lead and some new results have been obtained for the problem in the past two decades. The second and main goal of this paper is to provide some new results on this problem and propose several open questions and conjectures for future research. The results we obtain depend on two significant parameters of the game: the number of types of equivalent players and the number of types of shift-minimal winning coalitions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Signs of Logic: Peircean Themes on the Philosophy of Language, Games, and CommunicationRobert W. BurchAhti-Veikko Pietarinen Signs of Logic: Peircean Themes on the Philosophy of Language, Games, and Communication Dordrecht, The Netherlands: Springer, 2006. xiv + 496 pp.This compendious volume of fourteen of Pietarinen's essays on Peirce, plus a three-page set of "Final Words" relating to the work of Robert Aumann, is a "must-have" for both the (...) Peirce scholar and any other philosopher who wishes to relate Peirce's thinking on language and logic to other major thinkers and logical themes of the twentieth century (and beyond). The essays extend or complement discussions of Peirce's logic and philosophy of language that have come to be expected from the "Finnish school" of philosophers, which includes Hintikka and Hilpinen, as well as Pietarinen.Nine of the essays (Chapters 3, 4, 5, 7, 8, 10, 12, 13, and 14), comprising about two-thirds of the entire book, are revised and expanded versions of essays that Pietarinen has previously published. The remaining one-third (approximately) of the book is brand new. Chapters 1 and 2 serve as general introductions to the book's major interests. Chapter 6 is on evidence for constructivism in Peirce, as well as several other topics. Chapter 9 compares Peirce's ideas with Wilfred Hodges's "dialogue foundations" and contains a small philosophical dialogue, which has Peirce, Wittgenstein, and Hodges as its characters. Chapter 11 concerns evolutionary semantics and language [End Page 577] games. And the cursory Chapter 15 of "Final Words" predicts that the game-theoretical approach to semantics and Peirce scholarship has an exploding future, like an erupting volcano.From the foregoing one can gather, correctly, that each essay in the book is separately conceived and that the book is not a single continuous line of argumentative development of one or even of a few themes. Still, the essays are similar to one another in two ways, which ways are closely related to each other. First, they all concern the Peircean doctrine that semeiotic and semeiosis constitute the heartland of logic, and that this heartland is vastly richer than the sort of pure mathematical calculi that might mistakenly be taken for logic itself (and were in fact so taken for much of the twentieth century). Second, they all deal with the Peircean insistence that semeiosis is inherently a form of Praxis in which interchanges occur between or among various "agents" or "actors," one of which might be nature itself; so that at the very least logic is dialogic, and so that more generally one may justifiably speak of semeiosis as involving something like a "game." These lines of exploration will surprise no seasoned Peirce scholar, but the special genius of the Finnish "school" of Peirce interpretation from Hintikka forward is to have spotlighted in dramatic fashion the game-theoretical nature of many elements in Peirce's semeiotic.In these essays Pietarinen amply exhibits two attainments of mind that are indispensable for the serious Peirce scholar. One is the object of what we might call "The Eisele Imperative" after the vehement urgings of Carolyn Eisele: this is the possession of some significant degree of sophistication in mathematics. Pietarinen's mathematical skills are plainly sufficient for his discussions of logic and game theory. For example, his Chapter 5 is an excellent technical discussion of Peirce's existential graphs, and his Chapter 7 is an admirable technical discussion of certain aspects of game theory and generalized quantifiers. Another crucial skill needed by the serious Peirce scholar is the object of what we might call "The Pietarinen Corrective" after the practices exemplified in these essays: this is the possession of extremely broad knowledge of recent and contemporary philosophy, especially philosophy of language, logic, metaphysics, epistemology, and philosophy of science.Indeed, the breadth of Pietarinen's acquaintance with twentieth century logic and philosophy of language, both "analytic" and "continental," is breathtaking. This allows him scope for comparisons of Peirce's views with an extraordinarily wide, and not always easily anticipated, range of philosophers and philosophic traditions. Pietarinen's range of reference is so extensive that it would be pointless to attempt to discuss in... (shrink)

The idea of role‐playing makes some people nervous – even some people who play role‐playing games (RPGs). So the idea of immersion is central to understanding how Dungeons Dragons and other aspects of participatory culture work. Phenomenology is a kind of “philosophy of mind” associated with the works of twentieth‐century philosophers Edmund Husserl, Martin Heidegger, Jean‐Paul Sartre, and Maurice Merleau‐Ponty, among others. The domain of phenomenology encompasses the entire range of experiences in the world, paying attention to what Husserl called (...) “intentionality,” or how our consciousness is directed toward particular objects in the world. The fact that this is presented as an atypical approach to play, or at least one that requires some effort, invites us to ask about typical modes of play if visualization of in‐game events is not that mode. This chapter concluded by scratch the surface of a complete phenomenological description of role‐playing. (shrink)

