This book examines the origins and boundaries of Japanese digital role-playing games. A geographically diverse roster of contributors introduces English-speaking audiences to Japanese video game scholarship and applies postcolonial and philosophical readings to the Japanese game text.

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s (...) Empire (2000), which characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)

Ender Wiggins, the title character of Ender’s Game, spends much of the book playing games of one sort or another. These games range from simple role-playing games with his siblings (“buggers and astronauts”) to battle room contests to a strange fantasy game in which he must kill a giant and confront his deepest fears. Finally, at the end of the book, Ender and his Battle School classmates play one final “game” that leads to them (unknowingly) destroying (...) the bugger homeworld and wiping out nearly the entire species. The games that Ender plays undoubtedly prove crucial to his development as a military commander. It is worth asking, however, whether these games help Ender develop into a morally good person—a person who takes seriously the concerns and interests of other people. This question is one with deep relevance for our own lives, since games and sports play a major role in shaping the way the both children and adults approach the world. In this essay, I'll take a closer look at the role that games play in Ender's moral development. I'll begin by offering a preliminary definition of game, according to which games are a specific type of goal-directed, rule governed activity. I’ll then consider how games relate to play, which is a sort of activity done for its own sake. These distinctions will be fleshed out with examples taken from the book, which clearly demonstrate that not every game is a type of play. I'll then discuss the impact that games have on Ender's moral character—the combination of qualities that lead him to make good (or bad) moral choices in his life outside of game-playing. I'll argue that Ender's experiences show that the relationship between good games and the development of good character Is a complex one, and that there is certainly no guarantee that a well-designed, challenging game will be the sort of activity that builds good character. I'll conclude by briefly discussing the lessons that Ender's games have for the more mundane games that most of us are used to playing. (shrink)

This book examines the origins and boundaries of Japanese digital role-playing games. A geographically diverse roster of contributors introduces English-speaking audiences to Japanese video game scholarship and applies postcolonial and philosophical readings to the Japanese game text.

A new analytical framework for understanding literary videogames, the literary-ludic spectrum, illustrated by close readings of selected works. In this book, Astrid Ensslin examines literary videogames—hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on a digital medium (unlike, for (...) example, conventional books read on e-readers). They employ narrative, dramatic, and poetic techniques in order to explore the affordances and limitations of ludic structures and processes, and they are designed to make players reflect on conventional game characteristics. Ensslin approaches these hybrid works as a new form of experimental literary art that requires novel ways of playing and reading. She proposes a systematic method for analyzing literary-ludic (L-L) texts that takes into account the analytic concerns of both literary stylistics and ludology. After establishing the theoretical underpinnings of her proposal, Ensslin introduces the L-L spectrum as an analytical framework for literary games. Based on the phenomenological distinction between deep and hyper attention, the L-L spectrum charts a work's relative emphases on reading and gameplay. Ensslin applies this analytical toolkit to close readings of selected works, moving from the predominantly literary to the primarily ludic, from online hypermedia fiction to Flash fiction to interactive fiction to poetry games to a highly designed literary “auteur” game. Finally, she considers her innovative analytical methodology in the context of contemporary ludology, media studies, and literary discourse analysis. (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 the last decades videogames have become very popular. In this article I argue that they establish a new relationship between bodies and identities. In videogames, the storylines are based on a mixture of other types of media fiction, where women's bodies are overrepresented and stereotypical, because of the market logic underlying these new media productions, which target a wide audience. Nevertheless, videogames' interactivity shapes new experiences of acting through other bodies. The erotic gaze on virtual bodies is shaped by (...) the elements of exoticism and the grotesque. The virtual spaces and actions are characterized by exoticism (the recurrent presence of death, fear, surprise, thrills) and the realism necessary to involve the user's senses. I also argue that interaction in games is a process of imagination and action. The game user acts through another body, which he/she controls. This process opens possibilities for a resisting oppositional gaze and subversive practices, beyond the commercial aims of the games' designers. Of course, there are oppressive aspects of the virtual bodies; a female body becomes a mathematical series of polygons, out of space and time, and, only as such, the object of desire of invisible cyberteenagers. Nevertheless, as gendered subjects, to have a virtual body to play with is a liberating appropriation of a space not designed for us. (shrink)

