Videogames and Agency explores the trend in videogames and their marketing to offer a player higher volumes, or even more distinct kinds, of player freedom. The book offers a new conceptual framework that helps us understand how this freedom to act is discussed by designers, and how that in turn reflects in their design principles. What can we learn from existing theories around agency? How do paratextual materials reflect design intention with regards to what the player can and (...) cannot do in a videogame? How does game design shape the possibility space for player action? Through these questions and selected case studies that include AAA and independent games alike, the book presents a unique approach to studying agency that combines game design, game studies, and game developer discourse. By doing so, the book examines what discourses around player action, as well as a game's design can reveal about the nature of agency and videogame aesthetics. This book will appeal to readers specifically interested in videogames, such as game studies scholars or game designers, but also to media studies students and media and screen studies scholars less familiar with digital games. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of (...) agency. Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

This study explores the philosophical and spiritual dimensions of female representation in Chinese and Japanese Otome games, examining their role in shaping contemporary feminist discourse and evolving cultural identities. By adopting a cross-cultural comparative approach, the research analyzes how these games construct female roles and reflect shifting attitudes toward gender, agency, and morality within their respective societies. It further investigates how Confucian, Shinto, and Buddhist influences inform the portrayal of femininity, virtue, and self-realization in Otome narratives, shaping not only (...) entertainment experiences but also deeper philosophical and ethical reflections. Findings indicate that Otome games in Japan and China present distinct frameworks of female identity, shaped by historical, social, and religious traditions. While Japanese Otome games often emphasize traditional romantic ideals influenced by Shinto and Confucian ethics, Chinese Otome games increasingly integrate progressive feminist elements while retaining cultural values rooted in collectivism and virtue ethics. Furthermore, as Chinese Otome games absorb international influences, they exhibit an emerging synthesis of feminist thought with spiritual and moral considerations, contributing to the formation of a "new female culture" that navigates between tradition and modernity. By situating these findings within the broader discourse of religious philosophy and gender studies, this paper offers insights into the intersection of spirituality, gaming, and cultural evolution. The research argues that Otome games serve not only as entertainment media but also as platforms for philosophical reflection on gender roles, selfhood, and moral agency. Future studies should further explore the theological and ethical implications of digital narratives in shaping contemporary understandings of femininity, empowerment, and spiritual identity. (shrink)

AAA videogames often offer expansive experiences to the millions who engage with the medium, but they are vulnerable to disruption from neoliberal structures. The Corruption of Play explores how neoliberal ideology corrupts play in AAA videogames by creating conditions in which play becomes unbound from leisure, allowing play to be understood, undertaken, and assessed in economic terms, and fundamentally undermining the nature of play. Providing a cutting-edge and innovative approach to this problem, McMahon uses cognitive mapping to make neoliberalism visible (...) in play-space, showcasing a new way of seeing and understanding how play is enabled and how the player forms an understanding of themselves by it. How does the player form their sense of self in the videogame? What level of agency does the player have? How are AAA videogames consumed and what is the extent of the corruption of play? Offering a timely level-up to the existing critical work on videogames, McMahon's revelations that play in AAA videogames does not often occur under ideal conditions due to the influence of neoliberal ideology are a captivating read for communication and media scholars interested in videogames. Understanding that play should be a core activity, and a natural barrier to market and economic logics, McMahon sets the scene for equipping us to understand how the process of neo liberalisation can be resisted. (shrink)

Persuasive design draws on our basic psychological makeup to build products that make our engagement with them habitual. It uses variable rewards, creates Fear of Missing Out, and leverages social approval to incrementally increase and maintain user engagement. Social media and networking platforms, video games, and slot machines are all examples of persuasive technologies. Recent attention has focused on the dangers of PD: It can deceptively prod users into forming habits that help the company’s bottom line but not the (...) user’s wellbeing. But PD is not inherently immoral. We can take advantage of our psychological biases to make beneficial changes in ways that enhance our agency rather than limit it. Knowing that a tool is persuasively designed is a consideration in favor of using it when we are trying to break bad habits, such as smoking. How are we to conceptually distinguish between ethical and unethical uses of PD? In this paper, I argue that unethical uses of PD betray or erode our trust. Annette Baier offers a moral test for trust: If gaining knowledge about what other parties do with our trust in them would lead us to stop trusting, then that trusting relationship is immoral. I apply this test to the case of PD. Using trust as a litmus test for ferreting out unethical PD has several advantages, one of which is that it reveals how the harm of unethical PD extends beyond the individual to her wider social network. I close the paper by investigating these cascading effects. (shrink)