Extending Experiences

Extending Experiences
Structure, analysis and design of computer game player experience

Edited by
Olli Leino
Hanna Wirman
Amyris Fernandez

Lapland University Press

Rovaniemi 2008
Copyright: writers and publisher

Layout: Kalle Parkkonen

Cover: Olli Leino & Hanna Wirman

Sales: Lapland University Press

www.ulapland.fi/lup

Academic and Art Bookshop Tila

P.O. Box 8123
FIN-96101 Rovaniemi
phone +358 16 341 2924
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Gummerus Printing, Vaajakoski 2008

ISBN 978-952-484-197-9 (paperback)

ISBN 978-952-484- 440-6 (pdf)

Table of Contents

Prologue.......................................................................................................................... 7

Foreword by Sam Inkinen

Quo vadis, homo ludens? ............................................................................................... 9

Editors and Contributors .............................................................................................. 18

Part One: Experiential Structures of Play

Introduction to Part One ............................................................................................. 26

Jan-Noël Thon
Immersion Revisited: On the Value of a Contested Concept ......................................... 29

Jussi Holopainen
Play, Games, and Fun ................................................................................................... 44

Ulf Wilhelmsson
Game Ego Presence in Video and Computer Games ..................................................... 58

Laura Vallius, Tomi Kujanpää & Tony Manninen:

Experiencing a Multi-Player Computer Game through a Meaningful Role ................... 73

Part Two: Bordering Play

Introduction to Part Two .............................................................................................. 90

Brian Jennings
WTFpwned by Chinese Gold Farmers Translating “Otherness” into Synthetic Worlds
through Culture and Language Hierarchies ................................................................... 93

Gareth Schott
Documenting Digital Life: Invoking Everyday Life Accounts from World of Warcraft... 110
 Julian Kücklich
Set DeusEx.JCDentonMale bCheatsEnabled True:
Cheating as a Way to Enhance Player Experience in Deus Ex ...................................... 123

Thomas Duus Henriksen

Extending Experiences of Learning Games:
Or Why Learning Games Should Be neither Fun, Educational nor Realistic ............... 140

Pau Waelder
An Enhanced Duelling Artefact:
PainStation and the Role of Competition in Video Games..................................................163

Part Three: Interfaces of Play

Introduction to Part Three .......................................................................................... 178

Amyris Fernandez
Fun Experience with Digital Games: A Model Proposition ......................................... 181

Shaowen Bardzell
Systems of Signs and Affordances: Interaction Cues in 3D Games .............................. 191

Clara Fernández-Vara
Shaping Player Experience in Adventure Games:
History of the Adventure Game Interface.................................................................... 210

João Bernardes, Romero Tori, Ricardo Nakamura, Daniel Calife & Alexandre Tomoyose
Augmented Reality Games .......................................................................................... 228

Part Four: Beyond Design

Introduction to Part Four............................................................................................ 248

Craig A. Lindley & Charlotte C. Sennersten

An Innovation-Oriented Game Design Meta-Model Integrating Industry,
Research and Artistic Design Practices ........................................................................ 250

Mark Eyles & Roger Eglin

Outlining a Stratified Game Design Research Methodology........................................ 272

Index .......................................................................................................................... 287

Reviewers .................................................................................................................... 297
Prologue

T
he impetus for the publication of this book came from far north in
Finnish Lapland, but the collaboration leading up to the finished copy
you are holding was a learning process between three PhD students in
four countries and on two continents. Obviously, we are indebted to many.
We want to thank our home universities and thesis supervisors for offering us
the time and intellectual space to work with the book. In the beginning they
were just two, but now there are four to thank: IT University of Copenhagen,
Universidade Metodista de São Paulo, University of Lapland and University
of the West of England. Thanks to Espen Aarseth, Anker Helms Jorgensen,
Sebastão Squirra, Eija Timonen and Estella Tincknell.
As the IT University of Copenhagen was the place where we three, visiting
researchers at the time, met and started working on this book together, people
at the ITU Center for Computer Games Research are to thank. Especially
Jonas Heide Smith encouraged us by sharing his own editorial expertise.
We are grateful to our reviewers and writers, who showed significant
patience and experience throughout the process. Thanks go to Publishing
Coordinator Tuula Tervashonka from the University of Lapland Press for
helping us in many ways with her solid expertise.
This book was published with financial help from the collaborative Mediapolis
InnoMedia project carried through by three universities in the northern Finland:
Kemi-Tornio University of Applied Sciences, Rovaniemi University of Applied
Sciences and University of Lapland. The project was funded by the State Provincial
Office of Lapland, ERDF (European Regional Development Fund), Team Botnia
Inc. and the participant universities. We are very thankful to Tuomas Honka and
Harri Ryynänen from Mediapolis InnoMedia project for practical help as well as
support throughout the project.
Our aim for this book was to bring together work on the relationship
between games and their players. We also wanted to draw attention from
games to players, which again broadens our knowledge on games themselves.
Discussing player and games, the chapters of this book present a variety of
factors that influence player experience, or play experience, as lived, theo-
rised, analysed and designed.
The chapters of this book are structured into four parts, each preceded
by an introduction discussing some of the common themes shared by its


chapters. The foreword by Sam Inkinen provides insights on the current and
upcoming developments of experiences with interactive media. The first part
of the book, Experiential Structures of Play, discusses some of the key concepts
often used to address players’ experiences. Chapters in Part 2, Bordering Play,
address the forms of computer game play which somehow, either practically
or conceptually break out from the ”magic circle”. Part 3, Interfaces of Play
takes the technology involved in computer game play as the starting point for
observations. The fourth and final part, Beyond Design, consists of insights on
game design, abstracted and structured into the form of two design models.

Copenhagen, Bristol and Sao Paolo,

March 2008
the editors
Sam Inkinen

Quo vadis, homo ludens?

The media themselves are the avant-garde of our society. Avant-garde no longer
exists in painting and music, it’s the media themselves.
– Marshall McLuhan (1973)1

MaTrIx a: New DeveloPMeNTS IN The worlD of MeDIa

T
oday we are living in a new reality: the reality of digital media. At the
same time, we are witnessing the emergence of a game world. How does
one relate to the other? Is the game world a reflexion of media reality, or
is it the other way around? As technological extensions of our senses, in what
manner do media reality and the game world extend our experiences?2 In what
follows I shall outline some aspects regarding these questions.3

level 1: Key words for the Play

Game perception does not follow the logic of cinema or TV. The player is not
a viewer but an agent of action, a creator of one’s own world.
This paradigmatic difference also touches on the research perspectives of
game world. Some relevant keywords should be mentioned here: convergence
and hybridization, interactive subject position, projective game situation, media
as an artificial sensorium, community and conviviality, game theory... and even
more: simulation, virtual reality, immersion, avatars, paraspace (Bukatman),
post-modern subject, multidimensionality, non-linearity, broadband Internet,
massively multiplayer online games (MMOGs)...
level 2: Zeitgeist: extending experiences
In the contemporary world, our way of living is increasingly mediated and
even expanded by media experiences. We are living in the age of experience
design: mediated, first-hand experiences are giving way to synthetic experi-
ences generated by new media. “Experience,” “experience economy,”4 “experi-

1 See McLuhan & Zingrone 1997, 274.

2 Cf. Bolter & Grusin 1999.
3 I would like to thank Hannu Eerikäinen for his fruitful co-operation in recent years and his com-
ments on the ideas presented in this article.
4 Pine & Gilmore 1999.
10 Inkinen

ence society” (German, Die Erlebnisgesellschaft)5 and “experience pyramid”6

have become central themes and notions to describe contemporary society,
economy and culture.
The deeper semantic meaning of these catchphrases, however, is not sim-
ple; they are very complicated and open to different associations. Historical
background is also relevant. Few contemporaries remember, for example, that
futurist-visionary Alvin Toffler had already referred to the significance of in-
dustrially manufactured experiences in his classic book Future Shock (1970).
Various kinds of experiences, spectacles and effects clearly belong to the
millennial Zeitgeist (spirit of the age) of the early 2000s.7 Video and compu-
ter games as a remarkable growth field of digital media culture and “digital
ecosystems” are one example of developments in today’s “dream society”8 and
“experience economy”:
Digital media and games are knocking on experience economy’s door, and they
are becoming more and more connected to experience production and to the
field of experience industry. Gaming and storytelling via different channels
have throughout the ages been an important part of our everyday life as well
as a form of entertainment. During the recent years, game design and digital
media productions have also become an increasingly significant business sector
with remarkable growth rates. However, discussion on experience economy
has neglected to a great extent this new form of experience production that is
present in most business sectors as well as [in] a branch of its own.9

level 3: The history of Media

The history of media is also the history of different tools, scientific models
and schemes. Media scholars and cultural researchers like to emphasize the
importance of mediatization as a basis for contemporary, “post-modern” so-
ciety. It should be noticed that in addition to being tools for communication
and expression, media are also identity devices that affect the persona, world
view and subjectivity of an individual. This is the situation for both traditional
mass media (the broadcast paradigm) and digital, interactive new media (the
game paradigm).10
5 Schulze 1992.
6 ”Experience Pyramid is a tool for promoting experientialism in products and services. It ap-
proaches experience production from two point-of-views: customer experience and elements of the
product. The Pyramid approach suggests that the product should include six elements for being expe-
riential: individuality, authenticity, story, multisensory perception, contrast and interaction. Through
these elements customer’s experience proceeds from motivational level to physical, intellectual and
emotional, even spiritual levels.” By using the Pyramid model it is possible to analyze and understand
the experiential aspect of tourism, design, digital media, entertainment, cultural products, etc. The
Pyramid model “represents an ideal product in which every element is included on all levels”. Together
these elements can create the prerequisities for experiential situations and therefore create a possibility
for the customer to have an experience. (http://www.elamystuotanto.org/?deptid=21989)
7 On Zeitgeist issues see Inkinen 1999.
8 Jensen 1999.
9 Kylänen 2006: 3.
10 Inkinen 2005.
 Quo vadis, homo ludens? 11

Many expressions beginning with homo (Latin, meaning the human be-
ing) have been created over the centuries. The central terms of contemporary
discussions have been homo ludens, the ludic human, homo cyber, the human
of the technological future, homo intelligens, the human with widening knowl-
edge and awareness of ethical and educational challenges (knowledge society),
and the classical homo faber, the instrument and engineering oriented “smith.”
In addition, a post-modern contemporary perceives and experiences the in-
formation rich world in an aesthetic manner. To describe this type of person, I
shall borrow the notion introduced by the Finnish scholar Aki Järvinen: homo
aestheticus-informaticus.11

level 4: The ecstasy of Communication

In his classic, Transparent Society (1989), Italian philosopher Gianni Vattimo
has aptly stated that in the contemporary media culture “everything” becomes
a subject of communication. Jean Baudrillard, on the other hand, has sharply
commented on and analyzed the post-modern condition as the “ecstasy of
communication”.12 The commercial logic of show business, different kinds of
spectacles and “extended experiences” will irrevocably lead to the expansion
of the sphere of media publicity to touch areas that have been previously con-
sidered private (Reality TV, Internet Web-cam applications, picture messages
sent via mobile phones, next generation of video games, etc.).
As media based on images, audio and text – i.e. dynamic, interactive mul-
timedia – is assuming an increasingly central role in (digital) culture, the in-
terpretation, decoding and understanding of multimedial and multimodal
messages becomes more important. The aesthetic element, that is part of the
original definition of education, gains new meaning and its role is empha-
sized. It can also be seen that the effects of computer networks, video games,
hypermedia, virtual realities, robotics, etc. will reach all areas of life and touch
almost everyone – even those who are not directly interested in, or connected
to them.

level 5: The Game Paradigm

The game paradigm is a significant part of the broader field of digital media.
It must be emphasized that technology per se does not alter the world or social
reality, but by being connected to different cultural forms and social processes
it affects the forces that construct identities and mould personalities.
Thus, in the post-modern media society, one can say without exaggeration
that digital information, telecommunication technology and new media in-
trude ever deeper into people’s everyday lives. For example, the Internet and
mobile phone cultures (including games) of recent years have had concrete
and irreversible effects on the media practices and everyday routines of con-
temporaries. As technical integration has travelled towards a “smart phone”
11 See Järvinen 1999a: 170.
12 Lyotard 1984; Baudrillard 1988; cf. Baudrillard 1983.
12 Inkinen

and “communicator” that utilizes networking, dynamic multimedia (includ-

ing more and more games), artificial intelligence and more advanced hyper
textual methods, the meaning of the mobile phone as an “identity device” has
become increasingly important.

level 6: Convergence and hybridization

Rapid convergence of digital media brings telephone networks, television and
the Internet closer to each other. Broadly speaking, multi-channelling, multi-
ple media, cross-media, polymedia and hybrid media are synonyms and closely
related to the new dynamic interrelationships of new digital technologies (so
called online paradigm) and their integration with traditional offline technol-
ogies. These terms refer to the merging of two or more media environments
and/or transmission channels, for example, the Internet, mobile communica-
tions, digital television and print. In other words, the media world today is
dominated by convergence and hybridization.
The most important factors affecting the formation of the “computer sub-
ject” and “Internet subject”13 that operate in the networks and threads of dig-
ital media are navigation, intertextuality, hypertextuality and multimediality.
These factors can be said to affect the media culture in a qualitative manner.
The significance of interaction (as a paradigm shift from the traditional broad-
cast paradigm to the interactive media paradigm) has been underlined in the
new media contexts and discussions – not least with gaming. Interactivity
points to creating information, meanings, experiences, identity or even new
cultural expressions together. Sometimes interaction has turned into a key
term and a too promising mantra of a techno-utopia.14

MaTrIx B: exTeNDING exPerIeNCeS

What exactly is experience? We should, in fact ask, what makes an opera play,
a music video or a computer game an experience? The semantic meaning of
the word “experience” differs in various languages. The English “experience”
means both Finnish elämys and kokemus. The German language makes the
same distinction: Erlebnis and Erfahrung.
Some scholars have pointed out that there are different levels of experience
in the so-called “experience pyramid,” the model that describes the structure
and nature of experience. At the bottom is the motivational level. Next is the
physical level. Third is the rational/intellectual level. Fourth is the emotional level
(or actually experiencing the meaningful experience). The last and top level is
the mental level.15

13 Cf. Järvinen 1999b.

14 For a critical perspective see, for example, Inkinen 1999b.
15 Tarssanen & Kylänen 2006: 138-139.
 Quo vadis, homo ludens? 13

MaTrIx C: ProDuCT
Increasingly our world of experience is moulded by new media products (such
as video games). The so-called “Experience pyramid” approach also suggests
that a product (e.g. a game product) should include six elements to be expe-
riential: (1) individuality, (2) authenticity, (3) story, (4) multi-sensory percep-
tion, (5) contrast and (6) interaction.16 To cite Finnish scholars (levels 1-6):17

level 1: Individuality
The first critical element of a product is individuality. This means the product’s
own superiority and uniqueness: there is no other product which is exactly or
roughly the same. Individuality is also seen as customer-oriented way-of-action
in staging the product.

level 2: authenticity
Authenticity in the context of experience products relates to the credibility of
the product. At the simplest it refers to a real-life way-of-living and culture of
the region or items made by the locals.

level 3: Story
The story of a product is closely linked with the authenticity. A genuine story
links the experience with reality and gives the content and a social meaning
for it.

level 4: Multi-sensory perception

Multi-sensory perception means that the product should be capable of being
experienced with as many of the senses as possible. It should be visually in-
fluential, appealing to the senses by odour and aroma, as well as audible and
capable of being tasted and felt as tactile sensation.

level 5: Contrast
Contrast refers to difference from the perspective of the client. The product
must be different from the customer’s everyday routines.

level 6: Interaction
Interaction represents the relation between the customer, the guide and the
other travel participants. It represents successful communication with the
product and its producers.

16 http://www.elamystuotanto.org/?deptid=21989
17 Tarssanen & Kylänen 2006: 140-146.
14 Inkinen

MulTIMeDIalITy aND MulTIMoDalITy

I would like to discuss the role of multi-sensory perception here more in de-
tail. New and fresh key concepts to guide research have been defined in both
R&D laboratories and the field of academic research. An example of this is
multimodality. It is an interdisciplinary academic topic of study, which has
become more popular and is settling via several different routes – through
research into multimedia and computer networks, electronic art, and inter-
mediality. Multimodality points to the fact that culture and communication
always contain many elements and media forms. For example, the spoken
language is not only verbal but also visual, since it includes non-verbal signs:
facial expressions, gestures, etc.
Communication and media culture have traditionally been approached
from this direction by semiotics18 and research of audiovisual media culture.
It is not surprising that multimediality and multimodality have also a central
role in new media research. This research perspective opens up new views of
audiovisual media texts and in understanding culture on a more general level.
It is especially useful in understanding the continually changing phenomena
of digital culture.

SyNeSTheSIa
In this context, it is justifiable to mention synesthesia as a concept related
to multimodality and cross-media thinking. Synesthesia refers to stimuli to
one sense resulting in two sensory reactions. For example, while listening to
music a person may also “see” or sense the sound as colours or images. Music
often transports feelings, moods and mental images. Because of this, music is
strongly synesthetic: music may have the attributes of hard, soft or clanking
and provoke similar visual associations.
Synesthesia has a central place in western art and culture. Our cultural and
art history is filled with examples relevant to synesthesia. For example, the
famous The Flowers of Evil anthology by poet Charles Baudelaire (1821–1867)
includes a poem related to synesthesia called “Correspondences.” A highly in-
teresting exhibition, Sons & lumières (Sound & Light) was organized in Cen-
tre Pompidou, Paris, in 2005.19 Bringing together 400 works of art, Sons &
lumières offered, “a history of the interaction between music and sound and
the visual arts.” The exhibition was organised around three major themes:

(1) Correspondences: abstraction, colour music, light in motion,

(2) Imprints: conversion, synthesis, remnants, and
(3) Ruptures: chance, noise, silence.

To cite the exhibition leaflet: “In his poem Correspondences, Baudelaire writes
that ‘perfumes, colours, tones answer each other.’ The twentieth century, often
18 Cf. Hess-Lüttich 1982a, 1982b, 1999.
19 Centre Pompidou, Paris, 22 September 2004 – 3 January 2005.
 Quo vadis, homo ludens? 15

characterised as a period of convergence and dialogue among the arts, offers

many instances where such a parallelism has been invoked. With the rise of
abstraction around 1910, painting sought correspondences with music which
was considered to be the abstract art par excellence. At the same time, the
new media made possible by the development of electricity, took up the same
quest.” The same exhibition leaflet summarizes the artistic developments of
the 20th century as follows:
Throughout the last century, cinema and video, the arts of light, offered par-
ticularly fruitful ground for the encounter between image and sound. While
creative practice was nourished by critical reflections on a supposed equiva-
lence between sight and hearing, the artistic procedures of new approaches to
music as performance – incorporating such notions as chance, non-hierarchi-
cal sound, and silence – put the idea of correspondence into question. To the
question raised by Romantic aesthetics and later by the Symbolist generation
– “Can images be rendered in sound, and sound in images?” – the art of [the]
twentieth century offers many different and contrasting answers, some seeing
in this possibility something of the utopian, others the pure pleasure of the
senses.

GeSaMTKuNSTwerK
The classic Gesamtkunstwerk approach to the experience of art elaborated on
by composer Richard Wagner (1813–1883) – the idea of a massive work of
art that combines and shakes different senses – closely resembles synesthesia,
multimodality and multi-channelling. The Russian composer Alexander
Scriabin (1872–1915), who represents Romanticism, can also be mentioned
here – especially his works at the beginning of the 20th century expressing
mysticism and ecstacy.
Two of the most notable renewers of audiovisual media culture in the 20th
century have been Russian film director Sergei Eisenstein (1898–1948) and
French film director Jean-Luc Godard (1930–) whose thinking and audiovisual
works also contain relevant elements regarding synesthesia, multimodality and
hypermediality.20 Some other relevant names of avant-gardists and innovators
include Abel Gance (1889–1981), Walther Ruttmann (1887–1941), Len Lye
(1901–1980), Oskar Fischinger (1900–1967), Kenneth Anger (1930–) and
Walt Disney (1901–1966).21
Synesthesia, multimodality and hypermediality are a relevant field, for ex-
ample, in the context of music videos, which is an organic part of today’s popu-
lar culture. It can be said that the most important feature of a music video is
the link it activates between the senses: making sound visual, and movement
and colour audible. There are several justifications for calling music videos
“imagined music.” The director and writer of a video creates powerful and
enjoyable sensory experiences – to illustrate the musical piece with old, existing
synesthetic associations and create new forms of audiovisual combinations.
20 Cf. Ylä-Kotola 1999, 2001.
21 See, for example, Manovich 2001; Inkinen 2005.
16 Inkinen

This starting point partly explains why the best and most ambitious music
videos represented the aesthetic avant-garde of the 1980s and 1990s. Syn-
esthesia explains a lot about the enjoyability of music videos and other forms
of audiovisual/multimodal media culture. It can be said that the visual pleas-
ure of music videos is not so much connected with narrativity as with making
television more musical.22

fINally: GaMeS aS avaNT-GarDe

How about the aesthetic avant-garde of the present age? And what about
extending experiences? Synesthesia, multimodality and hypermediality are
also a relevant field in the context of the game world.
Words are, on the other hand, some kind of viruses. While in the 1980s,
the “microcomputer” and in the 1990s, the “Internet” and “mobile phone”
were the mantras of the day, in recent years, attention has turned to the
“mobile Internet” and “computer games.” Can massively multiplayer online
games (World of Warcraft, EVE Online etc.), virtual environments, interac-
tive simulations and other examples of digital media be considered to be
the “Gesamtkunstwerk” of our age? Many believe they can. More research,
however, is needed to illuminate these issues.

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Vattimo, G. (1992) [1989]. Transparent Society. Baltimore, MD: Johns Hopkins University Press,
Vernallis, C. (1998). The aesthetics of music video. An analysis of Madonnan’s ‘Cherish’. Popular Music
17 (2), 153-185.
Ylä-Kotola, M. (1999). The Philosophical Foundations of the Work of Film Director Jean-Luc Godard.
In: Inkinen, Sam (Ed.), Mediapolis. Aspects of Texts, Hypertexts and Multimedial Communication, 146-
162. Berlin & New York: Walter de Gruyter.
Ylä-Kotola, M. (2001). Hypervideo. The Hypertextual Narrative of Jean-Luc Godard. In: Suoranta,
Juha & Inkinen, Sam & Ylä-Kotola, Mauri (Eds.): The Integrated Media Machine. Aspects of Internet
Culture, Hypertechnologies and Informal Learning, 119-169. Helsinki: Edita & Rovaniemi: University
of Lapland.
editors and Contributors

Amyris Fernandez is an Associate Professor of Online Marketing at the

Fundação Getúlio Vargas (FGV) and holds a Ph.D. in Communication from
the Universidade Metodista de São Paulo. Her Master of Science degree is
in Cross-Disciplinary Professional Studies from the Rochester Institute of
Technology, USA. She is devoted to understanding how the new media is
transforming the communication experience. Amyris teaches Marketing on
the Internet, E-Commerce and E-Business Strategy at FGV, São Paulo. Her
research interests focus on fun and games, and game playability.

Olli Leino is a Ph.D. candidate based in Copenhagen, Denmark, work-

ing at the Center for Computer Games Research at the IT-University of
Copenhagen. He has worked in applied research projects at the University
of Lapland dealing with game development for mobile platforms. In 2005
he conducted a research project addressing the emotional capabilities of
multiplayer games for a major European game developer and publisher. He
is currently working on a Ph.D. dissertation about emotions in the player’s
experience, analysing players’ experiences and the what-is-it-like of being
a player from an existential-phenomenological viewpoint. Olli has taught
computer game theory for the M.Sc. students at the IT-University and par-
ticipated in the review boards of various computer game conferences and
journals.

Hanna Wirman is a Ph.D. Student at the University of the West of England,

UK, and a Doctor of Arts Candidate at the University of Lapland, Finland.
Her current research interests include digital games and gender, online par-
ticipation, co-creativity/user-generated content, game fandom, and game
artistry. Her Ph.D. will discuss different gendered productive practices re-
lated to computer game play and the possibilities for women to rework the
games resulted from the masculine game development cultures. Hanna has
also done some research on research ethics and mobile gaming as well as
been involved in mobile game development. At the University of Lapland
she has worked in several research and lecturing positions on Cultural
Studies, IT and game design. In 2006 and 2007 she was a Visiting Ph.D.
Student at the Center for Computer Games Research, IT University of
Copenhagen.
 19

Shaowen Bardzell (Ph.D.) is currently a faculty member and the co-direc-

tor of entertainment Computing Research Group at Indiana University, USA.
Her research concentrates on the interdisciplinary application of approaches
from human-computer interaction (HCI), computer-supported cooperative
work (CSCW), and cultural theory to digital entertainment in use (e.g., mas-
sively multiplayer virtual worlds, video games, and other social, computer-
mediated spaces). She focuses on two areas: the deployment of gender and
sexuality in these spaces as well as the design and evaluation of innovative
interfaces for social interaction, especially in the contexts of pleasure and play.
She has published at ACM SIGCHI, SIGGRAPH, ASIST, The MIT Press,
and Wiley.

Joao Luiz Bernardes Jr. graduated as an engineer in 1998 and after a brief
stint working for a couple of engineering companies, returned to academic
life and obtained his master’s degree, also in engineering, in 2004. Already
as an undergraduate, since 1995, he has worked and done research involving
computer programming. In his masters he specialized in the field of Com-
puter Graphics, focusing on Scientific Visualization and Virtual Reality. His
research has also been directed to the technologies and techniques involved in
electronic games, an area in which he has done research and published since
2002. Currently he works as a professor and on his Doctor’s thesis about the
use of computer vision and hand gestures as an interface for augmented envi-
ronments, especially games. His fields of research include Computer Graphics,
Electronic Games, Gesture Recognition, and Virtual and Augmented Reality.

Daniel Calife is a M.A. Student at University of São Paulo (USP) and works
as a Researcher at Interactive Technologies Laboratory (Interlab) researching
Augmented Reality Games. He graduated in Computer Science at University
Cruzeiro do Sul. His fields of interest include Computer Games and Digital
Entertainment, Computer Graphics, Virtual Reality, Augmented Reality, and
Human-Computer Interface.

Roger Eglin is a Senior Lecturer in the Department of Creative Technolo-

gies, Faculty of Creative and Cultural Industries, University of Portsmouth.
He is course leader for the BSc in Computer Animation and Director of stud-
ies for several Ph.D. students. He lectures on various undergraduate and post
graduate courses for the department. Roger has a Ph.D. from University Col-
lege London in Biochemical Engineering. He has also worked in Information
Systems before becoming involved in Animation and Games research. He has
worked for over 14 years in research. Currently he is collaborating with vari-
ous game companies including Sony UK and is the Director of Research in
the Dept. of Creative Technologies for game design research.

Mark Eyles is a Principal Lecturer in the Department of Creative Technolo-

gies, Faculty of Creative and Cultural Industries, University of Portsmouth.
He is course leader for two undergraduate and one MSc Computer Games
20

Technology degrees. He lectures on game design and production on under-

graduate and post graduate courses and manages staff resources for the de-
partment. Before joining the university in 2003 Mark was Head of Design
at UK game developer Rebellion and had spent a total of 23 years working
as a designer, producer and manager in the games industry (Quicksilva, Sega,
Electronic Arts, Microprose, Activision, SCI etc). He also wrote scripts for
2000 AD and Sonic the Comic, made holograms and has worked on board
game designs for Hasbro. In 2004 he held the first Women in Games Confer-
ence. He set up the Advanced Games Research Group at the University of
Portsmouth in 2006.

Clara Fernández-Vara is a Ph.D. Student in Digital Media at the Georgia

Institute of Technology. Her research focuses on adventure games the devel-
opment of videogame theory, in order to apply it to videogame analysis, criti-
cism and design. Her interests are included within the framework of Media
Studies, with special attention to cross-media artefacts, from the standpoint
of textual analysis and performance.

Thomas Duus Henriksen is a business psychologist and an expert on game-

based learning processes and has been publishing on the subject since 1999.
He is a Ph.D. Fellow at The Center for Learning Games, Learning Lab Den-
mark, Danish University of Education, and is currently stationed in Paris as a
guest researcher within the area of business games and change management.
In his research, Thomas foucsses on how learning games are understood and
innovated in respect to organisational development.

Jussi Holopainen is currently working at Human Practices & Design Group

at Nokia Research Center, Finland as a Principal Scientist. He has authored or
co-authored several papers on games research and is a co-author of the book
“Patterns in Game Design”. He has presented his work in conferences such
as Game Developers Conference, CHI, Consciousness Reframed, Doors of
Perception and UbiComp. Jussi is one of the founding members of Digital
Games Research Association (DiGRA) and is also a member of the executive
board of DiGRA.

Brian Jennings is currently pursuing a Master’s degree in Cinema and Media

Studies in the Film, Television and Digital Media Department at the Univer-
sity of California, Los Angeles – focusing primarily on New Media and critical
games studies. He received his BA in English at Brigham Young University.
His current research interests include culture and community on the Internet
and online games as well as cultural and critical race studies. Brian recently
presented a version of this article at the “Thinking Through New Media Con-
ference” sponsored by Duke University and HASTAC. In addition, he has
written several articles on African American writers, artists and poets, which
were published in 20th Century African American Literature, edited by Dr.
Wilfred D. Samuels.
 21

Tomi Kujanpää (M.Sc.) is a Senior Lecturer at the Game Design and Re-
search Unit, LudoCraft in the Department of Information Processing Science
at the University of Oulu. He is a computer game character designer, teacher,
and researcher. His current research interests include networked multi-player
games, game characters, and 3D models in computer games. The working
title of his Ph.D. research is “Characters as Game Design Elements”. In the
research he is studying issues related to game character design in the context
of multi-player role-playing games.

Julian Kücklich is a Ph.D. Student at the Centre for Media Research at the
University of Ulster, Coleraine. In his dissertation, he is focusing on modes of
unorthodox play in digital games. He did his MA thesis on digital games and
has published a number of articles on the aesthetics and culture of gaming. He
is also the co-editor of the fibreculture special issue on “Gaming Networks”.

Craig A. Lindley is a Professor of Game Development, Department of

Game Development, Narrative and Time-Based Media at Gotland University
College, and Research Leader in Digital Game Development, Blekinge In-
stitute of Technology, Sweden. His previous roles includes research manager,
Zero Game Studio, The Interactive Institute, Chief Scientist, Starlab NV/SA,
Brussels, Belgium, and Principle Research Scientist, CSIRO Mathematical
and Information Sciences, Australia. Craig Lindley’s research interests include
cognitive science and semiotics of games and interactive simulation systems,
methodologies for game and interactive simulation design, artificial intelli-
gence, knowledge systems and space data systems.

Tony Manninen (Ph.D.) is an Assistant Professor at the Game Design and

Research Unit of University of Oulu. He is a computer games designer, re-
searcher and teacher. His areas of research include design, analysis and pro-
duction of multiplayer games and their diverse applications. In his Ph.D.
research he studied the issues related to interaction forms and their mani-
festations in multiplayer games. He has designed several experimental games
and has published game related papers in academic forums, as well as, game
reviews and game related articles in popular media. Tony heads the Game
Design and Research Unit in University of Oulu, Finland. The unit focuses
on the theories and art of creating collaborative games with applied science
approach. He is also the CEO of LudoCraft Ltd., which further applies and
commercialises the knowledge gained from game research into game design
and development.

Ricardo Nakamura is currently a researcher at the Interactive Technologies

Laboratory (Interlab) of University of São Paulo, working on his doctoral
thesis on Games and Augmented Reality. He graduated in Mechanical Engi-
neering at the same institution, and obtained a Master’s Degree in Electrical
Engineering, with a thesis on the field of Virtual Reality. He has experience in
industry and academic software development projects, which includes lead-
22

ing the development of Interlab3D and enJine projects at Interlab. His fields
of interest include Computer Games and Digital Entertainment, Computer
Graphics, Virtual Reality, Computer use in Education, and Human-Compu-
ter Interface.

Gareth Schott (Ph.D.) is Senior Lecturer at the Department of Screen and

Media Studies at the University of Waikato in Aoteroa New Zealand. He co-
ordinates the departments’ GamesLab, a post graduate research center devoted
to game research and teaches New Zealand’s first undergraduate humanities
course on Game Studies. His projects in the field of videogames have included
female gamers and their relationships with game culture, game fandom, the
textuality of videogames and videogame art. Most recently he has contributed
work to the forthcoming Machinima Reader edited by Henry Lowood and
Michael Nitsche, Videogames and Art (2007) edited by Grethe Mitchell and
Andy Clarke and has co-authored Computer Games: Text, narrative and play
(2007) with Diane Carr, David Buckingham and Andrew Burn. He is cur-
rently working on a two year project funded by the Royal Society of New
Zealand (Marsden Grant) entitled Videogame Violence: Understanding its
seductions and pleasures for young people.

Charlotte C. Sennersten is a Ph.D. Student in Game Development,

Department of Game Development, Narrative and Time-Based Media, at
Gotland University College and Blekinge Institute of Technology, Sweden.
She completed a masters degree in cognitive science at Lund University, Swe-
den, based upon using eye-tracking methodologies for studying 3D game
play. Her research interests are cognitive processes in relation to gameplay and
vision, psychophysiological responses of players, statistics and methodology
development for game design.

Jan-Noël Thon studies German Literature, British Literature, and Media

Studies at Hamburg University, Germany. He has authored some conference
papers, articles, and book chapters on the theory and aesthetics of contempo-
rary computer games, focusing mainly on concepts such as space, interaction,
simulation, narration, communication and immersion, as well as on the ques-
tion of how they influence each other.

Alexandre N. Tomoyose is a M.A. Student at the University of São Paulo

(USP) and works as a Researcher at the Interactive Technologies Laboratory
(Interlab). Graduated in Computer Engineering at Politécnica School (Poli-
USP) with a project on the field of high level game engines and worked with
web development and online games since then. Co-leader of Interlab´s Robot
ARena Project, which is a framework to reduce the development time of ap-
plications implementing Spatially Augmented Reality.
 23

Romero Tori is an Associate Professor at University of de São Paulo (USP), a

Full Professor at SENAC University, and General Manager of the Interactive
Technologies Laboratory (Interlab). Working in this field since 1981, he was
one of the pioneers in Computer Graphics research and education in Brazil,.
Romero’s approach to teaching computer graphics is based on game technol-
ogy and customized software tools, including a Java 3D didactic game engine,
called “enJine”, and an interactive learning tool, called “Interlab 3D”, both of
them developed at Interlab. These results were presented at SIGGRAPH 2006
(“Teaching introductory computer graphics using java 3D, games and cus-
tomized software: a Brazilian experience”). Romero is president of The Special
Interest Group on Virtual and Augmented Reality of The Brazilian Computer
Society (SBC) and Program Chair of the IX Symposium on Virtual Reality
(SVR 2007). He also was Program Chair of SBGames 2005.

Laura Vallius (M.A.) works as an Assistant and a Researcher in the Game

Design and Research Unit, LudoCraft, in the Department of Information
Processing Science at the University of Oulu. Currently she is a researcher, an
animator, 3D artist, and a teacher. She is writing a Ph.D. about experiencing
experimental computer games and social interaction in multiuser game envi-
ronments. As a game designer and developer she has worked on commercial
game projects and independent game productions.

Pau Waelder is an independent art critic and curator. As a graduate in Art

History at the University of Barcelona (1988) Pau Waelder is currently com-
pleting a Ph.D. in digital art. In 2002, he began an on-going collaboration
with various art and culture websites. Site editor at Rhizome and Artnodes
(since 2003), he is also a reviewer on digital art for Furtherfield (since 2004).
In addition, he has produced videos for Vernissage TV (since 2006) and is cor-
respondent for the contemporary and digital art magazines a::minima (since
2004) and art.es (2005).

Ulf Wilhelmsson holds a Ph.D. from the University of Copenhagen,

Denmark, and is currently a Senior Lecturer at the school of Humanities
and Informatics at the University of Skövde, Sweden. His research interests
integrate film theory, cognitive theory and theories concerned with the audio-
visual construction of space and narratives in film and digital media (mainly
computer games).
 ParT oNe
experiential Structures of Play
INTroDuCTIoN To ParT oNe

w
ithout the player, games would be static and lifeless. A game cannot
be understood in its wholeness without acknowledging the exist-
ence of the player. For many purposes, such as understanding the
rules or semiotic structures of a game, it may be enough to see players as
reduced to the consequences of their choices. Making sense of their experi-
ences, however, requires that one sees the player as a living, embodied and
situated entity, driven by all sorts of concerns that affect how her experience
unfolds.
In discussions regarding game design, the player’s experience is some-
times seen as something that can be pinned down rather precisely and be
defined as a design goal. These debates, often shot through with notions of
fun and enjoyment, sometimes mention the concept of “flow,” coined by
Csikszentmihalyi (1991), as a state of optimal experience where one faces
a challenge seen as neither too easy nor too hard. To facilitate such experi-
ences, designers have put notable effort into balancing the difficulty levels
of games and ensuring that the player can encounter the kind of challenges
she prefers. These attempts are supported by studies which aim to find out if
there are groups of players who share similar motivations for playing (see e.g.
Bartle, 1996). Game developers’ concerns regarding the player’s experience
also include emotions, which by all means are integral to any experience, and
how to usher the player’s experience of the game into the emotional direc-
tion desired by the designers. Attempts, such as Lazzaro (2004) and Freeman
(2004), exist to provide guidelines on how to elicit certain kinds of emotions
in the players.
Apart from being taken as a design goal, the player’s experience can be
seen as an ongoing process coloured with primarily subjective qualities. For
Apter (1991), what is played seems less important than play as a means of
relating oneself to the surrounding world, as an activity characterised by “vol-
untariness” and feelings of security. However, human experience is always an
experience of something, whether an object, event, or state of affairs residing
in one’s mind, in reality, or somewhere in between. When it comes to the
experience of a computer game player, it seems fair to assume that the game
has a noteworthy role in the constitution of the extra-mental part of the
player’s experience.
 Introduction to Part one: experiential Structures of Play 27

Rodriguez (2006), in his approximation of Huizinga’s Homo Ludens

(1955), points out that the experience of playing, albeit free and self-con-
tained, “essentially unfolds within a structured situation”. In Rodriguez’s view,
“[e]very ludic experience is characterized and individuated with reference to
the various rules and resources available to the person” (2006). Thus, the
debates on the underlying structures of players’ experiences are closely related
to similar debates on games. As an analysis of a game is not complete without
taking the player into account, a detailed exposition of a player’s experience
would not only be a list of subjective qualities but, ultimately, also a view into
what the game consists of.
The first part of the book, Experiential Structures of Play, draws together
critical contemplations on some of the concepts most commonly used to dis-
cuss the experience of a computer game player. It adheres to an approach in
which both the player and the game are held responsible for the player’s expe-
rience. In this, the player is understood as a historical, cognitive, psychologi-
cal, embodied and social being, who voluntarily sets out to play, whereas the
game is seen as containing ludic, narrative and social elements.
Drawing on cognitive science, psychology and computer game studies, the
chapters in the first part perform theoretical perspectives on player experience
and discuss the ways in which player experience can be conceptualized. They
explore the relationship between the player and the game, unfolding tempo-
ral, conceptual, and causal structures of the player’s experience.
The first part begins with Jan-Noël Thon’s chapter on immersion as a
multidimensional experience. Building on cognitive science, computer game,
new media and presence studies, Thon explores what kind of elements in
computer games lead to which kinds of immersion. The player’s experience
of psychological immersion results from a voluntary or involuntary shift of
attention and construction of situation models of the game. By identifying
different levels of computer game structures to which the player’s attention
is turned, Thon is able to distinguish between four different dimensions of
psychological immersion.
In his chapter, Jussi Holopainen looks at the evolution of games and play
from a biological, psychological and physiological approach to player experi-
ence, focusing on the playing subject primarily as a psychopathological hu-
man being. In his view, engagement with the game leads to an extension of the
player’s capabilities not unlike the use of a tool. Displacement also happens
in a temporal sense; the “thinking ahead” required by most games suggests
the projection of self into imagined situations. Holopainen’s argument goes
beyond displacement; with a baseline in proto-games played by animals, he
sees games as caricatures of intentional activities.
Ulf Wilhelmsson’s chapter discusses presence and player agency in the nar-
rative experience of playing a computer game. In Wilhelmsson’s view, influ-
enced by experientialist cognitive theory, the conceptual system of the hu-
man player is closely connected with the configuration of the player’s body.
He presents the concept of Game Ego, in which player agency is manifested
and which acts as an interface between the human player’s sensomotoric
2 experiential Structures of Play

capabilities and the game environment. Using the Game Ego as a vehicle,
Wilhelmsson draws comparisons between games and narratives.
In the final chapter of Part 1, Laura Vallius, Tomi Kujanpää and Tony
Manninen present a dual exposure of roles afforded by multiplayer games and
players’ motivations for playing. In their view, play is about experiencing a
role, seen as a set of behavioural rules for player experience, and the game is
the provider of roles for the player. With Yee’s model of player motivations,
they identify roles provided by two experimental multiplayer games. Overrid-
ing any designer’s intent and game’s guidance, the player’s motivation defines
the role she takes.

refereNCeS
Apter, M.J. (1991). “A Structural Phenomenology of Play” in M.J. Apter & J.H. Kerr (Eds.): Adult Play.
A Reversal Theory Approach, 13-29. Amsterdam/Lisse: Swets & Zeitlinger.
Bartle, R. (1996). “Hearts, Clubs, Diamonds, Spades: Players Who Suit Muds” In Journal of MUD
Research, 1(1). Retrieved 17 October, 2007, from http://www.mud.co.uk/richard/hcds.htm
Huizinga, J. (1955). Homo Ludens. A Study of the Play Element in Culture. Boston: Beacon Press.
Csikszentmihalyi, M. (1991). Flow. The Psychology of Optimal Experience. NY: HarperPerennial.
Lazzaro, N. (2004). Why We Play Games: Four Keys to More Emotion in the Player Experiences. Paper
presented at Game Developers’ Conference 2004.
Freeman, D. (2004). Creating Emotion in Games. Berkeley: New Riders Publishing.
Rodriguez, H. (2006). “The Playful and the Serious: An approximation to Huizinga’s Homo Ludens”.
Game Studies, 6(1). Retrieved 17 October, 2007, from http://www.gamestudies.org/0601/articles/rodriges
Jan-Noël Thon

Immersion revisited:
on the value of a Contested Concept

I
n the last few years, academic interest in computer games has been rapidly
increasing, leading to what Juul describes as “a state of productive chaos”
(Juul, 2006, n.p.). On the one hand, the fact that computer games are
researched from a wide variety of different perspectives within various dis-
ciplines leads to a somewhat ‘chaotic’ situation with sometimes downright
polemic discussions of methodological and epistemological questions. On the
other hand, the chaos is productive, as not only the fact that computer game
studies have become “an area with its own set of conferences, associations and
journals” (Juul, 2006, n.p.), but also the relatively large number of recently
published essay collections and handbooks contributing to the academic study
of computer games illustrate (e.g., Neitzel, Bopp, & Nohr, 2004; Raessens
& Goldstein, 2005; Vorderer & Bryant, 2006; Wardrip-Fruin & Harrigan,
2004; Wolf & Perron, 2003). One of the main reasons for this increasing aca-
demic interest in computer games is their commercial success and their socio-
cultural influence. Although still a relatively new phenomenon, they have be-
come a central part of contemporary popular culture (e.g., Herz, 1997; Poole,
2004). Computer games obviously have a fascinating effect on a large number
of players (and an increasing number of researchers) worldwide.
In fact, research on computer games is focusing more and more on the
player’s experience and there are various different terms and theories that at-
tempt an explanation. One possibility of describing and maybe even explain-
ing significant parts of the experience of playing a computer game is offered by
the concept of immersion, which has been applied to computer games (as well
as other media) by scholars such as Murray (1997), Ryan (2001), McMahan
(2003) or Ermi and Mäyrä (2005) and is also commonly used in computer
game design theory (e.g., Rollings & Adams, 2003; Rouse, 2005). However,
the concept is not uncontested and the questions of what immersion is and
if it is at all sensible to talk of immersion with regard to computer games
are not answered uniformly in the emerging field of computer game studies.
Immersion has indeed “become an excessively vague, all-inclusive concept”
(McMahan, 2003, p. 67), which needs careful re-examination in order to be
useful for the analysis of games, players and the playing experience. Building
on previous conceptions of immersion as well as on works from cognitive sci-
ence and computer game studies, the present chapter attempts to develop a
30 Thon

model of immersion that is appropriate for such a purpose. Finally, it has to be

emphasized that the approach of this chapter is theoretical rather than empiri-
cal, although we borrow terms and concepts from cognitive psychology.

PrevIouS reSearCh oN IMMerSIoN

Murray describes immersion as the pleasurable “experience of being transport-
ed to an elaborately simulated place” which results from the “sensation of be-
ing surrounded by a completely other reality, as different as water is from air,
that takes over all of our attention, our whole perceptual apparatus” (Murray,
1997, p. 98). However, the reader of a novel or the player of a computer game
is not literally transported to another place while reading or playing. Hence,
it is problematic to rely on the metaphor of transportation for an appropriate
description of the experience of immersion (e.g., Ermi & Mäyrä, 2005; Mc-
Mahan, 2003, p. 76f; Ryan, 2001, p. 93ff; for a critique of the ‘immersive fal-
lacy’ see Salen & Zimmerman, 2004, pp. 450-455). Nevertheless, the notion
that immersion can be described in terms of a shift of attention seems to be
central, although we will have to discuss in more detail what exactly is meant
by a ‘shift of attention’ in the context of playing a computer game.
Building on the theory of fictional worlds mainly developed within nar-
ratology (e.g., Doležel, 1998; Pavel, 1986), Ryan describes immersion as a
process of “recentering” by which “consciousness relocates itself to another
world” (Ryan, 2001, p. 103). While her discussion of immersion as a trans-
medial phenomenon touches on a variety of interesting points, it is especially
noteworthy that her conception of immersion entails not only the shift of
attention toward a fictional world, but also the construction of a mental rep-
resentation of that world (Ryan, 2001, p. 110ff). The latter is doubtlessly as
important as the former, but Ryan does not go into too much detail on what
role these processes play with regard to the computer game player’s experience
of immersion. Hence, we will also have to discuss in more detail what is meant
by the ‘construction of a mental representation’ in the context of playing a
computer game.
While Murray as well as Ryan conceptualise immersion primarily as a shift
of attention to narrative fictional worlds, McMahan (2003, p. 68) claims that
the player of a computer game can also become immersed in the process of
playing itself. Furthermore, she argues that a consistent world that matches
the user’s expectations and allows him or her to interact with it in a non-trivial
way is more relevant for the experience of immersion than big screens and
impressive surround-sound (McMahan, 2003, p. 68f ). This entails two no-
tions which are of central importance for the purpose of this chapter: Firstly,
immersion entails more than a shift of attention to the three-dimensional
space or the unfolding story of a computer game. Secondly, what is presented
is more important than how it is presented with regard to a computer game’s
ability of letting its players experience immersion.
Furthermore, it has to be noted that McMahan is not exclusively concerned
with immersion. Instead, she introduces the concept of presence “as the basis
 Immersion revisited: on the value of a Contested Concept 31

for developing of a set of aesthetic criteria for analyzing 3-D video game de-
sign” (McMahan, 2003, p. 68). According to IJsselsteijn and Riva, presence
can be defined as “the feeling of ‘being there’” (IJsselsteijn & Riva, 2003, p. 5),
i.e. the experience of being present in the three-dimensional environment that
is created by a virtual reality application or a computer game. The similarity to
Murray’s description of immersion is obvious (including the problematic use
of the metaphor of transportation), and McMahan is not alone in claiming
that the two concepts are often used interchangeably (e.g., Ermi & Mäyrä,
2005; McMahan, 2003, p. 70). Nevertheless, it has to be stressed that within
the context of presence research, the term ‘immersion’ mainly refers to “the
degree to which a virtual environment submerges the perceptual system of the
user” (Biocca & Delaney, 1995, p. 57).
The concept of presence is now commonly applied to computer games
(Tamborini & Skalski, 2006), and it would be possible to use the term ‘pres-
ence’ when referring to the player experience and the term ‘immersion’ when
referring to the question to what extent the presentation “takes over [...] our
whole perceptual apparatus” (Murray, 1997, p. 98). However, since the pur-
pose of this chapter is the re-examination and more precise definition of the
concept of immersion as it is used within computer game studies (as opposed
to how it is used within presence research), we will instead distinguish be-
tween perceptual and psychological immersion (Lombard & Ditton, 1997;
McMahan, 2003, p. 77f ). According to McMahan, perceptual immersion “is
accomplished by blocking as many of the senses as possible to the outside
world” (2003, p. 77). In contrast, it has become clear from the above that psy-
chological immersion in computer games is largely independent from percep-
tual immersion (although it is obviously not independent from perception)
and can be described in terms of a shift of attention from the real environment
to certain parts of the game and the construction of a mental representation
of the latter.

IMMerSIoN, aTTeNTIoN, aND SITuaTIoN MoDelS

Not unlike immersion, both the notion of a shift of attention to and that of
the construction of a mental representation of the media content are often
used in a rather vague way in the literature on immersion. Hence, they also
need to be carefully examined in order to be helpful for the development of an
appropriate model of immersion. Fortunately, there is a large body of research
within cognitive psychology that is concerned with these processes. While the
present chapter cannot hope to discuss exhaustively the research in question,
it seems necessary to review at least some of its findings in order to develop
an appropriate concept of psychological immersion without having to rely on
the metaphor of transportation. However, our aim is not a general discussion
of these processes, but rather an examination of the role they play in the com-
puter game player’s experience of immersion.
While a “formal definition of the term ‘attention’ is not presently avail-
able” (Pashler & Johnston, 1998, p. 156), it is normally used to refer to proc-
32 Thon

esses of selection with regard to perception and/or cognitive processing of

perceived stimuli. According to Yantis, “[a] major distinction that has guided
research in this area [...] is whether attention is goal-driven, controlled in a
‘top-down’ fashion, or stimulus-driven, controlled in a ‘bottom-up’ fashion”
(1998, p. 223). Similarly, Posner distinguishes between “exogenous (reflexive)
and endogenous (central) control of orienting” (1980, p. 19). It seems that
a shift of attention is often a voluntary decision (i.e. computer game players
decide to shift their attention to the game or certain parts of the game when
playing), but certain stimuli can also ‘involuntarily’ draw attention to them
(i.e. certain parts of the game or its presentation may ‘capture’ the player’s
attention). While we are mainly concerned with psychological immersion, it
may be noted that a high degree of perceptual immersion (though not neces-
sarily leading to psychological immersion) would block stimuli from the real
environment, thereby preventing an exogenous shift of attention away from
the computer game.
We have seen that attention shifts can be goal-driven (i.e. endogenous
shifts of attention) or stimulus-driven (i.e. exogenous shifts of attention), but
it is still not clear what parts of the game the player shifts his or her attention
to. At first glance, it seems that attention is shifted to the audiovisual presenta-
tion of the game. However, Allport suggests that our perceptual experience is
“predominantly structured in terms of objects and the actions and events in
which they take part” (Allport, 1987, p. 412). Furthermore, it may be noted
that attention plays a role not only in perception, but also in the control of
action (e.g., Allport, 1987; Norman & Shallice, 1986). Hence, a more ac-
curate conceptualisation would be that the player of a computer game shifts
his or her attention not only to the audiovisual presentation of the game, but
also (and more importantly) to the presented objects themselves, as well as
the events and actions (including the player’s interaction with the game) that
are connected to these objects. Furthermore, it can be assumed that the main
function of attention is the selection of those objects, events and actions that
are relevant for the player’s “immediate and future action” (Allport, 1987,
p. 412). This also includes “internal actions” (Norman & Shallice, 1986, p. 1)
such as the player’s ‘construction of a mental representation’ in the process of
playing.
Hogan claims that “[w]henever we try to deal with any aspect of the world
in any way, we necessarily form a model of that aspect of the world” (Hogan,
2003, p. 40). Hence, it is possible to describe the ‘construction of a mental
representation’ as a process of model construction. There are some interest-
ing attempts within presence research to describe the experience of (spatial)
presence in terms of both a shift of attention and the construction of models.
Schubert and Regenbrecht claim that,

[i]n the process of developing presence, a mental model of the virtual three-di-
mensional space is constructed, consisting of the possible actions in this space
(Schubert & Regenbrecht, 2001, p. 4).
 Immersion revisited: on the value of a Contested Concept 33

This seems to be fairly consistent with our conception of (psychological) im-

mersion, but the term ‘mental model’ (e.g., Garnham, 1997; Johnson-Laird,
1983) is slightly too general for our purpose. Wirth and his colleagues (2006)
describe basically the same process as the construction of a (spatial) situation
model. It seems that the latter term is more appropriate for the purpose of the
present chapter, since a situation model “concerns the environment in which
we are acting” (Hogan, 2003, p. 40) and is constructed while we are acting
within that environment.
We propose to conceptualise the computer game player’s experience of
psychological immersion as resulting from a shift of attention to and the con-
struction of situation models of certain parts of the game. The shift of at-
tention is mainly goal-directed (i.e. endogenous), but certain properties of a
computer game, such as objects that move suddenly, may also lead to a shift
of attention that is at least partly stimulus-directed (i.e. exogenous). Further-
more, it has become clear from our review of previous conceptions of immer-
sion as well as from our discussion of the function of attention as selection for
action that the situation model a player constructs in the process of playing
would have to include more than just the three-dimensional space presented
by the game, namely the objects, events and (possible or actual) actions that
are relevant for the successful interaction with the game. Furthermore, we will
propose that the computer game player constructs additional situation models
representing parts of the game that are not directly connected to his or her
interaction with it.

TowarD a MulTIDIMeNSIoNal MoDel of IMMerSIoN

Immersion as a Multidimensional experience

This leads us to the question of what the relationship between the specific
structure of computer games and the player’s experience of immersion is.
While Gorfinkel rightly emphasizes that “[i]mmersion is not a property of a
game or media text but is an effect that a text produces” (quoted in Salen &
Zimmerman, 2004, p. 453), it has become clear that the structural properties
of a game are not entirely irrelevant for the player’s experience of immersion
either. Hence, we are not only interested in how immersion can be described
in terms of the shift of attention and the construction of situation models in
the process of playing, but also in the different levels of computer game struc-
ture that players shift their attention to and construct situation models of, and
how these different kinds of structural properties lead to different kinds of
experience. In other words, we are interested in the question of what elements
of computer games lead to which kinds of immersion.
Both Murray (1997, p. 109) and Ryan (2001, p. 120ff) distinguish be-
tween immersion in the presented space and immersion in the unfolding story
and it has already been mentioned that McMahan (2003, p. 68) distinguishes
between immersion in the narrative world and immersion in the game. An-
other, more recent model of immersion as a multi-dimensional phenomenon
34 Thon

is proposed by Ermi and Mäyrä (2005), who distinguish between sensory

immersion, challenge-based immersion and imaginative immersion. The con-
cept of sensory immersion is similar to that of perceptual immersion and
entails the assumption that

[l]arge screens close to the player’s face and powerful sounds easily overpower
the sensory information coming from the real world, and the player becomes
entirely focused on the game world and its stimuli (Ermi & Mäyrä, 2005,
n.p.).

The other two kinds of immersion seem to be largely similar to McMahan’s

immersion in the narrative world and immersion in the game.
Challenge-based immersion refers to the shift of the player’s attention “to
sensomotor abilities such as using the controls and reacting fast, and […] to
the cognitive challenges” (Ermi & Mäyrä, 2005, n.p.) posed by contemporary
computer games. The experience of challenge-based immersion is claimed to
be at its strongest, when a “satisfying balance of challenges and abilities” (Ermi
& Mäyrä, 2005, n.p.) is achieved. Imaginative immersion refers to the “di-
mension of game experience in which one becomes absorbed with the stories
and the world, or begins to feel for or identify with a game character” (Ermi
& Mäyrä, 2005, n.p.). Here, the immersion in the presented space and the
immersion in the unfolding story distinguished by both Murray and Ryan are
combined. Ermi and Mäyrä acknowledge that “the audiovisual, functional
and structural playability” (Ermi & Mäyrä, 2005, n.p.) of a computer game
is a prerequisite for immersion, but they do not go into too much detail with
regard to what properties of a computer game lead to what kinds of immer-
sion.
Based on a general model of computer game structure developed elsewhere
(Thon, 2006; Thon, 2007), we propose a slightly different model of immer-
sion as a multidimensional experience (Thon, 2006a). The model of computer
game structure has mainly been developed with regard to avatar-based games
presenting three-dimensional spaces and our discussion of immersion also
primarily aims at these kinds of games. We distinguish between four levels
of computer game structure, namely the levels of spatial, ludic, narrative and
social structure. The level of spatial structure refers to the game space and the
objects therein. The level of ludic structure refers to the rules of the game as
well as their effects. The level of narrative structure refers to the stories many
contemporary games present using a variety of narrative techniques. The level
of social structure refers to the communicative devices that allow for com-
munication and social interaction between the players and the social space
that is thereby constituted. These different levels of computer game structure
are closely connected to the experience of spatial, ludic, narrative and social
immersion.
While concepts similar to these kinds of immersion can be found in most
of the works discussed above, and the notions of spatial and social presence
play a central role within presence research, it seems that no other model of
 Immersion revisited: on the value of a Contested Concept 35

immersion in computer games exists that entails all four of them. In the fol-
lowing, we will briefly discuss how the different kinds of immersion can be
understood in terms of the computer game player’s shift of attention to the
different levels of computer game structure and the construction of different
kinds of situation models that represent certain parts of this structure. While
we are using concepts from cognitive psychology, our approach is still mainly
theoretical (i.e. the aim of this chapter is to propose a model that allows for a
description of different kinds of immersion and not to empirically verify the
proposed model). Furthermore, it has to be emphasized that the fascinating
experience of playing a computer game results from the combination of the
four kinds of immersion that are examined separately in this chapter. There-
fore, the relationship between them will have to be at least touched upon.

Spatial Immersion
Many contemporary computer games are set in complex fictional worlds (e.g.,
Juul, 2005; Thon, 2007). With regard to the spatial structure of these games,
one can distinguish between the whole space of the fictional world and those
spaces that the player can interact with through his or her avatar (or through
the interface in games not using an avatar). Juul draws a similar distinction
between “world space” and “game space” (Juul, 2005, pp. 164-167), which we
will use in the following. With regard to computer games, spatial immersion
can be described in terms of the player’s shift of attention from his or her real
environment to the game spaces (not including these parts of the world space
that are presented narratively). Furthermore, it refers to the construction of a
model of the “gaming situation” (Eskelinen, 2001) in the process of playing,
which will entail at least those parts of the game space that are relevant for
the player’s actions (see also the large body of research on spatial presence,
e.g., Schubert & Regenbrecht, 2001; Tamborini & Skalski, 2006; Wirth et
al., 2006).
In many contemporary computer games, game spaces are three-dimen-
sional environments in which the player can more or less freely move the ava-
tar as well as the point from which the space is presented. Such game spaces
can, for example, be found in first-person shooter games such as Halo (2003),
in which they are presented from the position of the avatar. Rouse (1999)
is not alone in claiming that such a presentation of the game space leads
to the player being “drawn into the game” (Rouse, 1999, n.p.). Apart from
the problematic use of the metaphor of transportation, it may be noted that
games such as World of Warcraft (2004) present the game space from a posi-
tion above and behind the avatar without thereby preventing the player from
experiencing spatial immersion. In fact, World of Warcraft allows the player
to change the default perspective so that the position from which the game
space is presented coincides with the avatar’s position once more. Although
most players of World of Warcraft still use the default perspective (or zoom out
even more), the tendency of contemporary computer games to allow their
players to change the perspective seems to further confirm the assumption
36 Thon

that spatial immersion can be experienced independent of the point of view

from which the game space is presented (Thon 2006b).
However, a certain consistency in the presentation of the game space is nec-
essary for spatial immersion to occur (McMahan, 2003). Wolf (2001) notes
that the game spaces of contemporary computer games are often presented
according to the conventions of space representation in classic Hollywood
film. The resulting impression of “spatial consistency” (Wolf, 2001, p. 66) is
important for the experience of spatial immersion, since it allows the player to
construct a consistent model of the game space. While those parts of the game
space that are relevant for successful action will form especially salient parts of
the situation model, spatial immersion does not primarily refer to a shift of at-
tention to the interaction with the game space. The possibility for interaction
increases the spatial immersion of a player, but interaction here mainly refers
to the exploration of the game spaces (Aarseth, 1997, p. 64). This leaves open
the question of how the other parts of the player’s interaction with the game
can be described and to what kind(s) of immersion they lead.

ludic Immersion
The situation model that the player constructs in the process of playing will
contain not only information about the dimensions of the game space and
the positions of the various objects within it, but also information about the
possibilities for interaction. The freedom of action that computer games of-
ten suggest is restricted not only by the spatial borders of the game space
but also by the rules of the game that form its ludic structure (Thon, 2006;
Thon, 2007). It is equally true for single- as well as for multiplayer first-per-
son shooter games that the possible movements of the avatar are determined
by the game rules. Running, jumping, and crouching as well as picking up
and using a wide variety of weapons are essential abilities of the avatar in a
first-person shooter like Halo. Similarly, the avatar in a MMORPG like World
of Warcraft may have certain abilities that go beyond the basic movements,
including fighting skills with melee as well as ranged weapons and a variety of
magic skills, ranging from deadly fireballs to powerful healing. Although ‘in-
teraction’ is yet another vague and all-inclusive term (e.g. Manninen, 2001),
we use it in the following mainly to refer to the player’s actions that result
in actions of the avatar and/or a change of state of the various objects in the
game space.
Ludic immersion can be described in terms of a shift of the player’s atten-
tion to the interaction with the game and the construction of a situation mod-
el that contains not only the relevant elements of the game space, but also the
possibilities for action within it. While both the spatial and ludic structure of
a computer game will be at least partly represented in the model of the gam-
ing situation that the player constructs in the process of playing, spatial and
ludic immersion differ significantly with regard to which parts of the game
attention is shifted to. However, it has to be emphasized that spatial and ludic
immersion are closely connected and will often occur at the same time. Spatial
 Immersion revisited: on the value of a Contested Concept 37

immersion is the experience of the game as presenting spaces, the attention is

shifted to the game spaces that the game presents. Ludic immersion, on the
other hand, is mainly experienced through the various kinds of challenges that
computer games confront their players with and which form an essential part
of the playing experience (Rollings & Adams, 2003; Ermi & Mäyrä, 2005).
The attention is shifted to the player’s interaction with the game (i.e. to the
control of the avatar in the avatar-based games discussed above).
Various researchers have used the concept of flow developed by Csikszent-
mihalyi (1990) to describe this part of the playing experience (e.g. Ermi &
Mäyrä, 2005; Järvinen, Heliö, & Mäyrä, 2002; Sweetser & Wyeth, 2005).
Flow is experienced when the difficulty of an activity matches a person’s abili-
ties. Csikszentmihalyi notes that

[w]hen all a person’s relevant skills are needed to cope with the challenges of a
situation, that person’s attention is completely absorbed by the activity (Csik-
szentmihalyi, 1990, p. 53).