This chapter argues that Westworld functions as a role‐play experience that continually entices its guests with suggested but unrealized layers of meaning and significance in its immersive western landscape. Where traditional role‐play experiences deliver meaning through player and Game Master group interaction, Westworld provides its guests with violent escapism, sexual fantasy, and nostalgic indulgence. Within the series, the Westworld park presents itself as a combination of two aspects of tabletop role‐playing game: sandbox format and Live Action Role‐play (LARP). Within (...) the role‐play experience, the cultivation of motivation on the part of the Game Master entices players to undertake or follow particular narrative threads. Gameplay was designed to cultivate certain personality traits and instincts. Herein the game's rules, style and structures “influence a user's behavior without forcing the change” ‐ essentially enacting education through restriction. In the case of role‐play games, these restrictions are less over by the narrative nature of the game. (shrink)

We challenge the popular classification of the trolley problem as a series of thought experiments in possible worlds. The trolley world is, in fact, impossible. It is, rather, a fantasy world of role-playing language game within a graphic narrative. The trolley world has all the characteristics of a game that game designers seek to reproduce. Thus, the following paper is a spoilsport, revealing the playful aspects of the trolley problem. Historically, the trolley problem substantially contributed to ethical discourse. Nowadays, (...) attempts to resolve it generate few applications and weigh down the theoretical discourse. We argue that it makes less sense to view the trolley problem as a flawed problem-solving, probative, or heuristic tool, than to view it as a strong intuition pump, well suited to teach fundamental ethical issues. While the process of engaging with the trolley problem may be prolific, the problem itself is not of our world. (shrink)

Situational Design lays out a new methodology for designing and critiquing videogames. While most game design books focus on games as formal systems, Situational Design concentrates squarely on player experience. It looks at how playfulness is not a property of a game considered in isolation, but rather the result of the intersection of a game with an appropriate player. Starting from simple concepts, the book advances step-by-step to build up a set of practical tools for designing (...) player-centric playful situations. While these tools provide a fresh perspective on familiar design challenges as well as those overlooked by more transactional design paradigms. Key Features Introduces a new methodology of game design that concentrates on moment-to-moment player experience Provides practical design heuristics for designing playful situations in all types of games Offers groundbreaking techniques for designing non-interactive play spaces Teaches designers how to create games that function as performances Provides a roadmap for the evolution of games as an art form. (shrink)

This study explores the philosophical and cultural dimensions of preserving intangible cultural heritage through serious game design, focusing on Huizhou wood carving as a case study. Grounded in cultural identity theory, the research investigates how serious games can serve as effective tools for cultural revitalization and identity reinforcement. The model of cultural identity theory is applied by analyzing Huizhou wood carvings symbolic, historical, and artistic elements across macro, meso, and micro levels. Relevant cultural motifs and narratives are integrated (...) into a conceptual game design, "Wood Carving Craftsmanship," emphasizing educational engagement, cultural preservation, and interactive learning. The game’s design framework includes its thematic focus, goals, rules, and mechanisms, offering a novel philosophical approach to digital heritage preservation. The findings highlight serious games as a potential medium for safeguarding traditional craftsmanship while fostering cultural awareness, ethical representation, and immersive learning experiences. (shrink)

L’articolo colloca i videogiochi nell’area di ciò che chiamo “esperienze progettate”. Le esperienze progettate sono esperienze – nel mondo reale o attraverso i media – che sono progettate per sollecitare specifici effetti o affetti. Nei miei lavori precedenti, ho indagato il modo in cui gli insegnanti, nelle loro classi, o i designer dei videogiochi, nei loro giochi, progettino esperienze volte, in entrambi i casi, a condurre verso l’apprendimento. Tuttavia, le esperienza progettate possono essere volte a sollecitare attività diverse dall’apprendimento. Esse (...) possono anche cercare di sollecitare cose come il cambiamento sociale, i cambiamenti di atteggiamento o di comportamento, le emozioni o altri effetti del (o sul) corpo, la mente o l’anima. Nell’articolo considero la relazione tra i videogiochi intesi come esperienze progettate e i videogiochi intesi come arte. (shrink)