In this paper, I consider a particular amoralist challenge against those who would morally criticize our single-player video play, viz., “come on, it’s only a game!” The amoralist challenge with which I engage gains strength from two facts: the activities to which the amoralist lays claim are only those that do not involve interactions with other rational or sentient creatures, and the amoralist concedes that there may be extrinsic, consequentialist considerations that support legitimate moral criticisms. I argue that the (...) amoralist is mistaken and that there are non-consequentialist resources for morally evaluating our single-player game play. On my view, some video games contain details that anyone who has a proper understanding of and is properly sensitive to features of a shared moral reality will see as having an incorrigible social meaning that targets groups of individuals, e.g., women and minorities. I offer arguments to support the claim that there are such incorrigible social meanings and that they constrain the imaginative world so that challenges like “it’s only a game” lose their credibility. I also argue that our responses to such meanings bear on evaluations of our character, and in light of this fact video game designers have a duty to understand and work against the meanings of such imagery. (shrink)

Pit is a multi-player card game that simulates the commodities trading market, and where actions consist of bidding and of swapping cards. We present a formal description of the knowledge and change of knowledge in that game. The description is in a standard language for dynamic epistemics expanded with assignment. Assignment is necessary to describe that cards change hands. The formal description is a prerequisite to model Pit in game theory. The main contribution of this paper should (...) be seen as the rigorous formalization of all knowledge in Pit. (shrink)

ABSTRACTVirtual games are played by millions of people today. Almost everyone has the means to access virtual worlds in most places in the world. Virtual games are new worlds for the players waiting to be discovered. Video games in this new world are considered to be sports activities by some people, while some oppose to this conception. In this regard, philosophical approaches set out and the current state of whether video games are considered as sports activities is presented. In addition (...) to this classificatory issue an ethical one concerning the level of addiction for the players who immerse into the virtual worlds is also discussed, since the level of immersion is sometimes so high that some people die while playing video games on the computer. The answer to the question of how these video games can be so addictive is considered in relation to Johan Huizinga’s Homo ludens, and the notion of phantasm by Gilles Deleuze. It is argued that the fantasy aspect of video games is more dominant their being the... (shrink)

This chapter clarifies important component of alignment in character creation and development. It demonstrates an application of moral philosophy and introduces ethical dilemmas that allow players to make meaningful moral choices leads to a more rewarding gaming experience. The chapter highlights philosophy's most enduring and frustrating questions. According to Dungeons Dragons (DD), the alignment is an element of the player's character sheet that clarifies their worldview and moral outlook. It is also a category that can limit character (...) class and an aura that allows spells or abilities to detect a character's moral outlook – and if necessary “smite” that evil (or good) into oblivion. The DD attracts imaginative players. A party is likely be filled with virtuous paragons, nefarious knaves, and pragmatists. (shrink)

The nature of fantasy has been little discussed, despite its importance in the arts. Its significance is brought out here in relation to the long‐standing debate on the alleged paradox of fiction—that we respond emotionally to characters and events known to be unreal. Examination of the paradox shows it to be ill founded once the nature of fantasy is appreciated. Moreover, a detailed consideration of fantasy shows that it can itself provide a plausible account of our emotional (...) reactions to creative literature, an account that, after a review of some possible objections, is then contrasted with the leading contemporary theories. (shrink)

In Planescape: Torment, players assume the role of the Nameless One, an immortal being who suffers from amnesia. By making choices for the Nameless One, players decide not only what happens to the Nameless One but also the development of his moral character. In this way, Planescape: Torment invites its players to consider “what can change the nature of a man.” In the game’s canonical ending, the Nameless One regrets the great harm he inflicted on others, and he (...) gives up his immortality to amend his wrongdoing. Thus, the game holds that it is regret that can change someone’s moral character for the better. A defense of this claim about regret can be found in Aristotle’s view that one must practice virtuous actions in order to develop the moral virtues. The alignment system of Planescape: Torment demonstrates a similar connection between action and character: the Nameless One improves his moral character by taking selfless actions. Since regret motivates one to practice virtuous action to make amends for one’s wrongdoing, regret enables one to develop virtue, and so better moral character. Although Spinoza argues that we should avoid feeling regret because it makes us miserable, Planescape: Torment suggests that the painfulness of regret is what makes it an effective source of motivation to practice virtuous actions. (shrink)