This is precisely what happens when the player of a computer game expe-
riences ludic immersion. Attention is shifted mainly to those elements (i.e.
objects, events, and actions) in the game spaces that are relevant with regard
to the challenging activity of playing the game as well as to the activity itself.
While the kind of immersion that a player experiences will vary depending on
the player, the game, and the specific part of the game, it can still be assumed
that most players will experience both spatial and ludic immersion while play-
ing. However, these are not the only kinds of immersion that player’s may
experience.

Narrative Immersion
Many contemporary computer games use a variety of narrative techniques
such as cut-scenes or predetermined sequences of events within the game
spaces to convey stories that are relatively complex at least compared to earlier
games. While the present chapter cannot discuss the complicated question of
narrativity in computer games in any detail (e.g. Eskelinen, 2004; Jenkins,
2004; Neitzel, 2005; Ryan, 2006; Thon, 2007), it may at least be noted that
one can distinguish between two kinds of events in computer games, namely
narrative and ludic events. Narrative events are determined before the game
is played and are presented using the various narrative techniques already
mentioned. Ludic events are presentations of events that are determined at
the moment of their presentation. The mode in which the latter are presented
is that of simulation, not that of narration (e.g., Aarseth, 2004; Frasca, 2003;
Ryan, 2006, pp. 181-203; Thon, 2006b; Thon, 2007).
What we propose to call narrative immersion refers to the player’s shift of
attention to the unfolding of the story of the game and the characters therein
as well as to the construction of a situation model representing not only the
various characters and narrative events, but also the fictional game world as a
3 Thon

whole (e.g., Ermi & Mäyrä, 2005; Juul, 2005; Ryan, 2001). Its construction
will probably not differ too much from the construction of a situation model
by the spectator of a narrative film, since spectators and players alike are trying
to “reconstruct the story from the discourse” (Hogan, 2003, p. 116). Howev-
er, it has to be emphasized that the narrative situation model entails not only
narrative events, but also certain ludic events (as far as they are relevant for the
game’s story) and a representation of certain parts of the various game spaces.
Nevertheless, it can be assumed that in many games the narrative situation
model is constructed relatively independently from the model of the gaming
situation. As Ryan has rightly observed, there are large passages of time in
most contemporary games where “the narrative design is not the focus of the
player’s attention” (Ryan, 2006, p. 196).
However, when players shift their attention to the narrative structure of the
game, they will experience narrative immersion. Ryan (2001, p. 140ff) distin-
guishes between temporal and emotional immersion. Temporal immersion
refers to the experience of suspense, i.e. the shift of attention to the unfolding
of the story. Emotional immersion refers to the experience of empathy, i.e. the
shift of attention to the fate of certain characters in a story. While the story of
Halo is not exactly a masterpiece of contemporary storytelling, there may well
be more than one player who has played through the singleplayer mode main-
ly to find out about its ending. This “desire for the knowledge that awaits her
at the end of narrative time” (Ryan, 2001, p. 140) plays a central role in the
player’s experience of narrative immersion. Genuine empathy with computer
game characters is less common (e.g., Neitzel, 2004; Schirra & Carl-McGrath,
2002), but it can contribute to the experience of narrative immersion as well.
It may also be noted that the perception of characters in computer games is
sometimes connected to what we propose to call social immersion.

Social Immersion
In the multiplayer modes of first-person shooter games, there is no narrative
framework that guides the player’s actions. Instead,

a social environment [is] formed at the intersection of the text of the game, the
specific rules of whichever game modification the server may be running and
the presence of other human participants, who may communicate with each
other during the game by typing (Morris, 2002, p. 84).

The game spaces function as arenas, in which the players let their respective
avatars fight against each other in a variety of different game modes. Narra-
tive elements are substituted by communication and social interaction of the
players with each other. In MMORPGs such as World of Warcraft, commu-
nication and social interaction of the players with each other take place in a
rich fictional world and are combined with a non-linear narrative structure. In
these games, communication and social interaction may additionally intensify
players’ experience of narrative immersion.
 Immersion revisited: on the value of a Contested Concept 39

While it is beyond the scope of this chapter to discuss the complex social
structure and social context of first-person shooter games and MMORPGs in
detail (e.g., Axelsson & Regan, 2006; Morris, 2004; Smith & Sicart, 2004;
Thon, 2006), it can nevertheless be assumed that both genres allow their play-
ers to experience social immersion, which can (once more) be described in
terms of a shift of attention to the other players as social actors and the rela-
tionship between them, and the construction of a situation model of the social
space that is constituted through the communication and social interaction
between the players. It also has to be noted that a very similar concept, name-
ly that of social presence, has been developed within presence research (e.g.
Biocca, Harms, & Burgoon, 2003; Tamborini & Skalski, 2006). This research
also extensively discusses the relation between the structural properties of me-
dia and the social presence that they lead to, i.e. “how changes in properties of
media interfaces affect social presence” (Tamborini & Skalski, 2006, p. 231).
While it seems likely that a model of the social situation is, again, con-
structed relatively independently from the gaming situation model and the
narrative situation model, it is also obvious that these models are partly con-
nected to each other just as the kinds of immersion distinguished in this chap-
ter tend to converge in the actual playing experience. It has already been men-
tioned that the player-controlled avatars can, to a certain extent, be perceived
not only as social actors but also as narrative agents. Here, a strong sense of
social immersion may lead to a more intense experience of narrative immer-
sion (and vice versa, as the phenomenon of parasocial interaction suggests
(Hartmann, Klimmt, & Vorderer 2001)). Furthermore, communication and
interaction play a central role with regard to the ludic structure of multiplayer
games in that they make cooperative action possible (Thon, 2006), and a
strong sense of social immersion may lead to a more intense experience of
ludic immersion through the introduction of social competition (Vorderer,
Hartman, & Klimmt, 2006). While this chapter cannot discuss the influence
that the different kinds of immersion have on each other in more detail, it
hopefully has become clear that this question is of central importance and
should be further addressed by future research.

CoNCluSIoN
The conceptualisation of immersion as a multidimensional experience pro-
posed in this chapter means that the term entails far more than perceptual im-
mersion. While an understanding of the concept as referring to various forms
of psychological immersion is relatively common within computer game stud-
ies, it makes a clear distinction between the different kinds of immersion nec-
essary if one wants to avoid ending up with “an excessively vague, all-inclusive
concept” (McMahan, 2003, p. 67). We have proposed to distinguish between
spatial, ludic, narrative and social immersion in this chapter, briefly describing
each kind of immersion in terms of the player’s shift of attention and con-
struction of situation models. However, it has also become clear that there are
various other ways in which these kinds of experience could be described.
40 Thon

Spatial immersion, i.e. the shift of the player’s attention to and his or her
construction of a situation model of the game spaces, is very similar to the
concept of spatial presence. Ludic immersion as the shift of the player’s atten-
tion to the interaction with the game occurs when the abilities of the player
and the level of challenge of the game are balanced and could also be described
using the concept of flow. Narrative immersion as the shift of the player’s at-
tention to the future development of the story and the characters in it could
also be described using terms such as ‘suspense’ and ‘empathy’. Finally, social
immersion as the shift of the player’s attention to and his or her construction
of a situation model of the social space is very similar to the concept of so-
cial presence. It would clearly be possible to reserve the term ‘immersion’ for
perceptual immersion and describe what we have discussed as dimensions of
psychological immersion using different terminology.
However, it has again to be emphasized that in computer game studies, the
term ‘immersion’ is often used in a way that includes more than just percep-
tual immersion. In this situation, a distinction of different kinds of immersion
seems necessary for reasons of terminological clarity, if nothing else. Another
advantage of our approach is that it highlights the similarities and connections
between phenomena that otherwise would be (and indeed often are) treated
separately. The proposed model certainly lacks empirical proof and there is
also much left to do both with regard to the relationship between computer
game structure and the experience of different kinds of immersion as well
as with regard to the various interrelations between the latter. Nonetheless,
it seems that the distinction between its spatial, ludic, narrative and social
dimensions allows for an appropriate description of the player experience that
builds on the much-contested concept of immersion.

aCKNowleDGeMeNTS
The author would like to thank Klaus Bartels and Stephan Selle for the ever
interesting discussions, Jens Eder and Jörg Schönert for various valuable com-
ments on earlier versions of this chapter as well as Annette Mills and Len Mills
for carefully correcting my English.
 Immersion revisited: on the value of a Contested Concept 41

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Jussi holopainen

Play, Games, and fun

T
he basic claims of this chapter are 1) that games are caricatures of inten-
tional activities; 2) that playing games is based on somatic and temporal
displacements; and finally 3) that games consist of several layers of predic-
tive and dramatic closures. These three basic concepts of engaging with games
are used to trace the evolution from play to playing games and games in general.
Note, however, that the principles presented here do not explain the whole basis
of playing games; they are just a small subset of a large number of similar prin-
ciples for guiding our understanding of why playing games can be so engaging
or fun. It is important to make the distinction between pure, or “free” play, and
games with codified rules. The former is observed in virtually all mammals, in
some species of birds and even reptilians and fish, while the latter appears to
be exclusively confined to us humans. For more thorough discussions on the
distinction see, for example, Salen and Zimmerman (2003) and Juul (2005).
Games are caricatures on several different levels. The most basic levels are
that of representation, actions available for players, and goal structures that
guide the players’ intentions. The caricatures are, by definition, exaggerated
and simplified forms and structures of everyday being in the world. The forms
and structures found on the representation layer are similar to that found in
other representational arts (Ramachandran & Hirstein, 1999), for example,
painting and sculpture. The painting even on the most realistic end of the
spectrum leaves out features of the lived world and exaggerates at least in some
form the salient features the painting wants to address. Take as an example a
landscape painting by John Constable. The pastoral landscape as a setting is
“realistic” and familiar but the forms used to depict and express the landscape
are both exaggerations (to a limited extent) and simplifications of what could
really be seen if one was viewing the real landscape.
These features reflect well the characteristics what Ramachandran and
Hirstein (1999) claim to be some of the central characteristics of understand-
ing representational art as caricatures. These central characteristics are: the
peak shift effect, that perceptual grouping and binding is directly reinforcing,
and that contrast extraction is reinforcing.
The peak shift effect is a principle in animal learning. If an animal is taught
to discriminate square from a rectangle, the animal’s response to a rectangle
 Play, Games, and fun 45

which is longer and thinner than the original one is even stronger. This means
that the animal is not learning a prototype but a rule, in this case the rule of
discriminating rectangles from squares. Ramachandran and Hirstein claim
that this is one of the principles of how human aesthetic experience is con-
structed.
Perceptual grouping and binding is essential to discover and delineate ob-
jects in the visual field and this relies on extracting correlations. The process of
finding out these correlations in order to discover objects in the environment
is essentially reinforcing for the organism, otherwise there would be no incen-
tive for going through such a cumbersome and complicated process.
Contrast extraction is in itself necessary for achieving perceptual group-
ing. The contrasts or the edges are important clues to allocate attention to
interesting features in the environment and this, at least in some cases ac-
cording to Ramachandran and Hirstein, may imply that these features are
also ‘pleasurable’. The contrast principle not only applies to the basic visual
perception such as colour and motion but can be extended to more abstract
and conceptual features.
The visual arts have used and use these principles in composing engaging
experiences and the representational layer of games follows the same princi-
ples. Consider the visual contrasts of black and white in chess board and also
the pieces: the black and white squares provide enjoyable low level visual con-
trast while the more abstract contrast of black player against the white player
is represented by the pieces themselves. The positions of the chess pieces on
the squares and their shapes follow the caricature principles of peak shift ef-
fect.
The actions available for the player in any given game are simplified, ex-
aggerated and transformed structures, i.e. caricatures, of possible actions in
the real world. Continuing with the chess example the actions and their
consequences are rigid, crisp, and codified. The player moves the chess pieces
from one square to another and the exact position on the square or the man-
ner how which the piece is moved is of no consequence for how the game
unfolds. The same applies to evaluating the consequences of players’ actions.
The chess piece entering the square captures the opponent’s piece on the
square. The consequence is clear cut: the captured piece is removed from play
and again the exact manner of how the piece is taken out from the board does
not have an effect on the outcome of the action from the perspective of the
game.
The goal structures of the game give the players the incentive to play the
game and also guide their actions during playing. The caricature principle is
in effect also for the goals. The game, in principle, brackets of the real world
goals of the players and formulate caricatures of real world goals within the
game environment or system. The goals in the game are simplified and exag-
gerated of the certain goals found in our everyday experience. The goal of
overcoming the opponent in chess is a highly conceptual caricature of over-
coming an opponent or obstacle in the real world using the power of discrete
and mobile units with differing strengths.
46 holopainen

Tetris (1986) is a good example of how the caricature principle guides the
whole design of the game from representational features to possible actions
and finally to the goal structures. The representational layer of Tetris consists
of discrete blocks with clear and crisp boundaries. Even though the colour of
the blocks does not effect how the game unfolds but in most versions they are
used on the representational layer to enhance to overall experience. The way
how the blocks stack up create opportunities and especially missed opportuni-
ties for perceptual grouping. The gaps in lines invite the players to fill them
in and the closure (see the closure discussion also below) of filling the row is
both a pleasing visual experience (the perceptual grouping of the whole line
is accomplished) but it is also at the same time one of the basic level goals of
the game. The actions and events of Tetris are caricatures in themselves. The
blocks are falling down (in most of the versions of Tetris) simulating in a crude
manner the way how gravitation effects objects without support. When the
block touches another block it is stacked up, again in a similar fashion what
would happen if objects fall upon each other in real world. The actions avail-
able for the player are caricatures of basic spatial object manipulation. The
player can move the block left or right in discrete steps and the player can
rotate the block in 90 degree steps. Tetris is, indeed, a prime example of how
the different layers of caricatures are tied together to provide a compelling and
engaging experience.
Holopainen and Meyers (2000) suggest that many games, especially mod-
ern electronic games, exploit the psychological capability of projecting the
mental self-image into another physical form. Holopainen & Meyers call this
capability somatic displacement. There are two different ways of looking at
somatic displacement: first, where the displacement is more or less extension
of the body as in tool use; and second, where the displacement is the transfe-
ral of the somatic model into an object in the environment. In both cases the
potential for controlling the focus of displacement heightens the experience.
For example, while playing a third-person action game such as Tomb Raider
(1996) the experience of somatic displacement focusing on the avatar, Lara
Croft, is stronger than when just watching other people play the same game.
In a similar fashion the sense of car as an extension of your body is stronger
if you are driving it. It can be argued that the somatic displacement is weak
in abstract games such as chess or Tetris but many players have claimed (the
author included) that in these cases the chess or Tetris pieces feel like exten-
sions of your self, in other words they are regarded as tools for manipulating
the environment in a similar fashion as a spade is an extension of the hand for
digging holes in the ground.
The second type of displacement Holopainen and Meyers (2000) discuss
in their paper is temporal displacement: the ability to project oneself into hy-
pothetical situations, including the point of view of some one else, i.e. “theory
of mind” (Damasio, 1999). The temporal displacement is crucial for playing
games, especially those which require strategic thinking. The phenomenon is
easy to recognize in chess where the players have to think ahead of their own
moves and also the opponent’s moves. Temporal displacement seems to be
 Play, Games, and fun 47

closely connected to imagination. Persons coming up with hypothetical situ-

ations must use imagination at least in some sense. The projection of self into
an imagined situation is, then, the function of temporal displacement. The
game rules, current game state, the props, the previous “moves” the players
have made etc. are features of playing the game which guide the imagination
of the players to construct the hypothetical situations needed for temporal
displacement.
Although it can be argued that both somatic and temporal displacements
are present in every game, it is evident that different game types use the dis-
placements in different ways. As already stated above the temporal displace-
ment component is strongly present in games requiring strategic thinking at
least as compared to, for example, quick-paced arcade fighting games such as
Tekken series (1994-2007). It also seems to be the case that the stronger the so-
matic displacement the weaker the temporal displacement is in the game. This
may be due to the fact that the somatic displacement has a higher priority for
the use of the same cognitive structures as the temporal displacement (Ban-
ich, 2003). Note, however, that the same game can contain different modes
of play where the displacements are used differently. For example, the main
mode of play in a side-scroller shooter Forgotten Worlds (1988) relies heav-
ily on the somatic displacement as the player has to steer the ship through a
hostile environment dodging obstacles and shooting down enemies. Between
levels the player can use in-game currency gained during the play to upgrade
the ship. Choosing between different upgrades requires strategic thinking and
thus temporal displacement.
It is claimed that the sense of closure is one of the most important charac-
teristics of the aesthetic experience of art forms as divergent as painting and
drama (Ramachandran & Hirstein, 1999; Grodal, 1999). It is no surprise
then that the experience of playing a game is based upon or modulated by
the various closure structures within the game itself. Holopainen and Meyers
(2000) distinguish between predictive and dramatic closures, although they
seem to be somewhat overlapping. Predictive closure as opposed to dramatic
closure can be described as lower level and based solely on sensory experience.
McCloud (1994) talking about closures in general states: ”The phenomenon
of observing the parts but perceiving the whole has a name. It’s called clo-
sure.” The predictive closure is evident also in other sensory modalities than
just visual. For example, musical tunes, especially if they are familiar, provoke
the sense of predictive closure (if the tune is not finished the listener is left
in a state of unfulfilment). Visual predictive closures are, however, are more
prevalent in games and is closely related to the above mentioned perceptional
grouping and binding. The visual predictive closures of Tetris are, as men-
tioned, strong low level incentives for filling in the gaps.
The dramatic closure is often described as the satisfaction arising from the
resolution of tension. As the term itself implies this type of closure is found in
art and entertainment forms with dramatic elements from stage plays to ac-
tion movies. In the context of this chapter it is better to mention that dramatic
closure is associated with a completion of a task, which is reinforcing in itself
4 holopainen

(Reeve, 2004; Grodal, 1999, p. 51). The interplay of dramatic closure and
temporal displacement is one of the sources of enjoyment when watching, for
example, movies. The hero who finally succeeds in revenging the death of her
family completes a task and by temporal displacement we can identify with
the enjoyment associated with the completion of the task. Of course, there are
many other sources and factors present affecting the final movie experience
but it seems that the dramatic closure as a completion of a task is one of the
most important factors in enjoyment of games. Dramatic closures occur also
when the completion of a task fails or there is a setback, e.g. the player loses
a life in Pac-Man (1979). The temporal sequencing of the achievement and
failure dramatic closures creates the “dramatic experience” in games. As stated
above games always have goal structures, which in essence define the tasks the
player has to complete in order to progress in the game. In this way the goal
structures define the possible structures for dramatic closures. Note here, that
even games such as SimCity (1989), which do not have a big explicit overarch-
ing goal, have a hierarchy of smaller subgoals and the players almost always
construct their own bigger goals within the game environment, e.g. build a
big city without law enforcement.
Virtually every game consists of several layers of dramatic closures
(Falstein, 1999). In Tetris, for example, the lowest achievement and failure
closures are related to putting the block in a proper place. The next achieve-
ment closure is, of course, filling in a full row of blocks thus removing the line
from the screen and increasing the player’s score. It is intriguing to note that
there is no final achievement closure in the game; the player is always over-
whelmed by the falling blocks in the end. This might be one of the reasons
for the addictiveness of Tetris as you can never complete the task of winning
Tetris. It is also a well known fact from psychology that it is easier to remember
unfinished tasks than finished ones (Reeve, 2004). This means that the task
of “finishing” Tetris lingers in the player’s memory and can be an unconscious
motivation for playing Tetris again.

aBouT Play aND GaMeS

Play has been, and still is even after a more than a century of studies, an elusive
concept with a multitude of diverging (and sometimes converging) theories,
definitions and approaches. Sutton-Smith (1997) in his Ambiguity of Play
tries

to bring some coherence to the ambiguous field of play theory by suggesting

that some of the chaos to be found there is due to the lack of clarity about
the popular cultural rhetorics that underlie the various play theories and play
terms.
 Play, Games, and fun 49

The seven rhetorics proposed by Sutton-Smith are:

1. The rhetoric of play as progress, which states that animals and children adapt and de-
velop during play in order to prepare for the adult life.
2. The rhetoric of play as fate where the choices and outcomes of our actions are dictated
by destiny, luck or what ever.
3. The rhetoric of play as power which sees play as a representation of conflict and as a way
to establish and enforce the power status of the winning players.
4. The rhetoric of play as identity as “a means of confirming, maintaining, or advancing the
power and identity of the community of players” (Sutton-Smith 1997, p. 10).
5. The rhetoric of play as the imaginary as applied to creativity and “playful improvisation”
in arts and other aspects of life.
6. The rhetoric of self where the focus is on the enjoyment or fun aspect of the participating
players themselves.
7. The rhetoric of play as frivolous as in cases where play is regarded as something unneces-
sary, even foolish.

The current discussion is focusing on the rhetorics of self as we are trying to

tackle the issue of fun in games, although the rhetorics of progress, power, and
imaginary are also relevant when discussing the possible biological functions
of play, sports, and roleplaying games.
Sutton-Smith’s seven rhetorics give us an overview of how one can ap-
proach games but leave us unable to define play. Burghardt (2005) has pro-
posed five criteria to distinguish play from other kinds of activities. Burghardt
claims that “all five criteria must be met in at least one respect before the
play label can be confidentially attached to any specific instance of behaviour”
(Burghardt, p. 79). Burghardt’s criteria are:

1. […] the performance of the behavior is not fully functional in the form or context in
which it is expressed; that is, it includes elements, or is directed towards stimuli, that do
not contribute to current survival.
2. […] that the behavior is spontaneous, voluntary, intentional, pleasurable, rewarding,
reinforcing, or autotelic.
3. […] that it differs from the ‘serious’ performance of ethotypic behavior structurally
or temporally in at least one respect: it is incomplete (generally through inhibited or
dropped final elements), exaggerated, awkward, or precocious; or it involves behavior
patterns with modified form, sequencing or targeting.
4. […] the behavior is performed repeatedly in a similar, but not rigidly stereotyped, form
during at least a portion of animal’s ontogeny.
5. […] the behavior is initiated when an animal is adequately fed, healthy, and free from
stress (e.g. predator threat, harsh microclimate, social instability) or intense competing
systems (e.g., feeding, mating, predator avoidance). In other words, the animal is in a
‘relaxed field’.

The second, third, and fourth criteria are important for the current discussion.
The second and third criteria, that the behaviour is pleasurable, rewarding or
50 holopainen

reinforcing and that the behaviour is exaggerated, can be met with the above
mentioned principle of peak shift effect concerning both the action itself and
the goals of the game. The fourth criterion is evident in games as the main
mode of play is usually characterized by repeated similar, but not stereotypical,
actions performed by the player in order to reach the different levels of goals
of the game. In Tetris, for example, the player repeatedly places the blocks by
moving them left to right and rotating them in order to fill in horizontal lines.
The first and the fifth criteria are at the same time obvious and problematic in
the case of games. Playing games is something, which does not contribute to
the immediate survival although gambling and professional sports contradict
this. Game playing happens normally outside the normal pressures of eve-
ryday life but at the same time playing a quick game of Minesweeper (1991)
during work hours can be used for alleviating the stress of the workplace; the
player brackets off the stressful environment by playing the game.
Free play is still too amorphous to be fully caught in the caricature analysis.
The exaggerated and “useless” movements, awkward positions, and modified
action sequences can be explained as caricatures of the actions themselves,
but as according to the definition of free play the clear goal structures are still
missing. More game-like play behaviour such as playfighting (rat pups) and
chasing (dogs) have implicit goals of overcome and contact and it is clear from
the behaviour of the animals that there are winners in these protogames. In
both cases of playfighing and chasing the “losing” animal clearly indicates that
the winning condition has been met, i.e. there has been a failure closure. Here
we can see the seeds for explicit and codified games we humans play. The goal
structures even in these protogames can be analysed according to analytical
tools, such as game design patterns of Björk and Holopainen (2004) used for
describing human games. The section in Björk and Holopainen describing
goals and goal structures include such patterns as Overcome, Exploration, and
Contact which appear in many cases of animal play behaviour.

Sports
Playful physical competition between people has occurred for as long as we
have recorded history, and the play of young animals and the formalized
combat in mating rituals can be seen as closely related natural play activities.
Sports use the physical abilities of the participants to determine the outcome
of the activity, and many sports are based on the definition of how to use a
specific ability, e.g. 100 meter dash, the long jump, or wrestling. Indeed, the
aim of sports can be described as a way to judge which player is better than the
others in that specific ability. The sports are, as play behaviour in general, cari-
catures of intentional activities. The 100 meter dash simplifies and exaggerates
the everyday behaviour of running. The track is exactly 100 meters long and
straight, the competitors start at the same place and the same time, and the
goal is to cross the finishing line as fast as possibly. The same principles apply
to wrestling, which seems to be a direct descendant from rough-and-tumble
or playfighting. Burghardt’s third criterion, that the action is incomplete, is
 Play, Games, and fun 51

codified (and caricaturized) as a winning condition. The player forcing the

opponent to fall wins the game and the seemingly aggressive behaviour of
overcoming the opponent ceases. The activity and behaviour of the wrestlers
is remarkably similar to playfighting in young canids (dogs, wolves, foxes) or
rats (Fagen, 1981). It can be argued that the wrestler’s are not playing any
more and that according to the rhetorics of power the contest has lost the
innocent spontaneity of play behaviour. This does not undermine the inter-
pretation of wrestling as an evolved form of playfighting, on the contrary, it
illuminates one of the mechanics of transforming play into games: valorizing
the outcome of the play activity over the activity itself. Team sports from tug-
of-war to cricket follow the same principle. Only certain types of actions are
allowed (according to the rules) and the lower level goals in more complex
team sports are rigidly codified. For example, the low level goal of the soc-
cer is to get the ball into the goal area of the opposing team. Similar goals of
Traversal or Delivery (Björk & Holopainen, 2004) are widespread in other
team sports involving a focal goal object, such as the ball in soccer.

Games of Chance & Dice Games

Games using the random outcome produced by a game element share the
possibility of being the oldest form of games with sports. Derived from the
objects used in divination (e.g. the I Ching) the elements started to be used
for more earthly matters. Since games using dice or binary lots have few other
game elements, most noticeable the absence of written rules, little is know
about the earliest dice-only games. Knizia states that dice games were played
since the origin of civilization but does not provide examples (Knizia, 1999).
Parlett provides no examples of pure dice games but does provide some ex-
amples of randomizers in early games: five staves constructed to function as
randomizes were found in Tutankhamen’s tomb (from ca 1323 BC) together
with a gameboard; three similar staves were found in the royal tombs at Ur to-
gether with another gameboard; and the Rig Veda from approximately 1500
BC confirmed the use of randomizers to “cause delight” in ancient India (Par-
lett, 1999, p. 21-22).
The first game elements used for these types of games are called binary
lots, simple objects that can be shaken, thrown or otherwise have their physi-
cal location changed in an unpredictable way. Binary lots are still used in the
practice of flipping a coin to generate a heads or tails result. According to
Herodotus the “normal” dice, the six-sided cubical die omnipresent in non-
computerized games today, were invented by the Lydians of Asia (Parlett,
1999, p. 27). Predecessors to these, Astragals, produce one of four numbers
(typically not 1,2,3,4) have been depicted 800 BC, and their use has been
confirmed by classical writers and finding in royal graves in Palestine (Parlett,
1999, p. 25).
The use of dice and other randomizers in games introduce several aspects
to gameplay. Instead of relying on physical abilities, players rely on chance,
making the actions of the game impartial to what player performed the action
52 holopainen

(following the rhetorics of fate it is still common for players to see destiny or
the will of gods in the results).
These early games indicate the point in the evolution from play to games
where the physical activity itself is on the background and the focus is on the
outcome of the codified and caricaturized action. In the case of dice games
the action is simple: throw the dice and the outcome of the action is more
important than the action itself. The caricature principle is evident in dice
games on many levels. The action is simplified and abstracted, the player can,
according to the rules, do only one type of action; the possible outcomes are
discrete; players take explicit turns to perform their actions; the final outcome
is explicitly calculated from the outcomes of each individual player; and as the
outcomes are discrete the sense of closure is heightened accordingly. The dice
games are also the first examples of how the natural play behaviour is changed
into symbolic behaviour. The dice and the possible outcomes stand for some-
thing else than they are requiring symbolic thought and are the seed for games
requiring somatic and temporal displacements.

Board Games
Although difficult to prove, the beginning of board games can be traced to the
need of having a way to keep track of player’s scores in dice games (Parlett,
1999, p. 35-36). From using a board with game pieces that were moved as
player gained score points, the change to making the movement of the pieces
important gameplay activity was small. By offering players choices of how to
do movement, typically having more than one piece and being able to choose
which piece to move, tactic choice became possible, and game skill could be-
come a success factor together with luck (Parlett, p. 36).
Race games can be seen as an evolution from dice games toward board
games. Parlett gives no exact date for the earliest race games but writes “all
cultures that have games at all have race games, and […] of extremely ancient
date” (Parlett, p. 35). Race games, especially games where there is only one
piece moving, are examples of first games with strong somatic displacement
component.
Pachisi (Parlett, p. 42), the Indian game from which Ludo originated is
one of the oldest racing games. Although the exact date for the appearance of
the game is unknown, there is partial evidence from carvings from the 6th or
7th century and references to possible variations of the game claim to have
reached China in the third century AD.
Bilateral racing games, with Backgammon as the principal example, are a
form of games where players start in opposite ends of the race track and race
towards the others end. The probable forerunners to modern day Backgam-
mon can be traced to the city-state of Ur, and although probably much older,
tablets dated to 177/176 BC gives the rules to the ancestor game. The exist-
ence of a game with a similar board, the Game of Twenty (Parlett, p. 65), has
been confirmed to the middle of the second millennium BC. Yet another
similar game, Senet, (Parlett, p. 89) is shown in a picture in an Egyptian tomb
 Play, Games, and fun 53

from 2650 BC. Race games introduced several pieces controlled by one play-
er, in one sense making a player play several games at once, and opened up
for player-to-player interaction as the pieces could easier be used for tactical
purposes such as blocking or capturing other pieces.
The games have now become symbolic activities but they still retain some
of the old structure of play behaviour. The race in Pachisi is a symbolic trans-
formation of moving your own body as fast as possible from one point to
another. The additional gameplay features of blocking and capturing have
similarly evolved from earlier physical play behaviour.

eleCTroNIC GaMeS
Electronic games are those that make use of electronic hardware to store the
game state and handle game actions. The history of electronic games starts
around 1950’s with electronic versions of Tic-Tac-Toe and Tennis for Two and
the games available now have, on the surface, little or no resemblance of the
older games. However, new games tend to get build upon the features of the
older games and even natural play behaviour and it can be argued that when
the slick graphics and awesome sounds are removed the core features of even
the most complex current games can be found in the murky past of the evolu-
tion of play and games.

fighting Games
Having a possible origin in boxing simulations, fighting games soon evolved
to being duels between characters with various fantastic abilities which chal-
lenged players’ ability of timing and learning button combinations. As the
games progressed from early variants such as Karate Champ (1985), Interna-
tional Karate (1986), and Street Fighter (1987) to the later variants such as
Mortal Kombat (1992), Soul Calibur (1998), Dead or Alive (1996), and Tekken
the games have grown more complex in number of maneuvers and characters
as well as in graphical detail.
Fighting games introduced the concept of combos, long sequences of ac-
tions that triggered special effects. Some of these combos where described to
players in manuals but some of them had to be discovered by experience and
experimentation. Another specialty of fighting games was to reward gameplay
but unlocking new characters that could be played, a form of meta-reward that
was only useable in subsequent games. The main goal of all fighting games still
continues to be to overcome the opponent by skillful timing and maneuvering
of the character, that is, they rely heavily on the somatic displacement.

racing Games
Racing games have had a long history in video games. Games such as Sega Ral-
ly (1995), Pole Position (1982) and Outrun (1986) have all been popular and
driven the evolution of the industry. The development of racing games genre
54 holopainen

is represented by two different approaches: the simulations that try to model

racing as realistically as possible (Gran Turismo series (1997), Colin McRae
Rally series (1998-), Need for Speed series (1994-)) and those that use fantastic
settings (F-Zero GX (2003), Wipeout (1995), Crazy Taxi (1999), Mariokart
Double Dash!! (2003)).
Racing games (together with BattleZone (1980)) were the first to have con-
tinuous game worlds that were larger than the player could see at once. Besides
providing a feeling of spatial immersion, this feature required the introduc-
tion of overview maps to show the positions of all participants in the race.

real-Time Strategy Games

Although the video game Herzog Zwei by Sega Enterprises Ltd in 1989 can
be seen as the first real-time strategy (RTS) game, the genre became well-
known through Westwood’s Dune II in 1992. The genre continued with
successes such as the Command & Conquer series (1995-) from Westwood,
Warcraft series (1994-) from Blizzard, and Age of Empires (1997-) by Ensem-
ble Studios.
RTS games were more complex than other real-time games and did not
force players to wait for other players to complete their turns as in other
strategy games. The genre forces players to not only divide their attention
between all the units they command but also forces players to divide their
attention between giving the units commands and planning providing an
interesting (and sometimes frustrating) interplay of somatic and temporal
displacements.

first-Person Shooters
Although preceded by games such as Ultima Underworld (1992) and Wolfen-
stein 3D (1992) that had first-person views, Doom (1993) from Id Software
established the first-person shooter (FPS) as a genre (Kent 2001). In these
games the player experienced a dark and hostile world filled with monster
through a first-person perspective. Providing players with a new level of spa-
tial immersion combined with tension and violence proven to be extremely
popular and soon other FPS games such as Duke Nukem 3D (1996), Quake
(1996), and Unreal (1998). Later FPSs such as Thief (1998) and Deux Ex
(2000) showed how the genre could be used for games that were closer to
adventure or roleplaying games than simple shooters.
As gameplay is concerned, they provided players with spatial immersion
to a level where players could get lost, and made moving an avatar in a vir-
tual game world a skill that had to be learned to an instinctive level in order
to master the game. The first-person shooters allow for immersive somatic
displacement where the player can really feel that his or her body is moving
inside the virtual game world.
 Play, Games, and fun 55

whaT aBouT fuN?

The fun aspect of play, the second criterion in Burghardt’s list of five, is gener-
ally accepted as one of the main motivations of playing games. Unfortunately
“fun” is an ill-defined and elusive concept. Usually fun is associated with free-
dom from stress, leisure, and positive experiences but games cause anxiety,
worry, and even stress and the enjoyment mainly comes from the dynamics of
suspense and relief. Thus fun might not be the right concept for describing the
experience of playing games. The popular concept of flow might be a better
alternative. Flow experience is

so gratifying that people are willing to do it for its own sake, with little con-
cern for what they will get out of it, even when it is difficult or dangerous
(Csikszentmihalyi, 1990).

Flow experiences consist of eight elements:

1) a task that can be completed;
2) the ability to concentrate on the task;
3) that concentration is possible because the task has clear goals;
4) that concentration is possible because the task provides immediate feedback;
5) the ability to exercise a sense of control over actions;
6) a deep but effortless involvement that removes awareness of the frustrations of everyday
life;
7) concern for self disappears, but sense of self emerges stronger afterwards; and
8) the sense of the duration of time is altered.

The first five elements are structurally more interesting for the sake of dis-
cussion than the last three which are, more or less, the result of the first five
elements. Games as caricatures of intentional activities fit well to the first five
elements: 1) they almost always have an end condition; 2) starting to play
the game requires that the players concentrate on playing the game and the
games, at least the current computer and video games, provide various stimuli
the keep the players interested in the game; 3) games have clear and discrete
goals which can be described as caricatures of possible real tasks; 4) the feed-
back is given in simplified and often symbolic way, for example, by keeping
score; and 5) the range of potential actions is limited and discrete and usually
easily available for the players. Anyway, we can call the experiences the games
provide as fun, flow, engrossment or involvement but the psychological basis
for the experiences stays the same. As suggested in this chapter, looking at
games as caricatures of intentional activities with the associated somatic and
temporal displacements and predictive and dramatic closures might give us
better conceptual tools for dissecting the elusive fun of playing games. The
more intricate details of how these concepts are related to the fun still remain
inadequately explored but they seem to provide a starting point for a more
thorough elaboration and empirical verification of the cognitive and neurosci-
entific foundations of fun in games.
56 holopainen

aCKNowleDGeMeNTS
Thanks to the three anonymous reviewers, the game studies seminar partici-
pants at the University of Tampere, and Staffan Björk for their valuable com-
ments and contributions.

refereNCeS
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Burghardt, G. (2005). The Genesis of Animal Play. Cambridge, MA: MIT Press.
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Damasio, A.R., (1999). The Feeling of What Happens: Body and Emotion in the Making of Conscious-
ness. New York: Harcourt Brace & Company.
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sachusetts, and London: MIT Press.
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GaMeS
3D Realms. (1996) Duke Nukem 3D. Apogee Software. (PC).
Atari. (1980) Battlezone. (Arcade).
Blizzard Entertainment. (1994- ) Warcraft series. (Various platforms).
Blue Sky Productions. (1992) Ultima Underworld: The Stygian Abyss. ORIGIN Systems, Inc. (PC).
Capcom. (1987- ) Street Fighter series. (Various platforms).
Capcom. (1988) Forgotten Worlds. (Arcade).
Codemasters. (1998- ) Colin McRae Rally series. (Various platforms).
Core Design Ltd. (1996) Tomb Raider. (Various platforms).
Data East Corporation (1985) Karate Champ. (Various platforms).
Electronic Arts. (1994- ) Need for Speed series. (Various platforms).
Ensemble Studios. (1997- )Age of Empires series. Microsoft. (Various platforms).
Epic Megagames, Inc. (1998) Unreal. GT Interactive Software Corp. (PC).
Hitmaker. (1999) Crazy Taxi. Sega. (Arcade).
id Software. (1992) Wolfenstein 3D. Apogee Software. (PC).
id Software. (1993). Doom. (PC).
 Play, Games, and fun 57

id Software. (1996). Quake. (PC).

Ion Storm Inc. (2000). Deus Ex. Eidos Interactive. (PC).
Looking Glass Studios, Inc. (1998). Thief: The Dark Project. Eidos Interactive, Inc. (PC).
Maxis. (1989). SimCity. (PC).
Microsoft Game Studios. (1991). Minesweeper. (PC).
Midway. (1992- ). Mortal Kombat series. (Various platforms).
Namco. (1979). Pac-Man. (Arcade).
Namco. (1982). Pole Position. (Arcade).
Namco. (1994- ). Tekken series. (Various platforms).
Namco. (1998). Soul Calibur. (Various platforms).
Nintendo. (2003). Mario Kart: Double Dash!!. (GC).
Polyphony Digital. (1997). Gran Turismo. Sony Computer Entertainment. (PS).
Psygnosis, Ltd. (1995- ). Wipeout series. (Various platforms).
Sega-AM2. (1986). Outrun. Sega. (Arcade).
Sega-AM5. (1995). Sega Rally. Sega. (Arcade).
Sega/Amusement Vision. (2003). F-Zero GX. (GC).
System 3 Software. (1986). International Karate. (Various platforms).
Technosoft. (1989). Herzog Zwei. (Sega Mega Drive/Genesis).
Tecmo. (1996- ). Dead or Alive series. (Various platforms).
Various developers. (1986- ). Tetris. Various publishers. (Various platforms).
Westwood Studios. (1992). Dune II. (PC).
Westwood Studios. (1995- ). Command & Conquer series. (Various platforms).
William Higinbotham. (1958). Tennis for Two. (Dedicated hardware).
ulf wilhelmsson

Game ego Presence in video and Computer

Games

T
he central point of departure for this chapter is that computer and video
games can be defined as a technologizing of the human desire for playing,
competing, learning and being social through Game Ego presence. In that
respect they are influenced by and in turn also constitute an influence upon
human culture on several levels which this chapter will briefly discuss before
elaborating more specifically on the Game Ego presence and narrative aspects
of computer/video games with a basis within experientialist cognitive theory.
This specific field of cognitive theory is primarily based on the work of George
Lakoff and Mark Johnson respectively and in collaboration (Johnson, 1990;
Lakoff, & Johnson 1980, 1999; Lakoff, 1987a, 1987b, 1993, 1996). Their
central argument is that the human conceptual system is tightly connected to
the configuration of the human body which is highly relevant and interest-
ing when discussing presence within video and computer game environments
and the manifestation of a Game Ego presence (Wilhelmsson, 2001a, 2001b,
2006a).
In order to set the scene for the following discussion let us first consider the
cultural impact and importance of games and play in general. The elements
of games and play in general are of importance for cultural development and
the relation between games and play and other cultural phenomenon consti-
tute an interesting field for academic studies (Caillois, 1961; Huizinga, 1949;
Murray, 2006). Human beings make use of different technologies and instru-
ments of play and games such as card decks, footballs, board games, yo-yo etc.
Games are also important to science, be it philosophy (Wittgenstein, 1953),
economics (Nash, 1950) anthropology and sociology (Caillois 1961), cog-
nitive theory (Gander, 2005), and computer science (Turing, 1950) as well
as humanities with the study of games from a narratological (among oth-
ers Murray, 1997, 2006; Ryan, 2001, Wilhelmsson, 2001a, 2001b, 2006a
and ludological (among others Aarseth, 1997, 2001, 2004; Eskelinen, 2001;
Frasca ,1999, 2003; Juul, 1998, 2001, 2003, 2005) point of view and as work
of art with esthetical dimensions in its form and content respectively.
Games of different kinds are generally well known to large parts of an
ordinary population in a given culture (Caillois, 1961). Therefore it is not
especially surprising that during the history of Western Europe, games and
play have been used in philosophical and other scientific contexts to pin
 Game ego Presence in video and Computer Games 59

point certain aspects of being human. Blaise Pascal for instance, is not only
famous for his work in the fields of philosophy, theology, science and math-
ematics1 but also for what is known as Pascal’s wager (Pascal, 1660). The
wager is a good example of using a game situation to point out that the
best way to live ones life is to make the bet that God exists since that way
of living will be, in the case of God’s actual existence, the most beneficiary
to the individual and if He does not exist the individual does not actually
have a lot to loose living his or her life as if He did exist anyway. The wager
points out that you must weigh possible gain against possible loss and you
will gain more if you live as if God exists. Games consist of quantifiable and
calculable states in relation to strategic thinking. The basic question to ask
in any wager situation is: How much can I afford to lose and how much
will I gain if I win in relation to the risk taken? Pascal addresses the human
need for good reasons to act in a specific way and the human desire to play
by postulating the issue this way i.e. as a kind of gamble with the immortal
soul at stake.
Closer to our own time writers and scholars such as Huizinga (1949),
Nash (1950), Wittgenstein (1953), and Caillois (1961) all have tried, for
different reasons, to come to terms with games and play and the importance
of these to human culture (Huizinga and Caillois respectively) and/or use
the concepts of game and play as the framework for explaining complex
problems (Wittgenstein and Nash respectively). Huizinga’s (1949) interest-
ing study of games provided an early manifestation that games and play
are important to human culture. Huizinga applies concepts like “the magic
circle” (e.g. Huizinga 1949, p.10, 11, 20) that might at first seem a bit
nonscientific by today’s standard in academic writing (though this term has
survived in the work of for instance Salen and Zimmerman [2003] )2 to
designate the specific mode and space of play a player need to enter to
separate him or her self from everyday life. Nash used game as the underly-
ing concept of economics to identify crucial factors in economic systems
and to understand how economies develop (Nash, 1950). Wittgenstein used
games as a prime example of explaining the complexity of categories and as
a framework to explain the basis for human languages describing language
as acts of play. In addition he came to the conclusion that games can only
be classified by family resemblance and that the phenomenon of games and
the acts of play is impossible to fully define in one single definition that
will hold for all games in all times. According to Wittgenstein there are
simply too many forms of games and play why a single categorization of
the phenomenon as such is not possible. This does not mean that games
are impossible to categorize but that games are diverse and may have many
different qualities and that all games does not share all qualities assigned to
games as a whole.
Roger Caillois’ sociological theory centered on games and play showed
that the social and sociological aspects of games are important factors that
need to be addressed. Huizinga’s (1949) study and Caillois’ (1961) taxonomy
of games have been discussed, criticized, revised and abandoned in attempts to
60 wilhelmsson

understand computer and video games by among several others Juul (2003)
and Eskelinen (2001). Despite the critique raised against Caillois’ taxonomy
the two basic nodes of ludus and paidia (i.e. rules versus improvisation) and
his four basic categories of games Agôn, Alea, Mimicry and Illinx provide an
initial taxonomy of games that can serve as a starting point for studies within
the field. These two nodes, ludus and paidia will in the present chapter be
related to narration and narratives as well as to games.
To conclude from the above; games and play as such have been used to ex-
plain aspects of culture as well as they have been providing examples in a more
philosophical and scientific context due to the fact that people actually does
play and involve themselves in games and that games seem to transcend many
cultural differences. In my earlier work I have used a more or less standard
version of computer game history in order to extract a number of frameworks
and specific qualities that designate computer games (Wilhelmsson 2006b).
The succession and selection of these frameworks are based on a standard
version of the history of computer games found in the work of for instance
Kent (2001) and on several websites (such as for instance Bellis, n.d.; Her-
man, Horwitz, Kent & Miller, n.d.; History of Video Games Retrieved Feb
23, 2007) and is not to be understood as a complete set of frameworks. My
purpose has not been to question or raise critique on this particular historical
canon (which of course could be interesting and necessary for other kinds
of discussions) but rather to extract basic qualities of games that are hidden
within it. Computer and video games as a phenomenon has undergone quite
some transitions during the decades of their existence. From being test bed
simulation of human thinking and behavior, to simulate other games under
specific circumstances, to commercial success and getting out of the insti-
tutions into public space and then into private space, computer and video
games have constituted themselves as multi billion entertainment industry
gradually replacing film and television as the major medium. Games may
be used to explain how historical events might have been experienced by the
people living there and then. Computer and video games are instruments for
artificial intelligence, simulation, entertainment and also show pedagogical
values. For the present chapter the following elaboration on these frameworks
are of interest and will serve as the backdrop for the following discussion.

1) Thinking machines: games incorporate quantifiable and calculable states: strategic think-
ing: problem solving: resource handling and interactabillity.
2) Simulation machines: simulation of physics: social dimension based on competing
(Agôn in Caillois taxonomy): learning through interaction with objects: instrument for
evaluation of performance: pushes the technology to its limits and beyond. Here we find
games such as Tennis for Two (Higinbotham, 1958), and Spacewar! (Russel, 1961).
3) Design experiments and user interface problems: enclosed design of cabinets or consoles,
handhelds, controls, screens affects the playability and/or the game play: aesthetic values
in their own right: cutting edge design such as the cabinet design of Computer Space
(Bushnell & Dabney, 1971).
 Game ego Presence in video and Computer Games 61

4) Commercial machines for public environments: the complexity of Computer Space

(Bushnell & Dabney, 1971) versus the simplicity of PONG (Alcorn, A. and Bushnell,
N. 1972): visually simple games constitute a social interaction process if game play is
strong: communication of the rules and the key elements in the game play.
6) Social interaction machines: the institutionalization of games abandoned: owning games
versus playing games: entering social relations.
7) Pedagogical instruments: simulation of principles: simulation of events: playfulness: en-
gagement: evaluation: competing in relation to learning goals in abstract and concrete
modes respectively. Here we find commercial games such as Call of Duty 2. (Infinity
Ward, 2005)
8) Storytelling machines: the internal logic based structure of and the programmability of
computers allow them to be the medium that carries interactable stories. Here we find
games such as Zork I: The Great Underworld Empire (Infocom, 1981).

The next section of this chapter will elaborate on the concept of a Game Ego
(Wilhelmsson, 2001a, 2001b, 2006a, 2006b, 2006c).

GaMe eGo PreSeNCe aND NarraTIve exPerIeNCeS froM vIDeo

aND CoMPuTer GaMeS
When playing a video or computer game the player needs to be manifest, i.e.
have a presence, within the game environment by a Game Ego function in
order to perform actions and enact a point of being (Wilhelmsson, 2001a,
2001b, 2006a, 2006b, 2006c). The following section will discuss the Game
Ego presence in relation to narrative and interactable qualities of computer
and video games.
The Game Ego is a bodily based function that enacts a point of being
within the game environment through a tactile motor/kinesthetic link. Com-
puter and video games typically allow the game player to establish a virtual
proprioceptive chain based on sight, hearing and tactile motor action adding
up to a tactile motor link and kinesthesia, i.e. a sensory awareness of the posi-
tion of the body within the game environment. In turn this may result in a
strong performative experience of interaction, interactabillity and being. The
player does not only see and hear but is enacting a point of being. Compu-
ter and video games make possible multi sensory experiences and allow rule
governed player interaction with the objects and environments within the
game through the agency of the Game Ego function. The player incorporates
a Game Ego function, which serve as an instrument for controlling the game
environment. The exertion of control is an extension of the player’s sensory
motor system via a tactile motor/kinesthetic link. The end outcome of this
control is not only the controlled and perceived motion on a screen but also,
and more important, the experience of locomotion within an environment. It
is a part of the player that is acting within the game environment. It is a mo-
tor part and an extension of his or her sensory motor system. To quote Lakoff
and Johnson:
62 wilhelmsson

An embodied concept is a neural structure that is actually part of, or makes use of,
the sensorimotor system of our brains. Much of conceptual inference is, therefore,
sensorimotor inference.
If concepts are, as we believe, embodied in this strong sense, the philosophical
consequences are enormous. The locus of reason (conceptual inference) would
be the same as the locus of perception and motor control, which are bodily
functions. (Lakoff & Johnson, 1999, 20. Their italics).

The human conceptual system shows a relationship to the motor system of

the human body and is tightly connected to the emotional system so that
no clear-cut boundary can be drawn between them. The locus of reason is
also the locus of perception and motor control (Lakoff & Johnson 1999;
Wilhelmsson, 2001b, 2006a, 2006b). The Game Ego primarily interacts
with objects at a basic level which is characterized by the following condi-
tions (Lakoff & Johnson 1999):
Condition 1: The basic level is the highest level at which a single mental
image can represent the entire category. Lakoff and Johnson’s example is that
humans are able to form one mental image of a chair but not of furniture
(which is more general). In the context of computer/video games a paddle
in a game such as PONG stands for all kinds of instruments that allow hit-
ting/hinder a ball and provide a single mental image for such objects within
the context of the game.
Condition 2: The basic level is the highest level at which category mem-
bers have similarly perceived overall shapes. Furniture comes in a number of
shapes. A chair has a basic outline that makes it a chair rather than something
else.
Condition 3: The basic level is the highest level at which a person uses
similar motor actions for interacting with category members. This is of course
important for the interactive experience of video games.
Condition 4: It is the highest level at which most of our knowledge is
organized.
All together this means that a video/computer game environment need to
fit this basic level since this will make it easier for the player to form an initial
understanding of the game as a rule based system consisting of quantifiable
and calculable states, how the player need to use strategic thinking to solve
problems problem and make the resource handling transparent. The interac-
tion structure need to communicate the central aspects of the game play ele-
ments i.e. the user inter face design and the overall design of the game really
make a difference (Wilhelmsson 2006b).

The SuBJeCT aND The Self

According to Lakoff and Johnson (1999), there is one single, general meta-
phor schema that all subject-self metaphors relate to and are special cases of.
There is a basic structure within the Subject-Self system of metaphor ground-
ed in four types of everyday experiences: 1) manipulating objects, 2) being
 Game ego Presence in video and Computer Games 63

located in space, 3) entering into social relations, and 4) empathic projec-

tion-conceptually projecting ones self onto someone else e.g. as when a
child imitates a parent (ibid.). This gives that the Subject-Self metaphorical
system in its general outline serves as a description of what video/computer
game playing is basically about. Playing video games is about manipulating
objects in space while entering semi or real social relations and a process
that allows motor based identification with and emotional empathy for
the avatar. All these experiences are also found in the discussion of the
frameworks above. The manipulation of objects is central for games usually
found in standard versions of the history of computer games such as chess,
Go, as well as Tennis for Two, Spacewar!, PONG, Pac-Man (1980) etc. Be-
ing located in space, i.e. to have presence through action is a protruding
quality in all of the frameworks especially in simulations. Empathic projec-
tion is eminent in games such as Pac-Man and Call of Duty 2.
The Game Ego function as such might be a visible character that the
game player can control on the screen, an avatar within the game, but this
is not necessary. Consider Tetris (Pazhitnov, 1985) in which only the ac-
tions performed by the player are visible. The objective of the game is to
hinder building blocks to reach the top of the screen. The game as such
incorporates quantifiable and calculable states (when a specific amount
of block reaches a specific level the game is over): strategic thinking and
problem solving (since the next block available is shown it is possible to
make a plan where to place it): interactabillity (the blocks are manipula-
ble and will turn immediately given the proper command). There are no
hands shown turning the different pieces. However, there is still a Game
Ego function within this environment that allows control into the audio-
visual field of the game player. That very function is a manifestation of the
player’s presence within the game and provides a tactile/motor kinesthetic
link between the player and the game environment. The Game Ego is that
function, the agency within the game that manifests the player’s presences
allowing him or her to perform actions. The visual form it takes is not as
important as its functional schemas. In some games, such as text based
games e.g. Zork I: The Great Underworld Empire (henceforth called Zork,)
the Game Ego is only manifest though words and the process of typing
and the player will need to imagine him or her self within the environment
as the agent performing the actions. Such games contain written text that
has a level of interwriteabillity i.e. the game player is part of the writing of
the adventure since he or she has to write text commands to explore the
game environment and unfold the story. Zork is an interesting example. It
is construed around an environment that permits or constrains locomo-
tion and the manipulation of objects within the environment. The game is
sometimes referred to as a “second person” game (AFGNCAAP, n.d.). The
game system addresses the player as “you”. Genre wise and within the com-
puter game business this classification is motivated. However, it is not a
second person performing the actions within the game. When a player relate
to the game and the game environment s/he refer to her/his Self and her/his
64 wilhelmsson

Subject. This means that there is a Game Ego presence in the game. The refer-
ent of ”you” is the performing agent ”I” when a player execute a command.3
What I read is what I see and what I type is what I do. To be more accurate,
what I read is what I observe with all my senses and what I type is how I am
reactive and proactive. The text based approach to computer games brought
with it a text based quality of storytelling and turned computer games into
storytelling applications that allowed, if not new, a way of telling a story that
allowed audience participation to at least some degree by allowing the player
to be reactive and proactive in a weave of text interactions.
A Game Ego might also be manifest as a yellow circular shape chewing
dots and ghosts as in Pac-Man or look like a tiny and cute dragon as in Spyro
the Dragon (Insomniac Games, 1998). The Game Ego function serves as an
anchoring force within the system of the game and provides a key element in
the process of engaging the player and providing a sense of being within the
fictional space time of the game through the possibility of exerting force upon
the environment. Being is not only to observe but also and more importantly
to act within the environment through Game Ego presence.
In recent years there have been quite a few studies on the ludological versus
the narratological aspects of games (Eskelinen, 2001;Frasca, 1999, 2003; Juul,
1998, 2001, 2003 [to less extent], and 2005; Salen & Zimmerman 2003;
Wilhelmsson, 2001a, 2001b, 2006a and 2006b… the list could expand in-
definitely and depending on the canon you specifically advocate it could con-
tain numerous other scholars and titles than those listed here and now). Sev-
eral scholars and professional game designers have argued that narration will
inflict upon the game play and is incompatible with interaction (Adams &
Rollings, 2003; Juul, 1998 and 2001). The argument put forth by Adams and
Rollings and also by Juul, is that the more elements of narration the weaker
the game play will be. To quote Juul (2001):

In an “interactive story” game where the user watches video clips and occasion-
ally makes choices, story time, narrative time, and reading/viewing time will
move apart, but when the user can act, they must necessarily implode: it is
impossible to influence something that has already happened. This means that
you cannot have interactivity and narration at the same time. And this means
in practice that games almost never perform basic narrative operations like
flashback and flash forward.