Drawing from narratology and design studies, this article makes use of the notions of the ‘implied designer’ and ‘ludic unreliability’ to understand deceptive game design as a specific sub-set of transgressive game design. More specifically, in this text we present deceptive game design as the deliberate attempt to misguide players’ inferences about the designers’ intentions. Furthermore, we argue that deceptive design should not merely be taken as a set of design choices aimed at misleading (...) players in their efforts to understand the game, but also as decisions devised to give rise to experiential and emotional effects that are in the interest of players. Finally, we propose to introduce a distinction between two varieties of deceptive design approaches based on whether they operate in an overt or a covert fashion in relation to player experience. Our analysis casts light on expressive possibilities that are not customarily part of the dominant paradigm of user-centered design, and can inform game designers in their pursuit of wider and more nuanced creative aspirations. (shrink)

The increasing body of knowledge in fields like animal ethology, biology, and technology has not necessarily led to the improvement of animal welfare. On the contrary, it has enabled humans to exploit animals more functionally and on increasing scales of magnitude. Building on approaches that stem from posthumanism and critical animal studies, we argue that instead of aiming for more general production of scientific knowledge, what is needed to counter exploitation and oppression is an increased sensitivity towards animals that arises (...) from local, partial, and ‘situated knowledges’. In the first part of this paper we articulate an argument that proposes how such knowledges can arise from the practice of game design as a form of ‘doing multispecies philosophy’. The second part of this work expands this notion with an understanding of design as a practice of configuring and prefiguring situations in which we can enter in a relationship of response and attention with other ‘selves’, in other words, with entities that are alive. To explore the practical consequences of this framework, in the third part of this paper we discuss a game design project that involves some unexpected designerly negotiations with a colony of black ants. We conclude that our wider perspective concerning notions of knowledge, design, and selves could elicit changes in our empathy towards other beings and help us develop new ideas and knowledges that favour less anthropocentric futures. (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)

Who am I? How do I live a good life? What is reality? Such perennial questions may seem remote from the pleasures of playing videogames for entertainment and fantasy. yet gamers too, in the midst of having fun, are potentially embarked upon a quest for understanding and for meaning. Missions for thoughtful gamers presents a sequence of 40 challenges, ranging from thought experiments to design exercises, each one inviting players to become more creatively curious and self-aware."--Back cover.

In response to the ever-increasing spread of online disinformation and misinformation, several human–computer interaction tools to enhance data literacy have been developed. Among them, many employ elements of gamification to increase user engagement and reach out to a broader audience. However, there are no systematic criteria to analyze their relevance and impact for building fake news resilience, partly due to the lack of a common understanding of data literacy. In this paper we put forward an operationalizable definition of data literacy (...) as a form of multidimensional critical thinking. We then survey 22 existing tools and classify them according to a framework of 10 criteria pointing to their gameful design and educational features. Through a comparative/contrastive analysis informed by a focus group, we provide a principled set of guidelines to develop more efficient human–computer interaction tools to teach how to critically think in the current media ecosystem. (shrink)

This article considers the configuration of modular and temporary organization designs. By drawing on two prominent developer firms, namely, Valve Inc. and Linden Lab, respectively, “cabals” and “studios” are explored. The results of interviews conducted with employees of these firms are used as evidence. The article demonstrates that, to various extents, these organization designs organize, facilitate, and maintain how work is accomplished and coordinated within the boundaries of a permanent firm. It extends our understanding of how these designs provide a (...) structure to how tasks are constituted in conjunction with the nature of the product. (shrink)

This paper describes a teaching methodology whereby students can gain practical experience of ethical decision-making in the engineering design process. We first argue for the necessity to teach a ‘practical’ understanding of ethical issues in engineering education along with the usual theoretical or hypothetical approaches. We then show how this practical understanding can be achieved by using a collaborative design game, describing how, for example, the concept of responsibility can be explored from this practical basis. We conclude that (...) the use of games in design education can provide an excellent basis for discussing practical and ethical reasoning during the process of design. (shrink)