Over the past two decades, gamblers have begun taking mathematics into account more seriously than ever before. While probability theory is the only rigorous theory modeling the uncertainty, even though in idealized conditions, numerical probabilities are viewed not only as mere mathematical information, but also as a decision-making criterion, especially in gambling. This book presents the mathematics underlying the major games of chance and provides a precise account of the odds associated with all gaming events. It begins by explaining in (...) simple terms the meaning of the concept of probability for the layman and goes on to become an enlightening journey through the mathematics of chance, randomness and risk. It then continues with the basics of discrete probability, combinatorics and counting arguments for those interested in the supporting mathematics. These mathematic sections may be skipped by readers who do not have a minimal background in mathematics; these readers can skip directly to the Guide to Numerical Results to pick the odds and recommendations they need for the desired gaming situation. Doing so is possible due to the organization of that chapter, in which the results are listed at the end of each section, mostly in the form of tables. The chapter titled The Mathematics of Games of Chance presents these games not only as a good application field for probability theory, but also in terms of human actions where probability-based strategies can be tried to achieve favorable results. Through suggestive examples, the reader can see what are the experiments, events and probability fields in games of chance and how probability calculus works there. The main portion of this work is a collection of probability results for each type of game. Each game s section is packed with formulas and tables. Each section also contains a description of the game, a classification of the gaming events and the applicable probability calculations. The primary goal of this work is to allow the reader to quickly find the odds for a specific gaming situation, in order to improve his or her betting/gaming decisions. Every type of gaming event is tabulated in a logical, consistent and comprehensive manner. The complete methodology and complete or partial calculations are shown to teach players how to calculate probability for any situation, for every stage of the game for any game. Here, readers can find the real odds, returned by precise mathematical formulas and not by partial simulations that most software uses. Collections of odds are presented, as well as strategic recommendations based on those odds, where necessary, for each type of gaming situation. The book contains much new and original material that has not been published previously and provides great coverage of probabilities for the following games of chance: Dice, Slots, Roulette, Baccarat, Blackjack, Texas Hold em Poker, Lottery and Sport Bets. Most of games of chance are predisposed to probability-based decisions. This is why the approach is not an exclusively statistical one, but analytical: every gaming event is taken as an individual applied probability problem to solve. A special chapter defines the probability-based strategy and mathematically shows why such strategy is theoretically optimal.". (shrink)

New branches of social science primarily engaging the “internet revolution” are appearing alongside mainstream research and journals such as Cyberpsychology, Behavior, and Social Networking are providing social scientists with an outlet of peer-reviewed research. HPS scholars will find new methodologies and the relation of technology to social science of particularly interest. Social scientists are becoming increasingly interested in virtual realities (see Milburn (Spontaneous Generations 2008, 63)) and are declaring time spent “in-game” ethnographic research. William Sims Bainbridge boasts 2300+ hours (...) (approximately 96 days) of ethnographic research into a virtual world he calls “The Warcraft Civilization.” Blizzard Entertainment reported in a December 2008 press release that World of Warcraft (WoW), its extraordinarily successful 2004 massively multiplayer online role-playing game (MMORPG) comprised 11.5 million subscribers worldwide . In order to accommodate player demand, Blizzard uses hundreds of servers, artfully called realms, each running an instance of WoW for subscribers to play on. There are four types of realms: normal or player-versus-environment (PvE) realms, player-versus-player (PvP) realms, role-playing (RP) realms, and role-playing player-versus-player (RP-PvP) realms. The most popular realms are PvE and PvP; players on RP and RP-PvP realms are meant to “live” in WoW and therefore must adhere to role-playing policies such as remaining “in-character” of the avatar they have selected. (shrink)

In this analysis I apply a Foucauldian approach to ethics to examine the politically prescribed moral and ethical character required of carers of aged persons at home in Australia and the role of nurses in shaping these behaviours. The work that spousal carers provide, although often founded on love and/or obligation, has been formalized through a variety of policy initiatives and technologies that serve to construct the moral approach they must adopt. This shaping of conduct at the most personal (...) level takes place through the application of codes of behaviour policed largely by nurses. These codes redefine the mode of coexistence between an aged husband and wife and propose a new form of relationship that is derived from and supports policies of the deinstitutionalization of care services for elderly persons. In this way modern carer policy has drawn on knowledge and governance of the self to produce a morality of caring that is both authoritative and scientific. (shrink)

The answer in a nutshell is: Yes, five years ago, but nobody has noticed. Nobody noticed because the majority of social scientists subscribe to one of the following views: (1) the ‘anomalous’ behaviour observed in standard prisoner’s dilemma or ultimatum game experiments has refuted standard game theory a long time ago; (2) game theory is flexible enough to accommodate any observed choices by ‘refining’ players’ preferences; or (3) it is just a piece of pure mathematics (a tautology). (...) None of these views is correct. This paper defends the view that GT as commonly understood is not a tautology, that it suffers from important (albeit very recently discovered) empirical anomalies, and that it is not flexible enough to accommodate all the anomalies in its theoretical framework. It also discusses the experiments that finally refuted game theory, and concludes trying to explain why it took so long for experimental game theorists to design experiments that could adequately test the theory. (shrink)