Narration in video and computer games is, according to Juul in this specific
context, something that is told by someone to someone else and often so by a
cut scene (video clips) that disconnects the player from the game play (i.e. the
story time, narrative time and reading/viewing time move apart) rather than
to let the player just play (i.e. all events share the same time). That is: to be
told a story is to be passive and inactivated (no motor interaction or activity)
and shut out of the loop of game play events.4 The player is not a player but a
passive audience with no influence on the staged events.
 Game ego Presence in video and Computer Games 65

Narratives are not necessarily something that has only to do with language
as verbal activity in oral or written form even if narratives can be and often are
manifest as and through such activity. Narratives are often representations and
manifestations of audio-visuo-emotional-cognitive-motor schemata, whose
central form is the experiential action sequence. To avoid misinterpretation, I
am not saying that the debate between ludologists and narratologists has sug-
gested that all games either are or are not narrative (or that all narratives are
games) in essence. I do share the view held by among others Juul in his later
writings (2005: the introduction) that a great deal of games and narratives do
share some basic qualities but also do have specific traits that are not easily
transferable between traditional storytelling media and computer games. Fur-
thermore, I do also advocate that by combining ludology and naratology we
will gain substantial knowledge about games and narratives respectively and
in relation to each other as well as knowledge about the ludus in narrative and
the narrative in ludus.
According to the dramaturge Mats Ödeen (1988), narratives have a cos-
monogic function. That is to say: narratives are in some ways a part of build-
ing and reflecting the worldview of a specific culture and society and hence
also may have a dogmatic level as a pedagogical instrument. Narratives, or the
belief in and understanding/interpretation of some canonical narratives, are
the common denominator for a specific culture and the glue that hold the
culture’s internal structure intact. Narration understood as a cosmonogic ac-
tivity is for instance found in most religious systems. E.g. the creation process
is described in the form of a narrative even if the style of the narrative is con-
strued in a way that makes it appear as something else. Consider Genesis 1:1
“In the beginning God created the heaven and the earth”. Some narratives,
just like this one, have been held and still are hold to be true by a large amount
of people. As this example is meant to show, narratives have an enormous po-
tential to explain something about the world surrounding the human being
and serve to explain how the world is constituted. Narrative carries dogmatic
structures.
Narrative as such can be defined as a formal system that is based on the
logical and causal succession of events which of course is a low end basic text-
book definition found in the work of for instance Edward Branigan (1992),
Bordwell & Thompson (1993). Narrative is the product of storytelling or the
process of storytelling as such. In a narrative, there is/are some kind of loca-
tion or locations and there is something going on. That is, there are objects,
beings and processes within a narrative that are literary taking place and there
are some kinds of actions performed by some kinds of agents. I.e. in a nar-
rative we find processes carried out by existents. There are also patterns that
give structure to the relation between processes and the existents. Within a
computer or video game, the structure may be based on the sequential player
participation and choices that in turn are based on interactivity and interacta-
billity. Moreover, games do operate on a logical basis set by the rules of the
game much like more traditional narratives (folktales, movies, novels, operas,
music pieces etc.) do. Narratives are often categorized in genres where the
66 wilhelmsson

genre provides the set of rules and hence the internal logic of the succes-
sion of the events (Bordwell & Thompson, 1993). Genre is also possible to
understand from a syntactic as well as a semantic approach (Altman, 1984).
Computer and video games generally have a fixed and absolute system of
game mechanical rules i.e. the quantifiable and calculable states, the resource
handling and interactabillity within the game is preprogrammed. The level
of ludus (Caillois, 1961) is extremely high. This differ from more traditional
forms of narratives where these qualities are not mandatory even though genre
or other semantic and/or syntactic rules (Altman, 1984) have been strictly ap-
plied from time to time e.g. during the 17th century France. (Sjöberg, 1999).
Vladimir Propp’s extensive work on the morphology of the Russian folktale
shows that the sequences of events within a large number of folktales are in-
variant which is to say that the logic within the story line is always the same
(Propp, 1968).
Even if the formal structure may be invariant a storytelling situation has a
dimension where the audience is filling in the gaps and use their imagination
to visualize and audiolize the characters, the environments and the things
that happen in the story. In some narratives such as short stories by William
Gibson (1981/86) there are voids of left out hinted at information that the
reader must interpret. The word audience designate that stories are told to us
and that we hear the story which implies that the process of storytelling has
its roots within oral culture (Iser, 1974; Ong, 1982/1990). In such a culture
the basis of stories being told is to let the characters perform actions and be
heroic and hyperbolic rather than realistically portrayed humans. If the audi-
ence is to remember the characters, the characters need to be larger than life
and perform in an extraordinary way. The environments in such oral culture
stories are seldom well defined since their main function is to provide the
background for what happens. Only if it is necessary for the character in the
story, or for the audience, to know something about the environment this
is being told and often so with only a few words. Redundant information is
kept at a minimum. (Ödeen, 1988; Ong 1982/1990). A narrator might also
make use of improvisation (paidia) to play at the audience’ reactions when
narrator and audience are present within the same environment at the same
time in a reactive/proactive relation. If a specific event or turn in the narrative
is appreciated it is likely that the narrator enforces that kind of events and
begin to improvise and elaborate the story with this in mind. In a writing
culture (or cinematic or game culture for that matter) the level of narration
need to be preplanned to a higher degree since the level of ludus is more
protruding. The reactions to specific events are harder but not impossible to
foresee: a trained film director knows quite well what the reaction to specific
events will be as does a skilled author or game designer). The audience is an
instrument of play.
A story that is told involves not only the primary sense but allows other
sense modalities to be part of the cognitive processes of making meaning from
what is told through mental projection. A central idea in the experiential-
ist approach to cognition is the connection between the human conceptual
 Game ego Presence in video and Computer Games 67

system and the human body’s motor capabilities and the emphasis on schema
metaphors such as ACTION-LOCATION, SOURCE-PATH-DESTINA-
TION (Lakoff & Johnson, 1999, Wilhelmsson 2001b).When being told a
story the audience make use of the body/mind configuration to understand
and conceptualize what is narrated. The body/mind system includes the
sensory motor system why this is not discernable from the locus of reason.
(Lakoff & Johnsson, 1999; Wilhelmsson, 2001b, 2006a, 2006b).
One common denominator for games on the one hand and narratives on
the other is the causal sequential action based on some kind of conflict. In the
case of traditional narratives a hero or other character performs the sequential
actions and in the context of games the player must handle and enact a chain
of events during the game playing process. I am not suggesting that all games
have a strong narrative as a central reason for their existence but I do suggest
that there is a dimension of narration in many games and that games often
are structured around a conflict of interests. My gain will be your loss so to
speak. It has been argued that games are fundamentally different from stories
since games often consist of repetitive sequences in which the visual Game
Ego manifestation (an Avatar) dies and the player must try and try again to
overcome certain passages in the game to reach the end state and win the game
(Adams & Rollings, 2003). Repetition is motivated by the game play struc-
ture and the game mechanical rules. Repetition is found in many traditional
narrative forms as well but it is expressed in different ways and for slightly
different purposes. Old folktales do often incorporate a number of repetitions
of certain actions and obstacles to overcome before the hero of the story suc-
ceeds with his or which is rarer, her mission. The hero must pass three of this
and three of that and get to the innermost cave etc. which is also the case in
many computer games. This hero’s journey is put in to the story in order for
him or her to learn more about the opponent and to master the surrounding
world so that he or she may be victorious in the end. The same structure is
found in many computer games in which the player must hack and slash his
or her way through and die several times in order to learn how to win the spe-
cific action sequence and reach the winning condition at the end of the game
session. The player practice skills and gain information through the actions
performed and can win the game through practicing specific actions over and
over again. In folktales the structure may be considered a left over from a prior
oral tradition. It is easier to remember the events if they are repeated and some
folktales have also originally been meant to be sung rather than spoken why
rhythmic patterns have a role in this structure. It is also a technique used for
building narrative tension (even if it can be very boring and counter produc-
tive). In other words: it is a similar structure i.e. repetitive sequence. From the
position of the hero in a folktale it is a sequential learning process and for
the player of a game a sequence of practice and learning specific skills such as
certain moves and combinations as well as the gathering of knowledge about
the game environment and other characters within the game. To act is to gain
knowledge about the surrounding world. From the position of the narrator
this structure may be used as building dramatic tension and from the position
6 wilhelmsson

of a game designer it may be used to allow the player to practice before taking
on enemies and distribute information about the game world stepwise. It is
also a technique used to let the player feel progression in specific skills needed
to achieve the end state of the game.
As we may conclude so far, narration includes a level of intellectual and
motor interaction. However, narration and narratives are typically conceptu-
alized as linear and sequential activities and phenomenon in a writing culture
(Ong, 1982/1990). Writing words is to use tools and instruments and is the
result of technology. Computer games as specific phenomenon are embedded
in and partially the result of a writing culture. Books are typically made up
by a linearly structured text. But even a book allows some interactions from
the reader (such as turning pages, start to read wherever in the text, rip out
pages, make notations in the margins, burn the book etc.). In addition, books
for very young children may incorporate more interactability such as pulling
and pushing objects, incorporate surfaces of different textures to stroke etc.
in order to provide a set of experiences to investigate while also and at the
same time taking part in a story. Human beings are able to perform more
than one mental process at one time why we actually can interact and inter-
pret a narrative at the same time. The relation between events in short term
memory constitutes the essence of now in interaction and narrative sequences.
In the discussion above I quoted Juul (2001) and his ideas on narration being
in conflict with interaction. His argument is based on the assumption that
there are different aspects of time in interaction versus narration sequences.
But narration can also be understood as setting the scene and providing the
basic conflict for a player to act upon which will enable the player to be the
proactive part of the narrative/game experience. NOW is related to PAST and
FUTURE in a triadic relation schema as follows: The NOW is always either
the passed time (PAST) or the time to be (FUTURE). The concept NOW is
primarily designating the duration of the time span that is kept within short
term memory. The essence of NOW is that it is a moving point. NOW and
NOWNESS are duration and movement along a line or on a surface. It is not
spatial existence as such but related to space. Within a game the Game Ego is
the function that allows the player to move within the now and perform ac-
tions and experience the narrative elements i.e. the Game Ego provides pres-
ence within the game environment. The use of present time in a text based
adventure such as Zork situates the player in the environment at the present
time. Consider the opening lines of the game: “You are standing in an open
field west of a white house with a boarded front door. There is a small mail box
here.” (Zork). The use of present time signals presence within the environment
and within the story evolving. In this respect, time is handled in the same way
in Zork as in Pac-Man and Call of Duty 2. The player is present within the
game environment through the Game Ego. The time is now.
 Game ego Presence in video and Computer Games 69

PoSTluDIuM
Play and games in general are probably more essential to humans than even
current research can fully understand. Computer and video games in par-
ticular are ways of technologizing the human desire for playing, competing,
learning and being social alongside other forms of technologies of play and
games such as card decks, footballs, board games, yo-yos etc. Computer and
video games have the ability to generate a vast amount of experiences. Com-
puter and video games relies on the integration of the human mind and the
human body which should be understood not as separate entities but as one
body/mind system. Games are important to humans in several ways and for
several reasons. We learn from games, we sometimes earn money from games
and we have yearn for games. Games are capable of being storytelling devices
as well as they may generate strong sensory immersion and a feeling of being
within an environment through tactile motor interactability through a Game
Ego within the game. Games are also fun, progressive and sometimes even
provocative (as are papers on computer and video games). To conclude this
chapter let us play an interactable story game of the simplest kind and have
some fun.

Once upon a time there was;

a) a succession of events
b) darkness and a void
c) a Hero
that/who
a) lead to the end state
b) nobody really knew much about
c) everybody loved
and one day
a) the CEO of IBM alt. Apple alt. Atari
b) the Big Bad
c) the King and Queen
called
a) President Kennedy up!
c) to play a game of chess!
d) Game Over!
70 wilhelmsson

NoTeS
1. These aspects of Pascal’s work has in itself had its inflictions on games and gaming through his efforts
on a theory of probability which is at the core of calculating the odds in games like poker and play-
ing with dices.

2. NB: I do not suggest that Kalen and Zimmerman’s work is nonscientific as such.

3. In my earlier work (Wilhelmsson 2001b) I argued that a strong direct control was necessary for
establishing a Game Ego presence. The work of Gander (2005) has proved me wrong on this but has
also provided empirical evidence that supports the claim made about the Subject/Self.

4. Juul as well as Adams and Rollings have in later work suggested that there might be more room for
narrative within a game context than suggested by the works referred to (Juul 2005 and Adams &
Rollings 2007).

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laura vallius, Tomi Kujanpää & Tony Manninen

experiencing a Multi-Player Computer Game

through a Meaningful role

MeaNINGful role IN MulTIPlayer GaMeS

I
n our everyday society roles are numerable. A role can be considered, for
example, as a part performed by an actor in a drama, a functional posi-
tion in a certain organisation (e.g. a team leader), or a part taken in social
context (e.g. a friend or a mother). These different positions assumed in the
society come with a set of expectations (Coutu, 1951). For example, a team
leader is expected to behave in certain manner and to take certain actions.
Similarly communication in different social situations asks for appropriate
behaviour. Thus, roles can be thought to consist of behaviours that somehow
“ought to” or “should” be performed (Thomas & Biddle, 1966). Some roles
also require an act of assuming another mindset which is done, for example,
by actors when they prepare for a role performed on the stage (Stanislavski,
1961).
In our society everyone holds multiple roles and we shift naturally between
these roles (Coutu, 1951). It is rather common to describe persons through
the roles they occupy (e.g. she is a teacher and plays guitar in a rock band).
In a virtual world playing a role can be seen similarly as a sum of actions the
player engages in (e.g. she is a warrior dwarf and uses an axe). The player en-
tering a virtual world steps into a virtual body and at the same time receives
a set of expectations of behaviour. Therefore a person, a player, is by necessity
playing a role. (Morie, 2002) This role can be communicated to the player,
for example, through information about the world, presentation of gameplay
goals or through the game character description itself (his motifs, assets and
limitations) (Laurel, 1993).
Considering role as a set of behavioural rules that rise from expectations
offers a fruitful basis for viewing roles in computer games. In a way the game
assigns the expectations for the role. The game expects the player to take part
in certain actions or the game will not advance. In the strictest sense, if the
player refuses to take any of the offered roles, she can not succeed in the game.
In other words, the player needs to accept the behavioural rules and act ac-
cordingly in order to play the game. Often, in contemporary games, these
behavioural rules emphasize the mechanical nature of play. The role can easily
become a mere interface for task oriented action (achievement) of gameplay
74 vallius, Kujanpää & Manninen

(Rouse, 2000). This emphasis can result in abandoning or overlooking other

elements of the role, such as social and immersive aspects.
Even though mechanical behaviour can be dominating type of gameplay in
computer games, social and immersive aspects of play have an important part
in many player experiences. Different types of societies appear in many popu-
lar Massive Multiplayer Online Role-Playing Games (MMORPGs). Some so-
cieties such as organized clans have a hierarchy of roles that the players occupy
(Jakobson & Taylor, 2003). Some other societies such as short term parties
may be put together from real-life societies (e.g. group of friends) or formed
through virtual characters and consist of anonymous players (Jakobson &
Taylor, 2003). It is also common that some players take certain roles such as
a helper that aids new players to get into the game. In all these cases the play-
ers have a rather clear role to play and set of appropriate behaviours. In-game
societies can, therefore, be seen to have similar qualities with real life societies.
The game roles can also be framed as social positions in a virtual world. These
roles entail expectations that can enrich the gaming experience through social
interaction.
Virtual worlds also often require the act of assuming another mindset.
This can be clearly portrayed through role-playing games, in which the players
create an imaginary reality together with all the participating players (Mäkelä
et al., 2005). Fine (1983) argues on role-playing: “The gamer plays the game
as himself, while the player who wishes to lose himself to the fantasy is the
true role-player –he plays the character.” Thus, it can be considered that per-
forming functional actions and/or participating in social interaction do not
involve all the aspects of a role. Players also need to step into a role which
happens only after they assume the identity of the game character and engage
in attaining the goals of that character (Crawford, 2003). Most contemporary
computer games do not encourage this type of role-play (i.e. emphasising the
qualities of becoming someone else). Even in the genre of Multiplayer Com-
puter Role-Playing Games, the nature of behaviour is firstly mechanical with
social communication as a possibility for secondary action. Role-playing is
something the players need to be willing to pursue themselves. In these cases
the virtual characters will play their parts (as actors) but the role needs to be
brought alive by the player.
When considering meaningfulness of play, Salen and Zimmerman (2004)
argue that it occurs when the relationships between actions and outcomes
in a game are both discernable (result of a game action is communicated to
the player in a perceivable way) and integrated (an action a player takes has
immediate and subsequent effect on the play experience). Thus, by following
the line of thought, the player needs to be able to step into a role which com-
municates the actions and has both immediate and lasting effect on the play
experience. This requires that the role is integrated to the game, has a clear
part to play in it, and is intertwined with the gameplay and the society around
it (Lankoski, 2004). Furthermore, it is also important that the character in
the game is designed to have qualities that make it appear important to the
player. The player needs to understand the game character as a second self in
 experiencing a Multi-Player Computer Game through a Meaningful role 75

order to assume the role (Friedl, 2003). The meaningful role in multiplayer
games can, therefore, be seen to form in the intersection of actions (achieve-
ment), social interaction, and aspects of submerging one’s self in the game and
the character (immersion). Defining a meaningful role with the concepts of
achievement, social interaction and immersion lead us to consider a theoreti-
cal model created by Yee (2006). The three aspects of experiencing a role form
an interesting connection with the three categories of player’s motivations of
play presented by Yee (ibid.).

fraMeworK for aNalySING roleS IN GaMeS

Yee (2006) has extensively studied what motivates the players’ actions in on-
line games. He has formed a model of motivations of play through factor
analytic approach utilising survey data collected from 3000 players on several
different MMORPGs (e.g. EverQuest, Dark Age of Camelot, Ultima Online,
and Star Wars Galaxies). The categorization of his model is used here as a
framework for approaching different aspects of role. Yee (2006) divides mo-
tivations of play into three main categories: achievement (functional role),
social (role through social context) and immersion (imaginary role, character).
These categories are further divided into subcategories that depict the nature
of each category in more detail (Table 1). In our examination, we use the main
categories to structure the discussion and point out examples that relate to the
subcategories.

achievement Social Immersion

advancement Socializing Discovery
Progress, Power, Accumulation, Casual Chat, Helping Others, Exploration, Lore,
Status Making Friends Finding Hidden Things

Mechanics relationship role-Playing

Numbers, Optimization, Personal, Self-Disclosure, Story Line, Character History,
Templating, Analysis Find and Give Support Roles, Fantasy

Competition Teamwork Customization

Challenging Others, Collaboration, Groups, Appearances, Accessories, Style,
Provocation, Domination Group Achievements Colour Schemes

escapism
Relax, Escape from RL,
Avoid RL Problems

Table 1. Motivations of play in online games (Yee, 2006).

76 vallius, Kujanpää & Manninen

forMING a role ThrouGh aChIeveMeNT MoTIvaTIoN

This category of motivations of play reflects the functional roles of real life.
Achievement means that the player’s role forms through advancement, me-
chanics and competition. Players, who score high on subcomponent advance-
ment, derive satisfaction from reaching goals, levelling quickly, progressing
and gaining power in the game (Yee, 2005). Gamers who are interested in
mechanics enjoy analysing and understanding the system. Their goal might
be to facilitate templating or optimising a character that excels in a particular
domain (ibid.). Similarly, players who fall to the domain of competition, enjoy
the experience of competing with other players. They like to experience power
of beating or dominating other players (ibid.).
Consequently, achievement is about advancing one’s skills or excelling over
other players. By concentrating on these types of actions the role receives rath-
er mechanical qualities. It is the efficiency in advancing ones character that
becomes the focus point of play (Taylor, 2003). The mechanics and numerical
values behind gameplay guide the player’s actions. In this way the player may
become rather tied to perform the role in a pre-designed manner.

forMING a role ThrouGh SoCIal MoTIvaTIoN

This category of motivations of play reflects to roles that are taken in social
context. Players who are motivated by the social aspect of the game experi-
ence it through socializing, relationships and teamwork. Socializing players en-
joy meeting and getting to know other players (Yee, 2005). The game worlds
offer them casual and pleasant entertainment. Another subcomponent, re-
lationships, describes players who are looking to form sustained, meaningful
relationships with others (ibid.). Players who are interested in teamwork enjoy
working and collaborating with others. They derive more satisfaction from
group achievements than from individual achievements (ibid.).
Virtual game worlds offer various possibilities for forming social roles. In
many ways they have similarities with real life social behaviour. Socializing
in game usually includes qualities where game content affects the interac-
tion. Anonymity of the players offers possibilities for trying out different roles
(Turkle, 1999). Accordingly the fictive content such as extraordinary races
and unconventional surroundings blur the line between real and fantasy. Fur-
thermore, the possibility of co-experiencing the game through social interac-
tion offers players an element that supports the occurrence of meaningful
experiences (Battarbee, 2003). All in all, there is much depth that can enrich
the experience of playing a role when the mechanical tasks are complemented
with a social frame for behaviour.

forMING a role ThrouGh IMMerSIve MoTIvaTIoN

This category of motivations of play reflects to imaginary and performed
roles. Immersion as a motivation for play is one that can be very important
 experiencing a Multi-Player Computer Game through a Meaningful role 77

in experiencing a role. Players who are motivated by discovery enjoy explor-

ing the world and discovering locations, quests or rare artefacts (Yee, 2005).
Role-playing presents a group of players who want to experience the story
through the eyes of someone else. They enjoy role-playing their characters
and integrating them into the larger ongoing story of the world (ibid.). An-
other form of experiencing the character is through customization. Players
favouring this subcomponent want their characters to have a unique style
and appearance (ibid.). And finally, escapism describes players who use the
game environment as a place to getaway, relax and hide from the stress of the
real world (ibid.).
The overall atmosphere and personal relationship to one’s character can
be strongly formed on this area. Elements such as discovery and customiza-
tion offer players tools that let them create their own content in the game
world. In this way the character is made personal which helps the forming
of a second self and the emergence of a meaningful role (Friedl, 2003). The
personal role together with social interaction will also aid the emergence of
role-playing (compare Björk and Holopainen, 2004). Through social inter-
action the players can transform social relationships within gameplay (Salen
& Zimmerman, 2004). Role-play and escapism aspects of motivation enable
the players’ to experience the game on even more profoundly. Immersing
into the personality of the character and interacting through that personality
becomes a means to change and deepen the nature of experiencing computer
games. This form of role-play is, nonetheless, completely dependent on so-
cial interaction and participation of the players (Lankoski, 2004).

DeSIGN aND evaluaTIoN of The TeST eNvIroNMeNTS

Yee’s model is based on analysis of MMORPGs. In this study the elements of
the model are viewed in the perspective of an action game and a role-playing
game. AirBuccaneers (2004) is an innovative team-oriented multiplayer game
with compelling combination of graceful air ballet, fierce pirate-like action
and 3-dimensional tactical manoeuvring. Achievement and social motivations
of play are central in the design of roles. The emphasis of gameplay is built
mostly around advancement, mechanics, competition and teamwork. Castle of
Oulu 1651 (2006) is a non-violent role-playing game set in a virtual environ-
ment that resembles an authentic historical setting. This game is an experi-
mental step towards combining social elements from table-top role-playing
and live action role-playing to computer based game. The emphasis of role
design in Castle of Oulu is on social and immersive motivations of play. The
design of gameplay focuses mostly on socializing, relationships, role-playing and
escapism. Even though central design approaches can be pinpointed, both of
the games have elements of all three motivations of play. In both games the
players have clear goals; they are playing the game together and the roles are
designed to be meaningful. Both case experiments, AirBuccaneers and Castle of
Oulu, were trialled with a set of test subjects. The data was collected through
observations, questionnaires, interviews and forum discussion threads.
7 vallius, Kujanpää & Manninen

MoTIvaTIoNS of Play IN The DeSIGN of The TeST eNvIroNMeNTS

The team based and action-oriented design of AirBuccaneers does not offer
social or immersive roles for the players directly. However, the strong emphasis
on forms of team interaction and enforcement of collaboration between the
players resulted in emergence of clear roles. The players have three elements to
use for assuming a role they choose. The elements are (1) roles on the balloon
deck (achievement); (2) social role through co-operation between the players
(social); and (3) background stories, mythology and description of the virtual
world and game characters (immersive).
In Castle of Oulu the main source of information regarding the different
aspects of the role is the game character description, i.e. the role card. The
separation of motivational elements is not as clear in Castle of Oulu. However,
the information offered to players can be seen in the light of Yee’s model.
The players can assume roles through (1) primary goal and mundane tasks
described in the role card (achievement); (2) position in the society and knowl-
edge about threats and other players (social); and (3) character description,
background stories of the historical setting and appearance of the game char-
acter (immersive).

aChIeveMeNT aS MoTIvaTIoN of Play

AirBuccaneers focuses on strategic and tactical battles with hot air balloons,
cannons and various other pseudo ancient gadgets. What happens on the bal-
loon deck is very important and central in the success of actions. The roles on
the deck are strictly tied to gameplay and form a strong basis for achievement
aspect of play. The success of each player and team is measured in numerical
values. Thus, player’s who enjoy advancement, mechanics and competition are
offered several ways to perfect and measure their skill levels. The players can
choose a role of a pilot, an aimer, a fireman or a loader amongst others and
thrive to be the best in one or all of the roles. Each player is equally equipped
through the game character to take whichever role on the deck and change
it any time they want to. Moreover, one person can manage more than one
role simultaneously if necessary or desired. Players who are motivated through
achievement are likely to be very skilled in this sense.
Castle of Oulu is built around different kind of action. All mechanical actions
are designed to be reactions to social interaction. This makes pure achievement
goals very difficult to reach. There is no numerical value to levelling, wealth,
fighting skills or basically anything that can be attained with skilful solo playing.
Everything depends on others and their willingness to co-operate. However, me-
chanical tasks are designed to the game, but only to support social interaction.
For example, character’s goal can be to free other players from prison (a mechan-
ical task). The player succeeds in this task by finding out if the prisoner is guilty
or not. This can only be done through social interaction with other players, ask-
ing questions (a social task) and deciding what the truth is. The player will score
points if she has reached the right conclusion about the prisoner’s guilt.
 experiencing a Multi-Player Computer Game through a Meaningful role 79

SoCIal MoTIvaTIoN of Play

The tasks in AirBuccaneers can be seen as rather mechanical and supportive
of achievement aspects. However, the roles that form through tasks are also
designed to entail social qualities. Strong design emphasis on team play is in-
tended to support social motivation of play. Especially the aspect of teamwork
is supported by the design of gameplay. The players are encouraged to form
teams and choose specific roles to be able to reach the maximum efficiency
of the gameplay. One of the most important parts of successful team effort
is to effectively decide how to divide the role positions and communicate the
role changes. In addition to teamwork, the players can socialize and form re-
lationships through chats and voice-over systems. These two subcomponents,
however, are not very well supported because the gameplay consists of fast
fights and purposeful actions. There is not much time for mundane chit-chat
in the gameplay.
In the design of Castle of Oulu social motivation is very central. All of the
players’ actions are based on social interaction. The actions are designed to
take place through the individual roles of the game characters. The character
descriptions, i.e. role cards offer the frames for social and other types of be-
haviour in the game. Here is an example of one possible role-card from Castle
of Oulu:

1) Position in the society and a “day job”: “Your smuggled cargo awaits you on the western
bank, outside the castle area. You need to get it inside the castle walls and sell it. You
should do this as inconspicuously as possible - consider to whom you sell and avoid the
law.”
2) Primary objective: “You have decided to do your best in order to get Kutha elected. Your
duty is to hand out Kutha’s signs to as many individuals as possible: The more Kutha’s
signs are carried visibly the more definitely the voters trust that it is time to elect Kutha.”
3) Threat: “You got a hold of two pretty strange looking bucks – you were almost charged
with a crime for trying to use them in trade. Now you have to be careful and keep watch
on what kind of money you are offered! You do not want to get more fake money.”
4) Special knowledge: ”You are aware of the fact that the citizens of Oulu like the mayor
Antinpoika a lot – it would, however, be better, if he were a genuine scribe.” (Castle of
Oulu, 2005)

The implementation of social elements is, nonetheless, quite unique. There

is lots of room for casual socializing and forming personal relationships. How-
ever, all players have social statuses, relationships and possible collaborators
readily defined through the game character roles. This means, that the players
who want to freely socialize will not progress in the gameplay. In other words,
social interaction is meaningful and elemental. This forms an interesting con-
flict with Yee’s description of the socially motivated players. In Castle of Oulu
they are required to use the social skills to advance in the game. Furthermore,
they are expected to accept the readymade relationships in addition to creat-
ing their own relationships.
0 vallius, Kujanpää & Manninen

IMMerSIoN aS MoTIvaTIoN of Play

In both games, the background stories, mythologies and descriptions of the
virtual world are intended to lead the players to understand the premise of
the game. These elements present material for immersive play and support
the assuming of the role. This was not, however, supported by the gameplay.
In Air Buccaneers the basic idea of the game is to have two teams of players.
Peasants and Buccaneers fight to gain control over the skies in their hot air bal-
loons. The description of Peasants and Buccaneers as well as the world and the
characters deepen the personal connection and create the mood for the game
world and the character the player chooses to play. The following quotes from
the game demonstrate the form of written material that the players are able to
use in assuming their roles.

[1] “And from their fortressed camps in the cold forests loom the Buccaneers, raiding the
villages to eek out their Brutal livelihood. As they clash, their legends take form, their
stories entangle, and the glory arises from their scattered remains.” (Description of the
team, AirBuccaneers, 2005)
[2] “An earthy figure mingling with the trodden soil, she strides between the smoke trails
and small, still smouldering fires; it is early morning, she has some ways yet, tasks. With
long strides, she passes the fields, the earth takes over the little signs of toil spread-
ing from the village; it divulges more secrets, it touches you, yet it does not embrace.
Through the mingled branches dark, comes the sight of light playing across open water.
‘She killed his son, you know,’ he says. ’There was some reason for it, but damned if I
know what it was – a disease? Sacrifice?’ Here and there, the net catches the sun, glints;
most of the fish have strangled themselves, struggling against it. Those more recent are
still amidst their private battles: perched up in ragged rows, each with a noose to hang
from. She extends her hands, frees them; each dies in its turn. Less and less effort, now,
the task drifts toward conclusion without plan or forethought. All the while, her eyes
trace across the net; it extends without run or a tear…” (Description of the game char-
acter Hiljanharso, AirBuccaneers, 2005)

In addition, the players can choose to play a role of a pilot, an aimer, a fire-
man, or a loader amongst others. When each player behaves according to her
role, they accept and follow a set of appropriate behavioural rules. However,
immersing in any of the roles beyond the mechanical performance depends
greatly on the player’s effort and willingness to do so. Discovery and escapism
were present in a way that the players could freely fly above the mysterious
forests and relax and escape from real life problems. Playing a role as part of
story line or customization of the character were not supported at all.
In Castle of Oulu the immersive elements of the historical setting were en-
forced on the players. In the beginning of the game all players see a descrip-
tion of the virtual Castle of Oulu. The players can not skip this description;
however, whether they will use the information in gameplay is entirely up to
them. The following text is an example of the premise offered to the players.
 experiencing a Multi-Player Computer Game through a Meaningful role 1

Today an exceptional election for mayor takes place in Oulu. Conventionally

six members of the town administrative court vote for the mayor. Today was
not supposed to be any different – until alderman Klemet Pörhöi was found
from the rive banks, dead; the town doctor was said to believe he was poisoned.
A few days later another alderman, Sihveri Juhonpoika, died of spasms in the
middle of a dinner. And that same day alderman Martti Pietarinpoika barely
escaped from under a falling cargo of stones.Two aldermen are suspected to
have been murdered and the third one to have escaped an attempt of murder
– no one has a clue of a possible suspect. Consequently the remaining alder-
men made an unusual decision: The mayor was to be elected by a large number
of esteemed citizens of Oulu in the Labor Day convention. The voting was
decided to take place within the walls of the castle in supervision of the town
guard. This is how it would be decided which one of the candidates will be
the next mayor of Oulu: The present mayor Yrjö Antinpoika or his challenger
Henrik Kutha. (Premise from Castle of Oulu, 2005)

More importantly the immersion to the game is designed to happen through

the game character. The immersion to the social position and personality of
the character lies strongly on the design of the social structures within the
game. Every character is a member of a social group, such as town guards,
farmers, noblemen or smugglers. The position in the society offers players
an idea of acceptable and expected behaviour. For example, the town guard
will oversee that laws are obeyed and no crimes are committed. On the other
hand, a social position of a smuggler guides the player to break the law and
watch out for the town guards. These frames rely heavily on stereotypical
idea of how different groups of people behave. The players are expected to
generally understand what these stereotypes suggest for their behaviour in the
game. In other words, the players who enjoy role-playing and escaping real
world were the target group of this game.

exPerIeNCeS of aChIeveMeNT MoTIvaTIoN

Presentation and presence of achievement was very clear in the observations
and data collected from AirBuccaneers. The success of each game was presented
as a combination of team score and individual score. The gamers who were
interested in achievement, especially advancement and competition, easily found
enjoyable forms of play and ways to express skill and power. These players spent
a lot of time acquiring skills in manoeuvring the balloon, aiming with the can-
non, defending with a musket and managing an air balloon on their own. They
also shared tactics and tips on the forums and showed interest in developing the
game. In the end, players of this motivational group excelled on many areas and
were very efficient fighting even teams of less experienced players on their own.
Players who chose to take responsibility of a balloon on their own did not end
up choosing one role. They needed to fill all the roles to be successful.
However, due to the fact that the game enforced team play, the players also
shared the victory with everyone on the team. For example, a team could have
2 vallius, Kujanpää & Manninen

one very skilled player and six new players. This meant that the one skilled
player could not guarantee this team to win. Even if that one player had the
highest individual score, the team could still have lost the game. This made
the perfecting of skills less important than efficient team work and achievers’
experiences might have suffered from it. In addition, the game was designed
to support sharing of responsibilities to achieve maximum efficiency. Most
players did choose to take part in the action as part of a crew. This did not,
however, lead to notable choosing of roles. The players jumped from one role
to another constantly, according to each situation. This indicates that choos-
ing role positions was not in any way essential to gameplay and the immersion
to the game did not necessarily happen through a specific role position. In
addition, the achievement value of a crew with changing positions was not as
clear since the result was an outcome of a team effort.
The players of Castle of Oulu did experience difficulties in the area of
achievement. Especially players, who had lots of experience in playing com-
puter games, were confused and displeased. For example, it was difficult to
understand how to score points through social interaction. The numerical
values of actions were dependent on player’s performance in playing the role
of the character. If some players chose not to play the roles, others could not
fulfil the tasks of their roles. This sort of game design is very risky because
success of the gameplay depends on all the players. The individual perform-
ance of each player affects the performance of others. In the point of view
of an achiever a game like this can feel uncontrollable and, thus, impossible
to enjoy. On the other hand, players who had very little or no experience in
playing games, as well as younger players in general, were not discouraged
by the unconventional achievement aspect. In some cases the players were
pleased that high skill level on mechanical performance was not required to
score points.

exPerIeNCeS of SoCIal MoTIvaTIoN

Social motivation was one of the key design issues. Especially teamwork was
supported and encouraged in the gameplay. The players of AirBuccaneers, who
played the game from all over the world, quickly discovered the benefits of
playing together. Socializing and forming of relationships happened mostly
through discussion forums outside the game environment. The strategies
were discussed and the game was evaluated together. The relationships formed
through these discussions on the forums were brought back to the game. This
lead to a birth of crews and frequent players formed clans who practised play-
ing as a team. Some teams often ended up having similar distributions of roles
across their crews. In this way the roles on the balloon deck received social
content and gave room for expertise (e.g. X is the captain of our clan).
One clear example of possibilities and use of socializing is the selection
procedure of deck roles in AirBuccaneers. One common form of selecting the
roles was so called “first come, first served” ideology. Since the balloon did
not move until someone was manoeuvring it, the first man to the balloon was
 experiencing a Multi-Player Computer Game through a Meaningful role 3

likely to take the position of the captain. The others then filled in the positions
at an appropriate time. However, when the skills and interests of the players
started to emerge the selection procedure could change drastically. The result-
ing way of assuming the role positions was through verbal agreement between
the players. This type of communication had the biggest influence on how the
roles on the deck were assumed. Therefore, the impacts of social interaction
between players can be seen as the most effective and successful means for as-
suming the roles in AirBuccaneers.
Castle of Oulu revolved around socializing about in-game and off-game sub-
jects. All communication was conducted through speech. Most of the players
found social interaction to be one of the most fun features of the game. Yee’s
descriptions of social motivations of players proved to be predominant over
the design of the game. Nearly all of the players had friends playing with them
and the existing relationships overrode the relationships written into the roles.
Furthermore, in many cases the social goals of the roles were ignored and re-
placed by casual chat. Interacting socially as the game character and through
the role was quite rare. However, most players did try to reach some of the
goals and all players took part in the mundane task of trading goods.
Since most players did not play the role of their characters, their social
status, knowledge of other players and threats were left uncovered. This can
also be due to the fact that the players participated in the game only for a
short period of time and thus forming of a society or organised action was
less present. Although the players did not necessarily act out their roles, they
seemed to have formed a clear image of their character.

exPerIeNCeS of IMMerSIve MoTIvaTIoN

The immersive aspects of AirBuccaneers became evident mainly through the
written descriptions and visual material. The players commented the visual
style of the game and the characters on the forums. Thematic success of the
environment was evident. The comments, however, dealt mostly with liking
or disliking the visual style – not how they affected the assuming of roles. The
written descriptions of the setting and the premise of the game were some-
what dismissed by the players. This is most likely due to the fact that all the
characters had same skills and the background stories did not affect the game-
play. However, there is one aspect of immersion category that seems to have
some success regardless of the lack of meaningful gameplay. All meaningful
actions had to be performed from air balloons and movement on the ground
was limited with two monstrous beings: Ikuturso in the waters and Kirmu-
karmu on the lands. If a player happened to fall off a balloon to water or land,
there was a slight chance for the player to be able to escape the monsters by
returning to the base really quickly. Some players, however, would explore the
grounds and try out their luck to see how far they could run on the ground
before Kirmukarmu caught them. The experience of the lands was meaning-
less when considering the goals of the game, but it seemed to offer mystery
and danger to those who wanted to explore it.
4 vallius, Kujanpää & Manninen

The background stories of the historical setting and the visual style of Cas-
tle of Oulu received lots of comments. In general the historical look and feel of
the place was appreciated. However, access of players was limited to a relative-
ly small space of a courtyard. The immersion of exploration of a continuous
world was broken by the limits of it. Many players expressed a wish to explore
the environment further and were frustrated by the small area of play.
One of the main goals of Castle of Oulu was to offer possibilities to role-
play a character. The immersive aspect of the role was offered mainly through
the written descriptions. This form of distributing information posed a prob-
lem. Even though the amount of text was minimised, many test players did
not concentrate on the description, but chose to, for example, talk to friends
sitting next to them. Written information was not considered valuable and
therefore it was not important to read it. In other words, this form of distrib-
uting roles was not effective. The players have to be motivated to learn about
their character and role, to be patient enough to read through descriptions.
In addition to written descriptions, the players were given game charac-
ters. The visual appearance of the game characters had great effect on the
adaptation of a role for many players. In general, the looks of the characters
were not appreciated by the players. Since the game characters were designed
to break some stereotypical ideas of how game characters should look like,
this is understandable. On the other hand in Castle of Oulu the players were
not allowed to choose the characters which lead to confusion and even more
disapproval. For example, one twelve year old boy had an elderly wrinkled
woman as a character and he found it quite hard to assume that role. In some
cases, however, the visual appearance of the game character seemed to help
in adopting the role. The players, for example, developed personalities for
their characters either through their own decision or sometimes through the
influence of the other players. In describing their characters they used words
like funny, easy-going, calm or annoying. This sort of immersion asks a lot
of willingness from the part of the player and in this case the majority of the
players were not ready or prepared for role-play on that level.
In addition to visual appearance of the characters, the players could not
choose any aspects of the roles. Some roles were seen as easier to appreciate,
like the role of a guard due to the functional aspect of arresting other play-
ers (familiarity aspect). However, some players clearly stepped into the role
and tried to reach the goals of their character as best they could. For example
one young boy whose goal was to persuade other players to vote Kutha for
mayor, continued the persuasion by shouting endlessly throughout the whole
one hour gaming session. Regardless of whether or not this can be seen as an
example of role-play, it at least it shows a degree of dedication and immersion
in the face of a social task.

DISCuSSIoN
In this study the design of meaningful roles for game environments was ap-
proached through different aspects of roles. Understanding how roles are ap-
 experiencing a Multi-Player Computer Game through a Meaningful role 5

proached and experienced in our daily lives, shows us directions to take in

designing roles for computer games. Yee’s approach to game environments
through players’ motivations offered a very interesting point of comparison.
On one hand we had descriptions of roles and ideas of how to create meaning-
ful roles into computer games. On the other hand we had a model that reveals
what motivates players to engage in activities in online computer games. The
categories of Yee (achievement, social, immersion) were also used as reference
points for different aspects of role definitions.
Two experimental game environments were studied to reveal how design
decisions affect the experiencing and assuming of roles. Yee’s model as a frame
of reference offered a viable point of view to the topic. His categories helped
understanding how the players approached different aspects of roles in these
two games. In general, the assuming of roles could be discussed with terms
presented in Yee’s model.
One thing became evident in the analysis of player experiences: No
matter how the role was designed and supported by the environments, the
motivation of players was the strongest factor in assuming it. For example,
AirBuccaneers was designed to be a team oriented game. Players, who can be
categorised as achievers, did not necessarily participate in team efforts. They
perfected their own skills and competed with each other for the highest
score and other status prices. On the other hand, the socially pre-designed
role-play of Castle of Oulu did not encourage the so-called socialisers to start
playing a role. They just continued casual socializing and forming relation-
ships outside the game’s objectives, even against the designed social struc-
ture. Results like this indicate that the actions and roles the players choose
to assume in games are not necessarily the one’s intended by the designers.
In other words, players who, for example, enjoy exploring the virtual world
and discovering places and artefacts can ignore the functional role of the
character and disregard the advancement in the game. Computer games are
recreational by nature and the players seem not to be willing to engage in
unpleasant activities.
There are some aspects of Yee’s model that need to be considered when
interpreting the results of this study. Firstly, Yee’s model is created based on
contemporary Massive Multiplayer Online Role-Playing Games. Neither of
the test environments can be defined as such. The analysis reveals, however,
that the motivations of play are present in the two test games. It can be ar-
gued, that, the motivations of players might not change due to different game
types. Furthermore, MMORPGs do not really utilize and support the play of
a role in the same way as Castle of Oulu does. The interesting conflict between
social play in Castle of Oulu and results of players’ who enjoy socialising re-
veals, that t is not the act itself, but the meaning behind it, that motivates the
players. In other words, social communication with predefined content and
meaning does not replace free social interaction. Players who enjoy forming
relationships in games are not necessarily interested in playing a role with pre-
designed ones, even though it happens through social interaction. In addition,
the test players of Castle of Oulu were not role-players. Further study with
6 vallius, Kujanpää & Manninen

appropriate test groups will offer more conclusive data about immersing in a
character role in this game.
Another aspect of Yee’s model that needs to be pointed out is that the cat-
egories are not mutually exclusive. Most players enjoy aspects of all the three
categories. These players are willing to try and change roles according to the
aspects of game and personal state of mind. Shifting the emphasis of different
types of roles can be easy in computer environment, where anonymity is guar-
anteed and there are no real consequences to abandoning roles or behaving
inappropriately according to the definition of the role.
What is, then, the key to forming a meaningful role? As a result it can
be safely concluded that the design of meaningful roles does not necessarily
guarantee an experience of meaningful role for the player. On the other hand,
a design of less than meaningful role can lead to an experience of a meaning-
ful role for the player. Designing roles that have some level of meaning within
the gameplay, however, improve the possibilities for player to experience and
value the role as an important and personal aspect of a game.

refereNCeS
Battarbee, K. (2003) Co-experience: the Social User Experience. Proceedings of CHI 2003, Florida
USA, ACM.
Björk, S. & Holopainen, J. (2004). Patterns in Game Design. Hingham, MA, USA: Charles River
Media.
Coutu, W. (1951). Role-Playing vs. Role-Taking: An Appeal for Clarification. American Sociological
Review, 16(2), 180-187.
Crawford, C. (2003). On Game Design. New Riders Publishing, Indianapolis, Indiana.
Fine, G. (1983) Shared Fantasy – Role-Playing Games as Social Worlds. The University of Chicago Press, USA.
Friedl, M. (2003) Online Game Interactivity Theory. Charles River Media, Inc, USA.
Jakobson, M. & Taylor, T.L. (2003) The Sopranos Meets EverQuest: Social Networking in Massively
Multiplayer Online Games. Proceedings of the 2003 Digital Arts and Culture (DAC) conference, Mel-
bourne, Australia, 81-90.
Lankoski, P. (2004). Character Design Fundamentals for Role-Playing Games. In M. Montola, & J.
Stenros (Eds.): Beyond Role and Play: Tools, Toys and Theory for Harnessing the Imagination. Preceding
papers for Solmukohta, 139-148. Helsinki: Ropecon Ry.
Laurel, B. (1993, 1991). Computers as Theatre. Addison Wesley Longman, Inc.
Morie, J. F. (2002). Coercive Narrative, Motivation and Role Playing in Virtual Worlds. Proceedings of
the 6th World Multiconference on Systemics, Cybernetics and Informatics, Vol. XII, Industrial Systems
and Engineering II, 473-479.
Mäkelä, E., Koistinen, S. Siukola, M. & Turunen, S. (2005). The Process Model of Role-Playing. In
Dissecting Larp – Collected Papers for Knutepunkt 2005. Retrieved 17 October 2007
from http://knutepunkt.laiv.org/The%20Process%20Model%20of%20Role-Playing.pdf
Rouse, R. (2000). Game Design: Theory & Practice. Plano, TX: Wordware Publishing, Inc.
Salen, K. & Zimmerman, E. (2004). Rules of Play - Game Design Fundamentals. Cambridge, MA: The
MIT Press.
Stanislavski, C. (1961). Creating a Role. London: Methuen Publishing Limited.
Taylor, T.L. (2003). Power Gamers Just Want to Have Fun?: Instrumental Play in a MMOG. In M.
Copier & J. Raessens (Eds.): Level Up Digital Games Research Conference 4 - 6 November 2003 Utrecht
University, 300-311. Universiteit Utrecht & DiGRA.
 experiencing a Multi-Player Computer Game through a Meaningful role 7

Thomas, E. & Biddle, B. (1966). Basic Concepts for Classifying the Phenomena of Role. In B. Biddle,
B. & E. Thomas (Eds.): Role Theory: Concepts and Research, 23-45. John Wiley & Sons, Inc.
Turkle, S. (1999). Cyberspace and Identity. Contemporary Sociology, 28(6), 643-648.
Yee, N. (2005). A Model of Player Motivations. In The Daedalus Project. Retrieved 26 March 2007,
from http://www.nickyee.com/daedalus/archives/001298.php
Yee, N. (2006) Motivations of Play in Online Games. CyberPsychology and Behavior, 9(6), 772-775.

GaMeS
LudoCraft (2005) AirBuccaneers. Mod for Unreal Tournament 2004: Editor’s Choice Edition. Atari
Inc. (PC).
LudoCraft (2006) Castle of Oulu 1651. Unpublished. (PC).
 ParT Two
Bordering Play
INTroDuCTIoN To ParT Two

I
n his book Homo Ludens – a study of the play element in culture (1955),
Johan Huizinga argued for the inseparability of play from culture and vice
versa, and mentioned magic circles among the arenas in which play can
take place. The term has since been picked up by many theorists and used in a
more abstract sense, referring to a sphere or domain of play in both space and
time. For Huizinga, it seems to be important that the borders of a magic circle
and the rules of play are defined before players set out to play. A certain debate
(see e.g. Salen & Zimmerman, 2004, pp. 93-99, Copier 2005, Pargman &
Jakobsson, 2006) has hovered around the concept of a magic circle, regarding
the demarcation of the domain of play – who or what is the one that draws
the line between play and non-play, or game and non-game.
Such debate is valuable as it secures the ontological foundations of con-
cepts used in game studies and contributes to the unfolding of the ways in
which games connect with the realities of their participants. Regarding the
practices and lived experience of play, the border between play and non-play
is, in both experiential and cultural senses, rather dynamic if not elusive. As
Taylor (2006, pp. 151-3) notes, “virtual” spaces leak over into “real” worlds
and the practices of play are integrated with those of everyday life.
Beginning with the launch of games like Ultima Online (1997) and Ever-
Quest (1999), the past decade has witnessed the growing success of massively
multiplayer online games (MMOGs), due to which the social, ethical and
economical issues arising from the differences between the “real” and the “vir-
tual” concern an increasingly large number of people. MMOGs also prompt
revisiting the conceptions of the rules of a computer game. While a player in
a single-player game is free to break the rules at will, the players of many sub-
scription-based online games act within frameworks defined by Terms of Use
and End-User License agreements. These can be seen as examples of the game
rules claiming new territory from a larger socio-cultural domain. It would be
rather tempting to conclude that in MMOGs, the magic circle is demarcated
not only by the players and/or the game before the start of play, but ultimately
by a corporate game master who adjusts the perimeter of the magic circle in
 Bordering Play 91

real time and whose choices, often expressed in the form of legally binding
agreements, are anything but apolitical.
The second part the book, Bordering Play, discusses the conceptual and
practical overlaps of games and everyday life and the impacts of setting up,
crossing and breaking the boundaries of a game and non-game. Chapters in
the second part look at activities, practices and approaches, all somewhat off-
beat, which aim to alter the experiences of involved players and demonstrate
certain breaks from the idea of games as enclosed and self-contained. The
players are seen primarily as social and cultural beings, participants in circles
where it is not always clear who is in control.
Brian Jennings writes about otherness in the context of the social experi-
ence of playing and the role of other players in forming such experience. As
language has replaced physical difference as a sort of signifying shorthand for
identity in contemporary online games, notions of race and ethnicity have
entered the playing field. Using World of Warcraft (2004) as an example, Jen-
nings discusses otherness in relation to the Terms of Use agreement and the
players’ competences in using the English language. With reference to the
practice of “gold farming”, he examines the practice of “othering” taking place
in the game.
Gareth Schott looks at the analytical and interpretative media tools the
players of World of Warcraft use when documenting events inside the game.
Among other things, he observes that in the same way as photographs are tak-
en at birthday parties, players document their key moments in the game. See-
ing the documentative practices as resembling an “anthropology of ourselves”,
an effort of the British Mass Observation movement in the 1930’s, Schott
examines the practices of articulating and conceptualising the inhabitation of
a virtual world that is constructed by its developers as a designed experience.
In this analysis intertextual connections, with traditional media texts, appear.
Julian Kücklich’s chapter focuses on cheating in single-player games. He
presents cheating as an issue which is often brushed aside but is still important
to study in order to understand the variety of experiences games have to offer.
What is common to all forms of cheating is that they alter the way players ex-
perience the game. It changes either the look and feel of the game or the abili-
ties of the player’s avatar. Cheats can be genre-related, but also non-generic,
can interfere with the game’s background and refer to the cyborgian nature
of a computer game player. By discussing examples from Deus Ex (2000),
Kücklich distinguishes different types of cheats based on how they extend the
player’s possibilities.
Thomas Duus Henriksen looks at the player’s experience as extending to
cover everyday life, and the implications such extension has for a (serious)
game’s abilities to address real-world issues. The empirical cases in this chapter
are two implementations of EIS Simulation, a serious game about change
management. In a particular understanding of learning games, setting a scene
for a deviation from optimal experience can to be beneficial. Rather than
bringing reality into games, Henriksen suggests that games should be staged
in reality.
92 Part Two

In the final chapter of second part, Pau Waelder Laso, uses PainStation,
an artist-built game console, to explore the limits of the concept of a game as
fun and harmless. Waelder points out the importance of the social dimension
in the PainStation duels, as he observes players’ experiences with PainStation
as leaving traces, both cultural and physical, which can be compared and dis-
cussed with other players within and outside a particular playing session.

refereNCeS
Copier, M. (2005). “Connecting Worlds. Fantasy Role-Playing Games, Ritual Acts and the Magic
Circle”. In Proceedings of Digital Games Research Conference 2005, Changing Views: Worlds in Play.
Retrieved April 25, 2008, from http://www.gamesconference.org/digra2005/viewabstract.php?id=108
Huizinga, J. (1955). Homo Ludens. A Study of the Play Element in Culture. Boston: Beacon Press.
Pargman, D. & Jakobsson, P. (2006). “The magic is gone: a critical examination of the gaming situa-
tion.” In M. Santorineos (Ed.): Gaming Realities. A challenge for digital culture, 13-22. Athens: Fournos.
Salen, K. & Zimmerman, E. (2004). Rules of Play. Game Design Fundamentals. Cambridge, MA &
London: The MIT Press.
Taylor, T.L. (2006). Play Between Worlds. Exploring Online Game Culture. Cambridge, MA: MIT
Press.

GaMeS
Blizzard Entertainment (2004) World of Warcraft. Vivendi Universal.
Origin Systems & Electronic Arts (1997) Ultima Online. Electronic Arts.
Sony Online Entertainment (1999) EverQuest. Sony Online Entertainment.
Ion Storm Inc. (2000) Deus Ex. Eidos Interactive.
Brian Jennings

wTfpwned by Chinese Gold farmers: Translating

“otherness” into Synthetic worlds through Culture
and language hierarchies

Everything that happens in a synthetic world is the consequence of the interac-

tion of human minds, and our minds have things like Love, Property, Justice,
Profit, War, and Exploration hard-wired into them. We could not create a
world and put people in it without also enabling sex, trade, and battle. What-
ever physical environment and object-set we create, once populated, will be
forced to play host to a full spectrum of personal emotions and interpersonal
relations. Such places may be physically strange, but they must be human [...]
events in synthetic worlds claim serious attention not just because they are
human, but also because they may have effects that radiate outward into the
ordinary world (Edward Castronova, 2005, pp. 48-59, 50)

Racial imagery is central to the organization of the modern world [...] The
myriad minute decisions that constitute the practices of the world are at every
point informed by judgments about people’s capacities and worth, judgments
based on what they look like, where they come from, how they speak, even
what they eat, that is, racial judgments (Richard Dyer, 1997, p. 1)

It should be obvious that access to the means by which ideas are disseminated
in our society [...] is not the same for all classes. Some groups have more say,
more opportunity to make the rules, to organize meaning, while others are less
favorably placed, have less power to produce and impose their definitions of
the world on the world (Dick Hebdige, 1979, p. 14)

I
t may come as a surprise to some, but there are a lot of people who spend
a lot of time playing online games. The juxtaposition of the phrase “online
games” with “a lot of people” could potentially lead to certain inferences
about exactly what kind of people these are – perhaps slide-rule toting white
males, or socially awkward teenagers holed up in a parent’s basement comes
to mind – inferences that are not necessarily representative of the quickly ex-
panding and evolving market for online games. In a recent consumer survey
conducted by ESA (Entertainment Software Association), the trade associa-
tion of the computer and video game industry in the United States, it was
revealed that while there are many teenagers that play video and online games,
94 Jennings

the majority (62%) are over 18, with the average age of the game player being
30. In fact, 19 percent of those that regularly play are over the age of 50 (Es-
sential Facts About the Computer and Videogame Industry, 2005). Addition-
ally, while there are more men than women that play, it is a relatively small
difference with a gap that is expected to steadily decrease as the video and
computer game industry learns to better court women as an audience (Dickey
& Summers, 2005).
Misconceptions about who is playing online games does not end with
stereotypes about age and gender demographics; online games such as World
of Warcraft (2004), Dark Age of Camelot (2001), and Vanguard: Saga of Heroes
(2007) have large international followings and include people from all socio-
economic strata, race, sexual orientation, and religious affiliations. Websites
for these games are available in numerous languages where people from all
over the world can talk about everything from game strategy to displaying
fan created art.1 According to DFC Intelligence, an organization that tracks
the computer gaming market, “more than 100 million people worldwide
[are] logging on every month to play interactive computer games” (Barboza,
2006).
In addition to misconceptions about who is playing, there is, perhaps,
confusion regarding what sorts of activities occur and the investment that
players put into these games. The January 2003 edition of Wired had an
article about a man named John Dugger, a Wonderbread deliveryman, who
“logged on to eBay and, as people sometimes do these days, bought himself
a house” in an “excellent location [...] nestled at the foot of a quiet coastal
hillside, the house was just a hike away from a quaint seaside village and a
quick commute from two bustling cosmopolitan cities” (Dibbell, 2003). The
house that he purchased for $750, representing a week’s wage for Dugger, did
not exist anywhere in the real world – but in the fantasy realm of Britannia,
located on a server for the game Ultima Online (1997). Dugger’s $750 house
purchase was later dwarfed by the media coverage of the purchase of an island
in the game Project Entropia (2003) for a reported $26,500 – more unbeliev-
able perhaps is that the purchaser bought the island with the intention to “sell
plots to people who wish to build virtual homes” and “tax other gamers who
come to his virtual land to hunt or mine for gold” (Gamer Buys $26,500 Vir-
tual Island, 2004). The purchase of a “pleasure paradise” space station in the
same game in the fall of 2005 for $100,000 to take advantage of virtual “min-
ing and taxation rights” as well as a “mall shopping booth and market stall
owner deeds, a land management system, a billboard marketing system, and
space station naming rights” (Gamer Buys Virtual Space Station, 2005) indi-
cates that the people who plays these games take the virtual worlds that they
inhabit seriously enough to invest large amounts of money to enhance their
gaming experience and the quality of their virtual lives. The economic activ-
ity generated in-game by players of online games – that is the “buying and
selling of money and other virtual items” – amounts to “at least $30 million
annually in the United States, and $100 million globally,” (Castronova, 2005,
p. 2)2 rivaling the GDP of some African nations (Virtual Gaming Worlds
 wTfpwned by Chinese Gold farmers 95

Overtake Namibia, 2004). Rather than being an isolated community or mar-

ginal group, online games have attracted a broad range of people who meet in
a synthetic space and interact in much the same way that people do in real life
– fighting, falling in love, and dabbling in land speculation.
Focusing on one game in particular, World of Warcraft – which can be
described as an MMORPG (Massively Multi-Player Online Role Playing
Game), an “online computer role-playing game in which a large number of
players interact with one another in a virtual world” – it is possible to address
with some specificity questions about who is playing and what it means cul-
turally and socially to be a member of an online community that is centered
around one of these games. After establishing that online games, such as
World of Warcraft, are important sites of social interaction and cultural crea-
tion, I will examine the way that the real world notion of “otherness,” as
defined by cultural critics, is translated into and practiced by people in the
game world. In particular, I will address the management and articulation
of a discourse of difference or “othering” practiced by players against other
players (and to a lesser degree the creators of the game) and point to possible
reasons why this occurs.
World of Warcraft, commonly referred to in the game and on the internet
as WOW, is an MMORPG that was developed by Blizzard Entertainment and
distributed in the fall of 2004. According to the game’s official website,

In World of Warcraft, thousands of players will have the opportunity to ad-

venture together in an enormous, persistent game world, forming friendships,
slaying monsters, and engaging in epic quests that can span days or weeks.
(FAQ, 2006)

In addition to a player’s ability to explore the video game world, fight mon-
sters, go on various quests, and even learn a trade like tailoring or blacksmith-
ing, a player shares the world with thousands of other players. In fact, the
social aspect of the game is an important part of the world’s design and per-
haps one of the things that many players find most enjoyable and invigorating
about playing. Although the content of the world does not ordinarily change
from day to day, the presence of thousands of individuals interacting with the
game world and each other provides a source of variety that keeps the game
interesting even after hours of doing repetitive tasks. Blizzard notes that,

World of Warcraft is an online game with thousands of players, so naturally

the game is built to facilitate extensive in-game socializing. You can search for
players easily by key words, looking for those in your same zone or with certain
names. You can also add players to a friends list, so you can keep track of nice
and helpful players for grouping or just talking. Grouping is simple as well.
Many quests are designed to be accomplished with other players, and you’ll
therefore want to seek out the help of other characters. (Basics, 2006)
96 Jennings

There is an in-game chat panel that is the primary means of communicating

with other players while you are in the game world. You can talk in a general
chat where hundreds of people can potentially read what you type, or you can
type messages that only members of your questing party or guild can read.
You can even “whisper” to a single person to carry on a private conversation
to which only you and another player are privy. Another way that people
often communicate with each other in the game world is through the use of
Voice over Internet Protocol (VoIP) group communication applications such
as Teamspeak3 or Ventrilo4, which allow large groups of people to speak to each
other simultaneously on a network. Additionally, Blizzard hosts moderated
forums that allow players to log on as the characters they have created to make
and respond to posts in any number of discussion threads dealing with the
game or any other issues that players feel like discussing.5 A large part of the
game experience is spent communicating with your “friends:” working with
them, helping them complete tasks, or, perhaps, making fun of someone else’s
inability to function well in the game world.
The game, at its most basic level, is designed around a cooperative model
where players help each other complete tasks in order to benefit the individual
player in the form of getting more experience, better equipment, or more
gold. Much of the game, as indicated by the game’s website, is specifically de-
signed with groups in mind. Most of the content that is available for players
who have gained as many levels as the game allows6 is only accessible through
cooperating with a coordinated group of dozens of other players. The basic
assumption is that if a player has progressed to that point he/she will have
learned how to work with others and be familiar enough with the way the
character works to be beneficial to his or her group. A large part of being
successful in the game, especially at the later levels, depends on one’s ability to
communicate and work cohesively as a group.
Although World of Warcraft is Blizzard Entertainment’s first foray into the
world of MMORPGs, they have proven to be incredibly successful at attract-
ing a market. According to a recent article in Business Week,

Blizzard’s World of Warcraft game has 5.5 million global subscribers paying
about $16 a month to interact with thousands of other gamers in this fantasy
world. That game, which is rumored to have cost $55 million to create, is gen-
erating approximately $50 million in monthly revenue and will bring in close
to $1 billion in a full year. (Gaudiosi, 2006)

In a press release that followed the launch of the expansion, The Burning Cru-
sade (2007), Blizzard officially announced that the player base had surpassed
8.5 million subscriptions (World of Warcraft: The Burning Crusade Continues
Record-Breaking Sales Pace, 2007) with more than 2 million subscriptions
in North America and 3.5 million in China (World of Warcaft Surpasses 8
Million Subscribers Worldwide, 2007). Like other popular online games,
World of Warcraft has managed to attract a large and loyal fan base that pays
a monthly subscription fee in order to interact with others in the game world
 wTfpwned by Chinese Gold farmers 97

and on the game’s community boards. For many who play World of Warcraft,
the game and its back-story and bevy of characters, the social milieu of the
server where a player has created characters, and the online zeitgeist serve as an
important locus of social interaction as well as the inspiration for the creation
of game specific cultural artifacts.
In much the same way that cult fans of other media such as television or
movies create fanfic and artwork about the subject of their obsession, many
World of Warcraft players experiment with extending the hyperdiegesis (Hills,
2002, p. 137)7 of the game world by creating movies8 that articulate the ex-
ploits or personal histories that they have created for their characters. Oth-
ers create original artwork, or speculate on the directions that the World of
Warcraft storyline could potentially go by creating their own narratives. The
world created by Blizzard, much like traditional cult texts in television and
film, offers a setting that “reward[s] re-reading due to its richness and depth”
leading to “stimulating creative speculation and providing a trusted environ-
ment for affective play” (Hills, 2002, p. 138). Rather than merely being a
flat, two-dimensional representation of a reality, the game world is extended
beyond the game itself when players create and interact with cultural artifacts
inspired by their experience within the game, with the story, or with others
they have played with. Although Henry Jenkins and others9 have discussed
in great detail fandom and fan culture, much of that discussion has focused
on media such as comic books, television and movies. Admittedly, there is
much cross-over between fans of cult media and online games, but the social
experience engendered by an online world is different enough – replete with
its own unique system of signs and meanings as well as social codes – to war-
rant additional and more specific scholarship.
In addition to being the impetus for cultural creation, the game world also
acts as a public forum and an important site of social interaction for many
of the players. A recent article on CNET documents the story of a World of
Warcraft guild called “We Know” that begs the question of whether online
games could be the “new golf,”

Sure, it has about 100 members, some of them wealthy, a few of them wildly
wealthy. On the membership roster are at least 10 people who have the letter
“C” in their job titles. And members of this particular club say they’ve joined
so they can bond with friends and other like-minded people. But there’s one
big difference between “We Know” and famed clubs like San Francisco’s Ol-
ympic Club and the New York Athletic Club: “We Know” exists only in the
virtual world. It’s one of many virtual guilds, or groups of kindred players, in
the popular “World of Warcraft” online game. (Terdiman, 2006)

The guild, which includes a “concentration of movers and shakers in the tech-
nology world,” represents a space where like-minded people can get together
and talk shop while playing the game. In much the same way that important
deals have been made over a round of golf in the real world, these technology
CEO’s and industry insiders will often cook up business schemes and then
9 Jennings

discuss them in guild chat for feedback, “I can throw out a blog idea . . . to
people who would actually know what I’m talking about while I’m running
around hunting ox or something” (Terdiman). A similar dynamic is found
in many of the guilds that are created in World of Warcraft; individuals band
together in game space because of some shared common interests that they
have outside of the game. Guilds are often created by groups such as firemen
and individuals in the military as well as by people who are interested in the
same kind of music or who speak a certain language.10
By the same token, divergence of common interest, worldview, or language
can be the cause of rifts between individuals and groups. It is a common
practice to kick people out of a guild if they do things that are perceived as
negative to the majority of guild members; this could include constant swear-
ing, using derogatory racial epithets, or having your character power-leveled
by a company that specializes in getting your character to the highest level in
the shortest amount of time (Barboza, 2006)11 – all activities which are often
frowned upon by many in the gaming community. It is also possible to put
people whom you have found offensive or otherwise not to your liking on an
“ignore” list, which makes it impossible for them to talk to you, or for you to
even see the things they say in the chat field.
Another important element that has a powerful influence on the dynamics
of the game world – buffering it in a sense from the real world – is the TOU
(Terms of Use, 2006) that every player agrees to abide by, and the way that the
TOU are enforced by Blizzard GMs (Game Masters) (What Does a GM do?,
n.d.)12. The rules of the TOU are designed to preclude any activity that would
mar the game playing experience of anyone else – I will focus on the elements
of the TOU that specifically deal with naming and chat rules, as these repre-
sent the primary means by which players represent themselves in the online
world. Regarding naming, the TOU in part states that,

When you choose a character name, create a guild, or otherwise create a label
that can be seen by other players of World of Warcraft, you must abide by the
following guidelines as well as the rules of common decency. If Blizzard Enter-
tainment finds such a label to be offensive or improper, it may, in its sole and
absolute discretion, change the name, remove the label and corresponding chat
room, and/or suspend or terminate your use of World of Warcraft.