Graph games are interactive scenarios with a wide range of applications. This position paper discusses old and new graph games in tandem with matching logics and identifies general questions behind this match. Throughout, we pursue two strands: logic as a way of analyzing existing graph games, and logic as an inspiration for designing new graph games. Our aim is modest: we propose a perspective that complements existing game-theoretic and computational ones, we raise questions, make observations, and (...) suggest research directions—technical results are left to future work. But frankly, our main aim with this survey paper is to show that graph games are concrete, fun, easy to grasp, and yet challenging to study. (shrink)

Play and games are among the basic means of expression in intelligent communication, influenced by the relevant cultural environment. Games have found a natural expression in the contemporary computer era in which communications are increasingly mediated by computing technology. The widespread use of e-games results in conceptual and policy vacuums that must be examined and understood. Humans involved in design-ing, administering, selling, playing etc. computer games encounter new situations in which good and bad, right and (...) wrong, are not defined by the experience of previous generations. This article gives an account of the historical necessity of games, the development of e-games, their pros- and cons, threats and promises, focusing on the ethical awareness and attitudes of game developers. (shrink)

Accustomed as we are to wearing clothes and to using colors in artistic and utilitarian ways, we often forget that the first “monument” offered to color is the human body and that the first “canvas” for the artist was his own skin. Man has created a distance between skin and colors by introducing clothes, which have a meaning that works to the detriment of both skin and colors. Clothes are a kind of second skin which is far more versatile than (...) the first one and with which tailors and fashion designers may cheat to the full extent of their fantasy and in accordance with how we wish to appear. Colors play an infinite game of combinations which enhance and transform clothes. No skin lends itself to such a range of aesthetic manipulations as cloth does. (shrink)

Historically the focus of moral decision-making in games has been narrow, mostly confined to challenges of moral judgement (deciding right and wrong). In this paper, we look to moral psychology to get a broader view of the skills involved in ethical behaviour and how they may be employed in games. Following the Four Component Model of Rest and colleagues, we identify four “lenses” – perspectives for considering moral gameplay in terms of focus, sensitivity, judgement and action – and (...) describe the design problems raised by each. To conclude, we analyse two recent games, The Walking Dead and Papers, Please, and show how the lenses give us insight into important design differences between them. (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)

Background Over the last decades, the neurosciences, behavioral sciences, and the social sciences have all seen a rapid development of innovative research methods. The field of bioethics, however, has trailed behind in methodological innovation. Despite the so-called “empirical turn” in bioethics, research methodology for project development, data collection and analysis, and dissemination has remained largely restricted to surveys, interviews, and research papers. We have previously argued for a “Design Bioethics” approach to empirical bioethics methodology, which develops purpose-built methods for (...) investigation of bioethical concerns. In this paper we compare a research tool created using a design bioethics approach to a “methods-as-usual” approach in empirical bioethics. Methods Our study compared dimensions of engagement with a digital game we created, called “Tracing Tomorrow,” to a standard vignette survey. The two tools investigated the same subject matter, digital phenotyping for mental health, in a sample of 301 UK adolescents. Results Participants who played the game reported a greater sense of presence, emotional engagement, cognitive absorption, and mental health ethics insight, compared to participants who completed the vignette survey. Perceived authenticity and curiosity/motivation to learn more was equivalent for both methods. Conclusion The results of this study highlights the importance of purpose-built methodology for empirical bioethics research. (shrink)

First, a number of previous theories of intrinsic motivation are reviewed. Then, several studies of highly motivating computer games are described. These studies focus on what makes the games fun, not on what makes them educational. Finally, with this background, a rudimentary theory of intrinsically motivating instruction is developed, based on three categories: challenge, fantasy, and curiosity.Challenge is hypothesized to depend on goals with uncertain outcomes. Several ways of making outcomes uncertain are discussed, including variable difficulty level, (...) multiple level goals, hidden information, and randomness. Fantasy is claimed to have both cognitive and emotional advantages in designing instructional environments. A distinction is made between extrinsic fantasies that depend only weakly on the skill used in a game, and intrinsic fantasies that are intimately related to the use of the skill. Curiosity is separated into sensory and cognitive components, and it is suggested that cognitive curiosity can be aroused by making learners believe their knowledge structures are incomplete, inconsistent, or unparsimonious. (shrink)