In particular, you may not use any name:

[...] That incorporates ‘swear’ words or which are otherwise offensive, defama-
tory, vulgar, obscene, hateful, or racially, ethnically or otherwise objectionable
[...] Belonging to any religious figure or deity [...] Related to drugs, sex, alco-
hol, or criminal activity [...] (2006)

For the most part, in my own experience and from what I have understood
from the experience of others as posted in forums, the notion of abiding by a
general sense of the “rules of common decency” characterizes Blizzard’s posi-
 wTfpwned by Chinese Gold farmers 99

tion on the policy of naming both guilds and characters. The rules that are
laid out in the naming policy generally try to stamp out any and all contro-
versial, bigoted, offensive, or prejudicial name or potential name that a player
could choose.
On one server where I started a new character, a guild was formed that
was called “Dubya Tee Ef ” – which is a phoneticization of “wtf,” Internet
parlance for “What the fuck?” The guild was not around more than a week or
two before it was either reported by a player (perhaps the most common way
of bringing TOU violations to the attention of Blizzard) or a GM noticed it
and disbanded the guild. Another common guild name that is present in one
iteration or another on multiple servers is “Wehavecandygetinthevan” – or,
We have candy get in the van – a “humorous”13 reference to child kidnap and
molestation which is meant to communicate to those that they fight against
that they will similarly be taken advantage of or overpowered. Usually, guilds
with such obviously sexually charged and/or violent language do not last long.
While the aforementioned guilds did not persist, on a different server a guild
named “Ching Chang Chinamen” – a negatively charged moniker that could
be considered a racial epithet by many – existed for several months without
being disbanded despite being an obvious violation of the TOU. What is in-
teresting and most telling about the contours of permissibility created by the
application of the “rules of common decency” and the culture that gives those
rules meaning are the naming and chatting practices that could be construed
as offensive but, for whatever reason, are never subjected to the same punish-
ment or penalties as other practices which are deemed offensive.
As a test of the character naming rules, I created a character and named
him “Whitetrash” – a clear violation of the “racially, ethnically or otherwise
objectionable” clause of the TOU. I played on this character for about a week
before I received the following email,

Greetings Brian,
Account Name: -------
Realm: Staghelm
Character Name: Whitetrash

Account Action: Warning

Offense: Inappropriate
This category includes both clear and masked names which:
. Are mildly inappropriate references to human anatomy or bodily functions
. Consist of any alphanumeric character not normally found on a standard
101/102 key keyboard (O§iri§, Yelena, Jason; Does not apply to Guild or Pet
Names unless used to impersonate an existing guild)
. Are references to illegal drugs or activities
. Have neutral or positive racial/ethnic/national connotations
. Have neutral or positive connotations of major religions or religious figures
(i.e. Jesus, Christianity, Buddha)
100 Jennings

. Include names of World of Warcraft realms, zones, or names of major char-

acters from Warcraft lore
. Are otherwise considered inappropriate for the game world

The name selected for this character has been deemed as inappropriate for the
World of Warcraft by the In-Game Support staff of Blizzard Entertainment.
Upon your next log-in, you will be prompted to select a new character name.
(Email from [email protected], October 14, 2005)

I was not surprised to receive the warning and notification to change my char-
acter’s name as it has racial connotations that could be construed as negative
by the “rules of common decency.” What the email does not indicate, howev-
er, is the fact that many naming violations occur which seem to go below the
radar of the “rules of common decency”, perhaps because the majority of play-
ers do not recognize or find offensive what could be construed as prejudicial
to certain minority groups. The name “Whitetrash” is prima facie offensive to
most white people, who probably make up the majority of World of Warcraft
players on US servers.14 On the other hand, I have seen players go for months
with no disciplinary action with names like “Yahweh,” the name of God in the
Torah, “Pantyraider,” perhaps suggesting sexual promiscuity or prowess, and
“Stynkfyst,” referencing an erotic sexual practice. All three of these terms, as
names of characters, appear to be at odds with the TOU, but because they do
not at some level register with the general populace as contravening the “rules
of common decency,” these names are not reported. When I asked the player
named “Yahweh” if he knew that his character’s name could be offensive to
Jewish people, he/she replied, “I know, I don’t care.” In this way – through an
uneven, often unintentional enforcement of the TOU regarding the creation
of names – a sense of “otherness” and a sense of privilege for certain groups of
people are carried over from the real world and inhabit the synthetic world.
I use the word “otherness” as it is commonly employed by cultural critics
who have addressed issues of postcolonial thought in related fields, such as
Edward Said and Gayatri Spivak. “Otherness” occurs or is enacted when the
policies, practices, and/or culture of a dominant group habitually exclude,
demoralize, debase or disfigure other groups in order to ensure the dominant
group’s cohesiveness and identity. While I am familiar with the tradition of
postcolonial critiques of ideological imperialism and violence in literary and
film studies, I am going to take the advice of David Bordwell and avoid the
impulse to start with the theory and make my empirical data match up (Bor-
dwell, 1996). Methodologically this is necessary because I am examining with
specificity the intersection of “otherness” and the medium of online games
– a burgeoning field that is just beginning to produce theoretical writings that
address the unique experience of online gaming.
While the inequity of the TOU enforcement for naming underscores ten-
sion between a sense of “otherness” and a sense of privilege in the game world,
it is in the actual communication via chat that a language of difference or
“othering” is most apparent. The TOU rules regarding chat have a similar
 wTfpwned by Chinese Gold farmers 101

objective as the rules for creating character and guild names, that is, to ex-
clude any potentially disruptive element that could mar most players’ ability
to enjoy the game,

Communicating with other Users and Blizzard Entertainment representatives

is an integral part of World of Warcraft and is referred to in this document
as “Chat.” Your Chat sessions may be subject to review, modification, and/or
deletion by Blizzard Entertainment without notice to you. Additionally, you
hereby acknowledge that Blizzard Entertainment is under no obligation to
monitor Chat, and you engage in Chat at your own risk. When engaging in
Chat in World of Warcraft, or otherwise utilizing World of Warcraft, you may
not:
Transmit or post any content or language which, in the sole and absolute dis-
cretion of Blizzard Entertainment, is deemed to be offensive, including without
limitation content or language that is unlawful, harmful, threatening, abusive,
harassing, defamatory, vulgar, obscene, hateful, sexually explicit, or racially,
ethnically or otherwise objectionable [...] Harass, threaten, stalk, embarrass
or cause distress, unwanted attention or discomfort to any user of World of
Warcraft [...] (Terms of Use, 2006)

Note that Blizzard specifically states that they are “under no obligation to
monitor chat, and [that you, the user should] engage in chat at your own
risk,” (2006) indicating that, again, this notion of “common decency” vis-
à-vis the majority of players, is the guiding principle behind what you can
and cannot say in chat. Additionally, because of the ephemeral nature of
something such as chat – combined with the fact that most people who are
in the game are usually busy completing a task or going from one location to
another, it is possible to say something that is far outside of what could be
construed as conforming to “common decency” with essentially no fear of
reprisals from GMs or other players.
Two of the ways that the rules about chat are regularly broken are in re-
gards to sexual orientation (i.e., negative comments about homosexuality or
women) and ethnicity. Although references to African-Americans and Lati-
nos are less common and more often frowned upon, Chinese people are regu-
larly and freely disparaged as being “farmers” who destroy the quality of game
play for “everyone,” read – a mostly white, male, middle class player base.
Between remarks made about homosexuality and “gold farmers,” comments
that disparage Chinese people and culture are much more commonly made
without any sort of response from players or GMs – due in large part, I feel, to
the fact that they are not able to address much of the criticism that is directed
at them. Many lack the English ability to adequately defend themselves and
cannot overcome the hegemonic “common sense” (Williams, 1977) that all
people that cannot speak English are gold farmers or power-levelers,15 ergo
are in some way disrupting “everyone’s” ability to enjoy the game. Addition-
ally, while many of the English-speaking players are preternaturally aware of
issues of race and prejudice because of the attention of the media and popu-
102 Jennings

lar discourse, much of that discourse has focused on African-Americans and

Latinos while China is often demonized and figured as a challenger to the
economic and cultural primacy of the United States (Erard, 2006).16 The
material consequence of this dynamic on the game is that negative remarks
can be made about Chinese people/“farmers” with very little response while
racially charged comments about African-Americans or Latinos are often met
with vigorous and vituperative attacks on the one who makes the offensive
comment.17 Rather than being based on physical appearance, the “otherness”
of non-native English speakers is inscribed onto their avatars according to
their inability to navigate Western language and culture.
The notion that all Chinese players are gold farmers, and by association
anyone that cannot adequately express in English that they are not Chinese,
is in large part a result of wide media coverage regarding the proliferation of
digital Chinese sweatshops – where everything from gold to items are farmed
hour after hour by low paid Chinese workers and then sold through a clear-
inghouse such as IGE18 or on EBAY.19 Many feel that farming practices such
as these destroy in-game economies, making it almost impossible to legiti-
mately compete with other players who have simply purchased what would
ordinarily take weeks and sometimes months to obtain (Vedermen, 2006).20
In addition, by flooding the game with currency, the in-game prices for goods
and services are often times astronomical. It is understandable that some
might take umbrage at the fact that a service that they are paying for is being
marred or disrupted. The danger in this instance, however, is the way that the
popular consciousness of the people who play games like World of Warcraft of-
ten conflate the identity of a few despised and ethically questionable people21
onto a whole race.
The opprobrium with which a vocal segment of the World of Warcraft and
greater online gamer community have used to characterize and ethnicize the
issue of gold farming has created an environment that is hostile to Chinese
players. Chinese players have tried to speak to this issue,

Chinese World of Warcraft players are being discriminated against by English

speakers who assume they’re all gold-farmers, according to reports on Chinese-
language website Tales of Warcraft. More than 7,000 posters on the site’s
forum claim they have fallen victim to the problem, which is said to occur
when Chinese players attempt to join groups. Apparently there is a common
belief among English speaking players that most non-English speakers are gold
farmers and are only playing for commercial gain.

As a result, players are asking anyone who wants to join a group to type one
or two sentences in English. If the sentences contain spelling or grammar mis-
takes, the player is rejected. Since you have to join groups to complete certain
quests in WOW, this is presenting many Chinese players with a serious prob-
lem. (Gibson, 2006)
 wTfpwned by Chinese Gold farmers 103

The fact that there were more than 7,000 posts complaining about racial dis-
crimination indicates that the characterization and discourse of difference
perpetuated via chat and other exclusionary grouping practices is having a
palpable effect on many Chinese player’s ability to enjoy the game. Also,
any possibility of success in altering perceptions of Chinese players is grim at
best as they are not able to directly address the problem in the communica-
tive apparatus provided by the game or take part actively in the larger gamer
community as a result of the language barrier. For many players, the game
world is, perhaps, the only interaction that they have ever had with Chinese
people. There is a real danger for many players of formulating negative ideas
about what it means to be Chinese because of the pervasive and at the same
time blasé comments that appear regularly in game chat, on forums, and in
the gamer media generally.
There are countless examples in game and on various forums dealing with
World of Warcraft that illustrate the “common sense” notion that has devel-
oped regarding either negative playing practices (i.e., gold-farming, “ninjaing”
or stealing items, not following instructions, etc.) or inability to communi-
cate well in English with being “Chinese.” In a thread on www.worldofwar.
net where a regular poster has been the target of Blizzard GMs for alleged
gold-farming, the poster defends himself by claiming that he is not “some fat
Chinese kid with no life.” When a poster to the forum questions the use of
such pejorative phrasing another poster defends the original poster’s charac-
terization,

Baal: I’m sorry - but I have to ask what being a “Fat

chinese kid” has to do with anything?
That seems like a very racist, and pointless comment that had absolutely noth-
ing to do with what was going on.

Hayek: Yes and no. Sad fact about the state of WoW is
that a lot of the goldsellers are clearly chinese, as proven by character names
such as xiaoyang and common mistakes in their english. Fact is also that the
goldselling companies buy the services of chinese subcontracters who farm
the gold.

Not all Chinese (on the european servers, we’re not talking about the com-
mie or Taiwanese servers here) are goldsellers, but pretty much all commercial
goldsellers you come across are identifiably chinese. (World of War.Net, April
27, 2006)

Hayek’s response to Baal in this forum post is representative of the general

attitude of many who post on forums dealing with World of Warcraft about
Chinese players. There is some player awareness, as illustrated by Baal’s com-
ments, that it is not fair to essentialize or make racist comments about Chi-
nese people or players. For the most part, however, calls for greater awareness
or a more open-minded approach to dealing with Chinese players or other
104 Jennings

players that do not speak English well are met with rationalizations like those
in Hayek’s reply – common mistakes in English equates to Chinese which
translates into a group of people who are destroying your game play. In an
environment where language has replaced physical difference as a sort of sig-
nifying shorthand for identity, the ability to navigate the game world and its
internet counterparts in English operates in much the same way as whiteness
does as a physical marker in the “real” world (Dyer, 1997, p. 1). Game space
is claimed by and belongs to those with the access to English, while those who
lack the proper language skills are outsiders whose presence is questionable
and not as valid – the centrality of English as a marker of “properness” has
become naturalized.
The centrality of language and the major role that the textual experience
has in game space, especially as a means of alternately dividing and uniting
groups of players based on their access to language, is demonstrated by the re-
cent incident where a player, Sara Andrews, was given an email warning from
Blizzard for advertising her “gay, lesbian, bisexual, and transgender ‘friendly’
guild” in general chat (Ward, 2006). According to Andrews, she received
an email that accused her of violating the TOU in regards to “Harassment
– Sexual Orientation… This category includes both clear and masked lan-
guage which insultingly refers to any aspect of sexual orientation pertaining
to themselves or other players” (Terms of Use, 2006). Andrews felt that in ad-
vertising her GLBT friendly guild she had not disobeyed the TOU stipulation
regarding harassment and proceeded to exchange several emails with Blizzard
in attempt to come to an understanding. Initially, Blizzard was unmoved,

While we appreciate and understand your point of view, we do feel that the
advertisement of a ‘GLBT friendly’ guild is very likely to result in harassment
for players that may not have existed otherwise. If you will look at our policy,
you will notice the suggested penalty for violating the Sexual Orientation Har-
assment Policy is to ‘be temporarily suspended from the game.’ However, as
there was clearly no malicious intent on your part, this penalty was reduced to
a warning . . . it may incite certain responses in other players that will allow for
discussion that we feel has no place in our game. (Sliwinski, 2006)

Blizzard’s rationale for censuring Andrews was essentially a proactive move

to cut off anticipated backlash from “normal” players against members of the
GLBT friendly guild. The “rules of common decency” seemed to suggest that
the mere mention of homosexuality was offensive and the Blizzard GMs deal-
ing with Andrews’s case were not open to discussion.
The issue of homosexuality and notions of “otherness” is a broad topic in
and of itself – what is most remarkable about the case of Sara Andrews and her
GLBT friendly guild vis-à-vis the outsider status of non-English speakers in
the game is the way that Andrews was able to engage both the gamer commu-
nity and Blizzard after her initial rebuff. After exchanging several emails with
Blizzard GMs and getting nowhere, Andrews took her fight to the Internet
and the gamer community. She published her emails and Blizzard’s responses
 wTfpwned by Chinese Gold farmers 105

on the Internet and got other large “gay friendly” guilds involved in a letter
writing campaign (Sliwinksi). Andrews posted in numerous World of Warcraft
forums and, after explaining her side of the story, for the most part received
support and encouragement from the gamer community. Several news sites
picked up the story and Lambda Legal, a legal gay rights group, in support
of Andrews contacted the president of Blizzard, Paul Sams, indicating that
the mere mention of sexual orientation could not be construed as harassment
– suggesting the potential for litigation on Andrews’s behalf (Blizzard’s Reac-
tion, 2006).
Shortly after being contacted by Lamda Legal, Paul Sams issued a state-
ment recanting the GMs initial ruling on the issue, terming it an “unfortunate
mistake,”

Although Blizzard is well within its rights to insist that players avoid referring
to other gamers in an “insulting manner,” Blizzard cannot issue a blanket ban
on any mention of sexual orientation or gender identity [...] Blizzard strives
for a game environment in which everyone can feel welcome. With that goal
in mind, Blizzard’s in-game policies prohibit harassment of other players in
general, and specifically prohibit harassment of other players based on their
sexual orientation.

As a “massively multiplayer” online game, WoW provides a social environment

for players to interact with each other. It is expected and accepted that players
will discuss a wide variety of topics, based on both the game world and the real
world. (Blizzard’s Reaction, 2006)

Whether it was the threatened litigation or the belated realization that there
had been a misapplication of their own rules, Sams apologized and reiterated
Blizzard’s position that they are opposed to “harassment of other players in
general” and specifically “based on their sexual orientation” (Blizzard’s Reac-
tion, 2006). Blizzard’s acknowledgement and mea culpa has probably done
little to curb the rampant homophobia and gay bashing present in general
chat (Peckham, 2006), but Andrews was able to score something of an ideo-
logical victory for gay rights in the game. The knowledge that there is a viable
means of recourse for players who have an interest in protecting the ability of
GLBT “friendly” players to enjoy the game – that those players are not totally
marginalized is a result of Andrews and her sympathizer’s ability to effectively
navigate the lingual landscape and draw attention to their cause.
Unlike the 7,000 Chinese posters at Tales of Warcraft (Gibson, 2006) who
reported abuse and voiced their concerns in Chinese and apparently never
had those concerns addressed, Andrews was able to elicit a response from the
Blizzard president and have some game mechanics altered to accommodate
her search for potential GLBT friendly guild members. Although English
speaking GLBT friendly players are likely still marginalized to some degree by
many of the other players through the use of pejorative terms, because they
can handily navigate game space in the dominant language of U.S. servers,
106 Jennings

they are not ostracized to the same degree or in the same manner as those
without a certain level of access to English. In World of Warcraft it appears that
the operation of “otherness” is more dependant on and a function of language
access rather than lifestyle.
As synthetic worlds become increasingly populated it is important to re-
member, as Edward Castronova has pointed out, that despite their inherent
virtuality, such spaces are still “human” (48). While this fact makes synthetic
worlds compelling sites of socialization and interaction, it also makes them
subject to many of the fault-lines – ideological and otherwise – that exist in
the real world. Just as in the real world, some groups have more and better
access than other groups in determining the contours of permissibility: what
is punishable and who is punished. Some critics, such as Richard Dyer and
George Lipsitz, would suggest that race is the “unmarked category against
which difference is constructed,” serving as an unacknowledged “organizing
principle in social and cultural relations” (Lipsitz, 1998). In a video game
world, where you never actually see the other person, how is it possible for
race/ethnicity to play a major role in social and cultural relations? The short
answer appears to be language.

NoTeS
1. There are examples of this found all over the internet. A popular strategy site can be found at http://
vnboards.ign.com/World_of_Warcraft_Main_Boards/c14461/, and a popular site for fan art can be
found at http://www.warcraftcentral.com/gallery/fanart/, Last checked March 19, 2006.

2. In a recent study commissioned by Activision, this figured has been estimated at closer to $1 billion a year.

3. Teamspeak Available at: http://www.goteamspeak.com/, Last checked March 19, 2006.

4. Ventrilo Available at: http://www.ventrilo.com/, Last checked March 19, 2006.

5. World of Warcraft Forums Available at: http://forums.worldofwarcraft.com/, Last checked March

19, 2006.

6. In World of Warcraft you kill monsters and complete quests to gain experience. After accumulating
enough experience you gain a level – which is a milestone of sorts, giving players increased abilities.
Initially in World of Warcraft level 60 was the highest level that a player could achieve – taking any
where from a week to several months depending on the player. The recent expansion, The Burning
Crusade, raises the level cap to 70.

7. Hills notes that, “Another defining attribute of the cult text is hyperdiegesis: the creation of a vast
and detailed narrative space, only a fraction of which is ever directly seen or encountered within the
text, but which nevertheless appears to operate according to principles of internal logic and exten-
sion.”

8. World of Warcraft Movies Available at: http://www.warcraftmovies.com/, Last checked March 20,
2006. There are literally thousands of player created videos dealing with any number of topics
– many of which have been downloaded hundreds of thousands of times.

9. After the publication in 1992 of Henry Jenkin’s Textual Poachers: Television Fans and Participatory
Culture, many others have done case studies and other work that addresses the notion fandom and
participatory culture – mostly dealing with television and movies.
 wTfpwned by Chinese Gold farmers 107

10. Renaissance on the European Shadowsong server is a guild for people who speak Russian, http://
www.shadowsongeurope.com/index.php?option=com_content&task=view&id=17&Itemid=30&gi
d=94345, Last checked March 19, 2006. Guilds for various groups, such as firemen, policman, and
other occupations are regularly advertised at http://forums.worldofwarcraft.com/board.aspx?fn=wow-
guild-recruitment.

11. “It costs $269 to be transported to Level 60 in Warcraft, and it typically takes 15 days to get the
account back at the higher level.”

12. “Game Masters are there to help and to enhance your playing experience. If you are having any
problems with the game or with other players you can contact a GM for prompt and courteous
assistance.”

13. When I questioned a member of the guild “Wehavecandygetinthevan” about the motivation/mean-
ing of the guild name, they replied that it was “humorous.”

14. Although it deals with console video games, the report found at http://www.alexassoc.com/games/
GDmemo.shtml#demo demonstrates that there is a marked disparity between white households
and African-American households vis-à-vis video game consumption. In addition, although Asians
represent a large portion of the World of Warcraft market, 3.5 million Chinese out of 8.5 million
total subscriptions as noted here, “Chinese WOW Players Speak Out,” Eurogamer Available at:
http://www.eurogamer.net/article.php?article_id=62500, Last checked March 19, 2006, Chinese
players have their own server – though admittedly many choose to play on US servers because they
feel that they are better maintained.

15. This is a connection that is often made when players either in-game or on the forums have demon-
strably poor English (i.e., “You sound like a Chinese farmer”).

16. Michael Erard, “The Madarin Offensive: Inside Beijing’s global campaign to make Chinese the
number one language in the world,” Wired, (April 2006), 84-93. This article is an example of the
tenor of the trend to cast China as the new “demonic other” with which America must compete to
maintain its world cultural supremacy. Almost any news story or op-ed piece from an American
newspaper, magazine, or news show would have sufficed.

17. In general chat on the server Balnazaar one player referred to another player as a “nigger.” Many
responses to this comment followed immediately pointing out that such racially charged language
is offensive – a response by one player that was representative of many of the comments was, “You
fucking piece of racist shit.”

18. IGE Available at: http://www.ige.com/, Last checked March 19, 2006. An MMOG gold clearing
house that buys gold from the sweatshops and then sells to gamers.

19. James Lee, “Wages Slaves: From Sweatshops to Stateside Corporations, Some People are Profiting off
of MMO Gold,” 1Up Available at: http://www.1up.com/do/feature?cId=3141815, Last checked
March 19, 2006; David Barboza, 2006.

20. The editor of PC Gamer magazine has nothing but vituperation for “gold farmers” – echoing the
popular opinion of many in the online gamer community.

21. I will not bother arguing the point that the gold farmers deserve the ill treatment at the hands of the
online gamer community. Personally, however, I do not disapprove of their actions as this is simply a
game for me while it is the livelihood of those working in the sweatshops. There is a large thread of
hypocrisy running through the gamer community and the stance they take on this issue – the gold
farming industry would not exist if there was not a market.
10 Jennings

refereNCeS
Barboza, D. (2006). Ogre to Slay? Outsource it to Chinese. The New York Times. Retrieved March 20, 2006,
from http://preview.news.aol.com/business/article.adp?id=20051209091909990001&_ccc=5&cid=403
Basics. (2006). WorldofWarcraft.com. Retrieved March 19, 2006,
from http://www.worldofwarcraft.com/info/basics/guide.html
Blizzard’s Reaction to Gay Guilds an ‘Unfortunate Mistake.’ (2006). Kotaku. Retrieved May
30, 2006, from
http://www.kotaku.com/gaming/breaking/blizzards-reaction-to-gay-guilds-an-unfortunate-mistake-159536.php
Bordwell, D. (1996). Contemporary Film Studies and the Vicissitudes of Grand Theory. In D.
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Gareth Schott

Documenting Digital life: Invoking everyday life

accounts from world of warcraft1

T
he popular MMORPG World of Warcraft (2004) contains a total world-
wide population over 8.5 million players and growing. Accounting for
socio-cultural practices of its large populace is a diverse and fascinating
array of documentation methods produced by its players in an attempt to
articulate the contours of everyday life experiences within its game world.
This chapter discusses the analytical and interpretive media tools that players’
choose to exploit when recording the spaces and incidents inside World of
Warcraft (WoW). It is suggested that examples of player documentation prac-
tices drawn from WoW evoke the more conscious efforts of the British Mass
Observation movement that sought to facilitate the creation of an ‘anthropol-
ogy of ourselves’, reflecting day-to-day social activity that forms the fabric
of socio-cultural production. The increasing significance of the time and the
investment placed in belonging to, and participating in, online communities
such as WoW are becoming evermore evident by the volume of archival prac-
tices executed at both the individual and group (guild) level. Such practices
are thus considered in an attempt to gain a different insight into what it means
to be users and inhabitants of a virtual space that have been constructed and
structured by its developers as designed experiences.
It was during the 1930s that the social research organization Mass Ob-
servation was set in motion by Tom Harrisson, a self-styled anthropologist,
Charles Madge, a poet and journalist and Humphrey Jennings, a documen-
tary film-maker. As part of its agenda members of the public were invited to
record their day-to-day lives as a means of understanding civilian life during
wartime Britain. The study of ‘everyday life’ is therefore a desire to under-
stand the nature and role of the routine, the ordinary, and ultimately previ-
ously overlooked aspects of human existence that might mistakenly suggest
the mundane and quotidian. Yet, it is only by attending to the everyday that
we gain access to sites where, in this case, new media technologies are being
negotiated and played out as ‘lived’ daily experiences (Lister et al., 2003).
When applied to the fluid and constructive spaces of MMOGs, it is pos-
sible to examine how such spaces transform and become the very nature of
everyday practice for its players. Irrespective of the commercial presence of
1 I’d like to acknowledge the input of Sean Castle and Euan Kilgour who provided great guides for this
cyber-flâneur’s journey through WoW community spaces.
 Documenting Digital life: Invoking everyday life accounts from world of warcraft 111

videogame texts, associated everyday social and creative practices of game cul-
tures remain, for most part, clandestine. Thus, this account of the way players
inhabit MMOG spaces is guided by an interest in the hidden social narratives
that course beneath its more mainstream cultural discourses. What we find is
a culture that consistently creates a participatory/performance network that
transgresses the gap between consumption and production through its ap-
propriation, active negotiation and reconfiguration of its social and material
resources (de Certeau, 1984).
The tactics and subversions of players that subsist in a MMORPG like
WoW are obviously conspicuous and distinct from everyday life practices in
its non-virtual counterpart, as game players develop alternative world per-
spectives with regard to the conditions of existence (e.g. avatar mortality, ac-
cumulation of wealth and the nature of subsistence). In entering into this
world, it would appear then that players agree to the logic of the game world
and the conditions of conflict that divides it, determining players’ behaviors
and interactions. However, the distance between player and screen-mediated
objects of fascination are often transgressed by a series of complex connections
and relationships between both worlds that, on the one hand, involves an ac-
ceptance of the presentational truth on offer within the game (van Leeuwen,
1999), but on the other hand requires players to assume responsibility for the
interactive unfolding of plot involving “simple conflicts of survival, prosperity
and progress” (Lindley, 2002, p. 206) that are determined and informed by
external experiences.
While the scholastic practice connected to the discipline building of Game
Studies remains in its infancy, a fast track to theoretical authenticity is often
achieved through the extension and application of well-founded theoretical
frameworks that (often separately) address the various modalities of digital
games as interactive media. In doing so, there remains a need to guard against
theorisation becoming too divorced from specific practices and artefacts from
the medium and its surrounding culture. While this chapter seeks to explicate
player documentation and archival practices as an articulation of the mean-
ing and value attributed to gaming knowledge and experience, it also seeks to
reinforce the valuable nature of attending to various examples of referential-
ity grounded in fidelity to the ‘meaning’ of everyday life in a digital domain
such as WoW. The examples outlined in subsequent pages therefore intend to
demonstrate the wide range of narrative, dramatic and/or imaginative devices
employed to articulate the diverse approaches to engaging with and reflecting
upon the particular game spaces of WoW.
The capture of real time in-game footage and its dissemination (via digital
archival tools such as Google Video, You Tube or warcraftmovies.com) is one
form of player practice that constitutes an equivalent to more traditional ap-
proaches of recording the conditions of the physical real by camera or micro-
phone. While such footage often serves as a celebration of players’ perform-
ance and mastery of the prescribed experiences of the game and their grasp
of its virtual ecology, expository accuracy is embedded within the artifice of
a narrative construction. An excellent example of this, from many hundreds
112 Schott

that are available to choose from, is ‘Firemaw: A Blackwing Lair Educational

Film’ (Rabbit Slayer Production), a ‘master class’ or ‘how to’ guide that mim-
ics the black and white celluloid instructional films of the 1950s and 60s,
replete with the vertical lines of damaged film stock and the sound of a whir-
ring cinema projector. Once Louis Armstrong’s ‘A Kiss to Build a Dream On’
fades, a smooth ubiquitous voice over narrative, much like presenter Troy
McClure of The Simpsons educational video parodies (e.g. ‘Zinc Oxide and
You’), begins in earnest: ‘You’ve read all the strategy and seen all the films. But
what have you actually learnt from the films? Not much, except that people
like to listen to heavy metal and techno?’ The narrative provides a reference
to the hours of evidential in-game footage available on the web that requires
high levels of interpretive work or experiential knowledge to understand its
content. Once the film sets itself apart from existing films, it proceeds to
outline a strategy for ‘dropping’ Firemaw (a fictional dragon within WoW)
in great detail through annotating footage of a successful mission (includ-
ing contingencies) over its five and a half minutes running time. Such work
reveres the conditions of game-play in a way that illustrates how the boarders
between ludic and representational motivations are neither distinct nor firm.
While the ‘instructional address’ of the film is prompted by the desire of a
citizen of WoW to drop Firemaw, its articulation is expressed in terms of the
exploitation and manipulation of the game system. Yet, in a digital domain
so prone to modification and subversion, we are presented with what can best
be described as the communication of ‘truths,’ due to its status as a referential
record and the potency of the moving image footage that was captured. Thus,
in ‘Firemaw: A Blackwing Lair Educational Film’ we possess a good example
of creative authoring around an actuality which is both revelatory and ‘deep-
seeing’ in relation to the mastery of the practices of play.
Player creative practices (e.g. machinima) inspired by virtual domains such
as WoW also frequently confront and challenge the well-defined cultural field
of the game world itself, that in this instance utilises the popular folkloric
landscape popularised by the literature of J.R.R. Tolkien. The MMORPG ver-
sion of WoW occurs on Azeroth, a planet containing a characteristically Earth-
like geography inhabited by a diverse, yet familiar array of species (Humans,
Orcs, Dwarves, Trolls, Gnomes, Elves). Forms of player documentation and
creative practice exist that illustrate what other facets of the ‘lived’ experiences
players’ bring to the game world. Accounts that often sees WoW’s characters
used against the grain as players embellish and cut through the distinctive
traits, intrinsic qualities and moral fiber of their adopted personas.
An excellent example of destabilizing, not only the out of this world nature
of the game space, but also the disposition of its characters is the machinima
work ‘The Internet is for Porn.’ The producers, understood to be Evilhoof and
Flayed of Argent Dawn (EU), cleverly exploit the game’s emoticons to sync
Horde performances with a song (of the same title) taken from a Broadway
comedy musical Avenue Q that features a Muppet parody of the Friends situ-
ation comedy revolving around the everyday lives of neighbors in New York
City. The musical itself challenges political correctness with songs like ‘Eve-
 Documenting Digital life: Invoking everyday life accounts from world of warcraft 113

ryone’s A Little Bit Racist’ and ‘I’m Not Wearing Underwear Today.’ Indeed,
the song adopted for the WoW machinima features Avenue Q’s internet addict
character, Trekkie Monster, and his challenge to the intellectual and social
function of the internet, as espoused by the innocent kindergarten teaching
assistant Kate. The musical therefore exploits the asexual and innocent nature
of children entertainment puppets of the kind seen in The Muppets and Sesame
Street, instead giving them adult concerns and desires. In an act of perform-
ance and production, the machinima serves to append this parody even fur-
ther by presenting game avatars, themselves products of the internet, as users
of a hypertextual domain (either by proxy as agents of players, or within the
context of their own reality) who view and gain pleasure from pornographic
material. The work not only implies a reference to the older demographic of
MMORPG players but also the position of the game as a co-constituent of a
miscellaneous online existence. In doing so, WoW’s avatars are been inscribed
with an organic quality linked to human practices which also underlines how
the game both subverts ‘society at large’ of the present, through its simulation
of a world history devoid of industrialization yet constructed in the medium
of electronic age technologies.
More broadly, game-titles that have yet to receive cross-media convergence
in the form of a high profile Hollywood adaptation (although WoW the mov-
ie is believed to be in the pipe-line), will attain fan-generated cross-modal
representation through the remediation of game content within other com-
plimentary media such as machinima. Such practices serve to further integrate
the distinctive aesthetic and possibilities offered by game worlds with other
media, an increasingly popular strategy also adopted amongst more main-
stream narratives such as the hypertext, artificial-reality inspired The Matrix
whose narrative was transversely played out simultaneously across live-action,
animation and games formats. This reinforces the complex relationship be-
tween organic (human) and inorganic (culture) that, in part, provides the
critical mass of imagination that enables production to be ‘radical’ in the sense
of how the everyday is employed or exploited during, and as a consequence of,
game-play. The affordances connected to different representational media are
therefore regularly being utilised by players to offer its community different
entry points and experiential engagement with the same narrative form.
Player creative practices suggest the significance usually given to an ‘au-
thoritative original’ or ‘primary’ text by cultural and media studies appears to
be eroding and giving way to what Aumont (1997) has referred to as “strati-
fied time in which we move through different levels simultaneously, present,
past(s), future(s)” (pp. 129-130). For players, time surrounding this popular
media artefact is collapsing allowing its different elements and treatments to
casually co-exist. Indeed, a spatial conception of the networks of representa-
tions connected to a particular game such as WoW would only serve to un-
dermine the fluidity of the processes of connection and disconnection that
operate, not only between real and virtual domains, but also in and around
the different depictions of its universe and characters across different media.
Within creative practice such as player-created machinima it is possible to
114 Schott

locate the presence of multiple interpretations of race-based identities and

motivations that do not imply a convergent stability or an end-point of unifi-
cation, but the normal state of a continual process where moments of conver-
gence are matched by equal moments of divergence.

offerING a ‘lIveD’ exPerIeNCe

The underlying premise of WoW (like other MMORPGs) is the offer of a pro-
longed existence within a recognizable mythological world, distinct from re-
living more structured narratives, such as the Lord of the Rings videogame Lord
of the Rings: The Two Towers (2002). In contrast, such games employ a logic of
play with far less adaptive qualities or permeable boundaries that reflects the
way Tolkien’s tale privileges the protagonists that form the ‘fellowship,’ that
at the same time, represent the more worthy races of Middle Earth. An obvi-
ous exception to the dichotomy vastly separating good from evil within Lord
of the Rings however is the character of Gollum whose transformation from
Sméagol serves as a cautionary tale of what could happen to Frodo should he
allow the power of the ring to consume him. Gollum is therefore imbued with
an ambiguity indicative of the complex combination of good and evil that
resides within him, setting him apart from other characters that are usually
completely good or wholly evil. In contrast, all players of WoW have the op-
tion to ‘become’ one of eight battle-worn races that inhabit Azeroth, including
Orcs whose journey from Draenor reveals a more complex, savage and brutal
past. Distinct from the presentation of Orcs in Lord of the Rings, the Orcs of
WoW have reclaimed honor, no longer pawns of the Burning Legion in a fight
for conquest, as they fight instead for their right to survive in their adopted
world. On the surface, pre-prescribed ‘masks of identity’ are presented for role
play, yet quickly attain a more complex multi-layered reality.
The choice of races open to players sets them free from witnessing/per-
forming the three-act structure of a hero’s journey (Vogler, 1992). Instead an
MMORPG offers players an everyday experience closer to what Tom Stoppard
(1964) achieved in his play Rosencrantz and Guildenstern Are Dead, in which
he retells the story of Shakespeare’s Hamlet by centralizing the untold journey
of two of the play’s more marginal and insignificant characters. In the Shake-
speare play, Rosencrantz and Guildenstern function as simple plot devices. As
childhood friends of Hamlet, Rosencrantz and Guildenstern are summoned
by King Claudius to inform on Hamlet’s bizarre behavior, in doing so they be-
come unwitting accessories in the plot to execute Hamlet as they escort him to
England and his death. However, in foiling the King’s plot Hamlet engineers
the executions of Rosencrantz and Guildenstern. The audience only learns of
their deaths when it is reported incidentally after Hamlet return to Denmark.
In Stoppard’s play, Rosencrantz and Guildenstern become the major charac-
ters while the Hamlet figures become plot devices.
Another comparison can be drawn between the pleasures on offer within
the WoW universe and the work of children’s graphic novelist Raymond Briggs
who is responsible for tales such as Fungus the Bogeyman (1977) and Father
 Documenting Digital life: Invoking everyday life accounts from world of warcraft 115

Christmas (1973). In Fungus the Bogeyman, Briggs’ was able to unite the folk-
loric ‘bogeyman,’ conjured to frighten children, with the childish humor as-
sociated with the word ‘bogey’ (meaning mucus), to produce an account of
the mundane conditions of everyday life and the universe that his character
Fungus inhabits. Bogeydom became a place to enjoy the inverse of that which
humans take pleasure in. Indeed, Fungus and his family keep their house dirty,
scent their air with stink and enjoy slimy and spoiled food. Almost each panel
of the graphic novel is satiated with information on Bogey habits, myths, hob-
bies and culture. The MMORPG of WoW offers players similar pleasures, as
they are able to occupy territories of the mythical, converting the unreal and
fantastical into a lived reality in which they assume responsibility for construct-
ing and maintaining the social culture of Azeroth. Indeed, in line with the
sub-cultures of ‘fan’ communities (see Brooker’s, 2002, account of Star Wars
fans) MMORPG communities produce a broad range of practices that attempt
to conceptualise and articulate ‘everyday life,’ including the more traditional
composition of fan-fiction and creation of fan-art, that are rooted in a desire to
further develop fictional worlds and deepen accounts of player/guild motiva-
tion and game ecology (see Schott & Burn, 2004; McGeady & Schott, in press,
for examples of fandom practice directly spurred by console game texts).

arTICulaTING a SeCoND lIfe

In addition to the game structures within which players operate and duly
transform through their own play practices and social commentaries, the doc-
umentary practices of players are also indicative of the need to acknowledge
the transformative and fluid quality of our saturated selves (Gergen, 1991)
permitting virtual personification to constitute a key aspect of the ecology
of an individuals life. The complexity of human mediation of the inner and
the outer experiences of the self was articulated by, philosopher and founding
father of psychology, William James (1890) as:

the sum total of all he can call his, not only his body and his psychic powers,
but his clothes and his house, his wife and children, his ancestors and friends,
his reputation and works, his land and horses, his yacht and bank-account (pp.
279-280).

Thus, it makes sense to find amongst the practices of recording key moments
that punctuate our lives, such as birthdays, anniversaries or holidays, play-
ers of MMOGs adding events from virtual living, such as screen captures
of levelling up (see Fig. 1) or online wedding ceremonies within WoW (Yee,
2006). Such practices demonstrate how the self can be understood as a con-
structive entity adaptable across different spheres of subsistence2. In charting
the increased relevance of time spent occupying the virtual, players’ are found
utilising multiple media channels in order to articulate the pleasures of their
2 The concept guiding the online virtual spaces of Second Life (Linden Lab) embodies this exact notion
of inhabiting a legitimate and fulfilling virtual life.
116 Schott

shared practice, demonstrate their heightened levels of appreciation and also

enunciate and define their wider ‘tastes,’ thus often transforming the intended
use of the game text to express alternative interests.

Figure 1. Screen capture of levelling up submitted to Nick Yee (2006)

While the post-modern conception of a fragmented multiple self is a useful

concept for understanding how virtual subsistence has achieved legitimacy and
authenticity as part of players everyday lives, it does not exclude the collision
of those separate selves. Indeed, one case example demonstrates exactly how
players of WoW do not necessarily share and celebrate all forms of subversion
equally. When the life of a WoW player ended, the subsequent attempt by their
guild to facilitate an e-funeral raised questions concerning the ‘discrete’ nature
of its world ethics and morals. Controversy was caused by guild ‘Serenity Now’
(Illidan, US) who, upon learning that the funeral would be an unarmed event,
crashed the funeral killing its attendees. The guild also produced a document
of this WoW event, entitled ‘So We Pwned a Funeral Today: Serenity-Now.org’
that incorporates a forum backlash as context in its introduction prior to the
game footage. Comments include: ‘congratulations you have stooped lower
than any other guild in MMO history,’ and ‘I hope Azshira’s dad dies of a
heart attack, then at the funeral some guy runs in naked and pushes the coffin
over and runs around slapping people screaming LOL OWNED, then releases
a video of it.’ The footage shows an orderly funeral procession (accompanied
by Mozart’s Requiem), cut with footage of the attackers journey to the funeral
(accompanied by The Misfits’ Where Eagles Dare), before the attackers arrive
 Documenting Digital life: Invoking everyday life accounts from world of warcraft 117

and disrupt the solemn proceedings. Forum debates centred on the ethics of
the action, based on a clash between its symbolism and significance to a real-
world event against the logic of a Player verse Player server where the event
took place. One commentator summarises the dilemma as: ‘to be honest the
whole point of PVP servers is that you can kill other PCs. I agree it’s sick, but
at the same time walking around unarmed in the one type of environment
where you can be killed is kind of dumb’ (Godeskian, 2006).

The Construction of Cartographic accounts

In an age of ubiquitous creativity, player documentation and production prac-
tices reflect the catalytic nature of the game developers’ innovation as well
as an ethnographic articulation of a new sense of spatial (dis)order within
these new cultural domains. Thus, the quotidian practices of players utilising
different media production tools, not only articulate and embody the social
experience within the WoW gamescape, but also form a dialogue between eth-
nography, culture and space. An interesting example can be found in players’
disseminated written and illustrated accounts of journeys into ‘dead zones’,
uncharted regions, within WoW. Player Tony Walsh (2005) provides one such
account in which he describes the destination of his expedition as:

Unlike the rest of World of Warcraft, the area was devoid of detail, save for un-
usual terraforming. No creatures or buildings dotted the basin-like landscape,
which, as far as I could tell, was due north of the Eastern Plaugelands

Having shared this account, other players offered similar accounts of forays
into the wilds of WoW. For example: ‘There is another kind of dead zone
if you swim east of Arathi Highlands there are houses and npcs but all the
npcs act as if you were in Dun Morogh and give you instructions how to
get to the fightmaster etc.’ Unlike maze navigation, that involves conditional
progression towards a single exit point, the rhizomatic environment of WoW
(Deleuze & Guattari, 1988; Murray, 2000) possesses distinct kinds of ‘desir-
able directions’ that offer different kinds of pleasures. In this case, it is not
mission resolution or the type of experience that constitutes a ‘strategic in-
dexed commodity’ (Carr et al., 2006) but the delight in penetrating the hard
boundaries of WoW’s gamescape (King & Krzywinska, 2003).
A different yet interesting example is provided by a celebrated act of player
subversion that tested to boundaries of WoW’s territories, this time captured
as game-play footage. The subversion was made possible by a Horde guild that
in engaging outdoor-raid encounter Lord Kazzak were able to ‘kite’ him (to
maintain a distance, usually out of ‘melee’ distance but within ‘ranged attack’
in order to lure the pursuer) into the center of Stormwind, the capital city of
the humans of the Alliance. Captured in ‘Kazzak Does Stormwind,’ we see
footage of Kazzak destroying everything in his path during his hour and a half
rampage before a Game Master (Blizzard employees that monitor servers and
possess problem solving and discipline powers) returned Kazzak to the Blasted
11 Schott

Lands. What is interesting about this event is Blizzard’s reversal of the disrup-
tion and breach of its spatial logic by resetting the server and performing a
rollback. Indeed Kazzak now remains bound in chains as a result of his little
adventure to avoid a repeat of this event. Here player agency is undermined
and the limitations of their ability to respond to further attacks, by fortifying
Stormwind or creating a blockade, is exposed.
Reflecting on Paul Marino’s (2004) definition of machinima as ‘animated
filmmaking within a real-time virtual 3D environment’ (p.1) for a brief mo-
ment, his words suggest the importance of what it means to engage with
virtual spaces and how the process of play then shapes what occurs when the
virtual becomes actualised in a single animated film at any one time. The defi-
nition of this one form of player communication and documentation practice
implies the multiplicity of choices potentially generated through interaction
within a virtual environment that become contained and selected as a singular
and repeatable trajectory of actual choices by the producer as a final outcome.
Using Cubitt (1998) as platform, Shields (2003) states that virtual environ-
ments are characterised by four elements including:

• The primacy of navigation and movement;

• Smoothness or unity of the digital environment, which includes a computer-generated
character or avatar representing the user;
• A single ‘point of view’ which represents the user’s position and outlook onto the VE;
• [and] implied off-screen spaces (pp. 60-61)

These elements are utilised by players as documentarians in a process that sees

the openness of choice, connected to spatial practices within WoW’s game
space, displaced by a map of particular choices channelled into a film. An un-
derstanding of these products therefore suggests a need to examine the spatial
practices involved in the process of its production.
The production of player films can therefore be viewed as a cartographic
practice, that is a mapping of particular actions that trace out particular desires
including those of narrative, technical prowess and the expressions of pleasure
(thus a cartography of experience as much as of space). This perspective is use-
ful as it continues to acknowledge the importance of the spatial but also estab-
lishes the notion that player production is a registration of particular perform-
ances symptomatic of the desires that are shaped by the conditions of game
experience and the investment in particular cultural practices. Player footage,
therefore maps the cultural practices of game players as expressions of their
experiences and pleasures. Furthermore, there is an exchange of these maps
in relation to other players/viewers within gaming communities, an exchange
that suggests particular readings and interactions with these maps allowing
an appreciation of shared knowledge, pleasures, as well as the display of skills
which signal the conditions of production implied by the mapping process.
The phenomenon and cultural icon of Pals for Life member Leeroy Jenkins
arose due to the viral distribution and community-level acknowledgement of
the significance and humour behind events captured and presented as real-
 Documenting Digital life: Invoking everyday life accounts from world of warcraft 119

time game footage. The audio-visual clip, ‘Leeroy’, reinforces the duality so
often negotiated in documentary work between artifice and evidence, as it
offers a self-conscious styling and dramatised re-construction as a result of
the exertion of considerable authorial depictive control. In this document we
witness a mission in the Rookery Room at Upper Black Rock Spire that goes
horribly awry as a Tank returns from being ‘away from keyboard’ (see fig. 2),
ignores all agreed strategy and recklessly rushes into the Rookery shouting
his (now frequently impersonated) battle-cry ‘Leeeeeroy Jenkins.’ This results
in the carnage of his slaughtered guild members onscreen leaving only their
TeamSpeak reactions; ‘God damn it Leeroy’, ‘Leeroy you moron!’ and ‘Leeroy
you were just stupid as Hell.’ The film’s popularity is evidenced by the com-
munities response in the form of a web-page featuring a dance-remix track
containing the TeamSpeak audio (leeroykombat.ytmnd.com/), low content
fan-sites (e.g. http://www.leeroyjenkins.net/) as well various apparel for sale
and a citation on the US television quiz show Jeopardy in the question ‘This
role playing game out in 2004 returns to the “world” of Azeroth were he-
roes like Leeroy Jenkins do battle?’. The film has also had an impact on the
broader game world with the game Guild Wars (2006) pun Kilroy Stonekin,
a quest with the objective of staying alive while the dwarf Kilroy rushes off
in a berserk rage shouting, (you’ve guessed it), Kiiiiilllllrooooy Stoooonekii-
iin! As Lowood (2005) argues in his account of the film: ‘As a performance,
“Leeroy Jenkins” comments on a moment – death by incompetent playing
partner – experienced by players of almost any multiplayer game.’ In doing
so, he argues, the film occupies ‘liminal space between documented gameplay
and fictional performance’ (p.6). Thus, in agreement with Lowood, the ques-
tion of the films authenticity, as a non-staged event, is rendered meaningless
in light of universality of what it depicts which is an insight into the shared
culture of player experiences.
More fluid accounts of WoW are offered on the Metroblogging site for
Azeroth, which sees WoW receive equal status with 50 active sites offering city-
specific blogs from San Francisco, Bangkok, Karachi to Rio de Janeiro. The
generic aim of the site is to give readers access to the viewpoints of ‘regionally’
embedded bloggers to provide ‘a new perspective on daily life.’ The Azeroth
metroblogging site offers precisely that entry point into the ‘lived’ experi-
ence of WoW, as this entry illustrates: ‘the reason that I spend so much time
playing, is the immersiveness that the game environment offers. I’ve watched
sunsets and sunrises, I take screenshots like a tourist snapping pics, I’ve stood
in Stormwind watching the fireworks, saying “Ooh” and “Aaah” along with
everyone else...just as you would in real life.’ An even more inventive practice
that extends the blog concept further, was the performance of a live blog
during game-play. Reported online at clickableculture.com, the live blogger
documented a dungeon crawl in Blackwing Lair. While absent guild members
are typically able to follow similar social activities, when not able to partici-
pate directly, via the MMORPGs group text-based communication channels
pre and post events, the live blog provided insight into the individual’s phe-
nomenological experience of the game as it was being played out.
120 Schott

Figure 2. Leeroy, positioned on the far left in AFK mode prior to his charge.

A more extreme example of game-play commentary is guild leader First Ser-

geant Dives’ (Wipe Club) abusive and obscenity-laden TeamSpeak audio that
has became infamous amongst the WoW gaming community. So much so, it
has seen Dives’ receive the accolade of ‘this year’s Leeroy Jenkins’. Put to use
during high-level raids against WoW’s most difficult opponents in order to
coordinate a large number of different classes working together, TeamSpeak
audio is becoming an increasingly popular and exchanged mode of player-
created content. Furthermore, in Dives’ miss-management of a pass at WoW’s
dragon-boss Onyxia we find another illustration of social practice that offers
a counterpoint to the fantasy setting of WoW. While Onyxia is a typically dif-
ficult multi-phase fight that is laden with many obstacles that can consume
many hours in failed attempts, the audio (which has since been given an ac-
companying flash animation for dissemination by Delouthor) captures the de-
gree of Dives’ frustration, illustrating how emotional and socially meaningful
such events are within these domains. As the following extract demonstrates:

OK listen the fuck up. You are going to DPS very, very slowly [‘damage per
second’ being inflicted by raiders that also determines ‘aggro,’ the degree of
response aimed back at the raiders]. Now ... and by slowly I mean FUCKING
slow. If you get aggro, it means you’re going to lose 50 DKP because you didn’t
know what the fuck to do [‘dragon kill points,’ an MMOG system for deciding
who gets loot after killing a big boss dragon that is based on greater reword for
greater participation] And watch the FUCKING tail …
 Documenting Digital life: Invoking everyday life accounts from world of warcraft 121

Who the fuck was that? Crushim, what the fuck? Whelps, left side! [a refer-
ence to whelp eggs that, should a player get too close to them, will break open
and produce tiny attacking dragons] Even side! Many whelps! Now, handle it!
Fuck! That’s a fucking 50dkp minus! What the fuck was that shit? If you stand
in the right fucking place, there is no way you are going to fucking get into the
goddamn whelps, whatever fucking fear, tailswipe, whatever the fuck, ok? It’s
like one in a fucking million. From the fucking north corner to the middle into
the fucking whelp cave, it’s not even fucking remotely imaginable!

Dives’ (or ‘that 50 dkp minus guy’) contribution, together with other exam-
ples provided in this chapter, become widely regarded within the game com-
munity for the distinct personal manner in which they address and respond to
the procedural demands of the game system. In such examples the represen-
tational system and the game system pull apart during individual expression
of a culturally and locally specific transformation of the demand structures of
the game system.

CoNCluSIoN
In Fiske’s (1992) account of fans, as those who engage in a broader range
of ‘producerly activity’ than conventional audiences, we find a more faithful
prediction of the rise of digital subcultures characterised by a ‘consciousness of
difference’ (Hebdige, 1997) with regard to the nature of production, owner-
ship, agency and authorship. A consciousness that very quickly led to subver-
sions of game software not only producing alternative uses and accounts of
occupied spaces, but a treatment of game texts by players as objects that are
not just revered for what they are but what they enable. Understanding player
documentation practices as displays of interest, affection and attachment so
often associated with the practices of fandom, is not adequately rationalized
or understood in the same way as a ‘passive response’ to objects of obsession.
Instead such works outlined in this chapter call for a reversal of the treatment
of those who invest in texts of popular culture from consumers to producers
(Jenkins, 1992). In doing so, the practices of WoW players articulate a reality
that is otherwise not readily available for scrutiny, invoking ‘their’ ordinary
culture and making the invisible visible.

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Carr, D., Buckingham, D., Burn, A. & Schott, G. (2006). Computer games: text, narrative and play.
London: Polity Press.
Cubitt, S. (1998). Digital aesthetics. London: Sage.
de Certeau, M. (1984). The practice of everyday life. Berkeley, Los Angeles: University of California Press.
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Deleuze, G. & Guattari, F. (1988). A thousand plateaus: capitalism and schizophrenia. London:
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London: Routledge.
Lowood, H. (2005). Story-line, dance/music or pvp? game movies and performance in World of
Warcraft. In Proceedings of Aesthetics of Play Conference. Retrieved 17 October ,2007, from http://
www.aestheticsofplay.org/lowood.php
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McGeady, M. & Schott. G. (forthcoming). De-territorializing nature: an analysis of social and spatial
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video games, space, and ecology.
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Oddworld fan-culture. Works & days, capitalizing on play: politicized readings of the computer game
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Shields, R. (2003). The virtual. London: Routledge.
Stoppard, T. (reprint edition. 1991). Rosencrantz & Guildenstern are dead. London: Grove Press.
van Leeuwen, T. (1999). Speech, music, sound. London: St. Martin’s Press.
Vogler, C. (1992). The writer’s journey: mythic structure for storytellers and screenwriters. Studio City,
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Julian Kücklich

Set Deusex.JCDentonMale bCheatsenabled True:

Cheating as a way to enhance Player experience
in Deus ex

INTroDuCTIoN

e
verybody who plays video games knows how widespread the practice of
‘cheating’ is. You read about it in video game magazines, in fan forums,
and on websites like IGN or Moby Games. Game shops try to sell you
glossy game guides and dedicated cheating hardware along with the games.
You can’t even search for information on a game on Google without being
offered cheat codes, frequently even within the first ten hits. Despite the fact
that we don’t have any reliable statistical data about the prevalence of cheat-
ing, it seems obvious that cheating is an integral part of gaming culture.
We know, however, that the providers of online games spend considerable
amounts of money on the prevention of cheating. Quoting game designer
Ralph Koster, Katie Salen and Eric Zimmerman (2004) estimate that “track-
ing down cheaters and hackers can occupy approximately half of all the re-
sources spent on maintaining and improving an online game” (p. 280). And
we know that cheating generates enough revenue to make it a profitable busi-
ness for publishing houses like Brady Games and Prima. GameFAQs, one of
the most renowned cheating websites, is visited by “900,000 unique gamers
[…] each day”, according to its owner, CNET Networks (2006).
However, there is hardly any research on the practice of cheating in video
games,1 although even game researchers admit that they cheat when they are
playing for research purposes. A survey among game researchers that I con-
ducted in May 2006 found that 48 percent of the respondents consult game
guides or walkthroughs regularly, and only 33 percent never use cheat codes
to increase health or resources. Cheating seems to be one of those things that
everybody does, and nobody talks about. In this chapter I argue that we need
to start talking about cheating if we want to understand the range of experi-
ences that video games have to offer.
At this point it should be pointed out that this chapter emerges out of a
larger body of work, which studies cheating from a theoretical point of view.
1 It should be pointed out that this has begun to change, primarily because of Mia Consalvo’s work on
cheating (see Consalvo, 2005a, 2005b, 2007).
124 Kücklich

The perspective I assume therein is that of a critical observer of the school of

game studies which has become known as ludology (see Aarseth et al., 2003;
Frasca, 2003; Juul, 2005), and which assumes the primacy of rules over other
game elements, leading to a formal approach to the analysis of games. By con-
trast, my own approach could be described as deludological, i.e. an approach
that assumes that breaking the rules is primary, while the rules themselves are
secondary – as paradoxical as this may sound. I think this perspective is a nec-
essary complement to that of ludology, and this is the reason that I emphasise
the breakability of rules throughout this chapter.
The practice of cheating in single-player games is especially interesting in
this context, because it allows us to study the practice of ‘manipulative play’
outside of the moral context that the term ‘cheating’ suggests. Instead, it ena-
bles us to approach cheating as an aesthetic phenomenon. Rune Klevjer has
pointed out that “the gaming experience […] characteristically is an aesthetics
of control.” An aesthetics of digital games must therefore take into account
the ‘illegal’ modes of enhancing or diminishing the player’s control. Similar
to the way video recorders have changed the experience of watching films by
giving the viewer more control over the viewing process, cheats can radically
alter the experience of playing a game.
Part of the problem in talking about the practice of cheating is that we
do not have a terminology for the various practices of cheating yet. It isn’t
even entirely clear what should be considered cheating, and what is simply
an extension of gameplay. Consider walkthroughs, which supply players with
step-by-step instructions on how to progress in a game. A typical walkthrough
may tell a player how to solve a puzzle, how to defeat a ‘boss’, or how to find
her way through a maze. Clearly, this gives the player an advantage that play-
ers without access to a walkthrough don’t have.
In this chapter I will use an extensive definition of cheating for heuristic
purposes, i.e. a definition which includes all the practices which are consid-
ered cheating by players themselves, although of course not by all players. This
definition includes walkthroughs, game guides, FAQs, cheat codes, as well as
hardware- and software-based cheating devices. In other words, I am includ-
ing everything that the most orthodox group of players defines as cheating, as
described in Jeff Yan and Brian Randell’s (2005) attempt to devise a classifica-
tion system for cheats (also see Consalvo, 2005a).
In the popular discourse about cheating, those that do not condone these
practices often make reference to the game designer’s intention. A case in
point is an article by Jeremiah Kaufman (2000) on adventurecollective.com, in
which he asserts that “the creators of the game [Maniac Mansion] have put a
lot of time and effort into the puzzles and want people to enjoy discovering
the solutions, not race through the creation with a hint book in left hand and
a mouse in the right hand (or vice versa).” It would be easy to dismiss this as
a case of falling prey to the Intentional Fallacy (Wimsatt & Beardsley, 1946),
but Kaufman actually makes an important point by raising the issue of replay-
ability. As he points out:
 Cheating as a way to enhance Player experience in Deus ex 125

Adventure games are a special breed of game, in that figuring them out is
most of the fun. In a game of another genre such as Quake, for example, a
person can easily cheat to see the end, but afterwards that person can play the
game from beginning to end without cheating, accepting the challenge that
the game creates. That, however, is impossible with an adventure game. Once
the only puzzles which belong to an adventure game are part of your physical
memory there is no way to forget them. In other words, the game is ruined
beyond repair.

Hence, one of the first differentiations we have to make when we talk about
cheating is between different kinds of obstacles that cheats can help the player
in overcoming. A puzzle that requires the player to combine certain items in
a particular way, a type common in adventure games such as Maniac Man-
sion (1987), is indeed ‘ruined’ once the player knows the solution. An action
game such as Quake (1996), on the other hand, will not cease to be challeng-
ing because the player uses a cheat code that makes her invincible or supplies
her with unlimited ammunition. This is because the ‘solution’ to the kind of
obstacles that a game like Quake confronts the player with, is not based on
knowledge but on skill.
Whether using walkthroughs is considered cheating or not may thus be de-
pendent on the game genre, and the intensity of use. Playing an adventure game
like Maniac Mansion ‘with a hint book in left hand and a mouse in the right
hand’ would entirely defeat the purpose of the game, and may be considered
a form of cheating. In action games such as Quake, the actual challenge lies in
overcoming the opponents the game pits against the player, so the use of a walk-
through may be considered legitimate. This attitude is summed up by South
African game blogger Rooi Willie (2006) when he writes: “there’s a time to use
cheats or walkthroughs, and a time not to” (also see Yan & Randell, 2005).
This draws attention to the fact that there are no hard and fast rules about
what constitutes cheating and what doesn’t. Rather, cheating is socially con-
structed in the discourses about games. This is also true for the academic
discourse about games. Consider the following statement by Espen Aarseth
(2003):

While it is understandable that academics with not too much time on their
hands find it difficult to spend the hundreds of hours necessary to master a
game, and therefore give in to the temptation to zip through a game [...] using
the walkthrough, or (even worse) using the no-clipping or god-mode cheats,
it is hard to imagine excellence of research arising from such practices. Where
is the respect for the game? And, more importantly, how is the flavor of the
game kept intact?

This moralistic statement betrays a naïve belief in the game designer as a ro-
mantic author with absolute control over her creation, which is remarkably
similar to the way the designer’s intention is used as a point of reference in the
popular discourse about games. Of course an important part of socialisation
126 Kücklich

through games consists of the inculcation of cultural values of fairness, and

for that reason nobody can be blamed for feeling that cheating is somehow
inherently wrong, even when it takes place largely outside the social arena, as
is the case with single-player games.
However, this attitude makes it hard to make sense of a fascinating aspect
of gaming culture, and it taints even practices that are called cheating but do
not actually tamper with the rules of games. For example, in Germany, graphic
depiction of violence is usually removed from foreign games prior to their
publication in order to appease the rating board, but the gore can be restored
by changing the game’s locale settings.2 In a similar way, many cheats for games
like Grand Theft Auto III (2001) simply modify certain parameters of the game
world, turning pedestrians into berserkers, or cars into flying machines.
In fact, cheats seem to have only one thing in common: they change the
way players experience the game. They do so either by literally changing the
look and feel of the game environment and the objects therein, or by increasing
the strength and abilities of the players’ avatars. A working definition of cheats
should therefore be based on their ability to change a player’s perception of the
game-world, rather than their manipulative or even destructive qualities. Such
a definition serves not only as a safeguard for a value-neutral assessment of the
subject at hand, but also enables us to distinguish different types of cheats by
the ways in which they change the players’ experience of the game.
In the following section I will use the example of Deus Ex (2001) to dem-
onstrate the many different ways in which cheats can change the experience
of playing video games. In doing so, I will build on a classification of cheats
I have developed elsewhere (Kücklich, 2008), and suggest new ways of ap-
proaching cheats theoretically. In the process, I will make use of terminology
borrowed from semiotics, systems theory, and literary theory. This transdisci-
plinary approach will enable us to gain a better understanding of the complex
phenomenon that is cheating in single-player games.

CheaTING IN DeuS ex
Deus Ex provides a good example for an inquiry into the nature of cheating in
video games because it spans a number of genres and playing styles. Visually,
the game is a first-person shooter like Quake or Halo (2001), and this also in-
forms large parts of the game play. During play, the protagonist, JC Denton,
is repeatedly thrown into situations where he must defend himself against at-
tackers, and often the easiest way of doing so is by eliminating them. However,
the game usually offers an alternative to the use of brute force, and this often
takes the form of using stealth to avoid opponents, similar to the way stealth is
used as a game mechanic in games like Thief (1998) or Splinter Cell (2003).
Additionally, the game incorporates elements of adventure and role-play-
ing games. Similar to adventure games such as Maniac Mansion, the game
requires the player to solve puzzles from time to time, although they are usu-
ally not as hard as those found in actual adventure games. The game also
2 In the jargon of German gamers this is referred to as a ‘blood cheat’.
 Cheating as a way to enhance Player experience in Deus ex 127

borrows elements from role-playing games like Baldur’s Gate (1998), allowing
the player to customize the protagonist to a certain degree, and to upgrade his
abilities at regular intervals. Importantly, the game also requires the player to
use the resources supplied by the game – money, health, and bio-power – in
an economic fashion, a feature often found in strategy games.
It is also worth pointing out that Deus Ex has been published both for
the PC and for the Sony PlayStation 2. The latter version, which is often re-
ferred to as Deus Ex: The Conspiracy (the title of the American re-issue) differs
substantially from the PC version, in terms of interface design, map size and
graphics. Importantly, the two versions also differ considerably in terms of
the type and variety of cheats available. Since consoles are essentially a ‘closed’
technology, and do not allow players to tamper with game files directly, the
number of cheats for console games is usually much smaller. This is also the
case in Deus Ex. The mode of input for cheat codes is also remarkably different
in the two versions. While the PC version relies on the standard input mode
of a command line interface, the PlayStation 2 version requires the player to
push buttons in a specific sequence to activate a cheat menu that allows the
player to choose attributes such as ‘full health’, ‘full energy’ or full ammo’.

Generic Cheats
Genre is one of the categories by which we can differentiate cheats, thus the
generic heterogeneity of Deus Ex should be reflected in the cheats available
for the game. As I have pointed out elsewhere (Kücklich, 2001), computer
game genres can be mapped onto a triangular matrix, according to their spe-
cific levels of narrativity, interactivity, and openness. In this model, the term
interactivity refers to the frequency of the players’ physical interaction with
the game, while openness refers to the range of actions the players can choose
from. Thus, a fast-paced action game like Quake scores high on interactivity,
but has a comparatively low level of openness. This model can serve here as an
auxiliary theoretical construction which enables us to discuss game genres in
rather simple terms.
Fast-paced action games, including arcade games, first-person shooters,
beat-’em-ups and sports simulation games typically have a high level of inter-
activity, but score rather low on narrativity and openness. ‘Action adventures’
such as Tomb Raider (1996) usually oscillate between fast-paced action se-
quences, exploration, and non-interactive cut-scenes responsible for narrative
progression. Typical cheats for action games increase the games’ interactivity
by making the players’ avatars invulnerable, supplying them with an infinite
amount of ammunition, or giving them access to all the available weapons.
In Deus Ex, all of these cheats are present. The game features a ‘god mode’,
a standard feature of many first-person shooters that makes the avatar invulner-
able to enemy attacks. This cheat has been a staple of the genre since the early
1990s, when it was implemented in the games of id Software such as Doom
(1993) and Quake. Typically it is activated by typing ‘god’ or ‘iamgod’ into the
console, a command line interface that is either part of the standard interface,
12 Kücklich

or must be activated by unlocking the game’s cheat mode. In Deus Ex, this is
achieved by pressing ‘T’ (for ‘talk’) during the game, and typing the following:

Set DeusEx.JCDentonMale bCheatsEnabled True

There are some cheats that can be used without activating the cheat mode, a
feature that is called, somewhat paradoxically, “non-cheat console cheats” on
GameFAQs, but the large majority of cheats need to have the cheat mode ena-
bled. It is important to note that both cheat consoles and specific cheat codes
are generic features of first-person shooters, and are to a certain degree, part of
the genre’s definition. It would definitely raise eyebrows among gamers if cheat
consoles, and god mode cheats were to be discontinued. For Deus Ex, this also
allows the game to establish its lineage, as the conventional activation of god
mode by typing ‘god’ into the console links the game to its predecessors.
The standard ammunition and weapon cheats are also present. Typing ‘al-
lammo’ into the console refills the player’s ammunition supply. Any weapon,
ammunition type, or item can also be created in any desired quantity by using
the ‘summon’ or ‘spawnmass’ commands. For example, typing ‘spawnmass
WeaponAssaultGun 99’ creates 99 assault rifles. It is also possible to instantly
refill JC Denton’s health meter by typing ‘allhealth’. Combined, these cheats
enable the player to defeat any opponent in the game.
Other classic cheats in Deus Ex, which are commonly found in first-person
shooters, include invisibility, fly mode, and ‘no-clipping’ mode, which enables
the avatar to walk through walls. Since action games typically require their
players to perform rather repetitive tasks, much effort is spent on designing
attractive settings (arenas, dungeons, racing courses, etc.) for the actual game-
play. Often, these settings must be ‘unlocked’ by winning a predetermined
number of matches or performing a similar feat. Cheats offer a convenient
way to circumvent these arbitrary restrictions.
The next set of cheats is borrowed from role-playing games. Role-playing
games combine a comparatively high level of openness with narrative progres-
sion. If we regard action, adventure and simulation games as genre prototypes,
role-playing games and strategy games can be seen as hybrid genres. Therefore,
the types of cheats that can be found in these game genres are often a mixture
of the cheats found in genre prototypes. Role-playing game cheats, for exam-
ple, often give the players access to magical items, or allow them to increase
their characters’ stats, in addition to walkthroughs and maps that allow for
accelerated narrative progression.
As we have already seen that any item can be created in Deus Ex by using
‘spawnmass’, it is no longer necessary to dwell on the availability of ‘magical’
items. Since the game is not set in a fantasy world, but in a sci-fi setting, there
is no magic per se, but JC Denton is frequently given so-called ‘bio-mods’
which can be integrated in the avatar’s to, due to his cyborg nature. Bio-mods
give the avatar ‘magical’ powers, such as invisibility, the ability to breathe un-
der water, etc., and the canisters containing the mods can be created just like
any other item in the game.
 Cheating as a way to enhance Player experience in Deus ex 129

Similar to the ‘allhealth’ and ‘allenergy’ commands, there is also an ‘allskill-

points’ command, which allows the player to boost JC’s skills to the maxi-
mum, removing the need to pursue the character’s development further. This
is comparable to typical role-playing game cheats such as ‘setlevel’ in The Elder
Scrolls III: Morrowind (2002), which enables the player to set the level of a
character. The rather small number of cheats to do with the role-playing ele-
ments of the game corresponds to the relative insignificance of these gameplay
elements in Deus Ex.
In adventure games such as Monkey Island (1990), the level of narrativity
is significantly higher than in other types of games, while the levels of inter-
activity and openness are comparatively low. Therefore, most adventure game
cheats serve to remove ‘narrative obstacles’, either by ‘foretelling’ the game’s
story (walkthroughs), or by offering instant access to higher levels. Interest-
ingly, ‘novelizations’ of adventure games such as Chris Ratcliff’s Sam and Max
Hit the Road (1993) can serve as cheating devices, but may have aesthetic
value independent of the games themselves.
Deus Ex has inspired a number of fans to write walkthroughs for the game,
but walkthroughs differ considerably from genre to genre. The fact that Deus
Ex is inspired to a certain extent by adventure games is mirrored in the fact
that the FAQs for the game often include detailed instructions for solving
the game’s puzzles. It is taken for granted that the player will possess at least a
basic level of first-person shooter skills, which will allow her to deal with the
game’s opponents, although occasionally a walkthrough will contain warnings
like the following: “Be careful; these guys have machine guns AND rockets
and strafe meaner than any Quake player I know” (Novakouski, 2002).
On the other hand, walkthroughs usually give detailed solutions for even
the simplest puzzles, presumably in an attempt to be as exhaustive as possible.
A good example is the following instruction from Novakouski’s walkthrough
for Deus Ex: “On the wall to your right (in the water) is a door that when
opened reveals a valve that will turn off the steam ahead to your right.” It is
hardly conceivable that a player that enjoys games like Deus Ex will not check
the water for hidden doors or objects, but the economy of cheating that walk-
throughs are part of dictates that even the minutest details are included.
It is worth noting that the authors of walkthroughs operate within a kind
of gift economy, in which the relative value of their products is determined
by user votes or a similar system of evaluation. The authors usually do not
receive financial remuneration (although websites like mogelpower.de have
begun to offer monetary rewards for cheats and walkthroughs), but the gain in
symbolic capital achieved by creating a popular walkthrough is considerable.
Walkthroughs are usually very austere, created with only ASCII characters
and no text formatting or images. The only way of embellishing these docu-
ments is therefore to add as much detail about the games as possible, in order
to make them stand out.
While this general overview of genre-specific cheats is necessarily an over-
simplification, and does not take into account differences within genres, it
draws attention to the fact that each genre has a set of prototypical cheats
130 Kücklich

which are to some degree expected by the game community. In other words,
far from contributing to the ‘corruption’ of games, cheats are part of the defi-
nition of game genres. This holds especially true for highly formalized genres
such as the first-person shooter, in which a game can be regarded incomplete
if it does not feature a certain set of generic cheats such as those for invul-
nerability or teleportation. As game producer Gordon Walton points out in
regard to The Sims Online: “If you leave a cheat long enough, it becomes part
of the culture of the game” (quoted in Wayner).

Non-Generic Cheats
In addition to the cheats already mentioned, there are a number of cheats for
Deus Ex that cannot be classified by genre. This is significant insofar as we can
understand games, with their strong generic conventions, as composed of a
basic structure of genre characteristics, which is complemented by a number
of traits that are individual, and make the game stand out in comparison to
other games. This can also be understood as a reflection of the way games are
produced and distributed.
As Kline et al. (2003) point out, games are a high-risk product, and ge-
neric formulae can be regarded as a way to control risk, insofar as it is often
assumed that consumers will rather stick to the ‘tried and true’ than to buy an
innovative but potentially flawed product. Nevertheless, developers and pub-
lishers will have to make sure that the game has a unique selling point (USP)
that makes it easy for customers to differentiate the game from competitors’
products. All of this is achieved by producing games that are generically con-
servative, but innovative in the way they handle elements such as graphics or
sound. This ‘80-20 rule’ seems to be reflected in a game’s cheats as well.

Self-referentiality
One interesting way how cheats can transcend generic conventions is self-ref-
erentiality. From the list of cheats for Deus Ex, one stands out specifically in
this respect: by typing ‘iamwarren’, the player can activate an electro-magnetic
pulse (EMP) field that will deactivate enemy robots trying to attack to the
player’s avatar. The way this cheat is activated is significant insofar as Warren
is the first name of one of the lead designers of Deus Ex, Warren Spector.
The cheat thus functions as a way of establishing auctorial authority, but at
the same time it is a complex signifier of self-aggrandization and self-mockery.
Clearly, ‘iamwarren’ echoes ‘iamgod’, one of the traditional formulas for in-
voking the god mode in first-person shooter games, and this is consistent with
Spector’s power over the world of Deus Ex.3 At the same time, this power is
put under erasure by the very cheat with which it is evoked, because it makes

3 This conjecture is not as far-fetched as it may sound. A hidden “Behind the Curtains” menu in Deus
Ex allows the player to read quotes from team members, which were collected during the production
of the game. A quote ascribed to Warren [Spector] reads: “Poof! I am God.”
 Cheating as a way to enhance Player experience in Deus ex 131

obvious that anyone can assume this power, by assuming the name of the
game’s creator.
This seems especially apposite in the case of Deus Ex, because Spector has
repeatedly expressed his delight that players have found ways of playing the
game in ways which were not intended by its designers. One oft-cited example
of this kind of emergent gameplay is ‘proximity mine climbing’, an in-game
practice that allows the avatar to scale walls by attaching a proximity mine to
it, and jumping on top of it, and repeating this process until e has reached the
top (see Salen & Zimmerman, 2004).
While this way of playing the game allowed players to shortcut through
carefully designed maps, it also is an indicator of player creativity that asserts
itself even in games that are extensively playtested to prevent such occurrences
from happening. This kind of creativity challenges the control the designers
exert over the game, and can be seen as a way for players to assume their share
of auctorial control (see Humphreys, 2005).

Cheats and exploits

Proximity mine climbing supplies an interesting borderline example for what
constitutes cheating and what does not. On the one hand, one could argue that
this practice is not cheating because it does not break the rules of the game. In
fact, proximity mine climbing is only possible because the rules of the game
explicitly define these mines as objects that a game character can stand on top
of. On the other hand, the practice allows players to bypass substantial parts of
the game, and could therefore be seen as not in accordance with the rules.
Theoretically, it should be possible to decide whether proximity mine
climbing constitutes cheating by using the differentiation between opera-
tional, constitutive, and implicit rules which Salen and Zimmerman (2004)
suggest, but the practice seems to cut across these categories. Proximity mine
climbing is at once a breach of the game’s constitutive rules, which make cer-
tain behaviours possible and others impossible, and a breach of its operational
rules, insofar as there is no indication that taking shortcuts is a legitimate
strategy in Deus Ex. However, the implicit rules of first-person shooters, as can
be gleaned from player discussion boards and similar forums, tend to regard
such practices as legitimate, as the following post from a discussion of a simi-
lar practice on PlanetDeusEx shows:

I don’t see exploiting querks [sic] in the game as cheating since anyone can do
it without having to make any changes to the game. If the ability is there, but
not intended by the dev[eloper]s, and anyone can do it once they find out, is it
cheating? Exploiting maybe, but not cheating. (Lo Vaquero, 2004)

The distinction between cheats and so-called ‘exploits’ is often found in the
popular discourse about games. Exploits are usually defined as bugs or loop-
holes in the game design that players can use to their advantage. Wright et
al. describe one such exploit in the game Counter-Strike (Lê et al., 2000) that
132 Kücklich

allows ‘dead’ team-members to communicate with the living: “[A] fellow

CT [counter-terrorist] member who is ‘dead’ [...] uses the vote command to
place the following vote, ‘vote Tom Tunnel.’ The server issues an automatic
response, ‘Sorry, DeadEar, Tom Tunnel was not found on this server’” (Wright
et al., 2002). In this example, ‘Tom Tunnel’ is a coded message by which a
remaining team-member is advised about the way to approach the adversary
team. This behaviour is subsumed under the heading of ‘creative player ac-
tions’ along with game features such as game talk, map creation and ‘sprays’.

Meta-gaming
But outright cheating can also be creative. In Deus Ex, players are given the
opportunity to assume authorial control to a much greater extent than sug-
gested by the example of the ‘iamwarren’ cheat. Typing ‘legend’ into the console
brings up an entire menu of options for players to experiment with. This menu
includes an option to load a map, enabling the player to move around freely
in the world of Deus Ex without using the cumbersome ‘open <level name>’
cheat, a ‘jukebox’ that plays the music from all the Deus Ex levels, and a number
of debugging features such as ‘Add/View Dump’ and ‘Invoke/Show Class’.
The “Behind the Curtains” menu also contains the “Edit Flags” command,
which allows players to tamper with the game state by changing the value of
certain parameters. This feature has inspired a sort of meta-game, the goal of
which is to find out whether the game’s storyline can be altered by killing (or
resurrecting) certain key characters. A thread on the Through the Looking Glass
forum begins by describing how a character that was assumed to be invincible
can be killed early on in the game:

On the training mission, at the last section where you have to cross the canal. If
you put on cheas [sic] you can walk into the control room with Jaime and Bob
Page. Once in this room you can freely Kill Bob Page, But not Jaimie [sic]. Us-
ing the Legend cheat shows a flag appear named something like BobPage_dead
set to true. (SJamieson, 2002)

A user identified by the handle ‘ferret’ (2002) than takes up the challenge, and
describes his efforts to systematically remove a number of key characters. After
killing off Sam Carter, Jaime Reyes, Paul Denton, and Joseph Manderley in
the first mission, he concludes that “it’s now impossible to finish this mission
without summoning […] new characters.” Therefore he uses a cheat to go to
the next level, and is surprised to “see Anna running towards you for a fraction
of a second [sic], until the game realises she’s dead.”
After a while, this leads to such grave errors in the internal game logic, that
the game crashes, and the experiment is aborted. One could conclude that the
meta-game is a failure, especially since the story up to that point progresses
entirely the same way as it does normally, except for the absence of the charac-
ters that have been killed. However, this conclusion would disregard the pleas-
ure that the contributors to the “Killing Bob Page” thread experienced while
 Cheating as a way to enhance Player experience in Deus ex 133

playing Deus Ex in this highly unorthodox way, which is repeatedly signalled

by comments such as ‘interesting’ or ‘intriguing’ in regard to ferret’s findings.

Intertextuality
As Vitas (2001) points out, Deus Ex is a game that is full of intertextual refer-
ences. As he explains, “the use of an ‘ICE-breaker’ is more than a nod in the
direction of Gibson’s Neuromancer; the mention of a lunar mass-driver accident
sounds like something out of Robert Heinlein’s The Moon Is a Harsh Mistress; the
presence of a character named Morpheus […] seems to suggest the Wachowski
brothers’ Matrix; and finally, there are also some mysterious men in black who
look and behave, well, like Men in Black” (p. 186). And he does not even men-
tion the allusions to canonical texts ranging from the Icarus myth to the Bible,
and from Sun Tzu’s Art of War to Thomas Aquinas’ Summa Theologica.
The intertextual dimension of Deus Ex is also reflected in the cheats available
for the game. We have already mentioned the generic cheats that evoke other
game texts like Doom and Quake, but these are merely weak allusions. A more
concrete example for an intertextual cheat is the ‘Matrix’ cheat, which is acti-
vated by going to the credits screen, and typing ‘thereisnospoon’. This resultss
in a radically different visual experience, since all the textures in the game are
replaced by glowing green characters scrolling in front of a black background, a
style strongly associated with the visual style of the Matrix film trilogy.
Again, the way the cheat is activated is significant. First of all, the words
“there is no spoon” refer to the dialogue between Matrix protagonist Neo with
a boy that he meets in the apartment of the nameless Oracle (Gloria Foster).
“There is no spoon” has since become a sort of clichéd shorthand for pop Bud-
dhism on the internet and elsewhere, and is often used to suggest that physical
reality is merely a reflection of the mind. It is also significant that the cheat is
activated by typing ‘blindly’ with only auditory cues as to the efficacy of one’s
actions, because it is reminiscent of the way hackers are revered as almost
mythical figures with magic powers in both The Matrix and Deus Ex.
A similarly complex intertextual network is evoked by the ‘tantalus’ cheat,
which enables the player to instantly kill any character or monster that is
targeted by her avatar. The name of this cheat ostensibly refers to the Tantalus
myth, which is an association that is not entirely out of place, considering that
the Tantalus myth is often regarded as a variant of the Prometheus myth, and
Deus Ex has a strong Promethean subtext. However, the actual reference seems
to be to the Star Trek episode “Mirror, Mirror” (1967), in which a ‘Tantalus
field’ is used “to monitor and eliminate enemies from existence with the touch
of a button” (“Tantalus field”, 2006).

Codes of technicity
Another category of cheats warrants our attention because it refers directly
to the materiality of the computer, and thus foregrounds the machine-ness
of computer game play. Deus Ex can be regarded as a game that self-reflex-
134 Kücklich

ively exhibits the way it entrains the user in a process of “becoming-machine”

(Deleuze & Guattari, 2004) by a number of intra- and extratextual devices,
such as the use of the central metaphor of the cyborg. While Deus Ex is not
the first game to feature a cyborg protagonist, it is certainly a game in which
the cyborg identity of the central character plays a much more important role
than it does in most other games. The cyborg metaphor also explains why JC
is able to use the bio-modifications he picks up along his way through the
game world to change certain aspects of his physique.
The cyborg identity of the protagonist also functions as a marker of the
user’s technicity. As Dovey and Kennedy (2006) point out, the “connection
between human subjectivity and our use of technology has come into even
sharper focus as the machinery of computing has been woven ever more
closely into the fabric of our everyday lives” (pp. 15-16). Their definition of
technicity builds on Tomas’ (2000) definition of the term as “the social regen-
eration of ethnic identity under the influence of cyborg-governed processes
of technological differentiation in marginal late-capitalist creolized technocul-
tures” (pp. 175-176, emphasis in original).
While Tomas is primarily concerned with the dystopian future depicted in
William Gibson’s Sprawl trilogy, Dovey and Kennedy (2006) maintain that “this
notion of technical virtuosity, of a particular easy adoption of and facility with
technology, is a fundamental aspect of the contemporary ideal subject within
the technosphere.” But technicity is more than just a facility with technology,
it is a concept that encapsulates “the connections between an identity based
on certain types of attitude, practices, preferences […] and the importance of
technology as a critical aspect of the construction of that identity” (p. 17).
Deus Ex foregrounds this facility with and dependency on technology, for
example by enveloping the user in the double economy of ‘health’ and ‘bio-
power’ but also by making the bio-modifications a central gameplay element.
In regard to the plot the question to what extent identity is determined by
technology is also central, as it emerges that the protagonist is an experimental
prototype of a biotech-augmented human created by the secret US govern-
ment agency Majestic 12. Crucially, this is also reflected in the kinds of cheats
that are available for the game.
The player can accelerate the process of cyborgisation by using the ‘allaugs’
cheat, and as already mentioned he can gain possession of an augmentation
not available through regular gameplay, the Tantalus device. More important-
ly, however, there are cheats that allow the player to exert control over the way
she relates to the technological apparatus of the game by changing the way
the avatar relates to his virtual environment. Most significantly, the ‘fly’ and
‘ghost’ cheats remove arbitrary restrictions to the movement of the avatar.
While this is similar to the way that ‘proximity mine climbing’ allows player
to shortcut through a level, these cheats have the added advantage of exposing
the way the technology of the game.
The ‘fly’ cheat removes the condition that the avatar can only travel upwards
if he is using mechanical means such as stairs, an elevator or a helicopter, while
the ‘ghost’ cheat turns off the process called ‘clipping’, which determines wheth-
 Cheating as a way to enhance Player experience in Deus ex 135

er an object in the game world is visible (and accessible) to the viewer. Turning
‘clipping’ off thus renders walls permeable. This might seem trivial since to an
outside observer it may appear obvious that these restrictions are not ‘natural’
but simply arbitrary conventions imposed on the game world by its designers.
However, employing the ‘fly’ or ‘ghost’ cheat after having played the game for a
while is a truly eye-opening experience due to the fact that the artificial ‘gravity’
and ‘boundedness’ of the game world becomes naturalised during gameplay.
Only when the avatar floats over the game world does it become clear that
the architecture of the game functions as a means of control to which the
player submits, albeit joyfully. The freedom of choice Deus Ex offers is one
of the main reasons why the game is so highly regarded by critics and players
alike, but at the same time it is important to keep in mind that this expansion
of the possibility space of the game is, as Slocombe (2005) argues, “fundamen-
tally an illusion of choice.” As he points out in regard to the Deus Ex sequel
Invisible War (2003), “player interactions are […] determined be the ‘rules’ of
the game and are never truly interactive.” In other words: “Just as the player
plays the game, so too the game ‘plays’ the player” (p. 46).
This double structure of control (where the player controls the game, while
submitting to its control at the same time) is exactly what is revealed by these
cheats. Importantly, this allows us to see that the playability of the game is de-
pendent on this control structure as well. The extent of the player’s control over
the game when she uses these cheats is paramount to the control the game ex-
erts over the player, so the game ceases to be a structure for meaningful play.
Quite literally, using the ‘ghost’ cheat removes the solid ground from un-
der the avatar’s feet, by rendering every solid structure in the game permeable,
including the floor. This makes the experience of playing the game in this way
a quite unsettling experience, and the player is reminded how the “topological
constraints” (Aarseth, 1997) of gamespace are not just impeding the narrative
thrust but also provide a structure for the events within the game world.

DISCuSSIoN
As the analysis of the cheats available for Deus Ex shows, cheating can radically
alter the player’s experience of the game world. Cheats can sped up narrative
progression, change the perception of game space, and enhance the player’s
agency in the game world. One way of approaching cheats theoretically, then,
is to look systematically at the way they influence the experience of such basic
categories as time, space and subjectivity.
As Fuller and Jenkins (1995), as well as Lev Manovich (2001) point out,
narration becomes ‘spatialized’ in adventure games, i.e. narrative progression
is mapped onto the three-dimensional space of the game-world (see Kücklich,
2007a). From this point of view, speeding up narrative progression can be
regarded as a condensation of space. Therefore, certain types of cheats can be
understood as effecting a change in the way players perceive gamespace .
In regard to their potential to change the experience of space, it makes
sense to consider cheats in terms of means that can be used to overcome
136 Kücklich

the topological constraints of the game. After all, the pleasure of any game
depends on a balance between its rules and the freedom these rules leave the
player for unconstrained interaction. From the player’s perspective, playing
can be regarded as a dynamic process that oscillates between a maximum and
a minimum level of constraint.
Once the game process goes beyond either one of these thresholds, it de-
teriorates into a state of over-codification or a state of contingency, both of
which leave the player at a loss for what to do. ‘Being stuck’ in an adventure
game can be regarded as an instance of over-codification, since there are more
conditions for narrative progression than the player is able to meet. Cheats
can solve this dilemma by decreasing the perceived level of constraint in the
game, thus setting the playing process in motion again.
Another type of cheats changes the players’ perception of game-time. In-
deed, the continuous interaction (without the avatar’s intermittent ‘death’ and
‘respawnment’) made possible by the ‘god mode’ of many first-person shoot-
ers is bound to change the perception of time radically – from striated time to
smooth time, to borrow a spatial metaphor. Since time is such a crucial factor
in most action games, the cheats found in this genre are essentially time-sav-
ers: For example, cheats that unlock the different areas in which the game’s ac-
tion takes place have a similar effect of reducing the time that would otherwise
be spent playing towards this goal.
Cheats that increase the range of options available to the player can be said
to change her perception of the relation between the subject and object of
play. As Donald Winnicott (1965) has pointed out, children learn to differen-
tiate between their selves and the outside world through transitional objects,
which are often toys. In digital games, players have the unique opportunity to
reset the parameters of that rather stable sense of agency that has been devel-
oped by the end of childhood, and cheats that allow them to change the level
of openness enhance these possibilities of experimentation even further.
This last point warrants some elaboration. The discussion of ‘identification’
in video games has often revolved around the impossibility of ‘fleshing out’
player characters, because this seems to make them less suitable as a conduit
of the player’s agency. The most successful video game characters seem to be
those that do not have much of a personality, such as the nameless protagonist
of Doom, who merely functions as a ‘placeholder’ for the player in the game
world. Deus Ex is particularly interesting in this respect, because it offers the
player different ways of playing JC, covering the entire spectrum from gung-
ho warrior to cautious assassin.
This may increase the sense of agency that the player has in regard to the
game world, but as we have already seen, much of this freedom is an illusion
that the game creates by presenting the player with a range of options which ap-
pear to correspond to meaningful choices. But as the futile attempts to change
the plot of Deus Ex described by participants in the Through the Looking Glass
forum demonstrate, the plot of the game cannot be changed even when key
characters in the game are removed. The subjectivity of the player can thus be
seen to derive from her subjection to the control of the game.
 Cheating as a way to enhance Player experience in Deus ex 137

Control thus emerges as a central concept in the theorisation of cheats.

If we regard video games as governed by an ‘aesthetics of control’, cheats are
not only a means to influence the equilibrium of control between game and
player, but also a way of studying how different control mechanisms interact
with each other. Cheating is thus not only a worthy object of study, but also a
method of studying games (Kücklich, 2007b). It is a practice that allows us to
upset the balance of control that makes games playable, and learn more about
the internal mechanisms of games.
However, our discussion of the cheats available for Deus Ex has also drawn
attention to the fact that even cheating in single-player games is not entirely
removed from the social, political and economic contexts in which gaming
takes place. On the contrary: cheating highlights the way auctorial control is
simultaneously asserted and subverted in games; it draws attention to the way
game rules are socially constructed rather than being built into games; and it
points towards the political implications of gameplay by demonstrating how
ideology becomes enmeshed into gamespace.

CoNCluSIoN
This overview of the cheats available for Deus Ex suggests that cheating al-
lows the players to engage playfully with the control mechanisms they are
subjected to. While it is undeniable that part of the pleasure of playing video
games stems from submitting to their control, while at the same time exerting
control over the game, this is also a powerful ideological apparatus that must
be approached critically. Therefore, cheating should not be treated as a shame-
ful practice unworthy of serious games research, but as a way of building up
critical media literacy.
This is, of course, also a political argument. As anybody who plays games is
aware, the public discourse about games is still informed by moral panics about
violent content, sexual and racial stereotyping, and a general focus on the ‘ef-
fects’ of games, rather than the way gamers engage with them. While much
cheating is certainly unreflected, and serves only to play games more effectively,
thus in effect reinforcing their ideological messages, we have also seen examples
of how cheating can be used to engage with games in a more critical fashion.
The theoretical importance of cheating thus can be seen to reside in the
fact that it allows us to approach games in a way that avoids both the glorifica-
tion and the demonisation of games by emphasising the different ways they
can be played. An ideologically dubious game such as America’s Army (2002)
can be played in a way that foregrounds the inner contradictions of its ideol-
ogy, and thus become the catalyst for critical thinking. But even a game like
Deus Ex, which arguably encourages a critical engagement with the text, and
avoids reductive us-vs.-them scenarios, can be played in a way that disregards
these distinctions, and simply reinforces a certain world-view.
An approach that takes the possibilities of ‘illegal’ manipulation of the
game into account is therefore not only able to regard games in terms of their
cultural, social and political embeddedness, but also in terms of their mutabil-
13 Kücklich

ity. Just as cheating can be seen to de-centre the text of video games, an aware-
ness of this mutability appears to foreground the fluidity of games, and the
subject positions that they offer to players. This is perhaps the most significant
way in which cheats can alter the experience of playing a game.
But that doesn’t mean that the other ways in which cheating can change
our perception of game space, game time, and our own agency in the game
world are not important. The various ways in which the player is able to en-
gage with the text through cheats all contribute to a deeper understanding of
how video games work, and why they remain a source of fascination, even
when their secrets have been exposed. Thus, cheating can be seen as a way of
extending gameplay to another level.

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Thomas Duus henriksen

extending experiences of learning Games: or

why learning Games Should Be neither fun,
educational nor realistic

w
hen extending the experiences of games, it is interesting to consider
how games can be deployed in order to extend an experience, not
towards making the game-experience more intensive, but to extend
it into the lived lives of the players. Although such purpose would resemble
that of a learning game, it is questionable if such an effect can be realised on
basis of those assumptions and understandings that currently are constitutive
to how we approach and think of learning games. In this chapter, I’m address-
ing how such understandings and assumptions, which draw upon inherited
knowledge and techniques from disciplines like game-design and educational
theory, affect how learning games currently are being understood, deployed
and developed. Such heritages are especially visible when it comes to deter-
mining what is to be considered a good learning game.
The purpose of this chapter is to provide a view on how different under-
standings of learning games provide different opportunities for deploying and
developing such games. In doing so, the currently accepted understanding of
learning games as being an educational experience that makes it fun to explore
a realistic1 representation of a phenomenon is addressed in respect to how and
what effects it has to the area. Through this approach, the questions of par-
ticipatory incentives, learning and validity in learning games are readdressed
through the investigation of what effect alternative approaches might have in
respect to the deployment and development of learning games.
While asking the question on what effect these currently dominating un-
derstandings have on the learning process, as well as to the effect of their
alternatives, the chapter seeks to address how readdresment might provide
new means for innovating learning games. In order to address such a question,
the chapter sets out to present how current approaches have a limiting effect
to the development and deployment of learning games, as well as to present
a framework for understanding of learning games that incorporates the cur-
rent as one among several possible approaches. In this chapter, the interactive
constitution between the phenomenon of learning games and the understand-
ing of learning games is addressed through the use of discourse analysis. The
purpose of this approach is to address how understanding and phenomenon
are mutually constitutive (see Henriksen, 2007a), and that these constitutions
 extending experiences of learning Games 141

are contingent, and therefore are subject to change. The purpose of using dis-
course analysis is to explicit that the analysis makes a specific, analytical cut,
which constitutes the investigated phenomenon in a particular manner. The
purpose is not to attempt to formulate an all-encompassing understanding
of learning games, but to provide a view on the effects of a particular under-
standing of learning games, as well as providing an optic on how the mobilisa-
tion of alternative constitutions would affect the area.
While addressing the three answers; by making learning games fun, by mak-
ing them educative through the exploration of an academically enriched content,
and as realistic representations on an issue, which are the commonly accepted
answers on how to provide participational incentive in learning games, how to
embed learning processes, and how to understand the game-provided knowledge
and insights, a framework is needed for addressing those lines of thinking that
provide these questions with answers. When mobilising discourse as an ana-
lytical strategy, the answers fun, educational, and realistic can in the in terms
of Laclau and Mouffe (1985) be framed as discourses, occupying the nodal
points of participatory incentive, learning and validity. In the occupation of a
nodal, a discourse has conquered the privilege to dominate the understanding
the issue or question of that nodal.
The reason for addressing the nodal points in this analysis, is that they are
discursive battlegrounds due to their ability to affect the questions and issues
proposed by the surrounding elements. As a discourse occupies a certain nod-
al point, its understandings, meanings and values are imposed to the issues of
the surrounding elements. If, for instance, a nodal on game-experience within
game-design was to be occupied by a discourse stating that games should the
player a sensation of realism, the presentational nodal within gaming would be
occupied with a ‘sensation of realism‘ discourse, which would effect the sur-
rounding elements of graphics, sound, game-play, etc. in terms of reflecting the
occupying discourse. In effect, the discourse provides a specific understanding
on an issue, rendering alternatives as invalid, thereby closing the issue; anyone
saying something different than the currently reigning discourse is (accord-
ing to the discourse) wrong. The reason for addressing the three discourses
concerning fun, educational and realism is that they are deployed in a very
powerful manner when challenged, indicating that they are deeply rooted, as
well as being very influential in respect to the overall understanding, deploy-
ment and development of learning games.
Discourses are deployed by enacting them in respect to a problem or phe-
nomenon, allowing the discourse to imbue it with a certain meaning. The
deployment of the fun-discourse could occur e.g. by making a learning game
fun. Another deployment can be seen through questions like “Should they
rather be boring?” which are commonly used to keep the current discourses in
office by framing the alternatives as absurd. Such defensive mobilisation has
the double effect of expressing the ideas of the discourse, while maintaining
its dominance through contrasting the alternatives. Such mobilisation is of
great analytical values, as it addresses the manifestation of discursive differ-
ences. Through his concept of ‘la différance”, Derrida (1976) observes how a
142 henriksen

discourse is manifested through the use of active exclusion, allowing analysis

to address how specific discourses are being excluded from being valid provid-
ers of meaning.
In this chapter, I try to ask such Derridan question on the effect of the
exclusion and the excluded, addressing those answers and perspectives that
are actively prevented from being meaningful on the issue. By addressing the
excluded, the perspective allows the discursive struggle to be unfolded, from
which the competing discourses to be explored. To do so, the analysis ad-
dresses the utterances or enactments that constitute the current discourses,
as well as to those which employs or expresses a different meaning than the
nodal-dominating discourse.
The scope of deploying such approach would not be to attempt to formu-
late an all-encompassing understanding of learning games; rather the objec-
tive would be to provide a view on the effects of particular understandings of
learning games, as well as providing a view on how the mobilisation of differ-
ent constitutions would have an effect. The analytical perspectives presented
above are therefore mobilised tools for analysing learning games, not as a tool
for providing an all-encompassing theory on the subject.

The eIS SIMulaTIoN

The impact of the conditioning of fun, educative and realism is empirically
investigated through two Nordic deployments of the EIS Simulation (EIS).
The EIS is a learning game on change management, which provides its par-
ticipants with the challenge of having to implement a new technology, an
executive information system, into a large European company. The aim is to
change the attitude of the top managers from being unaware of the system,
to become increasingly more interested, into finally adopting the system as
their own. The game lasts for 105-115 minutes and is played cooperatively in
groups of 4-5 participants. During the game, the participants receive step-by-
step feedback on their implementation efforts from a computer interface. One
such move could be to put an article in the company’s internal magazine, or
to have a face to face meeting with a director. On basis of the previous actions
taken and the current state of affairs in the company, the simulation provides
the participants with qualitative feedback along with a score. The feedback
is often surprising to the participants, pointing their attention towards fac-
tors and interplays in the implementation process that the participants were
unaware of or merely underestimated in respect to their impact on the change
process.
The game is deployed in order to provide the participants with a hands-on
experience on the difficulties and opportunities in change-implementation,
and is currently being used world wide as an educational tool for teaching
change management at master-level, as well as for supplementary purposes.
Besides the Anglo-Saxon version used in the two deployments, the game can
provide scenarios for e.g. family companies or Chinese organisations. For the
sake of the participants, the specifics on names, places and companies have
 extending experiences of learning Games 143

been anonymised. This chapter draws upon experiences from two deploy-
ments; the XX, which included participants from several different organisa-
tions, and the YY, which ran as an internal event in a large Nordic coopera-
tion.

aDDreSSING The NoDalS

Throughout the following section, I will explore experiences from the EIS
in respect to the constitution of meaning and the mobilisation of fun, edu-
cational and realistic, as well as to how experiences from the EIS are able to
provide a view on how learning games can be understood differently. While
looking into the discursive field of the EIS, understandings that have not been
able to dominate the understanding of learning games are addressed in respect
to their emerging effects, thereby providing an alternative understanding of
learning games than the one provided through the mobilisation the of fun,
educative and realistic discourses.

NoDal 1: fuN aND The ParTICIPaTIoNal INCeNTIve

Needless to say, making games fun is the key objective when it comes to com-
mercial gaming. Game-design literature is rich on perspectives on how to put
fun into games (see e.g. Rouse, 2001; Bates, 2004), to avoid fun-killers (see
e.g. Fullerton, Swain & Hoffman, 2004), or balancing fun against other is-
sues, e.g. realism (see Bates, 2004). The purpose of these efforts is to create
enjoyable experiences that motivate the player into buying and playing the
game, as well as to recommending it to peers. Despite the great emphasis on
how to make games fun, the issue itself is rarely addressed. The motivational
impact of commercial games is astonishing; who haven’t seen someone im-
merse into playing computer games like Blizzard’s World of Warcraft (2004)
and be amazed by its ability to do so? This motivational mobilisation has surely
interested educational designers, asking “How can we utilise this motivation
for learning purposes?” Such lines of thinking gave rise to the conjunction of
learning and playing, commonly referred to as edutainment (see Konzack,
2003), a special breed of games with an enriched content, which were to be
used for educational purposes.
Although being a moderately successful industry, the approach has been
widely criticised, partly for not being very successful in providing educational
benefits (see Egenfeldt-Nielsen, 2005), but more commonly for failing to
make the learning processes fun enough to compete with commercial gam-
ing. While having to communicate a certain content, edutainment is limited
by this content, whereas commercial gaming is capable of balancing the two
more freely. As Bates puts it, “[i]n the end, fun game play is more impor-
tant than realism, so if a balance can’t be found and a tradeoff is necessary,
fun wins.” (Bates, 2004, p. 65), giving commercial game designers more free-
dom to meet what experience the player would appreciate the most, whereas
the balancing represents a key issue to educational game designers. Despite
144 henriksen

such challenges, the area has maintained the emphasis on fun that it inher-
ited from commercial gaming, as well as the understanding of games it came
with. Within learning games, fun is given the same position as in commercial
gaming, seeking to make learning fun (see e.g. Barab et al. (2005)) in order to
motivate participation.
In terms of discourse analysis, one could say that the discourse stating
games as fun has managed to occupy the nodal concerning the motivational
issue. This heritage is largely unchallenged, and while fun is being the prime
purpose of a commercial game, the same understanding is handed down to
learning games, to which the presence of the game element in the educational
setting is understood as to bring fun into the learning process.
This understanding seems to be very deeply embedded among learning
game practitioners, and is especially present when trying to make an easy sale.
The underlying discourse of fun is commonly enacted in the presentation of
learning games by facilitators, who present learning games as something fun
to look forward to. It is also present with the participant, whose expectations
to the game-based learning experience is shaped by their conception of games
in general – as something fun to play. The discourse is so deeply embedded
in the understanding of learning games that it is beyond question, and by
eliminating the contingency on the issue, a shared understanding of the is-
sue is provided. When being challenged, the discourse becomes even clearer;
during a keynote speech, I rhetorically asked whether it should be fun to play
learning games, to which a person in the audience replied “Yes, otherwise
we’d might as well teach!” Such defensive mobilisation showed very clearly
the solid rootedness of the discourse. Another common mobilisation of the
fun discourse would be the Derridan question on the alternative – “should
they then boring?” which frames the logical contrast as unattractive or ab-
surd.
Despite the critique, the mobilisation of fun on the issue of providing
participational incentive in learning games clearly has some effects to the
game based learning process in order to generate activity by motivating par-
ticipation. The heritage allows educational game-designers to draw upon ex-
periences from commercial games in order to create engagement in the game
activities, but with this heritage comes also the challenges within commer-
cial game-design. One such significant challenge would be the balancing of
realism against fun, which to learning games would constitute a prioritizing
between educational elements and fun. Although being caught between the
values of commercial gaming and those of education constitutes a dilemma
to learning game-designers, the conjunction between fun and education is
commonly presented as the purpose of game-based learning (see e.g. Prensky
2001.
The main effect of this discourse would then be to frame the learning
game as a fun mean for generating activity within a learning process. By al-
lowing the question of motivation to be answered by the fun discourse, fun
becomes the key driver for the process, as well as to the whole question of why
to use learning games. When a discourse is allowed to dominate the question
 extending experiences of learning Games 145

proposed in a nodal, in this case the question on participational incentives

in learning games, the effect has two faces: First, it provides the right answer,
in this case stating that learning games should be fun in order to motivate
the participant into taking part in the activity (which is then assumed to be
educative). Second, while constituting one understanding as right, it renders
alternative understandings as being wrong, in this case proposing the pur-
pose of learning games to be something different than being fun. From the
perspective of discourse analysis, such an understanding is a social construct
that allows us to think about learning games in a particular manner. Having
the question of fun or not settled in advance, attention can be turned towards
designing it, but such fixed understanding can also be a hindrance in thinking
and innovating learning games in new directions.
One way of trying to innovate on learning games would be to elaborate on
the conception of fun, asking what alternative understandings that could exist
within the current terminology. One radical understanding is proposed by Pa-
pert’s (1998) concept of hard fun as the result of frustration and challenge. A
more radical approach would be to investigate what alternatives would go be-
yond the current understanding of the purpose. Rather than seeing the game
as a tool for motivation, emphasis can be moved to seeing it as an educational
tool: instead of asking how a specific learning process can be made fun (though
a learning game), it is interesting to ask how to incite participation in a specific
learning process, and thereby moving emphasis away from fun (discourse) as
an answer to the question of motivation (nodal), thereby opening the issue to
competing discourses.
One approach for addressing such alternative discourses is provided by
Malone and Lepper (1987), who proposes a framework for creating intrin-
sic motivation in learning processes. Through the investigation of learning
games, they found the game-provided feedback to be the most significant
determinant in creating intrinsic motivation, allowing the content itself to
be thought of as a motivating element. In their chapter, Malone and Lep-
per provide a comprehensive taxonomy for addressing intrinsic, participatory
incentives, comprising challenge, curiosity, control, fantasy and interpersonal
incentives, seeing these as tools for enhancing the effect of extrinsic incen-
tives. When deployed from a constructionist perspective, Malone and Lep-
per’s taxonomy can be seen as an analytical perspective for understanding how
participational incentives are being used in learning games, as well as to what
effect they have.
The aim of using such application would be to point out that although fun
would be the dominating discourse on the question on why learning games, it
is important to see how other discourses are active and affect the field in order
to be able to innovate on the area. As an overall distinction, the participatory
incentives can be divided into goal-orientated incentives, providing the overall
reasons for taking part, and activity-orientated incentives, which are closely
related to playing the game itself. Although present as an overall framing of
the EIS session, the fun discourse is only visible in the tone in which the game
provides feedback on the participants’ decisions. The fun discourse is, in other
146 henriksen

words, active, but not being dominant to the participatory incentives of the
EIS.
The EIS is interesting to look into due to its very untraditional approach to
and mobilisation of participational incentives. When addressing the question
on why participants take part in the EIS, the struggle taking place between dif-
ferent participational incentives becomes very clear in itself. Although framed
as a beneficial and fun experience, other participational incentives are active
in the persuasion of the participant into taking part of the game, and most
importantly, to remain a part throughout the game.

Mobilising a sense of urgency on change

When applying Malone and Lepper´s (1987) taxonomy onto the EIS deploy-
ment, the constitution of a social incentive for participating seems to be mobi-
lised through the introductive framing of the game, through which a sense of
importance is mobilised: Change is being framed as something frequent, im-
portant and difficult to organisations, and by framing the skills of the change
agent (a possible career opportunity for the participants) as a significant factor
on whether the change process will succeed, or will fail like the other 70% do.
By doing so, being able to master the task of change implementation becomes
framed as desirable. This framing is made relevant, both through reference to
current and future employment, but also among the participants, thereby pro-
viding both a participatory incentive, based on a long goal-orientation, as well
as a social incentive by framing change mastery as socially desirable among
the participants. The EIS is then presented as an opportunity to demonstrate
such mastery. Beating the game by completing its implementation challenge
becomes socially attractive in respect to demonstrate competence to others,
as well as to creating a self-image as being competent in respect to handling
change.

allowing it to be harder than it looks

By staging the game as an opportunity to demonstrate a socially attractive
competence, the participants eagerly embraces the challenge of the EIS, which
turns out to be much harder than expected. As an educative statement, the
game has been made just as hard to complete as it would be to implement an
organisational change. As the participants realise that they may not be able
to reach the objective, their experience can best be described as frustration in
its classic definition; as the sensation of being prevented from reaching some
desirable objective.
After the session, participants reported such desire in respect to demon-
strating change mastery through the EIS, but being unable to do so, led to
frustration. Rather than giving up, they decided to give it a try, well knowing
that they had engaged themselves in a problem that was much harder than
they were skilled for. While trying to make the best of it, they tried to crack its
underlying mechanics to get some of the game’s highly desired points.
 extending experiences of learning Games 147

learning by disaster
While attempting to score at least a few points, a group from the XX deploy-
ment made leaps for the small successes. Rather than sticking to their plan,
they took the process one step at the time while making slow progress. Then
disaster occurred; while making a poorly placed decision, the groups lost the
few points they had earned so far. This sets them back to where they started,
but now with less time and resources to complete the job. As the disaster
occurs, the participants become silent, and several starts thinking what this
failure makes them look like. The facilitator walks through the door at the
same moment, and is met with assurance that the group had much more
points just a moment ago. After providing some advice on how to continue,
the facilitator leaves, and the group starts working again. According to several
participants, what seems to drive them here is not a desire to play the game,
but to get at least some points in order to save face to the other participants,
and it results in a very intensive combination of change discussion and game
decisions. For better or for worse, what drove the participants through the last
part of the EIS was clearly an attempt to get to better. The game surely got
pleasant while receiving drops of positive feedback, but clearly the dominat-
ing sensation throughout the game was the frustration of not being able to
master its challenge. This difference is probably what made the participants
stay in the game, both when things got hard, but also when they went com-
pletely wrong for them.

Seeing the social incentives in play

In terms of discourse analysis, the nodal of participational incentive seemed
occupied by a discourse of socially constituted, goal-orientated incentives.
The fun discourse was barely visible, and not dominant to the game. Participa-
tion was incited through the staging of the game as an important and socially
desirable challenge to master and by stating the game as an opportunity to
demonstrate such mastery. Though this staging, the participants remained in
the game despite realising that the game was harder than they could handle.
This goes against Csikszentmihalyi’s (1990) notion of flow, which is com-
monly accepted by game-designers as a recipe for making game-experiences
highly motivating: By constantly matching the perception of the game-chal-
lenge with the player’s skills, the participant is expected to mobilise an optimal
level of motivation for participating.
By staging change mastery, and through that, EIS mastery as desirable
to the participants, the game managed to stage a hard problem to the par-
ticipants. Although the problem knowingly exceeded their change skills, they
remained engaged in it. In terms of flow, the process can be illustrated as an
anti-flow staircase, staging problems, to which the participants have to evolve
their skills to solve before experiencing some degree of mastery. In terms of the
model below, staging resembles a process where the participant is confronted
with a problem that explicitly exceeds the participant’s skills by using the
14 henriksen

appropriate participatory incentives. In case of the EIS, the staging is per-

formed by framing the task as socially desirable and professionally beneficial
to master. Though such use of participatory incentives, the participant accepts
to solve this problem, although this requires that the participant develops
the proper skills for solving the task. When able to do so, the game provides
the participant with a small token of mastery in terms of points and positive
feedback, after which it stages a new problem to the participant. Due to the
participant’s acceptance of the task as desirable, the participant accepts the
frustration of the challenge.

Figure 1. The anti-flow model on staging

From such conception, it would seem that frustration-based incentive is less

sensitive to differences in individual participant skills than that of a flow-
based, allowing a larger discrepancy between the game level and the partici-
pant skill. Such staging of the socially desirable is able to draw upon game-
external sources for motivating behaviour, allowing the designer to draw upon
a wider array of tools for constituting engagement in learning games.

Staging a problem as opposed to making it fun

While employing the fun based approach for inciting participation, attention is
paid to how the activity itself is rewarding to the participant, while the use of a stag-
ing approach emphasises the activities of the learning game as means to achieving
some objective that is external to the game. The staging approach does not mean
that games have to be boring, nor does it preclude the use of fun, rather, it reduces
 extending experiences of learning Games 149

fun to be a possible side effect, as well as to become one of many tools for inciting
participation in a learning game. As seen with the model above, the use of alterna-
tive participatory incentives allows the staging of difficult problems, processes and
eventually benefits, which are addressed in respect to the next nodal.

NoDal 2: eDuCaTIve CoNTeNT aND The learNING aPProaCh

Having addressed fun as an occupying discourse for the participatory incentive,
the question comes to asking ‘participating in what?’ to address the learning
processes of learning games. When deploying fun as the participatory incen-
tive, Bates (2004) pointed at the act of prioritising between fun and realism,
which to learning games would be a question of balancing between fun and an
academically enriched content that would represent whatever it was that had to
be learned though the game. The learning game-designer’s job would then be to
turn some academic knowledge into mechanics and stories for the participant
to explore. From such perspective, theories on game based learning would ad-
dress how such processes were designed, as well as to how the participant would
benefit from them. This line of thinking is found with Schaffer and Resnick
(1999), who argues for the provision of authenticity in learning experiences,
allowing learners to investigate complex systems, as well as with Aldrich (2004)
who emphasises the role of the content in the educational experience.
In terms of discourse analysis, it is interesting to place the question earlier
in the process, rather than contributing to further constitution of the content
to be firmly settled as the place for the learning process of games to take place.
Like in a good game of jeopardy, ‘content’ is only an answer, and the interest-
ing part would be the question leading there, as well as the lines of thinking
that bring the two together. An example of such link between content and
game can be seen when it comes to endogenous game-design, which tries to
draw a straight line from the dynamics of the phenomenon or subject to be
taught to the game mechanics (see Malone & Lepper, 1987). The learning
philosophy of the endogenous approach would be similar to Lave’s (1999)
practice orientated approach to learning, which assumes that the participatory
exploration of a phenomenon or practice is likely to produce learning proc-
esses with the explorer, as well as in the concept of simulated practice learning
(Henriksen, 2000; 2004), which addresses the game’s ability to provide access
to and participation in certain phenomenons and situation in order to pro-
vide practical conceptions of such. By employing such lines of thinking, it is
not surprising that the answer on how participants learn from learning games
becomes ‘by exploring an academically enriched content’.
As with fun being the common answer to the question of participational
incentives, allowing a content discourse to occupy the nodal of how to pro-
duce the learning process, has some effects to how learning games can be
thought and understood, and from that, what ideas become meaningful to
put into a design. As with the Derridan question on fun, it would be less
meaningful to claim that content should not be related to the academic sub-
ject. While allowing the content discourse to occupy the question on where
150 henriksen

to place the learning process, it would not make sense to move focus from
content. But that would, in fact, be what Im about to suggest, namely to stop
thinking about the content and the exploration of such as the game-based
learning process.

origin of the content

The underlying discourse of content is commonly enacted during design or
game presentations through utterances addressing what to put into the game,
what the game does or what you can learn from the game. By being able to
explicitly embed an academic content into a game that game gains a unique
selling point; while being comparable in content to other educational initia-
tives, emphasis can be turned towards other qualities like its ability to incite
participation or provide feedback on specific decisions. By allowing the con-
tent discourse to occupy the question of learning, the game process becomes
a question of exploring the embedded content, and in the end, to master its
information and dynamics. As with most elearning, this process of explora-
tion becomes synonymous to the learning, allowing the designer to focus on
optimising this explorative process.
The heritage of the content discourse points back to traditional commer-
cial game-design, which emphasises the game as something that starts when it
starts and ends when it ends. It also employs a very rational approach to learn-
ing, assuming learning to take place upon exposure to knowledge. In order to
meet with processual shortcomings, a facilitator can be deployed in order to
repeat the game’s points, and eventually decontextualise them into theoretical
concepts (see Henriksen, 2004). Although such activities attempt to expand
the learning process beyond the time span of the game, focus has remained on
designing and exploring content.

alternative approaches to learning though games

As with the issue of fun and games, the dominating discourse in respect to
the question on how learning games create learning processes has two conse-
quences: First it provides a clear answer on where to embed or look for the
educational benefit in learning games, in this case in the content. Second, it
states that if it is not in the content, it is missing. This has a clear impact on
the underlying model on learning, which would state that the participant is
able and expected to learn the content of the learning game, as well as relying
heavily on a realistic, practice orientated approach to learning. While such
shared understanding provide consensus on how to put learning into games,
such fixed understandings are interesting to challenge in order to innovate
learning games. As with the issue of fun, one approach would be to elaborate
on the concept of learning, to investigate what other processes might be ac-
tive. To do so, the analytical attention must be displaced away from content in
order to find new ways of seeing learning processes in learning games. When
investigating the two deployments of the EIS, four analytical displacements
 extending experiences of learning Games 151

can be seen in the cracks in the current discourse: time, objective, orientation
and nature of the knowledge.