Human-Computer Interaction (HCI) and games set a new domain in understanding people’s motivations in gaming, behavioral implications of game play, game adaptation to player preferences and needs for increased engaging experiences in the context of HCI serious games (HCI-SGs). When the latter relate with people’s health status, they can become a part of their daily life as assistive health status monitoring/enhancement systems. Co-designing HCI-SGs can be seen as a combination of art and science that involves a meticulous collaborative (...) process. The design elements in assistive HCI-SGs for Parkinson’s Disease (PD) patients, in particular, are explored in the present work. Within this context, the Game-Based Learning (GBL) design framework is adopted here and its main game-design parameters are explored for the Exergames, Dietarygames, Emotional games, Handwriting games, and Voice games design, drawn from the PD-related i-PROGNOSIS Personalized Game Suite (PGS) (www.i-prognosis.eu) holistic approach. Two main data sources were involved in the study. In particular, the first one includes qualitative data from semi-structured interviews, involving 10 PD patients and four clinicians in the co-creation process of the game design, whereas the second one relates with data from an online questionnaire addressed by 104 participants spanning the whole related spectrum, i.e., PD patients, physicians, software/game developers. Linear regression analysis was employed to identify an adapted GBL framework with the most significant game-design parameters, which efficiently predict the transferability of the PGS beneficial effect to real-life, addressing functional PD symptoms. The findings of this work can assist HCI-SG designers for designing PD-related HCI-SGs, as the most significant game-design factors were identified, in terms of adding value to the role of HCI-SGs in increasing PD patients’ quality of life, optimizing the interaction with personalized HCI-SGs and, hence, fostering a collaborative human-computer symbiosis. (shrink)

The emergence of the need for orientation since the past times led the universities to invent innovative ways to prepare their students for the activities and courses they will face. Hence, various types of orientation have been provided during history. However, today with the outbreak of the Covid-19 and the closure of the schools, most of the students are continuing their studies as distance learning. While this situation is very disappointing for all freshmen students who do not know the university's (...) atmosphere, it is extremely disruptive, specifically for the design ones, which are passing tactile courses, demanding being held face to face. This ascertains the research's problem as a need for an interactive solution for the issue to lessen the consequent problems. Game-based orientation (GBO) is a tool, engaging the freshmen students as players with the provided data in it, which are the essentials for a novel student to know before entering the university. It allows the student to be dealt with the school services, Istanbul Technical University in this case, and use them in terms of the game's tasks. The scoring system, the ultimate certificate, the leaderboard leading them to prizes, and the game's non-linearity will attract the students to use GBO frequently to finish it and experience all the possible scenarios. (shrink)

PurposeThe purpose of this paper is to show how both the presentation and limitation of visual choices in massively multiplayer online role‐playing games (MMORPG) avatar creation interfaces tends to exclude or favor different real life social groups.Design/methodology/approachA novel method combining both quantitative and critical analysis of the syntagmatic‐paradigmatic structure of MMORPG avatar creation interfaces is used to inform the findings of this study.FindingsThis study concludes that as cultural interfaces, current fantasy themed MMORPGs remediate socially exclusive values both (...) from fantasy literature and from their own game lore. The socially exclusive values deal largely with extreme and immutable racial and sexual dimorphism.Research limitations/implicationsInterfaces which present users with color palettes and/or smooth slider‐based body modifiers do not lend themselves well to this method of analysis. In addition to this, only a handful of the popular MMORPGs are analyzed within the body of this work.Practical implicationsThis paper demonstrates that MMORPG players and designers need to be more aware about how they are constructing and embedding social values in their worlds. Avatars are critical conduits for online social dynamics and embedding socially exclusive values may transfer negative ideologies from old media to new.Originality/valueThis paper offers one of the earliest critiques of embedded values in avatar creation interfaces of MMORPGs. The paper aims to begin discussion on an overlooked area of now popular media that has not received any critical attention regarding its embedded messages of social inclusiveness or exclusiveness. (shrink)