Time and learning

When designing a course or a seminar, the first thing you short on is time.
As a consequence, learning games are often deployed in respect to how long
time the actual game takes; less attention is paid to the preceding and follow-
ing activities. From discourse analysis, such prioritising can be seen as a direct
consequence of the content discourse, to which pre- and post activities merely
are seen as supportive, whereas the game holds the real learning experience.
The two deployments of the EIS studied provide different views on learn-
ing game deployment: while the introduction to the game was very alike be-
tween the two sessions, the game-facilitation and the post activities differed. In
respect to the pre activities, they consisted of three (3) elements: First, a gen-
eral introduction to planned change implementation, success rate, frequency,
structure and organisation of change, as well as proposing a diffusion strategy
for implementing change. Second, an introduction to the game, consisting of
a) a narrative introduction to the game’s story, b) a ludological introduction
on how to navigate the game mechanics and play the game, c) an introduction
to the game interface. In respect to the game-facilitation, the XX deployment
employed a 1-2-1 deployment (see Henriksen, 2004), starting with a theoreti-
cal approach to the issue, then the game was deployed as a practical approach,
and then it returned to a theoretical approach qua the debriefing. The YY
deployment utilised a theoretically informed approach (TIA), through which
the game was played in thirds, interrupted theory sessions on implementation
stages and change failure respectively. After the game, score and process for
the different groups were concluded, after which the challenges of the game
was addressed. With the XX deployment, the issues of implementation stages
and chance failure was addressed, and the game discussed, whereas the YY
group discussed the game in respect to the existing organisation, followed by
workshops where upcoming change projects were planned, using the insights
from the game.
In respect to the issue of time, both deployments placed a significant ele-
ment of learning activities outside the game, allowing the two to have a mutu-
ally supportive function to each other. Whereas the introduction sought to
dress the participants theoretically to meet the challenge, the game provided
an opportunity for seeing some of the introduced perspectives in practice,
which again worked as a practical example or experience for the post-activ-
ities and its theories. As with the TIA approach, providing an interrupted
experience to the participants’ game-flow, the connection to the theoretical
perspectives was strengthened even further. Such addresment of the learning
activity as distributed over time, allows us to see the learning processes, both
as theoretical introductions and follow-ups, but also as relations between these
theoretical activities and the game activity.
152 henriksen

objective to learn
When thinking in lines of content, the learning objective would, logically
enough, be to communicate as much of that content from the learning game
to the participant. But rather than seeing success in line of having commu-
nicated a content, it would be interesting to see what other objectives the
learning game would be able to stage processes on. Such emphasis employs
Højbjerg’s (2005) distinction between decisional and negotiational game-
processes, from which the EIS can be seen as a game of making the right deci-
sion (in respect to content), or to negotiate what decision to make (derived
from content), or even as the application of both. Through such analytical
perspective, attention is paid to how the decisions and operations concerning
content allows the staging of other (derived) processes. The first would be the
group process encountered at the XX deployment, the second the applicative
discussion encountered with the YY deployment.

Staged group processes

At the XX deployment, the group whose game experience was addressed fur-
ther above (in respect to fun and participation), had a very interesting group
process. In respect to the discourse of exploring a content, it turned out prob-
lematic by inhibiting the exploration, but in respect to thinking in different
learning objectives, the game managed to stage a very interesting group proc-
ess in respect to cooperation across cultural and educational differences, risk
willingness vs. planning, as well as in respect to social positioning and the
constitution of informal power (see Henriksen, 2007b). The staged group
process had very little in common with the content of the learning game, but
was merely an outcome of the conjunction between the differences that meet
in a conflictual situation, combined with the different opinions on how to
approach the shared task.
The group process would be one example of a staged process that could
be used for educational purposes. Although the process is derived from the
game content, it draws more extensively on the setup than the content of
the learning game. Furthermore, it allows for an open-ended process; while
there are rights and wrongs to be explored from the content of the EIS, the
staged processes would address the social constructions taking place between
the participants.

Staged applicative processes

At the YY deployment, the EIS session (briefing, game and debriefing) ended
with a workshop on future changes within the organisation. The purpose was
to plan upcoming change processes on basis of the insights from the EIS ses-
sion. Although the purpose of the workshop was to plan change, the applica-
tive discussions constituted a facilitator guided learning process. While the
quality and the outcome of the plans conceived are unassessed, the partici-
 extending experiences of learning Games 153

pants actively applied the insights gained from the EIS session as analytical
perspectives during those workshops.
In terms of learning objectives, learning games provide an opportunity to
stage learning processes that are not directly associated with the communica-
tion of an embedded content, rather they can be understood as constituted by
the embedded content.

orientation of attention
When thinking in lines of content, there is an assumed connection between
the exploration of content and the ability to address game-external issues,
making it unaddressed what is actually being explored. Again, the question
can be addressed by looking across the two EIS deployments, providing a
view on the differences between the competing discourses: With the XX
deployment, attention was staged towards exploring the game as a model
of reality on the subject of change. This was supported by drawing upon
generic examples on organisational change in order to explain the processes
and feedbacks of the game. With the YY deployment, attention was staged
towards exploring how the existing organisation could be understood. The
different attention affected the orientation of the two sessions: With the
XX, attention was paid to understanding the game-embedded processes,
seeking to provide a clear view on how to approach change implementa-
tion projects; with the YY, attention was paid to providing the participants
with analytical tools for understanding, planning and implementing future
changes in YY’s organisation, seeking to equip the employees. While one
learning process turned attention into the game, the other turned towards
the organisation.

Nature of the knowledge to be learned

When thinking in lines of content, if not only affects the question on how
to create learning processes, it also affects the surrounding questions on what
kind of knowledge the learning process then provides. As with an embedded
content, the main concern for that learning process would be to acquire this
content, making it acquisitive in its attempt to communicate something spe-
cific. Such effect is closely related to the idea that the learning process is aimed
at the particular exploration of the content, and the participant’s subsequent
adoption of its line of thinking.
In order to see other understandings of knowledge in the learning game, it
is interesting to look into what falls outside the particulars of content acquisi-
tion. Sfard (1998) proposed a metaphoric distinction between acquisitive and
participatory learning processes. Her point was to state the differences, as well
as to point out that each of the two understandings only gave a limited un-
derstanding on learning processes as a whole. While the content discourse on
learning games clearly draws upon the acquisitive approach of seeing knowl-
edge as one-to-one representations, it interesting to see how learning proc-
154 henriksen

esses unfold themselves as ‘messy’ participatory construction processes in the

learning game.
In the two deployments, two kinds of construction processes can be seen
as parallel to the acquisitional process: In the XX deployment, a) a continuous
formulation of hypotheses on cause and effect were turned inwards towards
exploring the game, but in a manner that allowed the participants to formu-
late their own idea of causality, b) a construction of social structures for the
group process, mainly in concern to decisional processes. In the YY cohort,
the participants quickly moved from the acquisitional process to that of ap-
plying the provided perspectives onto both a general understanding of their
organisation and onto concrete, upcoming change projects. This allowed the
participants to construct local understandings of change.
In both cases the acquisitional exploration of content acted as foundation
for staging the more applicative and practical learning processes where the
participants constructed a situated understanding of change. As Sfard pointed
out, there is a danger in only choosing one metaphor for understanding learn-
ing processes, both processes probably provide the participant with valuable
knowledge on change; the participatory processes of constructing personalised
understandings of the game’s points is probably the most important one for
initiating the transfer process that allows the participants to decontextualise
their insights out of the learning game, and recontextualise in respect to game-
external problems. However, the construction based processes are staged on
basis of the prior acquisitative processes, which states a need for including
both approaches in the understanding of learning games.

from learning games to game-based learning

While looking into the EIS in respect to time, objective, orientation and the
nature of knowledge in learning games, it provides the analysis with four al-
ternative discourses for understanding, deploying and developing learning
games; rather than understanding the learning process as limited to the time
spent playing the game, learning processes can be pursued in relation to colo-
nialising before and after activities, while de-emphasising the duration itself;
rather than exploring the communication of an academic content, objectives
can be looked for as derived activities, both in respect to time and subject;
rather than understanding the purpose of the learning session as orientated to-
wards the game-activity, the learning process can address issues that are external
to the activity in terms of succeeding practices; and rather than thinking the
educational benefit in terms of representative knowledge, it can be thought of
as the construction of new knowledge.
In short, though the analysis of the EIS, views have been provided on how
to change emphasis away from the game and its content. Such views can be
seen as competitive to the content-based understanding, but although alter-
native, they are not to be read as replacive. Instead, they can be seen as ‘de-
sign dimensions’ (Henriksen, 2006b), as an analytical tool for identifying or
designing crucial elements in a didactical design, providing the analysis with
 extending experiences of learning Games 155

an array of tools for understanding, deploying and developing game-based

learning processes.
While the content discourse presented a very straight forward view on how
learning games are educative through the embedded content, the discourse
analysis seems to have done what it is supposed to; to take the taken for
granted understanding and challenge it, and with the on how game-external
and derived learning processes blend with both the game and the participants’
practices, the concept of game-based learning seem to have a more inclusive
approach to the different discourses presented above.
With the concept of game-based learning, emphasis is moved away from
the learning game as an isolated process, and into the relationship established
between the different didactic activities of the session, allowing the under-
standing of learning games to draw upon a wider variety of discourses. As a
consequence, learning game design is similarly reduced to being one contri-
bution to the design of game-based leaning processes. With emphasis placed
on learning games, the game design would be crucial, but with the change of
emphasis towards game-based learning, the didactical design of the interplay
between the game and the surrounding activities becomes the new key issue to
address, which calls for a more inclusive discursive approach to the area.

NoDal 3: realISTIC rePreSeNTaTIoN aND The exPerIeNCe

valIDaTIoN
The third nodal occupation I will challenge in this chapter is that of representa-
tional realism, and how it affects our understanding of learning games. As with
all discourse analysis, seeing an issue as irrelevant to pursue is an indication of dis-
course mobilisation, and in respect to the issue of realism, not seeing a need for
addressing the realistic component is clearly an indication of a discourse at work.
As with the issue of fun and educational, the mobilisation of a discourse provides
distinctions on what is considered meaningful on an issue, and what is not.
The mobilisation of realism has a powerful impact on the surrounding
issues, as well as to the two previous nodals, as it addresses how the game is
being understood as a whole; the mobilisation provides the game-experience
with a representational value, allowing it to be seen and used as e.g. a practi-
cal experience on a subject, or more generally, as a valid source to learn from.
An example of such mobilisation can be seen with facilitators, who through
references to reality, makes the game experience seem more believable to the
participants. As a facilitator puts it to his participants: “It’s frustrating, I can
tell you now that it is not an easy game. But at the same time, it’s a game that
resembles very much the reality that many managers have to face in their or-
ganisations”. thereby framing it as a realistic representation of reality, because
reality looks and acts as in the game. An effect of such mobilisation is the
assumption that if the participant is able to handle, and eventually win this
game, he or she will be able handle similar challenges in a real organisation.
The mobilisation of the realistic discourse provides an answer to a ques-
tion on how to understand the knowledge and insights presented by learning
156 henriksen

games. By allowing a discourse on realism to occupy, and thereby provide the

dominating answer on the issue, the knowledge provided by learning games
is framed as representative to the reality it reflects, allowing game-provided
knowledge to be taken as valid. The mobilisation of the realistic discourse
has a powerful impact though out the network of interrelated nodals and
elements, whose occupants conjointly constitute our understanding of learn-
ing games, allowing a certain approach to its learning processes. As a conse-
quence, a practice orientated learning approach provides the answer to how
the learning process is taking place, mobilising realistic approaches, such as
the exploration of practices (see Lave, 1999), simulated practice learning (see
Henriksen, 2000), or Dewey´s (1938) concept of learning by doing. Such
theories not only help us in understanding the learning process, they also
imbue the game with legitimacy as an educational tool. While presenting par-
ticipation as beneficial, fun can be mobilised to ensure participation, resulting
in an easy recipe for designing a learning game, but as the previous analysis
proposes, alternatives seem to exist.

The defensive mobilisation of reality

The reality discourse seems to be manifested very firmly on the nodal, and
proves itself visible when the discursive defences are provoked. As with being
fun and educational, a commonly mobilised defence, is to question the sense
of the contrasting alternative. As a game designer puts it: “[W]hich alterna-
tive do you have apart [from] presenting the game as being realistic, given
that it is based on insights from reality? Would you introduce the session by
saying [:] This game is NOT realistic [?]. It is pretty obvious to players that
the simulated reality is NOT reality, and that the simulated organization is
NOT their organization, etc.” Despite making it clear that the participants
do not perceive the game as reality (or at least are not intended to), the ques-
tion remains on how to understand the provided insights. Framing the game
as realistic by being “[...] based on insights from reality [...]” he states that
the embedded knowledge is a realistic representation, as well as stating that
framing a game as not being realistic (when it is so) is ridiculous. From such
a strong mobilisation of realism, the participants are expected to understand
the game-provided insights as representative to real-world experiences. From a
constructionist perspective, assuming that a representation would be realistic,
it would merely blind the participant of the perspective that the game was
based upon, thereby establishing a myth of objectivity.

when participants make calls to reality

As mentioned earlier, both facilitators and game designers can make calls to
reality in order to frame the game-experience as representative in respect to
the subject. A similar call can be seen among participants, who mobilises re-
ality in order to call ‘foul play’, usually due to a discrepancy between their
personal and the game-provided experience on an issue. Common examples
 extending experiences of learning Games 157

of such can be seen through the utterance “That’s not realistic!” followed by
utterances such as “In a real organisation, where people navigated politically
[...]”, “That would never happen to me” or “This would never be the case at
YY – we don’t even have such gatekeepers”. Such utterances mobilises the
realistic discourse in order to point out that something is not realistic, and by
doing so, proving it wrong. Realism is thereby established as an indication of
quality and the counter-mobilisation as expression of a conflict between the
game’s and the participant’s reality. If addressed within the realistic discourse,
there is only room for one reality, and the other has to be turned down.
By manifesting the game-provided reality as the valid one, the facilitator
can maintain a sense of game-validity. Otherwise, the representational valid-
ity would be broken, rendering the game invalid to learn from. The effect of
employing a realistic discourse such occasions would be a very defensive ef-
fort with the facilitation in order to keep the participants’ trust in the game.
While the mobilisation of a realistic discourse would constitute an attempt
to make the game’s points constitutive to the participants’ realities, alterna-
tive approaches based on humanistic approaches can be employed by taking
an alternative approach to understanding the game-provided knowledge and
insights.

looking in or looking out?

The constructionist discourse is often seen mobilised as an alternative dis-
course, allowing the facilitator to address the differences between game-pro-
vided and participant experiences, and encourage an elaboration on differ-
ences. From such discourse, it is acknowledged that reality is a question of
individual perspective and understandings, allowing different realities to co-
exist. The game-provided perspectives can then be used for asking what would
happen in a political organisation, what precautions would prevent certain things
from happening, or how the organisation could be understood in respect to the
gatekeeper function. Through this perspective, the game is seen as experience,
based on certain game-embedded, theoretical perspectives, which are inter-
esting for understanding certain phenomenons. A key difference lies in the
orientation of the process, which is aimed either towards the game in order
to understand its processes, or outwards, in order to address the participant’s
practices.

reality and the focussed perspective

The call to realism though the comment on political has the effect of framing
the game as incomplete on the subject of change, thereby framing it as a bad
game for providing a learning process on the subject. By stating that a crucial
area is missing, the effect would be that the game is rendered obsolete or infe-
rior, and is an often mobilised as a manoeuvre for criticising a specific learning
game. Nevertheless, taking a theoretically informed approach to the mobilisa-
tion, the comment can be seen as addressing the issue of informal power:
15 henriksen

According to Boonstra (2004), organisational change processes are com-

monly being categorised as either planned change or organisational devel-
opment. Whereas planned change concerns the implementation of specific
technologies in respect to routine problems in order to reach a specified result,
Organisational development would address cultural or organisational issues in
respect to addressing methodology and non-routine problems (ibid. p. 10), to
which it is a key issue to determine the direction of the development. From
this distinction, the political comment addresses an issue of organisational
development, whereas the implementation challenge of the EIS clearly sorts
under planned change. Although the comment is valuable for staging discus-
sions on organisational development on basis of the game-based experience, it
is fair to see the issue as beyond the purpose of the EIS simulation.
From the realistic perspective, the comment would challenge the game’s
ability to (fully) represent the subject of organisational change, making it pos-
sible to invalidate it. As an alternative, a post-structuralist approach to the
game-provided experience can be mobilised to address the employed perspec-
tives and their effects. From such perspective, the situatedness of the employed
perspectives would frame them as different in their purposes, uses and effects,
as well as addressing the social enactment of the two perspectives in contrast
to seeing them as something in themselves. In effect, this would allow the
game to make delimitations to its content, rather than having to perform as
all-encompassing micro-worlds.

Personal discourses and analytical scopes

While allowing discourse analysis to provide a view on how to understand
the knowledge and insights provided by a learning game, such approach may
in many respects resemble the deployment of realistic discourse, but differs
in respect to the attention paid to the enacted perspectives. The statements
“That would never happen to me” or “This would never be the case at YY-
company – we don’t even have such gatekeepers.” raise a question on what
perspective the participant deployed in order to reach such a conclusion. Did
the participant fail to notice some taken for granted process or relation in
his or her own organisation, has the participant ever been subjected to the
phenomenon discussed, or is the participant simply right? In order to exam-
ine this question the employed discourses must be addressed. By liquidating
the representational value of the game-provided perspectives, their privileged
position from the learning game is removed (see Henriksen, 2007b), turning
them into analytical scopes for analysing game-external change processes. By
addressing the participant’s comment as an effect of a perspective, attention
can be paid to how the participant analyses the issues of organisation, process
and relation, thereby addressing the employed analytical scopes.
Through this approach, the game-provided perspectives become valid, not
as something in themselves, but in the situation they are applied. If the is-
sue on gate-keeping was addressed form a realistic perspective, a likely effect
would be that the perspective was understood in respect to the scope itself,
 extending experiences of learning Games 159

and not to the application. When applied as an analytical scope, the effect is
situated to the application, rather than rendering the perspective essentially
bad in case it turns out unproductive in the specific application.

from representational knowledge to embraced discrepancies

Rather than accepting the realistic approach to the game-provided experi-
ence, alternative discourses can be seen in the cracks of the deployment of
the EIS, offering new ways of understanding the game-provided knowledge
and insights. As with the constructionist alternatives to the realistic approach,
they provide an opportunity for addressing, unfolding and turning discrepan-
cies between the game-provided and the participant experiences into fruitful
foundations for learning. From this perspective, the game-provided experi-
ence becomes a tool for staging a reconstruction of the participants’ concep-
tion of reality. Instead of seeing the alternatives to realism as fictional or not-
realistic, they could be seen as opportunities for staging the game in a manner,
that allowed participants to analyse their conception of reality, rather than
having it constituted by the game. Such alternative understandings became
visible when the discourse was challenged, or when attention was allowed to
be turned away from the game and into the participants’ practices.

froM eDuTaINING To STaGING

Through the analysis, the issues of participational incentives, on how participants
learn and on how game-provided knowledge is to be understood, were addressed
by describing how the three key issues currently are answered by making the
learning game fun, by making the learning game educative in itself through an
embedded content to be explored, and understanding the game-provided insights
as realistic representations on the subject, allowing the analysis to provide an
understanding of the effects that these answers have to learning games, as well
as investigating what alternative conceptions and answers that were available.
Through the exploration of the EIS simulation, alternative conceptions on
the three issues could be seen in terms of seeing participational incentives as a
mean for staging problems and processes, as a discussion on application, staged by
a game-based learning process, and as the staged presentation of perspectives for
addressing the participant’s reality. In this analysis, emphasis has been moved
from the learning game as something in itself, to the derived processes, staged
by the interaction with the game-based activities. Such changes of emphasis
does not describe a development within the use of learning games; rather it
addresses some of the alternative approaches that from time to time become
visible in the use of learning games.
As the analysis indicates, learning games still draw heavily on the dis-
courses of edutainment, which constitutes an understanding that allows some
game-based processes in taking place, while preventing others. As an alterna-
tive, a staging discourse is proposed in order to turn attention of the learning
process towards the practical application of the provided perspectives. The
160 henriksen

alternative approach has a downside, as it pretty much takes gaming out of

learning games. While de-emphasising the gaming element, the design and
design and deployment becomes less ‘game-like’ in terms of how games today
are considered. While moving emphasis away from providing a fun alternative
to teaching, while learning from realistic representations, the use of learning
games to stage learning processes may seem far from the games they origin
from. However, the staging discourse provides an opportunity for a whole
new generation of learning games to arise, bearing less resemblance to cur-
rent conceptions of learning games, but with a heavier emphasis on providing
means and opportunities for learning than possible in the deployment of the
edutainment discourse.

CoNCluSIoN
Seeking new ways of thinking about learning games proves to be a double-
edged sword. As the analysis shows, current understandings of learning games
works as a limitation to their use, whereas the abandonment of the current
understandings opens the phenomenon to new meanings, objectives and ap-
plications, which may prove very advantageous to their educational purpose.
On the other hand, by opening the understanding of learning games to meet
such new opportunities, the current understanding of learning games is also
challenged. As it is no longer confined by the discursive heritage from com-
mercial gaming, such opening allows learning games to evolve away from its
current heritage, and by that become less ‘gamish’ due to an invasion of dis-
courses from other areas, especially from learning theory.
The currently accepted discourses on fun, educative content and realism
concerns the game and its ability to edutain its participants, but in order to
allow the game to extend its experience beyond itself, the learning game must
be thought of in terms of staging itself for such extension, making it relevant
to consider whether the learning game should attempt to draw reality into the
game, or whether it should seek to draw the game into reality. While having
argued for moving emphasis away from the game, a very subject dependent
question remains on whether learning should be game-based at all. Despite its
relevance, the question would precede the issue on how to extend the experi-
ence of learning games.
In this chapter, I have presented a number on why arguments on why
learning games should not be fun, educative or realistic in order to point out
the possibilities of thinking them otherwise, while putting current concep-
tions of learning games at stake.

NoTeS
1. Realism refers here to the epistemological assumption that reality exists independent to our percep-
tion of it, and that it is possible to access (and represent) reality objectively
 extending experiences of learning Games 161

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Affective Process Analyses, 223-53. LEA.
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Papert, S. (1998). Does easy do it? Game Developers Magazine, Soapbox, June 1998.
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Schaffer, D.W. & Resnick, M. (1999). ’Thick’ Authenticity: New Media and Authentic Learning.
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Pau waelder

an enhanced Duelling artefact: PainStation and

the role of Competition in video Games

P
ainStation, an interactive art project developed since 2001 by German
artists Volker Morawe and Tilman Reiff, introduces a new form of in-
teraction and competition in computer games. It consists of a table
console for two players, who confront each other in the first-generation arcade
game Pong (1972), a simple tennis game in which each player must intercept a
bouncing ball and send it back to the opponent. In order to play, the partici-
pants hold a controller with the right hand, while resting their left hand on a
metallic panel. This hand will suffer from electroshocks, heat, or a whiplash
every time the ball is not returned. The player could avoid the punishment by
drawing back the hand, but this would mean losing the game, that is indeed
a competition, in which each participant tries to beat the opponent not only
by returning the ball but also by enduring the pain.
The artists describe the PainStation as an “Enhanced Duelling Artefact”
(Morawe & Reiff, 2001, p. 1), a virtual face-off with physical consequences
seen by many as the ultimate gaming experience. Indeed, the artwork has met
with great success in numerous game conferences and media art festivals over
the last years, receiving the Honorary Mention at the Ars Electronica Festival
in Linz (2002) and the International Media Art Award at the ZKM Center
in Karlsruhe (2003). At every event, the machine captivates the attendees and
some even play for so long they have to be asked to stop due to too severe
injuries. There’s usually a crowd gathered around the two players, turning
the game into what could be compared to a street fight, a boxing match or
any other sort of duel. Competition in this game goes beyond the screen,
involving the participants at a more personal (and physical) level. Their self-
esteem is more deeply affected as they are not acting through an avatar and
constrained by the abilities of a fictitious character, but putting their own
physical endurance to test, and doing so in front of others. Yet, the experience
is in most cases perceived as fun and addictive. The players do not seem in-
timidated, nor feel attacked, but on the contrary, they are eager to play again,
particularly with friends – some trying to beat the highest score or improve
their own performance.
164 laso

The PainStation thus exemplifies a unique gaming experience, as it creates

a competitive situation through an easily grasped game with the distinctive-
ness of an interactive device that causes pain, and which is played live and
in front of onlookers. In the following sections I will review the aspects that
contribute to explain the extraordinary response of most players to what has
been described either as “the greatest arcade game this side of Pong” or “the
stupidest thing I’ve ever seen” (see Appendix, §2 and 5).

arTefaCT
Volker Morawe (1970) and Tilman Reiff (1971) created the first PainStation
in 2001 while developing a project for the postgraduate program at the Acad-
emy of Media Arts in Cologne (Kunsthochschüle für Medien Köln). Their
interest in games and technology led them to develop this console game with
haptic feedback. The idea behind it was to enhance computer game play with
physical experience and social intercourse. As the artists put it:

In developing PainStation, the question arose as to how, first, the sensual con-
tact, which is reduced in common computer games and, second, the principle
of sociability, which is still only inherent in haptic games, can be integrated
[...] not only should man and machine be linked, not only virtual opponents
be fought (Leopoldseder and Schöpf, 2002, p. 102).

Instead of creating a new game, they reprogrammed one of the first and most
influential titles in video game history, Pong, created by Nolan Bushnell in
1972. This choice was motivated, first, by the self-imposed prerequisite of us-
ing a game whose rules where self-explanatory, so that players would easily get
involved in the interaction with the machine and with one another, which are
the main objectives of the project. Second, choosing Pong entails first of all a
tribute, a recognition of the history of video games (which have been largely
considered just an entertainment for teenagers, with no cultural values and
thus not worth having a history of its own), and also a challenge, the game be-
ing so straightforward that it is necessary to enhance it with a truly compelling
form of interaction in order to make it interesting for an audience that is used
to impressive graphic interfaces and immersive environments.
Morawe and Reiff developed an interaction that was not only physical but
also painful, resulting in an artwork that grew in controversy as it met with
growing approval among those who experienced it. The fact that the combi-
nation of one of the earliest videogames and a torturing device, humorously
named after Sony’s popular console, has become the ultimate gaming experi-
ence is in itself an incisive critique to the video game industry. Eric Zimmer-
man stresses this aspect of the PainStation as being more a critical artwork
than a commercial game console: “Is the Painstation sadistic? Masochistic?
Unethical? It is rare that digital games force us to ask these kinds of questions.”
(McGrath, 2002).
 an enhanced Duelling artefact 165

Figure 1. PainStation 1. General view and game play situation.

Even though it was conceived as an artwork, in the sense of being a unique

piece that is meant to convey an idea beyond any functionality, the success
of this first PainStation led the artists to design a second, upgraded version
that would meet the requirements of the game industry and be massively pro-
duced. But the PainStation 2 (2003) did not follow on the footsteps of Atari’s
Pong: on the one hand, the threat of a lawsuit by Sony (due to the resemblance
of the name and logotype of Morawe’s and Reiff’s creation and that of the
PlayStation, owned by the Japanese firm), and on the other, the many pos-
sible actions that could be brought by users against a videogame that inflicts
pain led the artists to drop the idea of commercializing the machine. Still, this
second version (of which only five pieces were produced) has replaced the first
prototype when exhibited in game conventions and media art exhibitions,
featuring a series of improvements, including a (yet unused) coin slot.

Game play
In order to be able to discuss the experience of PainStation players, I will
now describe in detail the process of game play. This description refers to the
PainStation 2, which is the machine most players have tested, since it has been
exhibited during the last three years.
Two players stand in opposite sides of the console, facing each other. Each
player holds a knob with the right hand and places the left hand on a metal-
lic panel with two buttons. These panels are the Pain Execution Units (PEU),
equipped with several pain-inflicting devices: a lamp that radiates burning
heat, electrodes that deliver electroshocks of varying intensity, and a whip
made of exchangeable materials to produce different damage levels. These
physical punishments will be inflicted on each player’s hand. Once both play-
ers have their hands placed on the respective panels, they simultaneously press
the buttons that start the game. The machine hums and produces several nois-
es that sound subtly threatening. A message appears on the screen, informing
the players that the machine can cause severe pain, describes the different
punishments and states that the artists assume no liability for the physical
166 laso

consequences of game play. Both players must press an “I agree” button in

order to proceed to the game.
The game starts. On the screen, the familiar layout of Pong is displayed: on
a black background, a tennis-like playfield is delimited by two horizontal lines
and a vertical one, which divides the field in two. Each player controls a white
bar, which acts as a tennis racket. By rotating the knob clockwise or counter-
clockwise, the bar moves up or down. The rules of the game are simple: inter-
cept the ball to send it back to your opponent. In the original Pong, when the
player misses the ball, the opponent scores one point. In PainStation, the first
missed balls have no effect (this was decided by the artists in order to let players
get used to the game), but after a few misses, a symbol appears on the side of
the screen of the player who last missed the ball. This is a Pain Inflictor Symbol
(PIS), which represents one of the three types of punishment. The next time
the ball hits this symbol the player’s hand will suffer the described punishment.
At this point, the player must not retrieve the hand from the panel, because
this would release the two buttons on the PEU and the game would stop. It is
therefore necessary to withstand the pain in order to continue playing.
The game continues for as long as both players keep intercepting the ball or
suffering the punishments. The artists enhanced the game on the virtual level
also by adding “bonus” symbols that randomly appear on the screen. When
the ball hits one of these items, the game can be affected in several ways: two
balls appear instead of one, the ball moves faster, the bars are shrunk, punish-
ments are applied for a longer period, all PIS turn to red (burning heat) or
yellow (electroshocks), the directions are reversed, or even a flashlight is acti-
vated, temporarily blinding the players. Only one of these “bonus” icons, the
cooling fan, does not make the game more difficult.
The console has its own ‘personality’: along with the background “hum-
ming” and the usual sound effects (indicating the bouncing of the ball and the
appearance of PIS symbols or bonus items), there is a “PainStation Voice” that
announces or comments the game with sentences such as: “try playing with
two balls!” (when the double ball symbol appears) or “burn in hell!” (when all
PIS symbols are turned to red), among other random comments.

Figure 2. PainStation 2. General view and detail of “Pain Execution Unit”.

 an enhanced Duelling artefact 167

Figure 3. PainStation 2. Screen layout.

The only way to end the game is to take off the hand from the panel, which
means abandoning. Until this happens, the players have to deal with increas-
ing pain as the punishments inflict more and more severe damage to their
hands. The totality of punishments inflicted on each player is scored in a “Suf-
fered Pain” display: high scores are stored in the machine’s memory, so that
hardcore gamers can compete over the amount of pain they can withstand
–the artists usually get emails asking them which is the current high score.

Players’ reactions
As I stated above, the setting up of the PainStation in gaming events and media
art exhibitions has met with great approval. Players are captivated by the game
and many play until their hand bleeds, feeling almost proud to be wounded.
A crowd usually gathers around the participants and follows the course of the
game with sheer interest. According to the observations of T. Reiff (personal
communication, August 24, 2006): “most of the players are laughing and
enjoying the game, and they surely show off their wounds with some sort of
pride. Most people prefer to watch before getting involved in the game. Usu-
ally when somebody plays he later on brings his friends, explains the game to
them and then they play together”. In Reiff’s opinion, by average players are
prominently male, between 18 and 35 years old, apparently not belonging to
any particular social group. Many women also play this game, but those who
test it are less inclined than men to try to beat the high score.
Hardcore players are particularly interesting in this case because, in gen-
eral terms, the higher the score, the worse the wounds. These players engage
in a feverish competition with their opponent, with themselves and with the
community of players, by taking the current highest “Suffered Pain” score as
the measure of their success. Some of them might play until they are told to
stop because their wounds are too severe; others do not get to this point but
are certainly eager to prove they can play long and stand a lot of pain. Reiff
also recalls the case of a player who had really bad burns in his hand, and told
16 laso

them he was unaware that the machine could cause so much damage. This
illustrates the fact that, the PainStation being a game, players usually consider
that nothing in it, including the pain, is really serious.
On the guestbook section of the artwork’s website (see Appendix), the mes-
sages left by fans paint an eloquent picture of the players’ experiences, their
attitude towards the game and their perception of the artwork. The detractors
mainly criticise the game as being “sick” and express their rejection towards the
concept itself, because (as most of them imply) they have not played and are
not willing to. Among the supporters, several types of reactions can be traced
in the numerous posts. Most of them have directly experienced the game (and
usually start their contribution with a sentence such as “I played in...”, clearly
stating this fact), but others are simply enthusiastic about the concept. In both
cases, one of the main interests is to be able to buy the console, which means
that it is perceived mainly as a product for home entertainment. Others do
not want to buy it, but to build one (in this case some are willing to pay for the
blueprint). Some suggest improvements to the machine, mostly to make the
game more painful or even deadly (suggested additions include razor blades
and a flamethrower). Then, the main concern is the high score: most players
complain about not having been able to reach their “pain level” or proudly
state that they have beaten the highest score (Appendix,§3, 4, 7 and 10).
This happens usually with the concurrence of friends. Reiff’s observations and
the guestbook messages coincide in depicting an atmosphere of amusement
among peers. Part of the fun is in watching the others when they cry in pain
(Appendix, §8); also, a sort of cooperative play arises when the participants
agree in enduring the pain to reach higher scores (Appendix, §7).
In sum, the players’ reactions are mainly positive: they engage in an experi-
ence that is perceived as stimulating and fun, and evolves in a socially active
environment, usually among friends. Pain is inserted in the context of the
game and thus not taken as an aggression, but rather as part of a challenge that
spurs the player’s self-esteem. This bodily experience becomes later on the sign
of belonging to a community, something to remember and share with others.

Figure 4. Player’s reactions. Man playing and detail of wounded hand.

 an enhanced Duelling artefact 169

Duel
Although the project description of the first PainStation opens with a 19th-
Century etching of a duel with pistols, and the machine itself is defined as an
“Enhanced Duelling Artefact”, there is no further reference in the text to the
correlations between the videogame and this traditional combat of honour. It
is, in my opinion, important to further analyse the implications of applying
the concept of duelling (and therefore competition) to this game in order to
better understand the players’ experiences. To this end, I propose here a brief
review on the nature of games, particularly of those that imply a confronta-
tion.
Johan Huizinga (1972) defined the game as a voluntary activity that is
set out of real life, has no material interest, is performed in a particular space
and time and is subject to its own order through a set of rules. Following
Huizinga, Roger Caillois (1994) adds to this definition the condition that the
outcome of the game play must be uncertain (in the sense that, for instance,
players do not know in advance who will win). Caillois also contributes a clas-
sification of games in four main categories, of which I will only retain one for
the purposes of this chapter: agon, the category of competition games, which
also includes duelling. Caillois refers to these games as:

... a fight in which equal opportunities are created artificially so that the an-
tagonists confront each other in ideal conditions, with the possibility of giving
a precise and undisputable value to the triumph of the winner. [...] For each
competitor, the driving force of the game is the desire for recognition of their
excellence in a particular field. [...] The agon comes up as the pure form of
personal merit and is used to manifest it. (Caillois, 1994, pp. 43-45. My trans-
lation from the Spanish version).

The PainStation matches both Huizinga’s and Caillois’ definitions, particularly

in two aspects that help explain the positive reaction of the players. First,
despite being painful, the game is totally voluntary because players can draw
back the suffering hand at any moment, so that playing is perceived as a situ-
ation that they can control and it is only their will to win which keeps them
enduring the pain. Second, as Caillois
stresses, the game is set in equal oppor-
tunities, and the proper conditions are
created so that there is undisputedly a
winner and a loser. In this aspect, the
machine is a key element as the me-
diator between two players. According
to the rules of duelling, each partici-
pant has a second, a trusted friend who
ensures that both parties are using the
same weapons and that the conditions Figure 5.
of the duel are fair. In this case, it is Player’s reactions. Women playing.
170 laso

the machine itself that becomes the second to both players, keeper of the code
duello, theoretically ensuring that they are subject to the same type of punish-
ment and that the rules of the game are not broken.

Figure 6. Player’s reactions. Teenagers proudly showing their wounded hands.

The competitive situation experienced by the players is one of the main factors
that make this game fun. A field research and an online survey study led by
Vorderer, Hartmann and Klimt (2003) concludes that competitive elements
determine the enjoyment in playing computer games, and that there is a pref-
erence for a social-competitive situation, in which the player contends against
another user. With its clear rules and precise goal, this game creates a competi-
tive structure that has no “grey areas”, as can occur in many other social situa-
tions, and thus the players engage in a challenge that has a clear outcome: total
victory or self-imposed defeat. Moreover, players are contending in front of
an audience that plays an important part in the social dimension of the game.
Caillois (1994, p. 128) stresses that “all competition is in itself a performance”,
pointing to the need for an audience to witness how one of the players defeats
the other. Competition games lose motivation if they are not played in front of
onlookers because it is their presence that spurs the participants’ self-esteem,
and also brings in a sense of community. Competition implies a shared activity
that generates, according to Vernes (1967, p. 431), a community with the op-
ponents and other fellow players. In PainStation, the two main elements that
give sense to this community are, first, the experience of pain and its visible
outcome in the form of a wound in the back of the left hand, and second, the
“Suffered Pain” score. Photos of wounded hands are displayed on the “Hall of
 an enhanced Duelling artefact 171

Pain” section on the artwork’s website (Morawe & Reiff, 2006), and according
to the artists, some players are even proud of having the image of their hand
posted in this gallery. Just like piercings or tatoos, the wound in the hand
identifies that person as being a (regular- to hardcore-) PainStation player and
therefore belonging to this particular group. As for the high scores, although
they are not published on the website, they are a frequent issue in the player’s
comments posted on the guestbook. These scores introduce another aspect
of the competitive structure: the competition not only against the opponent
during game play but also against other players who might have endured more
pain (thus reaching a higher score). It is interesting to point out how competi-
tiveness takes the players to see a reward in repeatedly going through such an
unpleasant sensation, as well as the fact that they find the measure of their own
experience by comparing it with the experience of others.

aGGreSSIoN
For more than 15 years, the concern that video games with violent content
might induce aggressive behaviour has been the subject of a constant debate
among psychologists and media researchers. I think it is thus particularly per-
tinent to address this issue in the context of the PainStation, since it performs
aggressions to the body of the user as an integral part of its game play. An
overview of the most prominent research in this subject seems to conclude
that no final asseveration has been made regarding the influence of videog-
ames on aggressiveness: Anderson and Dill state that “there is presently no
empirical evidence on whether playing a violent video game increases acces-
sibility of aggressive thoughts” (Anderson & Dill, 2000, p. 773) but empha-
size that videogames are in this regard potentially more dangerous than TV.
One particularly interesting concern is that, as video games achieve a higher
degree of realism, it is expected that aggressive emotions will be heightened:
“the more realistic the violence, the more the player identifies with the aggres-
sor. The more rewarding the video game, the greater potential for learning
aggressive solutions to conflict situations.” (Anderson & Dill, 2000, p. 788).
Other studies have also considered the subject of reality by including experi-
ments with head-mounted displays (Arriaga, Esteves, Carneiro, & Monteiro,
2006), but again no conclusion was reached. In any case, it would be logical to
suppose that the PainStation is a videogame that critically induces violent be-
haviour and feelings of aggression, since its form of violence cannot be more
realistic. Yet, the comments of both the artists and the players, as I pointed
out before, paint a totally different picture. There seems to be no violent be-
haviour but rather simple amusement.
Most of the factors that lead to an explanation for the reactions of the Pain-
Station players have been presented in the course of this text: first, the fact that
participating in the game is voluntary, players being well aware of its nature be-
cause they have been watching others play before. Second and more important,
the player can quit the game at any time with a simple gesture, and therefore is
also aware that it is her own decision to keep playing. Third, the knowledge (or
172 laso

belief ) that the pain he is suffering is controlled and does not pose a real threat
contributes to lower the possible feelings of aggressiveness the player might
be experimenting. Fourth, the punishments are not applied arbitrarily, but as
a result of bad performance, and therefore the player interprets that he is suf-
fering from his own mistakes. Fifth, as I stated above, the will to beat the high
score and the wounded hand as a sign of belonging to a group contribute to
perceive the pain as somewhat positive, as part of a challenge and not a simple
torture. Finally, the social environment in which the game takes place is a fac-
tor that particularly contributes to lower the players’ aggressiveness. Williams
and Clippinger (2002) conducted a field research examining the difference in
frustration and aggression in game play after users encountered the computer
as opponent and a proximate person as opponent. A non-violent game (Mo-
nopoly) was used in order to isolate the aggressiveness of the player from the
function of game play. The researchers concluded that there was a significant
difference in the level of aggression shown by the participants in the two situ-
ations, being the reaction against the computer much more aggressive than
against another person, when this person is physically present. The social in-
tercourse involved in the second situation led to lower feelings of hostility. The
interface is thus key to the perception of aggressiveness: when playing against a
computer, the user can’t empathize with the machine, he does not know what
it is thinking and can’t evaluate its abilities or know if it is playing fair, and
consequently feels in an unfavourable position. When playing against another
person, both participants perceive game play as a peer-to-peer situation, the
computer being a mediator that levels their skills or at least constraints them to
what is needed in the game. Casual conversation and body expression give the
players additional information that contributes to modulate aggression (the
attitude of the opponent tells the player whether the game play is being taken
seriously or not, for instance). The comments posted on the guestbook of the
artwork’s website as well as the artists’ observations indicate that usually players
compete against friends, and that the situation is perceived as amusing.
The artists recall only one situation in which a player developed an aggres-
sive behaviour (Reiff, personal communication, October 6, 2004): it was the
case of a boxer who had come to the game convention right after being in a
fight. As he received the first electroshocks, he began to slam his fist on the
machine and later on angrily asked who had built the artefact. Both artists
silently left the place, not returning until the boxer had calmed down. But this
is of course a particular case that can only prove, as most research in this field
does, that violent individuals tend to violent behaviour.

PaIN
The PainStation is usually criticised as being a game for masochists. It could
seem obvious to refer to masochism when someone voluntarily submits to
receiving pain, particularly if it is in the context of a leisure activity; but in this
case the players’ motivations have nothing to do with a psychiatric disorder.
In the previous section, I briefly described the factors explaining the players’
 an enhanced Duelling artefact 173

low levels of aggression, or even their lack of it, despite the violent nature of
the punishments they are suffering. These factors also contribute to explain-
ing that the pain felt by the participants is not experienced in the sense of
torture, domination or humiliation, but as an unpleasant sensation that must
be overcome to prove self-efficacy. According to Westen (1987) our behaviour
is determined by affects, which define the course of action depending on how
a situation conflicts with an ideal state. For PainStation players, the ideal state
or the goal is to defeat the opponent and, as suffering pain is necessary to
achieve this goal, they do not try to avoid it. Therefore, players do not will-
ingly undergo the painful punishments, but rather choose suffering instead of
abandoning. This is, in itself, a fundamental distinction; but there is also the
question of how the sensation that we define as pain is actually perceived.
The perception of pain can be affected by several psychological and cogni-
tive variables. Janal (1996) examined what he defined as stoicism in recrea-
tional runners: the fact that after exercising they report being less affected by
pain, although their tolerance remains the same. He concluded that: “pain is
reported to be lessened during and after exercise, but tolerance is unaffected.
There is some evidence to suggest that this effect is mediated by an opioid
anti-nociceptive system” (Janal, 1996, p. 379). Expectations also modulate
the perception of pain. Koyama, McHaffie, Laurienti and Coghill confirmed
that “positive expectations [...] produce a reduction in perceived pain (28.4%)
that rivals the effects of a clearly analgesic dose of morphine (0,08 mg/kg of
body weight, an ~25% reduction in pain)” (Koyama et al., 2005, p. 12955).
These examples illustrate the fact that the subjective perception of pain can
be different when performing a voluntary activity that is related to it (as is
the case of runners) and with positive expectations. This does not mean that
PainStation players are not feeling any pain, but rather that the pain they are
feeling does not affect them in the same way it would if the punishments were
applied in a different situation. This, combined with a context that rewards
enduring pain with higher scores and sometimes defeating the opponent, de-
scribes a situation that is totally different from experimenting algolagnia or
the sexual fantasies of masochists.

CoNCluSIoNS
Two students, equipped with metallic protections for the chest, neck, eyes and
nose, are put face to face very close to one another and armed with swords.
As the referee shouts “Los!”, the duellists engage in a fight whose purpose is
to slash or cut any of the uncovered parts of the opponent’s head (skull, fore-
head, ears, in some cases cheeks) and leave him scarred for life. The fighters
must not show any fear or pain, because this would mean dishonour. Known
as academic fencing or Mensur, this sort of duel has been practiced by stu-
dents belonging to specific brotherhoods (or corps) in Germany, Austria and
Switzerland during the last two hundred years (Green, 2004).
Mensur illustrates the fact that the need to engage in a competitive situa-
tion, which involves physical punishment in a setting controlled by rules, is
174 laso

anything but new. The PainStation itself is based upon a card game for children
played in Germany, called Folter Mau-Mau, in which the loser receives several
types of punishments in the hand according to the cards kept when the game
ends. On the guestbook of the artwork’s website, “Lil’rich” (Appendix, §9)
explains that the machine inspired them to create a “rudimentary version” of
the game in which two players slap each other’s breast until one has to pull out.
Many other examples can be found in children’s games around the world, and
lately in media art projects that, as the PainStation, have dealt with other forms
of interaction in the context of games, such as Legshocker, also by Morawe and
Reiff, or Tekken Torture, by the artists collective C-Level. In all these games,
pain is integrated as a threat and a way to physically stimulate the players and
put them in a state of alert that brings forth the consciousness of their own
bodies. But also as a way to put at stake something that is really important for
the player and heightens the value of the competition. As the artists put it:
“victory satisfies more if won under pain” (Morawe & Reiff, 2001, p. 2).

Figure 7. Audience gathering around the players

The need to compete is inherent to every person, and it is the purpose of the
game to provide a socially accepted scenario in which this necessity can be
satisfied. Among the bio-psychological explanations of the game, R. Caillois
includes the following: the release of an excess of vital energy, the desire to
be involved in a competition in order to affirm one’s pre-eminence and the
sublimation of instincts to which society refuses a direct satisfaction (Caillois,
1950, p. 200). The PainStation has met with such success because it complies
 an enhanced Duelling artefact 175

with all these conditions, and thus provides hints to understanding the way
in which future forms of computer games might develop. Not in causing
pain and wounds, because this was intended as a way to force a reaction that
would lead to critical thinking (yet it met with maybe too much approval),
but certainly in inserting haptic stimulation, new ways of interaction and a
real social intercourse.
Players want to engage in a game that does not only involve virtual char-
acters and fantastic settings, but puts them back in touch with their bodies,
challenges their endurance and gives them the chance to play face to face (and
not side by side, facing a screen) with another person. The next “enhanced
duelling artefacts” will certainly develop creative ways to provide this new sort
of video game.

refereNCeS
Anderson, C.A., & Dill, K.E. (2000). Video Games and Aggressive Thoughts, Feelings, and Behavior in
the Laboratory and in Life. Journal of Personality and Social Psychology, 78(4), 772-790.
Arriaga, P., Esteves, F., Carneiro, P., & Monteiro, M.B. (2006). Violent Computer Games and Their
Effects on State Hostility and Physiological Arousal. Aggressive Behavior, (32), 358-371.
Caillois, R. (1950). L’homme et le sacré. Édition augmentée de trois appendices sur le sexe, le jeu, la
guerre dans leurs rapports avec le sacré. (Man and the Sacred. Augmented edition with three appendixes
on sex, game, war in the relation to the sacred) Paris: Gallimard.
Caillois, R. (1994). Los juegos y los hombres. La máscara y el vértigo. Mexico: Fondo de Cultura
Económica. (Original title: Les jeux et les hommes. Le masque et le vertige) (Man, Play and Games)
Paris: Gallimard, 1967).
Green, J. (2004). Armed and Courteous. Inside Germany’s Secret Duelling Clubs. Financial Times
Magazine, January 3, 2004, (36), 18-22.
Huizinga, J. (1972). Homo Ludens. Madrid: Alianza.
Janal, M.N. (1996). Pain sensitivity, exercise and stoicism. Journal of the Royal Society of Medicine,
(89), July 1996, 376-381.
Koyama, T., McHaffie, J. G., Laurienti, P.J., & Coghill, R.C. (2005). The subjective experience of
pain: Where expectations become reality. PNAS, 102(36), 12950-12955.
Leopoldseder, H., & Schöpf, C. (2002). Prix Ars Electronica 2002. International Competition for
CyberArts. Ostfildern-Ruit: Hatje Cantz.
McGrath, D. (2006). No Pain, No Game. Wired News, March 7, 2002. Retrieved 28 August, 2006,
from http://www.wired.com/news/games/0,2101,50875,00.html
Morawe, V., & Reiff, T. (2001). PainStation. Enhanced Duelling Artefact. Retrieved 28 August, 2006,
from http://www.khm.de/~morawe/painstation/PainStation_eng_long.pdf
Morawe, V., & Reiff, T. (2006). The Artwork Formerly Known as PainStation. Retrieved 28 August,
2006, from http://www.painstation.de/new/index.html
Westen, D. (1987) Self & Society. Cambridge UP
Williams, R.B., & Clippinger, C.A. (2002). Aggression, competition and computer games: computer
and human opponents. Computers in Human Behaviour, (18), 495-506.
Vernes, J.R. (1967). Jeux de Compétition. (Competition Games) In R. Caillois (ed.) Jeux et Sports.
(Games and Sports) Encyclopédie de la Pléiade, 23. Paris: Gallimard.
Vorderer, P., Hartmann, T., & Klimmt, C. (2003). Explaining the Enjoyment of Playing Video Games:
The Role of Competition. ACM International Conference Proceeding Series; 38. Retrieved 28 August,
2006, from http://portal.acm.org/
176 laso

aPPeNDIx
Selected entries from the guestbook on the official website of the PainStation (http://www.painstation.de/
new/guestbook.php). Spelling mistakes have been kept in order to preserve the style of the original texts.
§1: “If i find a painstation in manchester ill b straight on it just 2 c how far i could get and to c how
much pain i could handle – quayan (key anne), 07/1/2006”
§2: “Painstation is the greatest arcade game this side of pong. – Sco, 05/31/2006”
§3: “You’re ps is great! But one thing... Can you make him compateble for small hands? Because i’ve
got small hands, I could keep the pressure right and lost because of that, my painlevel wasn’t reached
yet :( For the rest super! Come soon to Einhoven again! (hopefully adepted to small hands) – Lydia,
05/15/2006”
§4:“OH! MEIN! GOTT!!!! Wie viel kostet das Teil und wo kann man es sich bestellen? Ich will eine.
SOFORT! Hab vorhin mit meinen Bandkollegen in Stuttgart gespielt. Beim ersten Spiel war ich ge-
schockt (im wahrsten Sinne des Wortes). Verloren.... Aber ich hab den Highscore geknackt ^^ und das
ohne cheaten. Bin echt süchtig nach dem Teil. Ich will eine. Wirklich... Und zur not bau ich mir selber
eine. Wieviel kostet der Bauplan? – therealpanse, 03/30/2006”
§5: “This must be the stupidest thing I’ve ever seen... – random guy, 03/18/2006”
§6: “Absolutely fucking awesome. I wish I’d thought of it. Maybe for the more hardcore people like me,
you could fit it with razorblades or some sort of barbs on the ends of the whips? Maybe a flamethrower
somewhere? Chirst, if I could buy one I would..... – random american bastard, 03/16/2006”
§7: “Greatest gaming console the world has ever known. Me and two of my friends visited London
last summer after our graduation. We ended up going to the V&A’s TOUCH exibit where we thank-
fully found the original PainStation. We couldn’t or at least I couldn’t get enough of plaing the game, I
believed that I stood there playing various spectators for over two hours. And I ended up having the high
score which I believe was in the 205 range, the score would’ve been higher unfortunatly my jackarse of
a friend couldn’t hold on. I think that my high score was on their until the exibit ended, the score was
either under INM, DIB or IAN. Either way amazingly great gameplay or should I say gamepain. I just
have two questions about this game. When will we see this in the U.S. and when will we see the PSP or
Pain Station Portable? Thanks for a great addiction and a scar of remembrance. – Ian, 03/15/2006”
§8: “Just played Painstation in Abertay University Dundee!! It ROCKS!!!! Even when the pain becomes
almost unbearable I kept going back for just one more game, just to see the look on my friends faces as I
try to beat them!! – enigamic, 03/1/2006”
§9: “After finding painstaion one on the net last year, inspiration was provided for a more rudimentry
version that you can play in countries like New Zealand where you will not be able to play painstation,
called Slaps. One hand behind the back, each player takes turns to slap the others opposite breast until
one has to pull out. simple but effective, great spectator sport. A little deep heat can be added to increase
pain. A female version can be played with horizontal slaps to the stomach. – Lil’rich, 08/23/2004”
§10: “played in st. gallen/CH. got addicted. want to play again... only ‘bout 280 points before the other
guy gave up... wasn’t real pain yet. – stefan, 06/4/2004”
 ParT Three
Interfaces of Play
INTroDuCTIoN To ParT Three

C
omputer games and productivity software, such as office programs,
share quite a few qualities, as they operate on similar technological
frameworks. Usability and other concerns related to human-computer
interaction (HCI) have for a long time been an integral part of commercial
software development. The computer game industry has also adopted these
practices; International Game Developers’ Association (IGDA) has a special
interest group for game accessibility and big game developers have their in-
house usability teams employing a variety of methods to address usability con-
cerns during game development. Knowledge of human information process-
ing and ergonomics, for instance, is as applicable to games as it is to other
software applications.
Games also have their unique qualities. As Jørgensen has suggested, it is
important that games are easy to learn, but difficult to master, although this
“reflects and contrasts conventional usability evidence easy to learn and easy
to master” (2004, p. 396). While productivity software is designed to facilitate
achieving a certain task with maximum ease of use, the intended difficulty,
as Jørgensen puts it, contrives for the interface not to always be as simple
and intuitive as possible. Actually, learning, possibly by trial and error, what
can be done with a game’s interface, is often an essential part of the playing
experience.
Salen and Zimmerman (2004, p. 332) have, with reference to Csikszentmi-
halyi (1991), identified playing as an autotelic activity, meaning that it is not
carried out for the sake of a potential future reward, but rather for the sake
of the activity itself. Computer games, like many other software products,
contain tools to facilitate achieving tasks, but these tools come with motiva-
tions for, and contexts of, their use. In other words, games provide not only
a means to an end, but also the end itself. For users of productivity software,
any particular qualities of their experiences are added values on the way to
their achievements, whereas players, in general, are trying to succeed in order
to have certain kinds of experience.1 These experiences, whether they are for
1 An interesting debate is taking place concerning the idea of power gaming (see e.g. Taylor 2006) and
the forms of professional and laborious playing (see e.g. Kücklich 2005), which both challenge the
“self-sufficiency” of a game presented in this introduction. However, these issues are not further elabo-
rated herein.
 Interfaces of Play 179

example, entertaining, educative or enlightening, hold in themselves signifi-

cance for the players. Thus, if computer games have a task they’re designed
to fulfil, it is the task of conveying an experience for the player. Sometimes it
may make sense to see players as tool users who often want to get a job done
quickly and easily, but it is also important to remember that they are, after all,
employed by the games. Not until recently has the value of player’s achieve-
ments in computer games been exchangeable for a real-world value other than
social esteem via eBay and similar services.
Conveying a specific kind of experience to the player is not necessarily
an easy task. Game designers have limited powers; as the earlier parts of this
book have demonstrated, the designer-made product is not the only factor
affecting the player’s experience. As Hassenzahl (2004, p. 47) notes, designers
can create possibilities, not certainties. Apart from game design, producing a
game also requires software engineering, audiovisual artistry and interaction
design to name a few. The theoretical limits of the computer game medium
can be seen as being comprised of the level of knowledge of all disciplines, arts
and practices involved. Vice versa, the advancements in these fields contribute
new techniques to be exploited. In the real world, however, the market often
dictates how innovations get implemented.
A mass-market gesture control device may have existed as an enchanting
yet impracticable idea for many years, but not before it was possible to pack
together an accelerometer, image censor and Bluetooth radio, manufacture
such package cheaply enough and infuse the players with the belief that ges-
tural control for games is a good idea, were we able to buy a Wii Remote at
its current price of 30€. A mere piece of technology does not necessarily make
much of a difference, yet when game designs make use of its capabilities, the
possibilities for experiences start to appear.
A contemporary mainstream game, whose production costs may have ex-
ceeded those of a minor movie release, is targeted to a group of potential
players. Naturally, different games cater for different audiences. Developers of
a turn-based hex strategy game may emphasize game mechanics over an au-
diovisual outlook, whereas the developers of a sequel to an epic fantasy game
series make sure that the games’ plot fits the lore of the series. Regarding Wii
Remote; pictures of happy people of all ages dressed in casual clothes were
presented in the media long before the product was released, which set expec-
tations regarding the style of games to be released with the new console.
What is to be gained from these observations is the idea of player experi-
ence as an experience with a product that is engineered under certain tech-
nological restrictions, optimized for meeting certain requirements (such as
expectations of a particular audience) and designed to provide possibilities for
certain kinds of experiences. The third part of the book, Interfaces of Play, is
centred on these themes.
The third part begins with Amyris Fernandez’s chapter, which discusses the
enjoyment of playing a computer game from a multidisciplinary viewpoint
drawing from the traditions of communication studies, usability research and
computer game studies. Her aim is to model players’ enjoyment in order to
10 Part Three

allow game designers to provide more enjoyable experiences for the players.
She presents a model on fun experience with games, detailing the intercon-
nections between elements involved in the experience of digital game play.
Shaowen Bardzell looks at the interaction taking place between the game
and the player from the viewpoint of usability. She discusses how games create
and represent meanings through and within their user interfaces. To facilitate
her analysis she defines a concept of an interaction cue, a sign that commu-
nicates possibilities of interaction to the player. Her chapter combines HCI
and semiotics with computer game studies. Based on a study of 29 different
games and almost 400 interaction cues, she presents a taxonomy of interface
elements in computer games. The taxonomy has a variety of possible usages in
game design, analysis and criticism.
Clara Fernández-Vara discusses the interfaces of adventure games, a genre
of games which emphasize storytelling over complex forms of real-time in-
teraction. Building on studies on interactive fiction, she looks at the develop-
ment of the interfaces of adventure games, namely the possibilities the inter-
faces allow for direct manipulation of in-game objects. By discussing examples
ranging from games, with which the player interacts by typing sentences in
plain English, to games with gestural interfaces of the future, she observes
how the increase in the possibilities for direct manipulation can affect the
player’s experience.
In their chapter, João Bernardes, Romero Tori, Ricardo Nakamura, Daniel
Calife and Alexandre Tomoyose present an extensive review of augmented
reality (AR) games that demonstrate the blurry border between the game and
the real world in a very practical manner. The authors identify the main con-
cepts related to AR and discuss the impact AR has on the future of digital
gaming. Their initial three-type classification of AR games, founded on the
need for physical space, is broken down further into subcategories based on
the metaphors with which the game mechanics can be described.

refereNCeS
Jørgensen, A. H. (2004). Marrying HCI/Usability and Computer Games: A Preliminary Look. In ACM
International Conference Proceeding Series; Vol. 82. Proceedings of the third Nordic conference on Hu-
man-computer interaction, 393-396.
Salen, K. & Zimmerman, E. (2004). Rules of Play. Game Design Fundamentals. Cambridge, Mass. &
London: The MIT Press.
Csikszentmihalyi, M. (1991). Flow. The Psychology of Optimal Experience. NY: HarperPerennial.
Hassenzahl, M. (2004). Emotions can be quite ephemeral; we cannot design them. ACM Interactions,
11(5), 46-48
Taylor, T.L. (2006). Play Between Worlds. Exploring Online Game Culture. Cambridge, MA: MIT
Press.
Kücklich, J. (2005). Precarious Playbour: Modders and the Digital Game Industry. Fibreculture 3(5).
Retrieved 17 October, 2007, from http://journal.fibreculture.org/issue5/kucklich.html
amyris fernandez

fun experience with Digital Games: a Model

Proposition

G
ame designers work is to craft enjoyable digital games, products de-
signed to provide a pleasurable experience for the duration of the game
play. If they fail in this task, the game is immediately dismissed for
other game titles, or other forms of entertainment. As the gaming industry
matures it resembles more to Hollywood. The typical video game now costs
upwards of $10 million to produce. With the stakes so high, few companies
can afford to fail and innovation becomes a risky strategy (Entertainment
Software Association 2005). In order to improve digital games during the
development process, academics and practitioners alike are using a range of
methods to assess user experience with games.
Games are experience providers, and game developers need tools to bet-
ter understand user experience of the products they created. McCarthy and
Wright (2004) state that experience is a fuzzy concept, because it is reflexive
and is ever-present, and that experience derives from feelings, emotions, and
values that populate responsive relations with others and products. One have
to consider that every experience has the unique perspective of the person
involve, because perception is created during the consummation of the ex-
perience. One also must consider that game designers aim to deliver the best
experience possible to users by making the best possible choices on every com-
ponent of the game, form software to plot. However, they are making choices
based on their previous knowledge of what makes a product successful to a
given target audience, which does not guarantee that they will be able to actu-
ally deliver what the user expects.
When people play games on the computer screen or cell phone, trying to
make points or kill a virtual beast, they are in the search of fun, which is one
way to enjoy the experience, and it is what makes it useful and enjoyable for
that person at that time. First of all, nobody needs to play any given game, it
is a choice. Gamers have other entertainment choices like any of us: TV, radio,
magazines, other person, a pet, the Internet, look out of the window, go walk,
but they prefer to play.
It is necessary to acknowledge that a good game is the one that leads
to some degree of enjoyment, even when the game is silly; poorly designed
12 fernandez

or easy to master one can have fun and enjoy the experience (Shneiderman,
2004). Of course, in common speech pleasure, enjoyment and fun are al-
most synonymous and enjoyment, pleasure, fun and attraction are often used
interchangeably. Typical of a relatively new area of investigation is the lack
of an agreed set of terms. In order to overcome that, I will use Blythe and
Hassenzahl’s (2004) approach to enjoyment, a broad category that includes
fun and pleasure on activities. John Dewey argued that all emotions grounded
in particular context of experience: “There is no such thing as the emotion of
fear, hate, and love. The unique character of experienced events and situations
impregnates the emotion that is evoked” (Dewey, 2005).
Blythe and Hassenzahl’s (2004) also state that enjoyment doesn’t exist in
and of itself. It is a relationship between ongoing activities and states of mind
that creates the opportunity to have different degrees of enjoyment of a given
experience. Thus, enjoyment is never guaranteed. Every time a person de-
cides to play a game rather than watch TV or talk to friends, academics and
practitioners are dealing with a unique situation: the person’s current goals,
previous knowledge and experiences, motivations, the behavior domain, and
applicable social norms. Activities associated with enjoyment offer potentials
for enjoyment rather than enjoyment itself, and enjoyment degree depends on
person judgment of the quality of experience.
In order to experience fun, the game experience needs to shift our fo-
cus towards the game, instead of our self-definition, our concerns, and our
problems, distracting us from the constant clamor of the internal dialogue.
Games entertain; they divert people from their daily tasks or current status.
Fun is important because of its ability to distract for a small period and with
superficiality that satisfies an important underlying psychological need in that
moment. On the other hand, pleasure lasts longer, and it may not even be
spontaneous. It happens when people are devoted to an object or activity. It
is possible to argue that gamers who spend a great deal of time devoted to a
game are trying to make sense of them during the play, and it happens be-
cause they feel pleasure by doing so. It is possible to understand that there are
connotational and experiential differences between of fun and pleasure. This
is not to suggest that pleasure is more worthy pursuit than fun, it is rather an
attempt to delineate different but equally important aspects of enjoyment. Ac-
tually, it refers to a different degree of enjoyment, and consequently, depends
on the individual overall judgment of any given game experience they have.
The main question is how to assess this experience and how to measure the
difference between expectations and actual experience, looking at each ele-
ment as a part that can help or impede the user to enjoy the moment.