In this article, I critically respond to Herbert Gintis's criticisms of the behavioral-economic foundations of Ken Binmore 's game-theoretic theory of justice. Gintis, I argue, fails to take full account of the normative requirements Binmore sets for his account, and also ignores what I call the ‘scale-relativity’ considerations built into Binmore 's approach to modeling human evolution. Paul Seabright's criticism of Binmore, I note, repeats these oversights. In the course of answering Gintis's and Seabright's objections, I clarify and extend Binmore (...) 's theory in a number of respects, integrating it with Kim Sterelny's and Don Ross's recent work on the evolution of people as cultural entities. The account also yields a novel basis for choosing between socialism and what Binmore calls ‘whiggery’ as normative political programs. Key Words: theory of justice • bargaining theory • evolutionary game theory • human evolution • Ken Binmore • Herbert Gintis • Kim Sterelny. (shrink)

Historically the focus of moral decision-making in games has been narrow, mostly confined to challenges of moral judgement (deciding right and wrong). In this paper, we look to moral psychology to get a broader view of the skills involved in ethical behaviour and how these skills can be employed in games. Following the Four Component Model of Rest and colleagues, we identify four “lenses” – perspectives for considering moral gameplay in terms of focus, sensitivity, judgement and action – (...) and describe the design problems raised by each. To conclude, we analyse two recent games, The Walking Dead and Papers, Please, and show how the lenses give us insight into important design differences between these games. (shrink)

As artefacts, the worlds of digital games are designed and developed to fulfil certain expressive, functional, and experiential objectives. During play, players infer these purposes and aspirations from various aspects of their engagement with the gameworld. Influenced by their sociocultural backgrounds, sensitivities, gameplay preferences, and familiarity with game conventions, players construct a subjective interpretation of the intentions with which they believe the digital game in question was created. By analogy with the narratological notion of the implied author, we call (...) the figure to which players ascribe these intentions ‘the implied designer’. In this article, we introduce the notion of the implied designer and present an initial account of how appreciators ascribe meaning to interactive, fictional gameworlds and act within them based on what they perceive to be the designer’s intentions. (shrink)

Designing complex products involves working with uncertainties as the product, the requirements and the environment in which it is used co-evolve, and designers and external stakeholders make decisions that affect the evolving design. Rather than being held back by uncertainty, designers work, cooperate and communicate with each other notwithstanding these uncertainties by making assumptions to carry out their own tasks. To explain this, the paper proposes an adaptation of Kendall Walton’s make-believe theory to conceptualise designing as playing games (...) of make-believe by inferring what is required and imagining what is possible given the current set of assumptions and decisions, while knowing these are subject to change. What one is allowed and encouraged to imagine, conclude or propose is governed by socially agreed rules and constraints. The paper uses jet engine component design as an example to illustrate how different design teams make assumptions at the beginning of design activities and negotiate what can and cannot be done with the design. This often involves iteration – repeating activities under revised sets of assumptions. As assumptions are collectively revised, they become part of a new game of make-believe in the sense that there is social agreement that the decisions constitute part of the constraints that govern what can legitimately be inferred about the design or added to it. (shrink)

Methodological practices differ between economics and psychology because economists use game theory as the basis for the design and interpretation of experiments, while psychologists do not. This methodological choice explains the “four key variables” stressed by Hert-wig and Ortmann. Game theory is currently the most rigorous basis for modeling strategic choice.

This is the first volume to apply insights from the material turn in philosophy to the study of play and games. At a time of renewed interest in analogue gaming, as scholars are looking beyond the digital and virtual for the first time since the inception of game studies in the 1990s, Material Game Studies not only supports the importance of the turn to the analogue, but proposes a materiality of play more broadly. Recognizing the entanglement of physical materiality (...) with cultural meaning, the authors in this volume apply a range of theoretical approaches, from material eco-criticism to animal studies, to examine games and play as existing within worlds of matter. Different chapters focus on the material properties of board, card and role-playing games, how they are designed and made, how they are touched and played with, and how they connect with other human and nonhuman things. Bringing together international scholars, Material Game Studies defines a new field of material game studies and demonstrates how it is a valuable addition to wider debates about the material turn and the place of embodied humans in a material world. (shrink)

Digital cognitive games (DCGs) are games whose primary purpose is to mediate (i.e., support, develop, and enhance) cognitive activities such as problem solving, decision making, planning, and critical reasoning. As these games increase in popularity and usage, more attention should be paid to their design. Currently, there is a lack of design processes that provide both structure and room for creative development of such games. This article presents a preliminary process for design of (...) DCGs. The design process involves the application of cognitive toys and isomorphism. Using this process, designers will use a cognitive toy to be inspired to develop DCGs, and isomorphism is intended to help them produce a diverse set of DCGs based on the same cognitive toy. The resulting DCGs will have deep similarity with the original cognitive toy but are unique in terms of their surface features. (shrink)

Food sovereignty discourse is gaining attention, yet it is open to contradicting interpretations as to its capacity to address systemic injustices of the corporate food regimes. In our attempt to contribute to a better understanding of food sovereignty and promote awareness within a hegemonic food system that is hostile to alternative economies, we acknowledge that a radical shift is needed in the way we imagine, frame and narrativize our food system and our role within it. Drawing from both global social (...) movements and the rise of social and solidarity initiatives in crisis-ridden Greece reclaiming local and autonomous food systems, we rely on three concepts to develop knowledge co-creation: food sovereignty understood as the universal right to food, food commoning practices, and participatory research processes for food sustainability. We proceed further with the creation of a ‘Training of Trainers’ team engaging instructors involved in both formal and non-formal education in Greece to co-design a game-based educational tool on food sovereignty through serious gaming workshops. Key findings that emerge from this participatory research project include: the development of a shared language on food that questioned power inequalities; the idea of a community both autonomous and interdependent so as to achieve food sovereignty; and the role of collective imaginaries in allowing for diverse economies and alternative visions to emerge. Participation in a process of collective reflection challenged existing stereotypes, reimagined economy and community development and proved to be, in itself, a transformative approach to knowledge and an act of social change. (shrink)

It is widely recognized that police performance may be hindered by psychophysiological state changes during acute stress. To address the need for awareness and control of these physiological changes, police academies in many countries have implemented Heart-Rate Variability biofeedback training. Despite these trainings now being widely delivered in classroom setups, they typically lack the arousing action context needed for successful transfer to the operational field, where officers must apply learned skills, particularly when stress levels rise. The study presented here aimed (...) to address this gap by training physiological control skills in an arousing decision-making context. We developed a Virtual-Reality breathing-based biofeedback training in which police officers perform deep and slow diaphragmatic breathing in an engaging game-like action context. This VR game consisted of a selective shoot/don’t shoot game designed to assess response inhibition, an impaired capacity in high arousal situations. Biofeedback was provided based on adherence to a slow breathing pace: the slower and deeper the breathing, the less constrained peripheral vision became, facilitating accurate responses to the in-game demands. A total of nine male police trainers completed 10 sessions over a 4-week period as part of a single-case experimental ABAB study-design. Results showed that eight out of nine participants showed improved breathing control in action, with a positive effect on breathing-induced low frequency HRV, while also improving their in-game behavioral performance. Critically, the breathing-based skill learning transferred to subsequent sessions in which biofeedback was not presented. Importantly, all participants remained highly engaged throughout the training. Altogether, our study showed that our VR environment can be used to train breathing regulation in an arousing and active decision-making context. (shrink)

Philosophical games are games designed to invite players to think philosophically within (and about) their gameworlds. They are interactive fictions allowing players to engage with philosophical themes in ways that often set them apart from non-interactive kinds of speculative fictions (such as philosophical novels or thought experiments). To better understand philosophical games, this entry proposes to distinguish two primary ways in which a philosophical game can approach its themes: dialectically or rhetorically.