PrevIouS MoDelS of exPerIeNCe aSSeSSMeNT IN GaMeS

Previous models to assess game players enjoyment during the game relies on flow
(Sweester & Wyeth, 2005), other models are looking for what determines the
quality of a video game (Fabricatore, Nussbaum & Rosas, 2002), or intuitively
add psychology techniques to usability methods, to assess what is desirable in a
 fun experience with Digital Games: a Model Proposition 13

game in consumer terms (Pagulayan, Steury, Fulton, & Romero, 2004). Earlier
models (Hassenzahl, 2004; Jordan, 2000; Logan, 1994) of user experience with
a HCI approach define key elements of user experience and their functional re-
lation, but do not provide ways to assess those experiences after they take place.
Flow is a widely accepted model of enjoyment that includes eight elements
that encompass the various game heuristics from the literature. To determine
how elements of flow manifest themselves in computer games, Sweester and
Wyeth (2005) conducted an extensive review on the literature of usability and
user experience in games. The result was the GameFlow model, an attempt
to put together various heuristics into a concise model of enjoyment, which
consists of eight core elements – concentration, challenge, skills, control, clear
goals, feedback, immersion, and social interaction.
Flow has been proved to be an elusive construct to define. While
Csikzentmihalyi (1997) wrote extensively on the subject over the past 20
years, definitions provided in these sources, and by other researchers, always
lack consistency and comprehensiveness. Existing definitions of flow are con-
structed in terms of a wide variety of constructs an individual tends to experi-
ence in the flow state. Some definitions include constructs that define or cause
flow, while others specify outcomes that are experienced as a result of being in
flow state (Novak, Hoffman, & Yung, 2000). Although the GameFlow model
is a very interesting approach to assess game enjoyment, a key difficulty with
this is the lack of consistency in operational definitions of flow constructs.
The qualitative design model, developed by Fabricatore, Nussbaum and
Rosas (2002) elicit players’ preferences, and describes the main elements that,
according to players determine the quality of an action video game. The re-
search is a qualitative approach and results in a series of specifications that focus
on end-user needs. In order to conduct the research, they adopted the ground-
ed theory method that allows working on an emerging theory. In this iterative
process, researchers’ theory is constantly revised and eventually modified as new
patterns emerge from the analysis of data. Therefore, the methodology provides
the means to shape a qualitative model based on empirical data gathered during
playing sessions. In those sessions, players verbalized what determines quality in
a game. In my point of view, two problems come from this methodology and
model. First, it is necessary to agree that there are many different sorts of digital
games, which makes one game genre model useless for other games genres. Sec-
ond, in order to create a model for a given game genre many operational issues
arise: number of participants, recruiting, time, budget, and modeling. Since the
main outcome of this work is a set of design guidelines for game genre, I believe
that this work is more a set of heuristics than a model per se.
Other important contribution comes from Pagulayan and team (2004).
They extended the use of current usability methodologies in order to address
some of the unique issues one can find in games. This methodology adapts
some experimental psychology knowledge in order to improve user-centered
design methods. On presenting a series of case studies, it is easy to notice that
what they are really doing is comparing user needs and desires with designer
expectations about the game outcomes, and then fixing problems based on
14 fernandez

this difference. Thus, every test and game development becomes a different
case study, because it uses a different approach to point to problems. Because
this approach is empirical, the result of the methodology relies too much on
the practitioner experience and game developer team communication skills,
making it difficult to reproduce their work, and repeat success stories of help-
ing game designer improve their products.
There are some models of user experience with a HCI approach; some
of them are very simplistic (Jordan, 2000; Logan, 1994). Mark Hassenzahl
(2004) proposed a more complex model that tries to define key elements of
user experience and their functional relation. The model addresses (a) the sub-
jective nature of experience per se, (b) perception of a product, (c) emotional
responses to products in (d) varying situations. The main contribution of this
work is that it recognizes that the designer perspective is intended. It implies
that there is no guarantee that the user will actually perceive and appreciate the
product the way designers wanted it to be perceived and appreciated. The sec-
ond most important statement is about the user experience. When users start
using a product, he says, a process is triggered. This process is about how people
construct an opinion about a product based on the particular combination of
product characteristics, their personal standards and expectations, sometimes
based on past experiences, and in a particular situation. Depending on the situ-
ation, emotional and behavioral consequences are completely different.
Because product interaction is a complex cognitive structure that evokes
memories and symbolic values, Hassenzahl model distinguishes the product
attributes in two categories: (1) pragmatic, referring to manipulation and ful-
fillment of individual’s behavioral goals, and (2) hedonic, referring to attributes
that stimulate, have some identification with individuals and provoke memories
in them. Hedonic attributes emphasize individuals’ psychological well-being.
However, the model does not relate constructs with game experience in mind.
It is a more broad view of user relationship with technological products.
Digital games experience research needs to consider the impact of user
profile, product awareness and user expectations on the overall experience,
because it transforms the game perception and the play experience. In my
model pragmatic and hedonic attributes are constructs that depend on prod-
uct characteristics that game designers can manipulate and improve, in order
to induce to some degree of psychological well-being. All previous models
disregard the context of usage that may take attention and memory away
from the game, and the influence marketing awareness towards the product
that raises the user expectations (MacInnis & Jaworski, 1989). These are just
some of the reasons a new processing model is being offered to assess and un-
derstand user experience with digital games.

MoDel ProPoSITIoN
The model proposition is based on knowledge and methods coming from
different two different areas: Human-Computer Interaction and the Com-
munication field of study. It makes the Conceptual Model of Digital Games
 fun experience with Digital Games: a Model Proposition 15

Messages Processing an integrative model, that is sustained by tree main ideas:

1) Time: experience occurs during a certain period of time, comprised by the
time before it really happens, during the game play, and after the game, 2)
Cause: there are many elements that build the experience and they act on each
other, altering the result to various degrees of fun, including not having fun
at all, and 3) Result: fun is the main result of this experience, but depends on
how the elements act on each other. As figure 1. illustrates, the basic compo-
nents of the Game Experience Model.

This model aims to:

1. Identify and describe the elements involved in the digital game experience;
2. Identify and analyze the relationship among those elements, and indicate how they influ-
ence each other.

The Model includes: 1) Antecedents: a previous state where user expectations

exist, and depend on user profile, 2) Processing: the game play, where the play-
er experiences the product, and 3) Consequences: the results of this experience,
when the user may have changed her mind in some way about the game due
to the game play experience.
In the next section is a description of each part and elements of the model.

Figure 1. Fun Experience in Digital Games: Model Proposition

antecedents

The antecedent’s part of the models takes in consideration the game audience
before they begin game play because the user profile influences their choices
about which game to play and where they play it (Norman, 2002). In this
16 fernandez

model, user profile comprises: 1) User demographics (age, gender, education),

2) Internet and handheld related issues (why, where, what, how the player uses
these), and 3) Game activity (previous experiences, hardware preferences, years
playing digital games, frequency, preference in socialization level, genre pref-
erence, and purpose).
User profiles give an insight about the game player as a consumer. Tradi-
tional demographic traits such as age, sex, education levels, and income no
longer help us predict consumer buying habits, because it is no longer possible
to infer habits or predict behavior from age and gender, for example. Non de-
mographic traits such as values, tastes, and preferences are weak on predicting
what any of these people are likely to purchase (Yankelovich & Meer, 2006).
The model acknowledges that by correctly identifying groups that were poten-
tially receptive to a particular game genre, or have interaction preferences in
terms of hardware, socialization, and purposes, one can better understand the
relationship of consumers to a specific game and game play appreciation.
Game genre preference is a very sensitive topic, because game genre defi-
nition varies depending on the source, and games are usually classified in
arbitrary, contradictory or overlapping ways, mainly because of marketing
purposes (Elverdam & Aarseth, 2005). In order to increase understanding I
will use a set of genre categories comprised of: action, adventure, educational,
emulator, fighting, puzzle, racing, role playing, shooter, simulator, sports,
strategy, traditional, serious, massive multiplayer (All Game Guide, 2006).
Game genre and purpose add attributes to the user profile that help under-
stand the way a game player makes decisions.
The model considers that user purpose and motivation are different constructs.
Literature review shows that the two words have been used as synonyms, but some
distinction is necessary. Purpose is an outside aim or goal that defines product
requirements to provide social or aesthetic utility to express one’s actual or ideal
self-image, role position, or feelings toward group members (Park & McClung,
1986; Park & Mittal, 1985; Park & Young, 1986). Motivation is a psychological
state, and reflects the desire to consume products for their cognitive (Cacciopo,
Petty, & Morris, 1983)or sensory stimulation (Hirschman & Holbrook, 1982).
Thus, motivation is related to factors that arouse, maintain and channel behavior
towards a goal, moderating the link between product exposure or game play, and
the game appreciation process (Batra, 1986; Greenwald & Leavitt, 1984; Mitch-
ell, 1981; Petty & Cacciopo, 1986). Though, the model takes in consideration
both concepts. Purpose is part of antecedents’ part of the model, and motivation
is a mediator between the emotional and cognitive responses.
Because game players tend to transition either from a playful behavior to a
more serious one, and it interferes with the goal-directness, the model uses the
Modus Operandi concept. Murgatroyd (1982) conceptualised goal-directness
as a continuum ranging from “Telic” to “Paratelic,” where telic refers to high
goal directness that I called “serious” and paratelic refers to low goal-directness,
which I called “playful.” The telic mode tends to be more serious minded and
focused on the future, while individuals in paratelic mode tend to be more play-
ful, light hearted, orienting actions towards the present. Rodgers and Thorson
 fun experience with Digital Games: a Model Proposition 17

(2000) believe that a more serious, goal-oriented mode might translate into a
greater cognitive effort being placed on reaching a goal, which is a futuristic
outlook, and a lesser cognitive effort being devoted to other tasks such as inter-
acting with others and paying attention to context distractions such as noise.
On the other hand, users on a paratelic mode may be more curious, and apt
to explore the virtual environment. These considerations make it necessary to
understand if motivation triggers cognitive tools and emotional engagement.
The antecedents’ part of the model intends to capture the elements that
build game player choices and lead to a certain behavior during a game play
as follows.

Processing
Processing refers to the period when the player is actually engaged in the task.
Processing depends on motivation, that affects the direction of the attention
and the amount of memory allocated to the tasks. According to Bettman
(1979), motivation affects both direction and intensity of behavior. Consist-
ent with this notion, advertisement processing models propose that motiva-
tion affects two dimensions of processing: direction of attention and intensity
of processing (Mitchell, 1981; Petty & Cacciopo, 1986).
Attention, defined as the general distribution of mental activity to the tasks
being performed by the individual (Moates & Schumacher, 1980), reflects both
that which receives mental activity (direction) and the duration of the focus.
As a limited cognitive resource (Mitchell, 1983; Norman & Bobrow, 1975),
attention can be allocated in varying degrees to a primary task or to secondary
ones such as daydreaming, conversation, or other environment stimuli. During
this period, as the perceived degree of relevance of a game task outweighs the
perceived degree of relevance of a secondary task, motivation to process game
content increases. As a result, greater attention is allocated to the game task in
detriment of secondary tasks (Celsi & Olson, 1988). The selective aspect of at-
tention is under conscious control and is directed toward stimuli of greater rel-
evance. However, it is also recognized that stimuli must contain properties that
elicit attention (Berlyne, 1960). As attention to the stimulus increases, greater
amounts of working memory may be allocated to process information. The
term “processing capacity” intends to reflect the amount of working memory
allocated to process stimuli. In earlier models, focus (in our terms “attention”)
and the extent of processing (in our terms “capacity”) were both considered
under the generic designation of “attention” (Norman & Bobrow, 1975).
Not only does the engagement with the game require the use of cognitive
tools, it simultaneously elicits emotions on the user. The emotional engagement
is usually expressed through a combination of verbal and facial expressions
and gestures (Sundström, Stahl, & Höök, 2005). However, there are emotions
that provoke a low level of arousal and valence (Russell, 1980), such as feeling
gloomy or bored, making it hard for observers to gain access to gamers’ emo-
tional states (Mandryk, Atkins, & Inkpen, 2006). According to Russell (2003)
emotional states are at the core of human emotional experience, and affect the
1 fernandez

experience results. Emotions are also acknowledged as factors that influence

the attitude towards a brand, and hence it is logical to think that emotions
influence the attitude towards a product (MacInnis & Jaworski, 1989).
The game play experience happens through the games pragmatic and he-
donic’ attributes. The model assesses pragmatic attributes through game inter-
face and device interface usability. It is well known that low usability of any sort
of interface limits the user’s capacity to reach goals trough task completion, and
lowers user satisfaction. Hedonic attributes are comprised of the game’s universe,
interactivity, and technology to promote aesthetic pleasure (Chao, 2004). The
universe constructs are: (1) the plot, its development and possible outcomes, (2)
boundaries or rules, including rules for game economics, (3) characters, because
they will evoke players’ self or memories, (4) ability to “make believe”, referring
to the level of detail with which the whole game universe is developed and pre-
sented to the game user in the virtual environment. Some may call it degree of
realism, but since I are talking about a fantasy, it doesn’t seem right to me.
Interactivity is a group of features that trigger user actions and reactions,
and are related to: (1) the game challenge in terms of objective (get the black
belt in martial arts, for example), (2) pace or rhythm in which the game player
achieves short term goals, (3) responsiveness: how the game reacts to players’
actions, including saving past moves.
Technology attributes are those that rely on technological limits or advanc-
es to perform, and are comprised of: (1) technical issues- correctness (the func-
tions are adapted to the tasks the users are doing), availability (the functions
are available in a simple manner), reliability, security & integrity (functions
perform as expected, information is correct, saving and retrieval of informa-
tion is correct), robustness (the system is capable of handling technical and
user-generated errors), (2) multimedia – graphics, sound and camera angle, (3)
degree of realism with which an action is presented to the user, for instance, if
the game player needs to use a gun, the gun performance must be as close to
real life performance as possible (Fullerton, Swain, & Hoffman, 2004).

Consequences
MacInnis and Jaworski (1989) propose that responses to ads are cognitive and
emotional. Cognitive responses are thoughts, including inferences, during ex-
posure. Emotional responses are feelings elicited during ad exposure. The mod-
el assumes that similar phenomena happens during game exposure, thus, game
appreciation depends on the emotional engagement and cognitive tools usage
level. The model considers Fun as a result of game experience through hedonic
and pragmatic game attributes, mediated by cognitive and emotional tools.

relaTIve aDvaNTaGeS of The MoDel

It is my contention that the model outlined here takes the first steps in linking
HCI and communication message processing theories. The model claims that
there are additional structural features in the game experience as compared
 fun experience with Digital Games: a Model Proposition 19

with traditional usability inspection methods. In addition, there are different

expectations about games regarding software usability. Because people have
many different motivations and needs to fulfill with the experience of games
and because each game genre is more apt to deliver what is in the user’s moti-
vations, those motives are critically important to understand how users needs
and values modify the way they interpret an experience, and what they expect
from it.
In order to improve results in the future I suggest creating an experiment
with one game genre, and recruiting players that prefer the game selected for
the test. It is also important do conceptualize and discriminate what is fun,
and how it can be measured. By doing so, it will be possible to understand
different degrees of fun or game appreciation.
I expect the model to help academics and practitioners to achieve a better
understanding of the game experience.

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Shaowen Bardzell

Systems of Signs and affordances: Interaction Cues

in 3D Games

INTroDuCTIoN

v
ideo game play is a species of human-computer interaction: whether it
occurs between a player and a game (environment, rules, story, etc.),
or among players, interface-mediated interaction is the basic locus of
video game play. Interaction design, hence, plays a major role in video games;
at the same time, it forces us to conceptualize games as interactive systems
– systems designed for fun, entertainment, and discovery rather than profes-
sional productivity to be sure – but nonetheless computer systems with their
own issues of usability, aesthetics, and satisfaction.
During game play, players take thousands of actions, both great and small.
During this time, player perception of the state of the game becomes crucial,
as the player uses information gathered to arrive at an awareness and inter-
pretation of a given situation, which in turn guides further progress/activity.
Video game usability, in part, covers the extent to which a game successfully
supports this action-guiding awareness or interpretation. In discussing design,
Donald Norman (1988) emphasizes four principles:

• Visibility. Through perception, the user can easily understand the state of the system and
determine alternative actions.
• A good conceptual model. The system allows a consistent and coherent presentation of the
system throughout.
• Natural mappings. The system enables a natural relationship between the controls and
their utilities.
• Feedback. The user receives continuous feedback about the result of his/her action.

In an effective system design, the user always knows what is going on and
what her or his options for action are.
Norman’s design principles can readily be seen in popular video games.
For example, plants, which in role playing games (RPGs) are commonly
used to heal injured characters, often stand out from their environments
with unusually bright colors to attract the player’s attention (visibility). Once
perceived, the player’s avatar can approach and pick the plants (good concep-
tual model). The plants heal the character’s wounds during and after battles
192 Bardzell

(natural mappings). The success of the healing is often represented as a swirl

of animated sparkles (feedback) that surrounded the avatar, who, now healed,
can proceed to the next adventure. The bright colored plants for herbalism
and rejuvenation in RPGs is a good interaction design because it makes uses
of and capitalizes on both the physical properties and cultural dimensions of
a real-life object; as a result, the player is able to interpret the situation and
take appropriate actions in-game, using the interface efficiently to do so, and
perceive the resulting effects. Indeed, in this case, the game succeeds at com-
municating information to the player that does not interrupt the flow of play
through “attention-aware” interface elements (Dyck et al., 2003). The visibil-
ity of both the artificially luminous plants and the sparkles signal to the player
possible actions and their consequences.
Video games, as analogues to real life constructed for purposes of play,
rather than productivity, imply particular kinds of interaction. The challenge
for game interaction designers is to find the balance between constructing an
experience without making players feel constrained (Pagulayan et al., 2003).
Instead of transparency and simplicity, favored in most productivity appli-
cations, interaction design in video games favors surprise, discovery, pattern
recognition and experimentation. Indeed, the open-ended exploration of a
game’s possibilities is a large part of what makes the play meaningful, because
it brings about the pleasure that keeps gamers engaged.
One way to approach interaction design in video games is to examine it in
terms of interaction cues. I define an interaction cue as a sign that provides in-
formation to players so that they are aware of their present interactive possibilities.
I contend that games generally present not just a collection of cues, but more
precisely a system of cues, or what might be called a grammar of cues, which
enables them to be meaningful.
How are cues organized into systems? In some games, such as Tetris (1986),
the player has what Salen and Zimmerman (2004) call, “perfect information,”
which occurs when “all players have complete knowledge about every element
in the game at all times” (p. 204). In other games, players have “imperfect
information,” which means that “some of the information may be hidden
from players during the game” (p. 204). Thus, some games need to make vis-
ible their cues all at once, while others can lay them out over time, to aid in
a temporal process of discovery. In the latter case, cues can be spread out in
different media and in different ways: the player’s interaction with in-world
objects, through a conversation with non-player characters (NPCs), the play-
er’s accomplishment of a given task, or through the player’s discovery of it
latent in the environment. Thus, interaction cues can be, and are, organized
temporally.
Another systematic characteristic of interaction cues is the relationship
between the cue and the desired behavior. Some cues have a natural corre-
spondence to their interactive possibilities, while others have a conventional or
arbitrary relationship. In the former category are brightly lit flowers that have
healing properties or ladders that can be climbed, and in the latter category are
breakable objects in platformers, commonly used in these games, though not
 Systems of Signs and affordances: Interaction Cues in 3D Games 193

in reality, to obtain power-ups, coins, and other desirable objects. Convention-

al cues, because they are arbitrary, may not be perceived to some users, even
when they are clearly visible in the literal sense. The usability of games depends
in part on the learnability of cuing systems – and this learnability is likely to
vary by games. For example, experienced players of platform games know to
break open as many crates as possible, while inexperienced players may leave
them untouched and fail to attain their benefits. Likewise, a platform player
may try to break open crates in non-platform games and experience confusion,
frustration, or even damaging results. As Salen and Zimmerman note (2004),
“If there is too much info, or if the info is neither discernable nor integrated,
the design has failed to support meaningful play” (p. 210).
The position of this chapter is that a systematic analysis of interaction cues
in games may shed light on the characteristics of games that makes them fun,
meaningful, and usable. Using a ground-up approach, based on the study of
hundreds of individual cues, we may gain a better understanding of the ways
games signify to the player how to interact with them. This chapter presents a
taxonomy of interaction cues in video games. This taxonomy helps designers
and critics understand systematically the many ways players are encouraged
to discover features of the game or interact and behave in desired ways. In ad-
dition, it should help designers and critics make useful associations, discover
patterns, make predictions, innovate on new cues/interactions, and create
useful analogies among cues, in-world objects, avatar capabilities, and player
intentionality.

MeThoDoloGy
Different theoretical frameworks may be used to study interaction cues. De-
signers in HCI may think of the theory of affordances, popularized by Nor-
man. Those in cultural studies will likely think of cues as signs, and therefore
consider semiotics. This chapter will leverage both of these frameworks to
elucidate interaction cues as a meaningful interface system in games.
Semiotics is the study of signs, especially how meaning arises from signs.
Signs can appear in many different forms, including text, cinematic imagery,
sound, objects, etc. Signs include “everything which can be taken as signifi-
cantly substituting for something else,” or, in a famous formulation, anything
that can be used to lie (Eco, 1976). Swiss linguist Ferdinand de Saussure pro-
poses a two-part model of the sign, a signifier (the image) and a signified (the
concept), and it is the combination of the two (the sign) that is meaningful
(Chandler, 2002). Semiotics is especially concerned with how individuals cre-
ate and attach importance to signs in the context of use. Hence, semiotics
promotes the sensitivity towards the interrelations between individuals and
socio-cultural conventions in explicating the functioning and meanings of
the signs. Because interaction cues form systems that signify the possibility of
interaction to players, they seem ripe for semiotic analysis.
The concept of affordance in HCI and design can also be used for the
analysis of interaction cues. An affordance is concerned with the attributes of
194 Bardzell

objects that make them available for use by humans. The notion of affordance
was developed by perceptual psychologist James J. Gibson, who believes an
object’s affordances are intrinsic to the object itself and therefore are inde-
pendent of the perception or cognition of any actual human (Gibson, 1986).
Thus, low branches on a tree afford climbing regardless of whether any human
ever sees the tree.
The concept of affordance was popularized in HCI and design by Don-
ald Norman, who in The Psychology of Everyday Things (1988, later renamed
The Design of Everyday Things) uses the terms to refer to those attributes of
an object that a person perceives to be of potential use. Thus, for Norman,
affordance is tied to human perception and cognition, and more broadly, to
the actor’s own knowledge and culture. Norman uses the notion of affordance
as a design strategy to emphasize the importance for the design of artifacts
to provide perceptible information regarding characteristics of their use. To
Norman, affordance only exists when the information specifying the object’s
functionality is available to the actor. As Norman suggests, “when affordances
are taken advantage of, the user knows what to do just by looking: no pic-
ture, label, or instruction needed” (Norman, 1988). In a game environment
where perceptual information is crucial in determining and affecting the play-
er’s course of actions, examining interaction cues from the perspective of af-
fordances offers us a vocabulary that connects perception and action.
As we elaborate above, semiotics and affordances provide vocabularies
flexible and systematic enough for us to gain insight into the complex rela-
tionships between interaction cues and player behaviors. The two approaches
have overlaps, suggesting that they have similar concerns, including the con-
nections among signs, interpretation, and behavior. However, they are also
used for different purposes: semiotics is a critical strategy typically used to
explicate how sign systems contribute to the emergence of meaning for a com-
munity of users. The notion of affordance provides a strategy for designers
to think about how to create features that suggest interactive possibility. By
building our analysis of interaction cues on the combination of these different
approaches, not only do we benefit from each, but we can also leverage the
analysis for multiple ends in design and critical analysis of meaning.
For this study, I documented a total of 388 cues from 29 games, in ten dif-
ferent genres1 (Appendix 1). The games were selected based on a few different
criteria. Chief among them was the fact that all the games received positive
critical acclaim, from game review sites, such as GameSpot. I chose critically
acclaimed games on the assumption that their interaction cues were likely to
be the most worthy cues to study. The games were also selected for generic di-
versity, to ensure that games of one type did not dominate. Another criterion
is that all of the games are relatively recent, because recent games are more
likely to be fully 3D and feature a high diversity of game elements. Finally, the
selection included games familiar to the researchers, since getting to know a
game well can take ten to hundreds of hours.
1 The game genres are based on existing conventions, which have been discussed by Crawford (1982),
Wolf (2002), and Apperley (2006), among others.
 Systems of Signs and affordances: Interaction Cues in 3D Games 195

The study adhered the following procedures: each game was played, ob-
served, and videotaped on average one to three hours (not necessarily from the
beginning), to obtain a sample of its interaction cues. Numerous characteris-
tics for each cue were documented in the process, as shown in Table 1.

artifact-Centered Characteristics human-Centered Characteristics

• The time and sequence (order, duration, itera- • What the human has to do to perceive it as a
tion) cue?
• Space and setting (location, environment) • What types of audience is the cue aimed at?
• Occasion • What knowledge does the cue take for granted?
• Medium • What kind of response does the cue expect the
• Physical attributes player to have?
• Function • What are the consequences for not responding
• Diegetic vs. non-diegetic nature to the cue in desired ways?

Table 1. Characteristics of interaction cues documented in the study.

These characteristics were then sorted into categories, which eventually yield-
ed a taxonomic structure. Each of the 388 interaction cues was individually
assigned to a branch of that schema to verify that the taxonomy was compre-
hensive and its categories were exclusive. Obviously, several adjustments were
made along the way.

a TaxoNoMy of GaMe CueS for The DeSIGN aND aNalySIS of

GaMeS
A taxonomy is a good way to organize a large amount of related information,
as its structured nature often illuminates relationships of elements to each other
as well as the principles that govern such relationships. The 388 cues collected
in the study present a wide range of characteristics and features. The taxonomy
(Figure 1) allows one to tease out fundamental distinctions among these cues,
enabling the elaboration of a language to critique issues concerning game design
and usability relative to cues. It is not my intention to make scientific claims
concerning the classificatory structure, as if I were asserting an ontological real-
ity to cues; rather, I believe the taxonomy provides a heuristic for understand-
ing different ways interactions are suggested to players in game interfaces.

Interactivity
The first branch in the taxonomy distinguishes between those game elements
that are interactive and those that are non-interactive. This category more or
less corresponds to Gibson’s (but not Norman’s) notion of affordance, because
it considers the capacity for interactivity without regard to any player or per-
ception. Interactive elements include those that players can modify, those that
modify players, those that have some effect on game play, and so on. Non-
interactive objects are often decorational, that is, placed in the environment
to improve its illusion as a virtual space, as opposed to being used in actual
game play.
196 Bardzell

This leads to a critically important question: how does a player know

whether something is interactive? Without a correct mapping of interactive
versus non-interactive elements, interfaces may become unusable.

Figure 1. A Taxonomy of Interface Elements in Games

Markedness
The second level of branching concerns the principle of marking. That is, it
addresses whether a given element is marked in some way as interactive. As a
rule, most (but not all) interactive elements are also marked as such. Likewise,
most (but not all) non-interactive elements are not marked as interactive.
The notion of markedness comes from semiotics and was introduced by
the Russian linguist Roman Jakobson, who defines the concept as follows:
“every single constituent of any linguistic system is built on an opposition
of two logical contradictories: the presence of an attribute (‘markedness’) in
contraposition to its absence (‘unmarkedness’) (Chandler cited Lechte, 2002).
The marked form is different, foregrounded, and salient, while the unmarked
form is neutral, normal, and attracts no attention to it (Chandler, 2002). The
concept of markedness, hence, is used to organized elements in relation to
each other through highlighting and understating (Riggins, 1994).
An example of markedness can be seen in Pikmin (2004), by comparing
two different types of flora, one interactive (and marked as such) and one
non-interactive (and unmarked). Figure 2 shows three flowers in the fore-
ground, which are bright, animated, and conspicuously featuring numbers; in
the background, a plain green plant stands. The bright coloring, foreground-
 Systems of Signs and affordances: Interaction Cues in 3D Games 197

ing, and numbering on the foregrounding flora both signifies the fact that the
flowers can be interacted with and also some information about the nature of
that interaction (concerning the resources required to interact with them).
The markings help the player see which screen elements are intrinsically
active, and which, such as the green plant in the background, are intrinsi-
cally passive, meant only for decoration (Emmison & Smith, 2000). Com-
bining the two oppositions – interactive vs. non-interactive and marked vs.
unmarked – yields four possibilities, described as follows.

Figure 2. Marked versus unmarked flora in Pikmin.

Non-interactive elements not marked as interactive. Environmental elements

(e.g., sky, mountains, trees, rivers, buildings, etc.) intended only as decoration
and/or backdrops belong to this category. The stationary flora in Pikmin is a
example of an unmarked, non-interactive element. In addition, non-interac-
tive non-player characters (NPCs), such as crowd members in many sports
games, also fall into this category.
Non-interactive elements marked as interactive. These false cues represent
a less common type, but one that I found plenty of evidence of in games. Gen-
erally, these involve false affordances (Gaver, 1991), that is, non-interactive
objects that became marked as interactive. This raises the issue of intentional-
ity, since it makes little sense for anyone to mark a non-interactive element as
interactive. However, markings map not to designerly intention, but rather
19 Bardzell

to the community of interpretation. That is, designers don’t always mark ele-
ments as interactive; conventions and user expectations may do so as well.
A couple examples illustrate this branch. Crates and boxes in platformers
such as Sly 3 (2005) and Jak 3 (2003) are intended to be broken so that the
player can collect important items or obtain extra points. The mere existence
of boxes and crates in platform games has emerged over two decades as a cul-
tural convention constituting a visual cue for the player to act, specifically by
breaking them for rewards, such as bonus points and special items. However,
crates also appear in non-platform games, such as first person shooter (FPS)
games such as Half-Life 2 (2005). In Half-Life 2, many of the crates cannot be
broken, and in some cases, those that can be broken actually cause damage to
the player. Thus, cultural convention marks the object with a cue that is not
actually appropriate to the object (Figure 3).

Figure 3. Breakable items in platform games become cues of false affordances in

some FPS games.

Another example, familiar to many gamers, is the case of the 3-foot fence that
the tough marine or cyborg warrior protagonist cannot jump over. In distinc-
tion to the previous example dealing with game convention, in this case the
player responds to markings from real-life affordances (in real life, any marine
in combat shape could climb a 3-foot fence). If the fence cannot be climbed
over, its presence manifests a false cue.
Operational here is a distinction introduced in the semiotics of cinema, be-
tween cultural codes and specialized codes (Metz, 1974). Cultural codes are “so
ubiquitous and well ‘assimilated’ that the viewers generally consider them to be
‘natural’…. The handling of these codes requires no special training…, no train-
ing other than that of living, and having been raised, in a society (p. 112, em-
phasis in original). Special codes, on the other hand, “concern more specific and
restricted social activities…they required a special training…a training even the
‘native’ person, possessing the culture of his group, cannot dispense with” (p.
112). In these terms, an element can be (correctly or falsely) marked as interac-
tive by cultural codes (3-foot fences can be jumped by any able-bodied person)
or conventional codes (crates are disposable containers with rewards inside).
Interactive elements not marked as interactive. Elements in this category
are typically considered secrets or “Easter Eggs,” for which no cue exists to
suggest their interactivity. In Final Fantasy X (2001), certain hidden loca-
 Systems of Signs and affordances: Interaction Cues in 3D Games 199

tions of the world can only be accessed by selecting specific coordinates while
aboard an airship; the game provides no cues that these places exist at all, and
therefore no motive to discover their coordinates. Players can only find them
through trial-and-error or (more likely) through strategy guides and online
walkthroughs.
Interactive elements marked as interactive. This is the main category of
interest for interaction design in games in our taxonomy, and I will discuss
this in detail in the next section.

Diegesis
From this point forward, I consider only interactive elements marked (in one
way or another) as interactive. These elements can be subdivided into two
categories: those with diegetic forms versus those with non-diegetic forms.
Diegetic forms are those elements whose embodied representations/media be-
long to the in-game story, which are perceivable by the in-game avatar. Non-
diegetic forms, in contrast, involve a mediating mechanism (e.g., interface
elements, such as dialog boxes and special cursors) which are external to the
depicted events. Examples of diegetic cues include unlocked doors in Oblivion
(2006) through which avatars can pass, edges of cliffs onto which avatars can
hang and climb in Shadow of the Colossus (2005), as well as climbable lad-
ders in Jak, Grandia 3 (2006), Thief: Deadly Shadows (2004), and Ico (2001).
Examples of non-diegetic cues involve highlighting systems, such as the red
light column above the opponent’s head in SSX 3 (2003), the blue highlight
that appears over openable doors in Thief: Deadly Shadows, or special cursors
(e.g., indicating skinnable corpses) in World of Warcraft (2004). As Figure 4
shows, a given element’s interactivity can be marked by both diegetic and
non-diegetic cues.
Diegetic cues enable designers to communicate to the player through the
avatar; non-diegetic cues enable designers to communicate to players directly.

Medium
The fourth branch addresses the particular medium of the cue, a category that
applies equally, but differently, to both diegetic and non-diegetic forms of
cues. The medium is important, because it establishes the player’s relationship
to its contents, profoundly affecting perception and behavior, and as a result,
the medium plays a major role in the rise of meaning in the interactive system.
The medium is not an incidental container for its content, but rather consti-
tutes and embodies the message (McLuhan, 2003). One place to gain an un-
derstanding of the operation of cue media is when a given interaction contains
multimodal cues, that is, the “same” cue is given in two different media. An
example of this kind of cue occurs in Kameo (2005): when the avatar fails to
achieve an objective after a certain amount of time, the game provides a more
explicit set of directions than previously given. This new set of directions is
provided via a talking book trope. The book, of course, is visual and contains
200 Bardzell

text and images; the fact that it talks also provides audio cues. Interestingly,
though the visual book provides both diegetic and non-diegetic cues, describ-
ing what the player should do to the point that it references the buttons on the
controller the user should press, the audio portion provides strictly diegetic
directions, omitting any reference to the controller or even the fact that this
is a game. The different media – the disembodied voice of the narrator placed
into a visual representation of a book – serve different purposes and establish
different relationships with the player, even when they purport to be saying
the same thing. The audio narrator speaks indirectly to the player through the
avatar; the book communicates directly to the player with words and images
that mix game and real-world realities.

Figure 4. That Sly can tightrope walk is indicated by both diegetic and non-diegetic cues.

Diegetic forms: wholes versus parts.

I subdivide diegetic forms into two categories: “object wholes” and “object
parts.” Object wholes refer to objects that are interactive as wholes; ladders,
save spheres, and collectible energy balls are all whole objects that players in-
teract with as such. Players interact with object parts when only a portion of
an object is interactive or suggests interactivity; for instance, an object with a
special texture applied to it, which is in a particular state, is interactive only as
a part of the whole. Our interactions with these objects and parts of objects
occur primarily through “direct manipulation,” a term Shneiderman (1983)
 Systems of Signs and affordances: Interaction Cues in 3D Games 201

introduced to HCI to characterize how graphical user interfaces introduce a

sense of direct control over onscreen elements by visualizing objects, states,
and the consequences of actions in ways that appear natural and intuitive,
which supports higher level thinking, such as problem-solving and critical
thinking.
Whole Objects. This category contains those elements that are recognized
and used as whole interactive objects. However, just because these objects have
a concrete and natural representation in the world does not imply that they
necessarily signify interactions in natural, or iconic ways. Some objects, such
as ladders meant to be climbed, do; however, others, such as floating pink
energy ball pick-ups left behind by vanquished foes in Jak 3 have no real-life
counterpart, and therefore must be learned, before they can cue actions.
American semiotician Charles Peirce’s trichotomy of icon, index, and sym-
bol provides a vocabulary to describe and classify the mode of signifying of
whole interactive objects in games. Peirce’s notion of icon refers to a sign’s rep-
resentation of its object “mainly by its similarity” (quoted in Chandler 2002).
To Peirce, a sign is an icon “insofar as it is like that thing and used as a sign of
it” (quoted in Chandler 2002). In iconic mode, the signification of the sign
comes about through resemblance. A lit candle in Eternal Darkness (2002),
which the player’s in-game character can perceive and manipulate (e.g., blow
it out) is an example of an interaction cue’s signaling to the player using the
iconical approach. Similar examples drawn from the study include switches
and levers in Ico and Myst V: End of Ages (2005) that the in-game character can
manipulate to open doors; bars and pipes that stick out of otherwise smooth
walls in Jak and PsychoNauts (2005) that afford swinging to a higher ground;
Ivy plants in Metal Gear Solid 3: Subsistence (2006) in which the protagonist
Snake can latch upon and climb to get down to the ground; etc. (Figure 5).
Generally, iconic objects occur when their affordances match their intended
use. Moreover, because they associate so readily with familiar objects in the
real world, any cultural codes associated with these objects can also be lever-
aged for meaning in video games. Since the player is allowed to respond to
these iconic cues in games in an intuitive manner by drawing upon real-life
experience, it greatly diminishes the likelihood for player frustration (Gross
et al., 2005).

Figure 5. A climbable chain (iconic signification), a damaged car with loose controls
(indexical signification), and a save sphere (symbolic signification).
202 Bardzell

According to Peirce, the index occurs when the mode of signification is cause
and effect, such as a column of smoke functioning as a signifier for a fire
beneath it. A good example of an indexical cue is the moving grass in Metal
Gear Solid, which indicates there are small animals hidden in grass, which
can be killed and saved for future food source. Another common example
is the red and white fences around the edges of sharp turns in the tracks of
Rallisport Challenge 2 (2004), a racing game. In many racing games, a visually
beat-up car often signifies that the controls will be less responsive, simulat-
ing car damage (Figure 5). Interaction cues of indexical nature still signify in
non-arbitrary ways, but an extra level of inference or interpretation is required
to make them comprehensible; as a result, they can be somewhat less usable
than iconic objects and may require some training before players can correctly
interpret them.
The symbol signifies arbitrarily and based on convention. Peirce describes
a symbol as a sign “whose special significance or fitness to represent just
what it does represent lies in nothing but the very fact of there being a habit,
disposition, or other effective general rule that it will be so interpreted”
(cited in Chandler 2002). Accordingly, learning is required to understand
and interpret the relationship between the signifier and the signified in the
symbolic mode, as in the case of a save point in Grandia 3, represented as
a “save sphere.” (Figure 5). An interesting example of symbolic significa-
tion of objects occurs as a part of the complex economic system of World
of Warcraft, in which, as a rule, higher level foes drop higher value items.
But this system may appear to have strange consequences when, for exam-
ple, one compares what is dropped by a level 3 human bandit (typically a
sword or chain mail) with what is left behind by a level 30 spider (typically
a gooey substance known as “ichor”). In the marketplace, the ichor can
be worth much more than the sword or mail, which makes little sense on
the face of it. But whereas the sword or mail is weak and offers little value
after level 3, the ichor can be used in recipes to cook valuable items that
are useful throughout the game. Thus, unless one understands the values
of spider ichor in World of Warcraft, the comparative value of ichor over a
sword or chain mail is counterintuitive. This is not a natural or cause-and-
effect relationship; it is a conventional one created by the rules of World of
Warcraft, and thus the ichor’s affordances must be learned to be perceived.
As William Gaver suggests, learning in the context of affordances can be
seen “as a process of discriminating patterns in the world, as opposed to
one of supplementing sensory information with past experiences” (Gaver,
1991). Once these conventional symbols are learned, the player becomes a
part of a semiotic community with access to certain specialized codes, which
are presupposed for appropriate action.
Object as parts. In addition to perceiving and using objects in their
entirety, players also must learn to interact with parts of objects, which
are perceived as parts either spatially (e.g., textures) or temporally (e.g.,
state). One strategy to signify how to use a part of an object is to give
it a unique texture. A texture depicting a crack on an otherwise smooth
 Systems of Signs and affordances: Interaction Cues in 3D Games 203

wall in PsychoNauts suggests that that portion of the wall can be broken; dif-
ferently textured floor tiles in Eternal Darkness, when stepped upon, trigger
booby traps; muddy surfaces on the ground slow down Jak’s vehicle; a change
of texture on the ground in Thief: Deadly Shadows indicates the difference
between stone and metal, and thereby soft and loud footsteps, and encour-
ages the stealthy player to respond accordingly; tire marks on roads to indicate
optimal driving paths around tight curves in Rallisport Challenge 2 – all these
examples demonstrate how textures are used in a part-to-whole (synecdochic)
relations between different spatial areas of objects.
The video game is a dynamic medium; actors and environmental ele-
ments change. This change introduces a need to ensure that the state of
these elements is visible to the player. Games deal with state in different
ways. In World of Warcraft, if an enemy is nearby that (a) is dead; (b) was
killed by the player; (b) has not yet been looted, then sparkles appear above
it indicating that it is in a lootable state. If any of the three criteria are not
met, then it is not in a lootable state (at least by this player), and no sparkles
appear above the body (in this player’s client). In one segment of Jak 3, Jak
is in an area with dangerous lava bursts. Just before lava bursts out of the
ground, a gurgling noise signifies that the lava has left the dormant state
and has entered the about-to-burst state, which is of course followed by a
burst state, during which Jak needs to jump onto another platform to stay
safe. Sounds are used in SSX 3 to indicate one’s position in the race: char-
acters chatter and trash-talk when they pass one another, providing audio
cues that one’s place has moved forward or backward in the race. Interest-
ingly, aural cues are more likely to be diegetic than visual ones; perhaps
that’s because it’s easier for the eyes to distinguish among diegetic versus
non-diegetic forms than it is for the ears. Regardless, aural cues tend to
be subordinate to visual ones, helping players form correct interpretations
about the visuals, a finding also seen in a study of Web pages with audio
(James, 1998).

Non-diegetic forms.
Having explored diegetic cuing systems, let us now turn our attention to non-
diegetic forms. These I subdivide into two categories: “3D In-World Over-
lays” and “2D Window Overlays.” Here I rely on a distinction Manovich
(2001) makes between two types of window: the transparent window, which
is a viewport through which we see other worlds, and the opaque window,
covered in menus, icons, and buttons that force the viewer to act. 3D in-world
overlays include non-diegetic elements that are nonetheless presented inside
the 3D world. A typical example is the diamond that appears over the head
of the currently selected character in The Sims 2 (2004). 2D window overlays
may contain diegetic or non-diegetic information; it is their presentation that
is non-diegetic. A simple example is a dialog box that pops up in a Japanese
RPG that asks you to confirm whether you really want to leave an area. The
operative distinction between these two types of cues is that 3D overlays pro-
204 Bardzell

vide cues relative to the space of the in-game character or avatar, while the 2D
overlay provides cues external to the space of the avatar.
3D in-world overlays. Numerous types of 3D in-world overlays provide
interaction cues. One kind of information are directional cues, which are of-
ten provided as columns of light emanating from an important location, such
as a target spot toward which the player is supposed to go (Sly 3), or an impor-
tant person, such as the player’s competitor in a race (SSX 3). Large glowing
arrows are common in racing games, such as Burnout Revenge (2006), indicat-
ing the location of the racetrack.
The use of floating letters, symbols, numbers, and shapes inside of 3D
worlds is another way for the game systems to convey messages to the player.
Yellow/silver exclamation and question marks over NPCs’ heads in World of
Warcraft signal the status and availability of quests; likewise, red exclamation
marks over stars’ heads in The Movies (2006) indicate emergencies needing at-
tention; an interactive gun target reticle in Ghost Recon: Advanced War Fighter
(2006) features color-coded representations when friendly or enemy targets
are aimed at as well as symbols indicating the quality of the aim. In these
examples, characters and simple shapes from written symbolic systems com-
municate states and interactive possibilities dynamically and in a contextually
embedded way.
2D window overlays. The other major type of non-diegetic interaction
cue forms are two-dimensional screen overlays. These include cursors; dialog
boxes; HUD elements, such as health and stamina meters; mini-maps, and
so on. These elements are not only not perceptible to the in-game character,
but they are not generally put into any sort of spatial relationship to them
(first-person shooters complicate this statement, since the view of the player
is fused to that of the character in a literal way). Sample cues include special
cursors, such as those in Oblivion, which not only signify possible actions,
but even a moral/legal stance toward those actions (e.g., red cursors indicate
illegal activity). Similarly, different cursor icons in The Sims 2 signal different
potential actions: a footprint cursor icon means the Sim can proceed, and a
stick figure suggests you can converse with a given Sim, etc. Dialog boxes, seen
in most Japanese RPGs are used for a different kind of interaction. By click-
ing through dialog boxes, the story advances, enabling the player to control
the pace of the game. 2D window overlays are especially common in games
in which management is heavily featured, such as Civilization 4 (2005). Of
course, decades of productivity software have offered numerous analogues for
management interfaces, and they are predominantly two-dimensional. At the
same time, 2D interfaces also establish a relationship between player and con-
tent, a relationship of distant, and sometimes even god-like, control.

The laNGuaGe of INTeraCTIoN CueS

The taxonomy of game elements is intended to do more than offer a place for
each interaction cue found in a given game. Rather, its value is in its capacity
to elucidate how individual game elements actually form a meaningful cuing
 Systems of Signs and affordances: Interaction Cues in 3D Games 205

system. Different types of game element signify and are perceived in different
ways; they encourage different sorts of behavior; in some cases, they correlate
to genre. Taken together, the system provides a sophisticated language, which
enables games to feature a diversity of interactions and meanings arising from
them. In the concluding discussion, I consider a couple examples that illus-
trate how interaction cues are used as a sign system to create meaning.

Cues and Player Behavior

The taxonomy helps us describe game innovation and the origins of the new
meanings that it makes possible. As an example, consider the effects of a sin-
gle innovation in the interaction design of army management seen in Black
and White 2 (2005). In strategy games, such as Age of Empires, Civilization,
Rome: Total War (2004), and so on, moving military units typically involves
selecting the unit (as a group) and right-click on the map, causing the unit
to move toward that spot. Non-diegetic 3D in-world overlays represent both
the selection (and selectability) of a given unit as well as the point on the map
selected. This interaction gives the player quick and absolute control over the
unit and its positioning.
Black and White 2 (along with its predecessor, Black and White (2001))
is a much more (literally) hands-on game. The Black and White games turn
a standard PC cursor into a hand with an extraordinary range of capabilities
and even expressions, which affects all kinds of interactions. Black and White
embodies the interaction with its super-cursor-hand, such that to move a unit
of troops, the player literally picks up the collection of soldiers in her or his
divine hand and drops (or throws) them at the desired location. The interac-
tion is strangely diegetic, because the hand is no longer merely a cursor, but a
special kind of avatar in the world. This fundamentally changes the relation-
ships among the player, the avatar, and in-world content. The meanings of
the interactions between player and in-world objects also change; often they
take on a degree of humor not seen in other strategy games, especially if one
inadvertently (or not-so-inadvertently) sets down (or throws) one’s own wor-
shippers roughly. Such behaviors, of course, lead to Black and White’s central
mechanic, which is the moral feedback the game provides, based on the ways
the player, through the hand avatar, interacts with her or his people.

Cues, affordances, and Complex actions.

When discussing the concept of affordance, Norman introduces three types of
constraints in The Design of Everyday Things (1988): physical (related to real af-
fordances – not being able to jump over a fence is an example), logical (good at
directing behavior through deduction and inference), and cultural (the use of
shared conventions for a particular cultural group) (Norman, 1988, 1999). For
the final example, I explore the operations of logical affordance in a side quest
sequence. Within each area of Sly 2 (2004), Sly has the option of collecting a
series of bottles, which can be used to unlock a special power-up; this activity
206 Bardzell

is entirely voluntary, in the sense the player can finish the main game and not
complete this side quest on any of the levels. The way it works is that some-
where on the level there is a safe; opening this safe requires obtaining a special
code; the code can only be broken if Sly collects all 30 bottles on the level,
each of which contains a clue; when all 30 bottles/clues are collected, an NPC
breaks the code and provides Sly with the combination to the safe; if he goes
to the safe and enters that combination, he can open the safe and obtain the
special power-up.
How does this side-quest operate from the standpoint of interaction cues?
Several of the bottles are left out in highly conspicuous places, making it al-
most involuntary for Sly to begin the side quest; he will always get some bot-
tles, just by working through the level. Each time he acquires a bottle, a 2D
cue appears briefly on his HUD indicating that he has acquired X/Y bottles
(e.g., 5/30 bottles). This cue provides a logical constraint, because the player
(if not the diegetic Sly) knows, without seeing them, that scattered through-
out the level are (in this case) 25 more clues hidden in bottles. Each bottle
announces its existence through two cues: first, each bottle is a large and ani-
mated object in-world, visible to Sly even from a distance; second, each bottle
makes a clinking noise when Sly is nearby. Logical constraints let the player
know that even distant bottles with no clear route of access are still somehow
accessible; likewise, the clinking sound alerts the player to the presence and
accessibility of nearby bottles that are not even visible. The use of a safe in this
quest is by itself another cue: in platformers, desirable and valuable things are
commonly hidden in artifacts such as containers, crates, and safes (cultural
code), but in contrast to crates and barrels, a safe does not afford breakability,
and instead suggests another means – a key or combination – may be neces-
sary to enter.
As the bottle/safe side quest suggests, usability in traditional sense is prob-
lematic in the context of video games. Obviously, the placement of the power-
up in a safe that can only be accessed if all thirty bottles, some of which are
hidden in odd locations, are collected, is not as “usable” as making the power-
up available from the start. But doing so would take away fun and challenge
that makes the game what it is; yet it is also undesirable to have an unusable
game. One solution, used in this side quest to good effect, is to implement
“usability in sequence”: the game disperses and breaks up the usability into a
sequential, step-wise process (collecting bottlesgetting messages from the
bottlesobtaining combination for the safefind the safeopening the
safe), using a combination of cues of physical, logical constraints, and cultural
codes to provide information to the player. The method rewards those who are
patient enough to spend the time to complete the side quest. Once these side
quests are mastered, the rest of the game becomes much more “usable,” because
these players have power-ups that other players do not. The goal of the design
then, is to take into account both the design of the information that specifies
the affordance as well as the affordance itself (McGrenere & Ho, 2000).
As the examples and foregoing discussion have shown, a game’s commu-
nicative capacities are enriched by the system of interaction cues that are part
 Systems of Signs and affordances: Interaction Cues in 3D Games 207

of the language of games. The taxonomy of interaction cues introduced in

this chapter is intended to help interaction and game designers, critics, and
researchers better understand this language. Doing so facilitates the identifi-
cation of the usability issues and sources of frustration for the player when
interacting with the game as an information system; at the same time, it also
can shed light on the origins of pleasure, meaning, and fun in games.

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SquareSoft. (2001). Final Fantasy X. (PS2).
Tecmo. (2003). Fatal Frame II: Crimson Butterfly. (PS2).
Ubisoft Paris. (2006). Ghost Recon: Advanced War Fighter. Ubisoft. (X360).
Valve Software. (2005). Half-Life 2: Episode One. EA Games. (PC).
 Systems of Signs and affordances: Interaction Cues in 3D Games 209

aPPeNDICeS
Game Genres Games examined
Action/Adventure • Shadow of the Colossus
• Kameo: Elements of Power
• Ico
Puzzle/Adventure • Myst V: End of Ages
• Pikmin
First Person Shooter (FPS) • Half Life 2: Episode One
• Perfect Dark Zero
• Metroid Prime
Platformers • Sly 3: Honor Among Thieves
• Jak 2
• Psychonauts
Role-Playing Games (RPG) • Final Fantasy X
• Grandia 3
• The Elder Scrolls IV: Oblivion
• World of Warcraft (MMORPG)
Racing • Burnout Revenge
• SSX 3
• LA Rush
• RalliSport Challenge 2
Simulations • The Movies: Stunts & Effects
• The Sims 2
Strategy • Civilization 4
• Black & White 2
Stealth • Thief Deadly Shadows
• Metal Gear Solid 3: Subsistence
• Ghost Recon: Advanced War Fighter
Survival Horror • Fatal Frame II: Crimson Butterfly
• Silent Hill 2
• Eternal Darkness: Sanity’s Requiem

Appendix 1. Games Examined Based on Genres

Clara fernández-vara

Shaping Player experience in adventure Games:

history of the adventure Game Interface

The SearCh for DIreCT MaNIPulaTIoN

T
he adventure game genre is almost as old as videogames themselves. It
takes its name from Adventure, programmed by Will Crowther in 1975
and expanded by Don Woods the following year. During the 1980s, ad-
venture games were the leading genre in home computers, thanks to compa-
nies such as Inform, Sierra Online or LucasArts. In 1993, Cyan’s Myst became
the best-selling computer game (until the arrival of The Sims), and reinvented
the genre. In the following ten years, the models set by the companies just
mentioned were replicated by other developers, without there really being any
significant overhauls to the conventions of the genre. This lack of innovation
has contributed to the decrease in popularity of the genre in the mainstream.
The development of adventure games, however, has not stopped, thanks to di-
verse independent developers and publishers, as well as a growing community
of amateur developers using outdated engines to make their games. In the last
couple of years, changes in input devices, such as the popularization of game
controllers, touch screens, and the use of gyroscopes have brought fresh air to
the genre, creating new ways to immerse into the gameworld.
Current adventure games are very different from Adventure – the genre has
been in a constant flux, which is most obvious in its interface design. From
the prompt for keyboard input of Infocom games, to verb menus, to point-
and-click contextual icons, adventure games have gone a long way in shaping
player interaction. This constant re-design is not a question of mere aesthetics
– it is key to help the player learn what can or cannot be done in the game.
The evolution of the adventure game interface has looked for improving di-
rect manipulation of the entities in the game, where the instructions to be
followed by the computer imitate situations and objects of the outside world,
using visuals instead of a command line (Shneiderman, 2003). Direct ma-
nipulation does not only refer to interface metaphors alone, but to any visual
representation that is analogous to some concept the user/player is already
familiar with. Visuals give immediate feedback about the success or failure of
the command, and makes syntax error messages unnecessary. Enhancing di-
rect manipulation also contributes to the illusion of immersion in the game,
because the player does not have to learn the command syntax on top of the
 history of the adventure Game Interface 211

individual actions, as well as helping sustain the fiction of the world. The
player can intervene in the gameworld directly, without typed commands or
error messages to remind her she is using a computer program.
This chapter is a history of the transformations of the interface adventure
games have gone through in Europe and the US, and how the increase in
direct manipulation interfaces has affected the playing experience, from text
adventures to the current generation of consoles. The terms and concepts are
based on Shneiderman’s seminal article ‘Direct Manipulation: A Step Beyond
Programming Languages’ (Shneiderman, 2003), as well as the definitions
used by Nick Montfort (2003) to talk about Interactive Fiction, and the game
design elements that are being worked on in the Game Ontology Project (see
Zagal et al., 2005).

DefINITIoN of aDveNTure GaMeS

The phrase “adventure game” has been used to refer to many different types
of games, several of which will not be considered for this chapter. Generic
definitions are always complex, and hardly account for all the possible texts
belonging to a genre; it is the case in videogames as it is in film, literature or
music. Given the limited scope of the chapter, we will list the features that are
common to the games I will be dealing with.
The task of defining adventure games is a slippery one. Traditionally adven-
ture games are associated with stories, since it allows players to progress through a
narrative event structure. In this sense, one might reckon they fit Espen Aarseth’s
concept of ergodic literature (Aarseth, 1997), because they require “nontrivial ef-
fort […] to allow the reader to traverse the text.” However, if advancing in a story
requires a nontrivial effort, then any game that rewards the player with a segment
of a story after she has completed a particular challenge could also be considered
ergodic literature. This type of reward is becoming a commonplace in videog-
ames, so that we have puzzle games such as Magical Drop II (1996) or fighting
games Soul Calibur (1999), which will present short cut-scenes after every stage is
completed. This way of fragmenting the narrative may not be considered ergodic
literature (or storytelling, for that matter). Adventure games, by contrast, use the
same framework and entities to tell the story as well as play the game – there is an
overlap in the creation of the fictional world, where the story and the gameplay
are using the same devices and signifying systems. In other words, the world is
the same for the game and the story, the actions of the player overlap with the
events in the story, and the entities of the game overlap with the characters and
objects of the story. Challenges in adventure games appear in the form of puzzles,
i.e. challenges where there is no active agent against which the player is competing
(Crawford, 2003). They usually have at most a few correct solutions that must be
figured out (Rollings & Adams, 2003). Puzzles slow down the pace of gameplay,
since hand-eye coordination and quick reflexes are usually not required.1

1 See the Game Ontology entry for Puzzle, for further discussion and examples: http://www.gameontol-
ogy.org/index.php/Puzzle
212 fernández-vara

The textual interface and programming language of early adventure games

also served as the basis for the literary genre of Interactive Fiction (IF), a
genre that, though related, extends beyond the domain of videogames. IF is
an exclusively text-based genre of electronic literature; according to Montfort
(2003), it is a type of narrative whose content is revealed usually by prob-
lem-solving. The pleasure does not come from reading alone, but also from
figuring out the puzzles and riddles. Text adventures (i.e. adventure games
with a text-only interface) are a sub-genre of IF, defined as “an interactive fic-
tion work in which the interactor controls a player character who sets out on
out of the ordinary undertakings involving risk or danger” (Monfort, 2003).
This distinction between IF and text adventures is merely thematic – text ad-
ventures usually involve accomplishing an extraordinary task, emulating the
heroes of folk tradition. For instance, Infocom’s Deadline (1982), as Montfort
(2003) remarks, is a detective mystery, which may qualify as an adventure
even if its setting is not “out of the ordinary”. On the other hand, a work
like Photopia (1998) by Adam Cadre is interactive fiction, but would not be
considered a text adventure, since there are no complicated puzzles to solve;
however, in some sections of the game the player controls a character in a fan-
tasy world who sets out on a quest. The definition between these two textual
genres cannot be clear-cut, but rather they are the two extremes. Story-driven
pieces with less puzzles tend towards IF, while more challenge-oriented pieces
following the traditional quest structure are closer to text adventures.
IF has evolved to give even more emphasis to storytelling, becoming more
literary by restricting the player’s choice of actions (by using menus, for ex-
ample), and leaving out game elements such as combat or treasure hunting.
Conversely, puzzle-solving, treasure-hoarding and spatial navigation prevail as
forms of interaction in text adventures. The differences between both genres
are now more evident, given that adventure games have left behind the text-
only screen and developed a graphical user interface.
Compared to IF, adventure games are story-driven puzzle games, where
the story and the puzzles use the same signifying systems. This is clear in the
case of text adventures, since the story appears written on the screen, and the
player must also type to affect the development of the game. Graphic adven-
ture games (i.e. adventure games with a graphical interface) told stories with
images and text; the characters that appeared in the story would also be avail-
able for manipulation during gameplay. It is common in most game genres to
present cut-scenes with the stories of the manipulable entities; however, the
actions presented in these cut-scenes are not available as types of manipulation
in the game. For example, in Metal Gear Solid 2 (2001), the player character
only speaks face-to-face in cut-scenes, but dialogue is not an option during
gameplay.2 Other game genres are incorporating strong backstory components
as a way to engage the player, also as a commercial hook-up to relate the game
to some pre-existing franchise that extends to films, comics or novels, such as
2 Metal Gear Solid 2 incorporates a radio-talking system, which takes the player outside the gameworld,
to save the game and get various pieces of information about the place/situation the player character is
in. It is more of an information system in dialogue form than an actual dialogue system.
 history of the adventure Game Interface 213

the games inspired by the James Bond franchise Goldeneye (1997) and From
Russia with Love (2005).
As a consequence of the overlap between the manipulable entities and
characters in the story, there is always going to be a player character, which
will be the main entity carrying out the player’s commands in the gameworld
and providing the point of view for spatial navigation. The relationship be-
tween the character and the player will waver from being a surrogate to com-
plete detachment; the interface will help define the relationship between both.
The player character does not have to be unique – Maniac Mansion (1987)
(and its sequel Day of the Tentacle (1993)) start with three player characters. A
more intricate and self-referential example can be found in Suspended (1983),
where the player character is in cryogenic suspension and cannot move, he
can only send orders to the robots in the complex where he is kept, so that
they communicate with different computers to save the world. That is, the
player manipulates a character who manipulates robots that move around and
interact with computers.
The features listed so far (story-driven games, with a player character) over-
lap with those of many other videogames that would not be considered objects
of study here. For instance, the commercial site Mobygames lists The Secret
of Monkey Island (1990) along with Final Fantasy VII (1997), Planescape: Tor-
ment (1999) and The Legend of Zelda (1986). Only the first title in the list is
relevant for this study, because of the main mode of interaction is based on a
verb + object structure. The other examples are different types of role-playing
games (RPGs), a game genre that certainly relates to adventure games because
it is also story-driven. However, the predominant form of challenges in RPGs
is combat, the success of the player depends on managing resources in the
form of character stats.
Adventure games usually offer a variety of actions to perform in the form
of verbs; the player advances in the game by choosing the correct action and
object in the gameworld. For example, in Zork II (1981) the player can “pick
up brass lantern” to add the item to her inventory; she can then “light lantern”
or “turn off lantern”. All those actions are supported by the game parser and
have an effect; however, trying “eat the lamp” will be responded with “I don’t
think that the lamp would agree with you.” It is in the larger range of actions
(verbs) that adventure games have tried to differentiate themselves from other
genres.3
Unfortunately, this range is also the Achilles’ heel of the interaction – how
does the player know what she has to do? What is the right verb? At their
worst, a session of playing an adventure game turns into a festival of combi-
natorics of verb + object (+ object). The crux that adventure games have been
addressing over the years relates to the struggle between giving the maximum
number of actions possible to the player – to create the illusion of freedom
of interaction – and letting the player know exactly what has to be done to
prevent frustration.
3 Verbs are also the key for what Chris Crawford calls “interactive storytelling” – the more interactive
the designer wants to make a story, the more verbs are needed (Crawford, 2003).
214 fernández-vara

The variety of actions usually goes beyond mere movement commands, at-
tacks and trading, as in other genres such as first-person shooters or real-time
strategy games. In order to advance in the game, the player must navigate
the space to solve a series of puzzles by resorting to the verb + object type of
interaction. These puzzles are usually interwoven, so that by solving a puzzle
the player obtains an object to solve a previous one, or a new puzzle or puzzles
appear,
The resolution of concatenated puzzles is not the only reward – adventure
games encourage exploring the environment to its last possible detail, through
navigation, examination of the objects and settings, and interaction with the
non-player characters (NPCs). The exploration element has been handed
down from the original Adventure, which was supposed to be a computer
recreation of a real cave, imbued with Tolkienesque puzzles (Nelson, 2001).
When the balance between exploration, NPC interaction and puzzle-solving
is achieved, the game offers a world that is alive, enticing, and populated by
characters that respond believably to the player’s input.
Of the three elements just mentioned (exploration, NPC interaction and
puzzles), convincing NPCs can be key to the appeal and consistency of the
world. Most times an elaborate AI system does not guarantee a believable
character (though it can certainly help). Adventure games try to achieve the
verisimilitude of their characters usually through their dialogue, rather than
their behaviour, which usually implies the presence of a dialogue system that
is part of the wide range of actions available. The command “talk to + living
object” can be enough most times to start the interaction of the player charac-
ter with NPCs, though some systems may offer the possibility to choose what
to talk about. Dialogue is always a problem, especially in the case of this genre,
where it is supposed to be a means of enhancing the exploration of the game-
world and providing information about it. If finding the correct combination
of verb + object can be tedious and frustrating, this grows exponentially when
it comes to find a whole sentence structure to obtain the information needed.
Adventure games have come up with different solutions to this problem, from
typing the dialogue to menus and pre-canned conversations displayed when
the “speak” command is chosen (this last being equivalent to a cut-scene at
times). Significantly, the mechanics of these systems are highly dependant on
the design of the overall interface, as the examples below will demonstrate.
The existence of different diegetic levels of interaction is another defining
feature of adventure games. The gameworld is the main level of interaction
where the events and actions of the game take place, being roughly equiva-
lent to the concept of diegesis in literature and film. Montfort (2003), taking
literature as his reference, defines the player actions that take place at this
level as commands. Extending the literary equivalent (and following Genette
(1980)), Monfort also defines possible hypodiegetic levels, as sub-areas of the
diegesis; for instance, dream-worlds or simulations of other worlds within the
main world. I would extend the concept of hypodiegesis to books and docu-
ments that can be read within the game – from the novel entitled Deadline
found in the text adventure of the same name (which mysteriously has a plot
 history of the adventure Game Interface 215

that the player seems to know already), to the books in the library of Phatt
Island in Monkey Island 2: Lechuck’s Revenge (1991), to the notes and books
that reveal the story behind the landscape in the Myst series. Other examples
of hypodiegesis can be mini-games, which can be played and replayed within
the gameworld – a darts game in The Lost Files of Sherlock Holmes: The Case of
the Serrated Scalpel (1992); or a whole other adventure game, as in the case of
Day of the Tentacle, which included his prequel Maniac Mansion as playable
game in one of the computers within the game. These mini-games may in-
volve entities that are not manipulable outside of the mini-game (such as the
darts) and may be replayed, without the new outcome having an effect on the
development of the game. Adventure games are particularly accommodating
to mini-games, since part of their nature is to involve concatenated puzzles
and riddles, as mentioned above.
The third and last level of interaction, common to most videogames, is the
extradiegetic. The actions that the player performs at this level are directives
(Montfort 2003); they do not have an effect on the gameworld, but rather
refer to the state of the game as a computer program: saving, loading, quitting,
turning verbose descriptions on/off, music, sound effects on or off or skipping
lines of dialogue or cut-scenes.
The development of strategies to improve direct manipulation in games
has affected the features defining adventure games described above. To analyze
this development, I have chosen three game engines from some of the most
influential game companies in the genre to provide the main examples: Info-
com, Sierra Online, and Lucasfilm Games/LucasArts. These engines provided
a consistent underlying structure to their interfaces and set a standard for
other developers. I have included Myst because it brought about significant
innovations to the point-and-click interface, as well as Farenheit a.k.a. Indigo
Prophecy (2005), because it explicitly proposed to establish a new standard
interface for adventure games.

Text adventures: Infocom and the Z-Machine

Infocom started off with the release in 1979 of Zork (‘Infocom: The Next
Dimension’, 2005), the game they had programmed in a fortnight while they
were studying at MIT inspired by Crowther and Woods’ Adventure. Until its
layoff ten years later, the company published 35 adventure games (Montfort,
2003). In order to facilitate the development of the same game for many
different platforms, Infocom developed a multi-format emulator called Z-
machine Interpretive Program. The emulator would be different for every
platform; its purpose was to run the Z-machine virtual processor, to run any
game written in the Zork Implementation Language (ZIP) (‘Infocom: The Next
Dimension’, 2005). This meant that a game could be programmed once and
then run in a variety of platforms.
The interface of text adventures, as their name indicates, is exclusively
typed and syntactical, i.e. the interaction requires the user to learn the lan-
guage and syntax of the commands. The syntax must be correct before even
216 fernández-vara

trying to process the command; if it is not, a syntax error message will be

displayed (Shneiderman, 2003). In text adventure games, it means that if the
user makes a mistake in typing, even if the action is valid, it will not produce a
result and will probably waste a turn. Text adventures base their interaction on
indirect manipulation, which is not very intuitive, rather than direct manipu-
lation, enacting directly where she wants to move by pressing up or down, as
it was the case with arcade games (Shneiderman, 2003).4
The prompt of the blinking cursor to start typing can also be daunting; ac-
cording to Donald Norman (2002), it’s the antithesis of user-centred design.
The player faces “the tyranny of the blank screen” and she is given “no hint of
what is expected.”. She has to type the action to tell her character what to do,
and wait for a positive response to that input.
Starting to play an adventure game can be intimidating, given the de-
tachment and lack of guidelines of the interface. Take the initial output of
Deadline:

You are on a wide lawn just north of the entrance to the Robner estate. Directly
north at the end of a pebbled path is the Robner house, flanked to the north-
east and northwest by a vast expanse of well-kept lawn. Beyond the house can
be seen the lakefront.

The top of the screen displays a location name (“South Lawn”) and the time
of the fictional world the player has just set in motion (8:00 am). After this,
a “>” appears and then the blinking cursor that indicates the player that it
is her turn. Though the interface itself does not give any cues or pointers, as
Norman complains, the screen is by no means blank. This opening is already
giving clues to the player as to what to do: the player character has arrived to
a house, she is at the entrance, so the logical course of action to take is to walk
up to the door and knock. The interface may be bare, but the game comes
with an instruction package that helps the player build the context to the ad-
venture, and starts with a situation that the player is familiar with in real life
(arriving to a house). A basic pleasure derived from playing adventure games
is precisely being thrown into an unknown environment, forcing the player to
explore it to “find her feet” in the gameworld, which includes drawing a map
of the different rooms / locations. Text adventure games compensate for the
lack of direct manipulation with carefully written descriptions, which is what
gives the cues of possible actions.
It is false that anything can be typed, only certain commands will receive
a positive response from the parser. There are no cues inside the game for
the player to know what kind of syntactical structures will be valid. In one
Infocom manual, they explain that in the game “you type your sentence in
plain English each time you see the prompt (>). [The game] usually acts as
if your sentence begins “I want to…” (Wishbringer manual, 1986). In earlier
videogames like Adventure, or non-commercial works of interactive fiction,
however, there are no instruction booklets, so the player would keep on using
4 See also Game Ontology, http://www.gameontology.org/index.php/Indirect_Manipulation
 history of the adventure Game Interface 217

trial-and-error until something worked or she ran out of patience. Infocom’s

manuals usually included a list of only some of the verbs that are recognized
by the game, inviting the player to experiment to find more, and giving a sen-
sation of false liberty when typing the commands. Trial-and-error was there-
fore encouraged, which could also foster frustration if the player could only
think of one way to express what she wanted the player character to do.5
The inclusion of dialogue was an early issue of adventure games. Zork
avoided it completely, preferring to implement an RPG-like combat system to
interact with the few NPCs. On the other hand, Infocom’s Deadline was the
first game that included a game parser to converse with NPCs. This mechanic
was necessary because the player character is a detective to solve a case, and
therefore must be able to cross-question witnesses and suspects. This is an
example of an exchange in the game:

> ask mrs robner about mr robner.

“I loved my husband, no matter what you think. I am very sorry to have lost
him.” The speech is almost a set piece, and not too convincing.
> ask mrs robner about the will
Which will do you mean, the new will or the present will?
> ask mrs robner about the new will
“If there is a new will, I certainly don’t know where it is.”
> ask mrs robner about the present will
“Marshall takes care of that sort of thing. The will, I suppose, leaves the estate
to George and me, but I can’t be sure.”

Even though the parser is very limited, the player can ask rather specific ques-
tions, and the game will even give hints about what can those questions can
be. However, the player cannot input questions as if she was talking to a
Weizenbaum’s Eliza – the dialogue topics are always limited to those that are
relevant to the game, or else the NPC will ignore your question, or the system
will inform you that there is no object that corresponds to the topic you’re
talking about.6
The dialogue system adds yet another voice to the many that the player
reads and types. Text adventures build a polyphonic environment – since it
all appears in text, all the different levels of interaction share the same chan-
nel to communicate with the player. Nelson (2001) identifies those voices as
that of the player (as the human who types and reads), the protagonist (the
main character, who is usually the player character) and the narrator (the
voice informing the player what the player character sees, feels and, occasion-
ally, thinks). As Montfort (2003) remarks, the narrator can split into a fourth
voice, the program itself usually communicating between square brackets,
5 Of course, many text adventures also have an obscure command, such as the magic word “xyzzy” in
Adventure, or “Odysseus” / “Ulysses” in Zork to chase away the Cyclops. These cases are famous, but
otherwise their oddity may very well lead the player to give up.
6 For a good tutorial to create NPCs, and a review of different dialogue systems in Interactive Fiction
see Short (2003).
21 fernández-vara

as a result of the syntactical mode of interaction. This voice tells the player
whether it cannot parse a sentence, asks for clarification as for what item the
sentence refers to (“Which will do you mean, (…)?”), or whether a certain ac-
tion has made the player score any points. This polyphony makes the textual
interface even more complex to use, and requires the player to be able to learn
to identify the different levels of interaction.
The polyphony also makes it difficult to represent the player character. As
Wood (1996) remarks, there are several possible types of player identity in
IF (extensible to text adventures), of which the most common is the indeter-
minate character, usually male. This character becomes a surrogate where the
player can project “whatever motives and emotions [she] like[s] onto [her]
character” (Wood, 1996). This may seem the easiest character to write, since
the designer is ignoring who the player character is. It does not mean that text
adventures cannot provide the player with determinate identities, being by
gender, by the player’s own choosing, or determined by the player’s actions
(Wood, 1996), but these cases are the least common.
The textual interface makes it more difficult to allow the player to control
more than one character during the game, or choose who she wants to control.

Text adventures depend heavily on description and interaction for their at-
mosphere. There would be little benefit in having multiple PCs unless those
characters were well defined, and their interactions with NPCs suitably varied.
This requires enormous effort on the part of a game’s authors if the different
characters are interacting with the same people and places, since NPCs need
different responses for each, and ideally location and object description would
vary slightly too.

Wood (1996) contrasts the lack of multiple player characters in text adventures
with the triad of player characters in LucasArts’ Day of the Tentacle. Graphic
adventures can communicate visually who the player is controlling and where
the character is; their interface design fosters direct manipulation. Neverthe-
less, text adventures occasionally offer multiple player characters: at a certain
point of The Hitchhiker’s Guide to the Galaxy (1984), the player has to control
the other main character of the game, Ford Prefect; in Suspended (1983), since
your player character is in suspended animation, you are controlling six dif-
ferent robots in six different locations (Wood, 1996).

GraPhICal TexT aDveNTureS

Graphical text adventures coexisted with text adventures until the mid-80s; in
them, there would be an illustration for each location. The first graphical text
adventure was Mystery House, released in 1980 by Ken and Roberta Williams.
It had very basic line drawings to display the settings in most of the screen,
and the text and prompt in the lower part of the screen. The illustrations
helped the player see what the environment was like, though she could not
interact with them – it was just a first step towards direct manipulation.
 history of the adventure Game Interface 219

Specific player characters started to be more common with the advent of

graphics, be it Bilbo (Melbourne House’s The Hobbit (1983)); Arthur before
he became king in Infocom’s last adventure Arthur: The Quest for Excalibur
(1989); Jim Hawkins in Treasure Island (1985), or Dorothy in The Wizard of
Oz (1985) in Telarium’s games. Somehow, providing a visual point of view
helped construct a specific identity to the player character, which the player
had to re-enact. Apart from the visuals, graphical text adventures offered the
same type of parser as text adventures, the manipulation was still indirect so
that they were plagued with the same problems, such as finding the right com-
bination of words to solve puzzles, or find one’s bearings in the gameworld.

early Graphic adventures: Sierra onlines’s aGI engine

After setting up of the company Online Systems (later called Sierra Online),
Ken and Roberta Williams went on to release more graphical text adventures.
The breakthrough for Sierra came in 1984 with King’s Quest. IBM commis-
sioned a game that would make the best of the technical features of the new
IBM PCjr.7 The result was a new game engine called AGI (Adventure Game
Interpreter), which brought about a new interface for adventure games. Most
of the screen was filled with a graphical representation of the space the player
character was in, as in textual graphic adventures, but the graphics were dy-
namic, and the player character could be directly manipulated with the arrow
keys. The navigation was not limited from moving from room to room (or
location to location), the player could now navigate within the screen. Maps
would still be necessary, but not as indispensable as in text adventures. The
manipulation of objects was still syntactical, and dependant on the command
line at the bottom. Three of the commands (swim, jump and duck) could
either be typed or selected through the game menu; these were the three in-
transitive verbs in the game (i.e., the commands that did not need an object
to be complete). The AGI engine, as a transitional model, presents direct ma-
nipulation to navigate, helping the player situate her character in the space,
but keeps indirect manipulation (by typing and using menus) to allow the
player a greater range of possible actions.
Text was not eschewed from the interface – apart from the command line,
the player would read the responses of the parser in a pop-up window in the
middle of the screen, which would make time freeze in the diegesis while
being read. This window gave more information about objects that could be
examined, or messages from the parser telling the player that she could not
do that, “at least not now!” indicating that the command was recognized but
not successful. Descriptions would make up for the low resolution of the
graphics (160x200 pixels, 16 colours). The text descriptions have remained in
adventure games, handed down from IF (Myst and its acolytes excepted), even
after graphics improved – they still include hints and pointers to advance in
the adventure.

7 The ultimate AGI & SCI website http://www.classicgaming.com/agisci/agiinfo.shtml

220 fernández-vara

The graphical user interface also meant that the different levels of interac-
tion were now distinct on the display. The gameworld took most of the screen
frame; the command line was outside the gameworld but visible along with
it. In order to access the non-diegetic directives, players had to press a button
(ESC), that would call up a menu for saving / restoring / restarting / quitting
the game. The inventory was also accessed through this menu, situating it at
a hypodiegetic level; in both cases, when the menu appeared, time stopped in
the gameworld.
The distinction between diegetic / extradiegetic levels was also reinforced
by the messages that appeared when the player character died: “We, at Sierra,
wish to thank you for playing King’s Quest. We are very sorry that you did not
succeed and hope you will fare better next time. Good luck.” This message
calls attention to the fictive nature of the game, and to the people who created
it.
Sierra’s AGI engine resolved the ambiguous polyphony of IF by visualizing
the different levels of interaction and making them distinct. The existing over-
lap between commands that could be typed or selected in the menu was a way
to ease the transition from the conventions of text to graphic adventures.
The indeterminate player character was not used in graphic adventures.
In spite of the low-res graphics, it is possible to identify who the player char-
acter is. The character was now distinct, so the player could establish a closer
relationship with it through direct manipulation. The protagonists of graphic
adventures were also usually associated with a narrative genre, and thus with
a set of actions within a generic environment – King’s Quest’s Sir Graham lives
in a fairy-tale world, Roger Wilco in Space Quest (1986) is a janitor in a space-
ship.
The only feature that AGI or subsequent Sierra engines did not address
was a dialogue system. The player could only choose which character to talk
to, which would display a canned conversation, with no chance for the player
to choose the topic of the conversation, so that “talk to” was therefore another
form of examining an object (in this case a living entity) for information.

PoINT-aND-ClICK: luCaSfIlM/luCaSarTS SCuMM eNGINe aND

SIerra’S SCI eNGINe
Lucasfilm Games was the videogame subsidiary of Lucasfilm Ltd., created in
1982; it changed its name to LucasArts in 1990. It started making adventure
games with the movie adaptation of Lucasfilms’ movie Labyrinth in 1986.
The company released Maniac Mansion the following year, which used the
SCUMM game engine (Script Creation Utility for Maniac Mansion). This
engine, and its subsequent versions, was used in all their adventure games
until The Curse of Monkey Island in 1997.
The SCUMM engine presented a similar layout as Sierra’s AGI, with the
gameworld depicted on the top half of the screen. The difference was that at
the bottom were listed the verbs that could be used in the game (no more, no
less), so that the player did not have to guess which exact word would have
 history of the adventure Game Interface 221

to be used, nor look at the word list outside the game. The list of inventory
items the player character was carrying appeared next to the commands. The
layout thus reinforced the mechanics of the game – on the one hand explor-
ing the space, on the other, the verb + object mechanic. The extradiegetic level
was kept out of the screen, as in the AGI engine – the directives could only
be called with a function key (F5), which is also separated from the keyboard
shortcuts of the game.
The main innovation of the SCUMM engine was that the only input
method of the game was moving a pointer, either with a mouse or the arrow
keys. The widespread use of the mouse in home computers soon made the
point-and-click interface the most popular input device for adventure games.8
The player moves the pointer and clicks over both the gameworld and the
menus to make the desired command. Instead of typing, she can click on the
verb list first, and then on the inventory or gameworld object she wants to use.
The interface combined direct and indirect manipulation; the pointer moves
analogously to the mouse, which constitutes direct manipulation, but the in-
structions to the player character are still syntactic. The way that the syntax
is restrained is what makes the interaction easier: the player can only use the
verbs and objects on the screen, and some actions are interpreted automati-
cally for the player. For example, the act of clicking on the place of the game-
world where the player wants the character to go is interpreted as “Walk to.”
The player character remained distinct, it could even refuse or complain
about the commands instead of giving an error message. The parser of text
adventures could be personified and be sarcastic (remember “I do not think
the lantern would agree with that”); now the character on the screen can turn
to the player and talk to her directly. Thus, the error messages from the parser
became personified, sustaining the fiction of the gameworld.
The interaction is considerably simplified, diminishing the hair-pulling
caused by trying to find the right word for what the player wanted her char-
acter to do, even if she knew what had to be done. On the other hand, giving
the player the verbs that could be used, and reducing them, also favours the
combinatorics of the verbs on the screen with the inventory or the gameworld
as a valid mechanic to solve puzzles, instead of trying to use logic and/or come
up with creative solutions.
LucasArts’ graphic adventures had an effective – though not very sophis-
ticated – menu-driven dialogue system. Most times, the user just had to
go through every single option in the menu to have all the possible con-
versations. Though this is still canned dialogue, at least it gave the chance
to choose what to say, as well as providing the basis for one of the most
ingenious mechanics to make your character “learn.” In The Secret of Mon-
key Island, the player character Guybrush Threepwood has to learn how to
sword-fight; the secret to win is not being skilful, but being good at insulting
your opponent to undermine their confidence. Guybrush must learn all the
insults and their respective comebacks; he has to fight pirates, and let him-
8 This also facilitated porting these games to consoles, since the keyboard input had made adventure
games an exclusively home computer genre.
222 fernández-vara

self be insulted and beaten, to then have those insults appear in his dialogue
menu, then he uses the insults with other pirates to learn the replies. Thus
the player has to earn each possible line of dialogue by fighting in order to
become a sword master.
Later versions of SCUMM reduced the number of verbs (Give, Open/
Close, Pick Up, Look at, Talk to, Use, Push/Pull), and included a context-
sensitive cue, so that the verbs that could be used with a certain object would
be highlighted when the mouse hovered over it. On the other hand, these cues
also curtail the range of actions possible in the game. Usability finished off one
of the basic premises of text adventures, which was giving apparent freedom
of agency to the player.
The reduction of usable verbs came to a minimum both in the Sierra and
LucasArts engines in the early 1990s. Sierra’s SCI (Sierra Creative Interpreter),
which substituted AGI, introduced the point-and-click system with Leisure
Suit Larry III (1989), and eliminated the command line. The verbs were re-
duced to Walk, Look/Examine, Use / Pick up, Talk, selected inventory object
and access inventory. The SCUMM engine also changed the interface in Sam
‘n Max Hit the Road in 1993, leaving out menus, letting the gameworld fill up
the screen, and reducing the commands to basically the same list. The syntac-
tic commands disappeared, and though the manipulation of the pointer was
direct, the actions in the gameworld were still indirect. This again enhanced
the usability of the game, but it also reduced most of the verbs to “use.” Verbs
were represented by icons instead of words, so that they referred to as many
related actions as possible. Some games would still have actions that were
character-specific, for instance, Sierra’s Leisure Suit Larry would have a kiss
and zipper icon (whose meaning would change depending on context); Ben,
the protagonist of LucasArts’ Full Throttle (1995), could kick (which is essen-
tial if you are the leader of a motorcycle gang). These special actions helped
define the character, though they were also rare.

Myst’s minimalistic interface

Cyan Worlds’ Myst was released in 1993 – just as both Sierra and LucasArts
were refining their point-and-click interfaces – and revolutionized adventure
games. It had beautifully rendered landscapes filling the screen, as well as
a context-sensitive point-and-click interface. The game invited the player to
explore a fantasy environment at leisure, pacing down adventure games even
more. The game also slowed down considerably due to the absence of NPCs
to interact with,9 avoiding awkward behaviours that would shatter the illusion
of being immersed in the fictional world. The lack of NPCs, as well as the first
person point of view, took the identity of the player back to the indetermi-
nate protagonist of most text adventures. There was no inventory, though the
player could take some objects from one location to another. On the other
hand, the point-and-click interface allowed direct manipulation, pushing but-
9 There would appear occasional NPCs in later instalments of the saga, though the player still could not
interact with them.
 history of the adventure Game Interface 223

tons, or dragging objects by moving the mouse. Myst incorporated in its inter-
face most of the features of direct manipulation, as proposed by Shneiderman
– ease of use, visual representation of the objects to be manipulated, “rapid,
reversible, incremental actions,” whose form of input was in some form analo-
gous to how those actions were performed in the real world; the whole system
made error messages such as “you can’t do that” superfluous (Shneiderman,
2003). All these elements favoured the feeling that the player was actually in
the gameworld, as well as attracted new players who preferred not to act as the
default player character in graphic adventures. There were no descriptions of
objects, which may have broken the illusion of physical immersion, though
there was still a good amount of reading. The player had to reconstruct the
backstory of the gameworld he had been thrown into by reading books and
notes scattered over the different locations.
Myst offered an enticing environment, which solved many of the frustrating
issues of adventure games simply by avoiding them. The Myst series certainly
revolutionized adventure games in many ways, especially by following the
tenets of direct manipulation. It was also so minimalistic that it became very
difficult to change the interface model without expanding it. By leaving out
all verb mechanics, it eliminated the cornerstone of earlier adventure games,
which was verb-oriented agency through a wide range of actions. For almost a
decade after the release of Myst, adventure games wavered between re-hashing
the Sierra/LucasArts model of interaction (Broken Sword: The Shadow of the
Templars (1996)) and Myst-like environments (Syberia (2002); Aura: Fate of
the Ages (2004)). There are honourable exceptions, such as Bad Mojo (1996)
where the player character is a cockroach and navigation is the only con-
trol available, and The Last Express (1997), another point-and-click adventure
which made a brave attempt to incorporate real time into adventure games.

aDveNTure GaMeS for The NexT GeNeraTIoN CoNSoleS:

GeSTural INTerfaCeS
The adventure game genre is still a predominantly home computer genre.
Only some of the LucasArts titles were released for consoles; the rise of vid-
eogame consoles during the 1990s could also account for the steady decrease
of adventure games sales. Also, though it has taken time for console-type con-
trollers to latch on with home computers, games are increasingly optimizing
their controls depending on which peripheral the player is going to use. Cur-
rent interface innovation in adventure games is now propitiated by the incor-
poration of game controllers to PCs, as well as new input devices in consoles,
such as touch screens.
The game Farenheit (Europe) / Indigo Prophecy (US) (2005) attempted
to design a new interface for adventure games based on the game controller.
Presented by its developers as “interactive drama,” they admit that it belongs
to the adventure game genre (McDonald, 2005). The interface evokes a movie
being shown on television, with black bands along the top and bottom of the
screen. The player needs a game controller with two analog sticks to play –
224 fernández-vara

with one she will move the selected player character, with the other she selects
the action she wants the character to perform, in the form of a movement/ges-
ture. These actions are always determined by context, and the way the player
performs them is by moving the analog stick in a way that imitates what the
character will do. For instance, in a kitchen she has to move the analog down
to open a fridge, or up to push a cupboard. If the action is an effort the charac-
ter had to make, the player also had to make an “effort” with the controls; for
example, pushing the left and right shoulder buttons alternatively, rhythmi-
cally and fast to run or swim. In all these cases, this gestural interface follows
the tenets of direct manipulation by trying to make the movements in the
controller imitate the actions in the game, as well as by giving visual cues to
the player to how to perform gestures in the form of animated icons.
Farenheit / Indigo Prophecy does not particularly encourage exploration of
the space – the puzzles are time-sensitive, so that if the player takes too much
time in one location, for instance, the player character may be caught by the
police and the game will be over. On the other hand, it encourages replay to
solve a problem. For instance, in the opening scene, the player character has
just killed a man for no apparent reason. The player can opt to go out covered
in blood and be immediately identified as the prime suspect, or wash him-
self, hide the body in a cubicle and wipe the floor, to buy some time before
they find the corpse. This brings back the exploration of possible actions that
characterized text adventures, and is also the basis for the overall structure of
the game, by which there are multiple ways to traverse the game by choosing
different actions.
The gestural interface of Farenheit / Indigo Prophecy brings back many of
the essentials of adventure games. Though the gestures themselves turn repeti-
tive after playing for a while, it brings back the illusion of agency in the world
by offering at least two or three possible actions per active area.
Interactive drama seems to be the next offshoot of adventure games with
games such as Farenheit / Indigo Prophecy, as well as experimental videogames
such as Mateas and Stern’s Façade (2005). The move into direct manipula-
tion is even more evident in this last case, because it has been adapted to
use Augmented Reality interface (Dow et al., 2007). In Augmented Reality
the interactor sees the characters superimposed on an actual room through a
head-worn display, and interacts with them by walking around, making hand
gestures and talking.
Interfaces encouraging direct manipulation of the gameworld keep ap-
pearing in adventure games, as was the case of Another Code (Europe) / Trace
Memory (US), for Nintendo DS. In order to solve some of the puzzles of
the game, the player has to blow off dust by blowing on the console’s micro-
phone, “scratch” surfaces with the stylus, and even close down and open the
DS again to use an ink stamp. As Marek Bronstring (2006) remarks, these are
novelty puzzles, whose novelty will wear out as more games use these gestural
mechanics – what is interesting is how they turn everyday actions into a fun
activity, and how they encourage game designers to come up with new ways
to use the physicality of the controller.
 history of the adventure Game Interface 225

CoNCluSIoN
Throughout this chapter, we have observed the evolutional search of direct
manipulation in adventure games. Giving the player cues about what to do
and facilitating the input are first steps to facilitating the illusion of immersion
in the gameworld. Error messages, which remind the player of the program
behind the game, disrupt this illusion. On the other hand, making error mes-
sages dramatic, as in having the player character refuse to do what the player
commanded, is a way to ameliorate this disruption.
In the process of transformation of the adventure games interface, we see
how new models do not automatically cancel out previous ones. Each inter-
face –textual, menu-driven, point-and-click, gestural – has its strengths and
weaknesses in relation with the different features that characterize adventure
games. The choice of what interface model will be used may depend on the
type of experience the designer wants to create for the player. A good exam-
ple of this is Nick Montfort’s Ad Verbum (2000), an interactive fiction piece
where the challenges are based on riddles and puns. Some of the puzzles are
entirely based on words, as in some rooms where all the descriptions start with
the same letter (e.g. “s”), and the commands must start with the same letter
in order to be effective.
Adventure games are still being released using old engines in non-com-
mercial or independent games. There are thriving communities of amateur
adventure game developers, using for instance Inform, a programming lan-
guage to make adventures for the Z-Machine, developed by Graham Nelson
(Nelson, 2001) or Adventure Game Studio, a development environment for
point-and-click adventure games. Even though adventure games are usually
not released as AAA commercial games any more, they are still very popular
in Europe, where new games are still released every year by companies such as
Péndulo Studios in Spain, or MC2-Microïds in France. In Japan, the genre is
known as “visual novels,” and has always been alive and kicking, with series
such as Phoenix Wright (2005), originally released for GBA and now remade
for the rest of the world for the Nintendo DS. In the US, where most of the
engines listed above were developed, adventure games are now seeing a revival
with companies such as Telltale Games, which not only develop their own
adventure games, releasing them as instalments, but also have started distrib-
uting European adventure games.
Adventure games also hold strong ties with less commercial, innovative
forms of digital storytelling and electronic literature. The versatility of the
adventure games genre is remarkable – from commercial to fan development,
from games to experimental storytelling. Contrary to popular belief, the genre
of adventure games is still alive and seeking innovation in game design, as well
as in constructing fictional worlds.
226 fernández-vara

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João Bernardes, romero Tori, ricardo Nakamura, Daniel Calife &
alexandre Tomoyose

augmented reality Games

INTroDuCTIoN

e
lectronic games are a kind of computer application that has avid de-
mand for innovation and for more engaging user experiences. So far the
main focus of improvements in electronic games has been on graphics;
more recently artificial intelligence has been drawing more attention from
researches and developers. But what does the future hold for the gaming expe-
rience? A good way to foresee the future of game interfaces is to look at what
research labs are doing now – and one technology that is starting to boom in
labs and scientific conferences dealing with game technology is known as Aug-
mented Reality. With this technology, it is possible to merge real and virtual
elements, either by allowing users to appear in the game’s virtual environment,
or by projecting virtual objects or characters in the real world. The appeal of
this kind of interface is enormous, as it provides the possibility of combining
the advantages of physical games with the magical flexibility of digital virtual
worlds. On the other hand, challenges such as cost, space requirements and
the very risk of introducing a new technology to the consumer market may
delay its adoption. This chapter presents Augmented Reality technology and
discusses the potential of applying it to electronic games. Some experiments
and prototypes, which exemplify what the future games may look like, are
also presented.

auGMeNTeD realITy
Augmented Reality (AR) is a new approach for virtual environments. It com-
bines virtual and real elements instead of totally replacing the real space by a
virtual one, as is the goal of Virtual Reality (VR) applications. In AR, unlike
VR, immersion is not always a major concern, since the user is often already
immersed in the real environment being augmented and this augmentation
may be clearly non-immersive (for instance, projecting an electrical diagram
on top of a real circuit). That is why immersion is not part of AR’s definition
despite usually being in VR’s. “An AR system supplements the real world
with virtual (computer-generated) objects that appear to coexist in the same
space as the real world” (Azuma et al., 2001, p. 34). As pointed by Bimber
and Raskar (2005) the simple integration of synthetic information into real
 augmented reality Games 229

environment is not sufficient to characterize an application as AR, otherwise

we would consider a movie theater as an AR environment. In fact, to be AR,
a system must also have the following properties:

• Real-time interaction and

• 3D registration (alignment) between real and virtual elements.

Registration is to establish the relationship between the coordinate systems

of different objects, so that they can be transformed to a single one. It is very
important in AR because there are always at least two coordinate systems that
must coexist, the one describing the positions of real world objects and the
one for virtual objects. Registration can be a complex problem, depending
on the technology used to solve it, involving the tracking in 3D and correct
identification of real and virtual objects and the correct positioning of these
objects together.
Bimber and Raskar (2005) use a classic science-fiction movie, Star Wars,
to exemplify augmented reality by referring to the scene in which R2-D2
projects Princess Leia asking for help. But this is not a good example, as it does
not comply with the two requirements listed above. It would be an excellent
example of AR if other movie characters could talk and interact in real time
with Princess Leia and if her projection could walk in the real environment
while avoiding collision with elements in it.

Here are a few examples of AR systems:

• the presentation of interactive multimedia information spatially aligned with a work of
art observed by the visitors of a museum;
• a real book that projects interactive 3D images as its pages are turned;
• a real desktop in which one can interact with real and virtual projected objects simulta-
neously;
• a system that projects a real-time, mixed video of the real world and virtual 3D objects
in a head-mounted display utilized by the user, who can walk in and interact with the
environment;
• a game in which players see their images projected in a 3D virtual environment and
interact with game objects and characters.

Some authors prefer to use the term Mixed Reality (Milgram, Takemura, Ut-
sumi & Kishino, 1994) as a general concept, subdividing it according to the
proportion between real and virtual. These subdivisions are: Augmented Re-
ality, when some virtual elements are superimposed on real environments;
Augmented Virtuality, when some real elements are introduced in a virtual
environment; and Mixed Reality itself, when virtual and real elements are in
close proportions. That classification, although easy to understand, does not
work very well in all situations, so in this text the term Augmented reality will
be used for all systems that mix real and virtual environments, and comply
with the requirements of real-time interactivity and 3D registration.
230 Bernardes, Tori, Nakamura, Calife & Tomoyose

Spatial augmented reality

An alternative to conventional augmented reality is Spatial Augmented Real-

ity, where video projectors, optical elements, holograms and tracking tech-
nologies replace the use of hand-held or head-mounted displays (Bimber &
Raskar, 2005). One of the motivations for spatial augmented reality is the fact
that, in many cases, the users do not have to wear or carry special devices to
use the application.
Bimber and Raskar (2005) distinguish three categories of displays that can
be used for spatial augmented reality: screen-based video see-through displays,
spatial optical see-through displays and projection-based spatial displays.
Screen-based video see-through displays make use of one or more standard
video monitors and video cameras. Images of the real environment are merged
in real time with those of virtual objects and presented on the screens. Despite
the ease of implementation, this solution has a number of disadvantages, such
as limited sense of immersion, for when such a sense is desirable, and limited
resolution of the mixed images (in contrast with the surrounding environ-
ment). Furthermore, implementation of direct interaction techniques is dif-
ficult, if at all possible, with these displays.
Spatial optical see-through displays may use large semitransparent screens
or other devices such as mirror beam splitters mounted in the real environ-
ment. Virtual 3D images are optically combined with the view of the real en-
vironment in these devices, giving the impression that the virtual objects are
in the real world. Although these displays present better resolution and field of
view than the monitor-based ones, they also have limitations. One of the most
significant is the difficulty to support multiple simultaneous viewers.
Lastly, projection-based spatial displays employ video projectors to present
images directly onto the surface of real objects. This technique allows the
modification of the visual properties of object surfaces. The problems related
to these displays include the difficulty to maintain the correct registration to
the object onto which the projection is applied (especially since the object
might even have no flat surfaces, much less surfaces perpendicular to the di-
rection of projection) and the artifacts caused by shadows from the user or
other objects. Furthermore, the display area is limited to that of the objects
being used as projection surface.
Although the most appealing spatial augmented reality techniques are rela-
tively difficult to implement and have limitations, they also present interest-
ing possibilities in the context of AR games. For instance, projection-based
displays coupled with tangible interface techniques may allow the creation of
a highly interactive environment such as the application illustrated by Raskar
and Low (2001). One point to notice about all of the spatially augmented
reality techniques is that they require considerable physical space dedicated to
a setup of video projectors or other hardware. Hence, it can be expected that
games using these techniques might not find a way into home entertainment
systems. In a short term a more feasible scenario for such games would be that
of amusement parks or other dedicated venues. In the near future, however, it
 augmented reality Games 231

is expected the availability of low cost portable projectors, which can poten-
tially reduce space and setup requirements.

human factors
AR systems involve new technologies and some special devices bringing new
problems and issues to be considered. Of great importance are issues related to
human factors, most of them caused by AR displays. According to Azuma et
al. (2001), some of the most significant human factors in AR systems are:

- AR Display issues: mis-calibration, visual accommodation issues, HMD (Head-Mounted

Display) limitations; besides these, some more may be added, such as environment il-
lumination, display resolution, user discomfort (in case of wearable displays);
- Latency: system delay can cause registration errors and reduce user performance;
- Depth perception: stereoscopic displays still have problems, such as resolution, visual
accommodation issues, dependence on the user position, mismatch between stere-
ographic frames1 etc.;
- Adaptation: AR equipment can demand some adaptation by the user, especially the wear-
able ones, such as HMD, that can impact human performance;
- Fatigue and Eye Strain: some kinds of AR display, especially HMD, are not suitable for
long-term use.

Tangible user Interface

The concept of Tangible User Interface (TUI) was defined by Ishii and
Ullmer (1997) as a Computer-Human Interface which uses interactions with
the physical world as metaphors of information manipulation in the virtual
world. In these interfaces, a physical and a virtual object are associated so that
changes in one (usually the physical) should affect the other. This allows the
user to manipulate the virtual objects in 3D through touch and manipulation
of a real object in a very natural manner.
In TUI applications, it is important to keep registration between physical
and virtual objects. There are many ways to accomplish this, but one common
solution is the use of fiducial markers. A fiducial marker consists of a distinc-
tive visual marker that is placed on an object to be tracked through a video
camera. The camera images are processed through computer vision techniques
to locate the marker and determine its position, so that the physical object
and its virtual counterpart can be aligned.
One example of this interface in use is presented by Underkoffler and
Ishii (1998), in an application called Illumination Light. In this application,
the user can directly manipulate physical objects representing mirrors, lasers,
lenses and other optical components on an augmented surface. When, for
example, a user places the object that represents the laser emitter on the sur-
1 Stereographic frames are a pair of images produced as if they were seen by the right and left eyes.
When each image is shown (through a variety of techniques) only to the matching eye, the brain
registers a sense of depth
232 Bernardes, Tori, Nakamura, Calife & Tomoyose

face, the system detects its position and projects a virtual light beam directly
from the object. Another object that represents a mirror can be located in
such way that it reflects the light beam to a desired position, and thus it is
possible to manipulate the other components to get the desired effect. Further
in this chapter, several other examples of tangible interfaces in games will be
shown.
By means of tangible interfaces, manipulation of digital information be-
comes more intuitive and natural, as in the example of rotating a real object
to get the same movement in a three-dimensional digital model. Compare this
to using a mouse to select the virtual object and then using some complex in-
terface to rotate it in three axes. Tangible interfaces also allow and even stimu-
late collaboration between users by allowing movement and interaction with
fewer constraints, with both hands and even the body. The “ownership” of a
virtual object, for instance, can be instantly determined by seeing which user
holds its physical correspondent. Brave, Ishii and Dahley (1998) make use of
tangible interfaces for Computer Supported Collaborative Work applications
with remote communication. One such application is called Synchronized
Distributed Physical Object and creates the illusion of physical objects, rep-
resenting some virtual content, which are shared by remote users, through a
system that synchronizes the position of these objects in accordance with user
manipulation.
In environments with Augmented Reality, the relation between virtual
objects and the real world is very close, which makes tangible interfaces one of
the best and most natural forms of interaction. Tangible Augmented Reality
(TAR) is defined by Billinghurst, Grasset and Looser (2005) as an approach to
AR applications that integrates the virtual content and one or more tangible
physical interfaces, so that each virtual object is registered to a physical object
and users can interact with this virtual world by manipulating corresponding
physical objects. Some of its basic principles, based on TUI, are:

• The use of physical controllers for virtual content manipulation;

• Support for spatial 3D interaction techniques;
• Support for both time-multiplexed and space-multiplexed interaction;
• Multi-Handed Interaction;
• Matching of interface allowances to task requirements;
• Support for parallel activity where multiple objects are being manipulated;
• Collaboration between multiple users.

For tangible interfaces to become intuitive and seamless, with no need of

training for their manipulation, it is necessary to choose physical objects that
are already well-known to the targeted users and also make use of metaphors
that appear natural to these users, thus eliminating the need to learn new ways
of virtual interaction, as users only have to rely on abilities naturally developed
during the course of their lives.
An example of a game using TAR is presented in Bernardes, Dias, and
Tori (2005), where the fiducial markers are physical objects that represent the
 augmented reality Games 233

circles or the Xs, in a tic-tac-toe game between two players. These markers are
used to directly move the pieces to the desired position.
There are many applications and researches related to games that make
use of tangible interfaces. Some commercial electronic games have already
employed this kind of interface, in the form of pistols, pedals, wheels and
even bongo drums. Not all uses of these unconventional controllers constitute
a tangible interface, since the controller is not always uniquely mapped to a
virtual object (actually, it is usually not), but in some games unconventional
controllers have been used in tangible interfaces. Nintendo has gone a little
beyond this with its portable console, Nintendo DS, and its touch-screen.
Its new console, Wii, is even more likely to popularize this type of interface
through the ability to track user movements through a wireless controller. In
the electronic game Wii Sports, for instance, the Wii control can be used as
one tennis-racket or as a baseball bat.

PlayING IN auGMeNTeD realITy

Back in 1997, entertainment was already mentioned as one of the main ap-
plications of AR. At that time, however, it was mainly used in a few film
productions by the movie industry, to allow the actors to see and interact with
virtual elements in real time, which would later be inserted in the movie (with
much better quality) through the chroma key technique, for instance. It is
clear that the technology then did not allow AR applications with real-time
interaction (one of the requirements in AR definition) at a reasonable cost in
Video Games.
Four years later, Azuma et al. (2001) already consider electronic games
an important area for AR and mentions several examples, such as RV Bor-
der Guards (Ohshima, Satoh, Yamamoto & Tamura, 1999), AR Air Hockey
(Ohshima, Satoh, Yamamoto & Tamura, 1998) and Augmented Pool (Jebara,
Eyster, Weaver, Starner & Pentland, 1997). Bernardes et al. (2005) list sev-
eral other applications, including simple applications already commercially
available (for instance, EyeToy games for PlayStation 2). Seventh-generation
consoles such as the XBox 360 and Playstation 3 have the necessary comput-
ing power for image processing operations needed by AR without severely
harming game performance. This, coupled with the promise of digital video
cameras for those consoles, may allow the creation of a new generation of AR
console games.
The increasing applications of AR in games and the search for solutions to
combine the two can be clearly seen when comparing these scenarios of 1997,
2001 and 2005. A trend can be noticed towards camera-based augmented
reality games, as it presents lower requirements in terms of cost and physical
space. Analyzing the existing research in these years and its evolution, as well
as what it is commercially available, one also notices that many of these tech-
nologies are still in their first steps, with considerable room for evolution.
234 Bernardes, Tori, Nakamura, Calife & Tomoyose

auGMeNTeD realITy GaMeS

One of the trends that can be observed when analyzing the evolution of aug-
mented reality games since 1997, besides those caused by technological im-
provement, is the increasing number of games and the great variety in which
they are presented. This variety is often reflected in the technologies used for
each type of game. It is thus necessary to consider a classification of the games
before discussing them individually.
The main classification proposed for augmented reality games in this work
is based on the physical space demanded by the game, separating games that
require large areas from the ones that need limited and prepared areas, and
others that use the advantage of the natural mobility of devices such as cell
phones and PDAs and are independent of the area in which they are played.
The game’s metaphor can be used as a secondary classification criterion
of AR games, without a correlation as close to the technology used in its im-
plementation as the gaming area. In this work, the metaphor of an AR game
is defined as the type of game (traditional or electronic), object or activity
that serves as a basis of inspiration, comprehension and comparison for the
playability of AR games, i.e. the way they are played. The main metaphors de-
scribed in this work are the physical metaphor, sports, board and card games
and even “traditional” videogames. Games with less common metaphors, such
as music, are also presented.

Classification by Gaming Area

The size of the area where an augmented reality game is played have great
influence not only on its playability but also on the technology used for its
implementation.
Games designed for relatively large areas (often called “outdoor” games,
although they do not necessarily need to be played in open environments),
such as a city, a university campus, or a large building, depend on wearable
computers (currently they are carried as a backpack by the players) to process
the game data, handle input and output and communicate with other play-
ers or a game server. This communication also becomes an issue in large-area
AR games as current wireless technologies present range limitations that must
be taken into account. The graphical output is usually carried out through
head-mounted displays (HMDs), which are portable and constitute a more
viable alternative than placing several monitors or projectors throughout the
large gaming area. These HMDs are usually of the semitransparent type, for
security reasons. One of the most complex problems in augmented reality,
registration, becomes even more challenging in outdoor games and frequently
the combination of several registration techniques is necessary to overcome
it. Previous knowledge of the environment, either in the form of a 3D model
or 2D map, as well as the use of GPS is always found in the implementation
of these games, usually assisted by computer vision techniques, or movement
and orientation sensors.
 augmented reality Games 235

Games designed for smaller and well-demarcated areas, however, can

make use of different options of technology for their implementation. While
HMDs are still common, the composition of real and virtual images by video
is as common as the optic composition of semitransparent HMDs. In contrast
with outdoor games, monitors and projectors in a variety of configurations
are also widely used. It is rarely necessary to make use of portable or wearable
computers and registration can be achieved with less complex solutions, usu-
ally requiring only the use of a single technique (often computational vision,
with cameras in fixed and known positions, but other techniques such as po-
sition trackers are also used). Moreover, the game usually makes use of some
environment element, such as a table, boxes placed on a grid drawn on the
floor, a wall with a constant and known color or background image etc.
A third type of AR game involves mobile devices and does not depend on
the place where it is being played. This independence is what characterizes this
type of game, and not simply the use of mobile devices, since they can also be
used in other kinds of game.
Regarding playability, the physical metaphor prevails in AR games for
large areas. Thus, in order to run or to jump in one of these games, the player
must physically run or jump. To change his point of view, he moves or turns
his head. One of the main motivations for these games is exactly to bring a
video game to the real world and to interact with the game in a new, physical
way. It is not by chance that classic electronic games, like Quake and Pacman,
have served as inspiration for the two most widely known outdoor AR games.
Games for smaller areas and area-independent games, on the other hand, are
presented in several different metaphors, as will be seen ahead.
The next three sub-sections summarize the research and projects involving
AR games, from 1997 to 2005.

large area ar Games

The main AR games of this type are NetAttack (Fraunhofer, n.d.), the Human
Pacman (Cheok et al., 2004) and ARQuake (Thomas et al., 2002a). All of
them use semitransparent HMDs (and therefore optical merging of real and
virtual images), wearable computers, GPS and wireless communication.
NetAttack’s scenario consists of the invasion of a computer system by hack-
ers (the players), who must collect items and clues to reach their objective
while bypassing the system defenses and competing with each other. It is a
little ironic that, in this case, part of the real world is used to represent a virtual
world (the system that is being invaded) instead of the opposite. The players
are divided into different two-member teams. The players of each team col-
laborate in the following manner: one of the members uses the augmented
reality interface and explores the game environment, while the other, using
a conventional desktop interface, has access to more information about the
game environment (mapped in 2D), and assists and guides the first. GPS
registration is assisted by the use of computer vision with fiducial markers
and by a sensor to detect head orientation. The only form of interaction
236 Bernardes, Tori, Nakamura, Calife & Tomoyose

presented in the game is through the collision between a player and a virtual
object.
The Human Pacman is based on the classic Pacman, with human players in
the roles of both the game main character as well as of the ghosts that pursue
it. The digital labyrinths of the original game are replaced by a real environ-
ment, but the capsules that the Pacman eats remain virtual. The registration
is made through movement and orientation sensors, as well as GPS and a
2D map of the environment. The ghosts “kill” the Pacman by tapping on his
shoulder (the touch is registered by a sensor) and the “vitamin” that allows the
Pacman to “eat” the ghosts is a tangible interface, a physical object with Blue-
tooth transceivers that must be physically picked up and carried once found
to benefit the player for some time.
In ARQuake, as in the original game, the player moves inside a real envi-
ronment and can choose between several weapons to shoot and eliminate the
“monsters” he meets. New weapons and other items that give advantages to
the player can be found in the environment.
In contrast with NetAttack and the Human Pacman, ARQuake uses a 3D
model of the game area, allowing it to make the correct occlusion of items and
monsters by environment elements, such as buildings (which does not occur in
the other two games). Registration is made by GPS, computer vision with fidu-
cial markers and a sensor for head orientation. The game only allows the inter-
action between two players, one with the AR interface and one using a personal
computer and the game conventional interface (with the pre-made maps of the
real environment). Thomas et al. (2002a) observe that the player with the con-
ventional interface always wins, because he can move with more agility than the
player with the AR interface. The interaction with the game is made through
collision detection and the use of a “weapon” – a device with two buttons and
haptic feedback that does not need to be pointed at the target. As in Quake, the
shooting direction always coincides with the player’s gaze direction.
ARQuake developers made an interesting study to determine which com-
binations of color and intensity were more appropriate, not only to make
the game elements more visible when inserted in the real environment, but
mainly to give a better impression of opacity when projected in semitranspar-
ent HMDs. The original textures of the game objects were replaced by others
using the colors selected for better visibility and opacity, allowing a certain
form of occlusion of real objects by the virtual ones. This occlusion in semi-
transparent HMDs would usually demand specialized hardware, such as the
system described by Kiyokawa et al. (as cited in Azuma et al., 2001).
Another interesting aspect of ARQuake is the research that was made about
its playability (Thomas, 2003) and usability (Thomas, Krul, Close & Piekar-
ski, 2002b). These works discuss problems such as: the choice of the field of
view; the instinct of the users to catch virtual objects with their own hands
(instead of colliding with the object, as the game requires), which causes frus-
tration; the effects of virtual walls, doors, soil or sky in the game; the aversion
to the shades generated under game objects; and other problems related to
playability and even safety.
 augmented reality Games 237

Part of the team responsible for the development of ARQuake, along with
private investors, are developing the hardware and an engine for arguably aug-
mented reality games (A_Rage, 2005). Although the A_Rage system com-
bines real and virtual elements through a semitransparent HMD and has real-
time interaction through a gamepad; there is no 3D registration between real
and virtual objects, not satisfying Azuma’s definition of Augmented Reality
(1997), adopted in this work.

limited area ar Games

Because most AR games fall into this category, this section is organized differ-
ently. The games are divided by metaphors and their main technical details are
presented in tables 1 to 4, which include the bibliographic reference for each
game, where more information can be found. Only the most relevant details
of the games are presented in the text. The tables group the games in the fol-
lowing metaphors: board games, sports, physical metaphor and other games
that do not fit the previous metaphors.
In tables 1 through 4, simple projection means projection without the use
of Spatially Augmented Reality techniques (SAR) and non-tangible interac-
tion means the direct manipulation of virtual objects, by the user’s “touch”,
without a real object to be manipulated as in tangible interfaces.
TARBoard, listed in Table 1, interestingly mixes the metaphors of board
and card games (in a similar way to a well-known animation series). Starner,
Leibe, Singletary and Pair (2000), on the other hand, present a game that
places players using a tangible interface against one with an interface based
on gestures and voice recognition. They relate an unexpected fact: the ges-
ture-based interface proved so much better than the tangible one that it was
necessary to have two players manipulating the tangible pieces to match only
one using gestures and voice.
Jumanji Singapore (Zhou, Cheok, Chan & Li, 2004) has both augmented
and virtual reality interfaces, allowing the user to alternate between the two.
Magerkurth, Engelke and Memisoglu (2004); Barakonyi, Weilguny,
Thomas and Schmalstieg (2005) and MacWilliams, Sandor, Wagner, Bauer,
Klinker and Bruegge (2003), besides presenting the games mentioned in Table
1 and their implementation, also present the software frameworks with which
these games were developed, the platform AIMS/CATS/STARS (Magerkurth,
Stenzel, Streitz & Neuhold, 2003), StudierStube and DWARF, respectively.
In the last three games of Table 1, a question mark follows the forms of
image composition and registration because these games, although classified
as augmented reality applications by the authors, do not present any real
element, only virtual ones. In the last two, the player sees part of the real
environment due to the semitransparent HMD, but except for this, the po-
sitioning of the board on a real surface and the tracking of the player’s head
do not provide a combination of real and virtual elements or registration
between them in the application, making their classification as augmented
reality arguable.
23 Bernardes, Tori, Nakamura, Calife & Tomoyose

Likewise, the Virtual Catch Ball in Table 2 is a purely virtual environment.

The application “Sports over a Distance” does not augment reality with any
virtual element, except for “glass panels” on the wall, which can crack but do
not have 3D registration. Therefore, it is almost an application of collabora-
tive teleconferencing, instead of augmented reality.
The augmented pool game with trajectory information (Jebara et al.,
1997) has an uncommon characteristic in indoor games, the use of wearable
computers.

Name/reference Display/merging registration Interaction

KnightMage, Can- Monitor (Presentation Computer vision (lim- Tangible (RFID pieces),
dyLand, Monopoly/ Manager)/video ited), RFID, magnetic PDA
Magerkurth et. al. sensors
(2004)
Herding Sheep/ Simple projection, Computer vision (ART’s Tangible (the “lure”),
MacWilliams et al. monitor (laptop, PDA), DTrack tool) non-tangible, voice and
(2003) HMD/video and optical pointing, PDA, laptop
Monkey Bridge/ HMD/optical Computer vision or Tangible (fiducial mark-
Barakonyi et al. (2005) magnetic tracker ers or magnetic “puck”)
False prophets/ Man- Simple projection/optical Diodes and infrared Tangible (game pieces
dryk, Maranan, & sensors with infrared diodes)
Inkpen (2002)
AR Mahjong/ Szalavári, HMD/optical magnetic sensors Personal interaction
Eckstein & Gervautz panel (Szalavári &
(1998) Gervautz, 1997)
? /Ulbricht and Schmal- HMD/optical Computer vision Tangible (fiducial mark-
stieg (2003) ers)
Jumanji Singapore/ HMD/video Computer vision Tangible (cubes with
Zhou et al. (2004) fiducial marks)
Kanji Learning/ Wagner Monitor (PDA)/video Computer vision Tangible (fiducial mark-
& Barakonyi (2003) ers)
TARBoard/ Lee, Woo & Monitor/Video Computer vision Tangible (cards, board)
Lee (2005)
MIND-Warping/ Simple projection on the Perceptive Workbench Tangible (pieces) or
Starner et al. (2000) game board or HMD/ (vision and infrared) or gestures and voice
optical radio
Chinese checkers / Monitor/? Computer vision? Tangible (fiducial mark-
Cooper, Keatley, Dahl- ers with buttons)
quist, Mann, Slay &
Zucco (2004)
ARWorms/ Nilsen et al. HMD/optical? Computer vision? gamepad, gaze
(2004)
TankWar/Nilsen & HMD/optical? Computer vision? gamepad, gaze
Looser (2005)

Table 1. Indoor Games: Board Games Metaphor

 augmented reality Games 239

Name/reference Display/merging registration Interaction

AR2Hockey/ Ohshima HMD/optical Magnetic head tracking Tangible (mallets)
et al. (1998) and computer vision
Sports over a Distance/ Simple projection/video? Computer vision Tangible (ball)
Mueller & Agmanolis
(2005)
Golf Simulator/ HMD/video Computer vision Tangible (club, ball)
Govil, You & Neumann,
(2000)
AR Bowling/ Matysczok, HMD/video Computer vision, Non-tangible (ball)
Radkowski & dataglove and magnetic
Berssenbruegge (2004) sensor
AR Billiards/ Jebara et al. HMD/video Computer vision (color) Tangible (the billiards
(1997) game)
Virtual Catch Ball/ Simple projection (cave)/ SPIDAR-H (sensor and Non-tangible (ball)
Jeong, Hashimoto & video? actuator system with
Makoto (2004) wires)
Ping Pong Plus/ Ishii, Simple projection/optical Sound Tangible (the ping-pong
Wisneski., Orbanes, game)
Chun & Paradiso (1999)
CamBall/ Woodward et Monitor/video Computer vision Tangible (pad)
al. (2004)
SENAC AR Hockey/ SAR Computer Vision Tangible (pads)
Vieira, Trias, Theodoro, (infrared)
Miranda & Tori (2006)

Table 2. Indoor Games: Sports Metaphor

Touch Space, in Table 3, is another application combining augmented and

virtual reality, as well as Jumanji Singapore. In the same table, Kick Ass Kung
Fu is a 2D game, but since it has 3D registration, it can still be considered an
AR application. A curious detail about AR PushPush is that it is a game about
pushing boxes, but instead of doing it through a tangible or non-tangible
interaction with the virtual boxes, it uses simple gestures. It is also interesting
to notice that, besides the physical metaphor, all the games of Table 3, as well
as the outdoor ones that use the physical metaphor, also make use of the video
game metaphor in the definition of the game subject and appearance.
The games in Table 4 show other metaphor possibilities. Invisible Train is
inspired in classical trains and railroads toys and, even though it uses port-
able devices, it depends on the playing location, which has the “tracks” and
fiducial markers. Glass Xylophone is a musical game and one game makes use
of interactive storytelling.
Despite the varying metaphors used by these games, it is interesting to
note the prevalence of computer vision-based registration techniques and tan-
gible interfaces among them. This can be partially explained by the spatial
constraints of the games, which make those techniques suitable. Robot Arena
is not actually a game, although a simple prototype has been implemented as
240 Bernardes, Tori, Nakamura, Calife & Tomoyose

a proof of concept, but is rather a platform for building similar applications

and games, using SAR and computer controlled robots, both real or virtual,
in an augmented environment.

Name/reference Display/merging registration Interaction

RV Border Guards, Ac- HMD/optical Magnetic sensors and 3D Gestures
quaGauntlet/ Ohshima environment map
et al. (1999)
Bladeships/ Takemura, HMD/optical Magnetic sensors (hand Non-tangible (the blade-
Haraguchi & Ohta and head) and 3D envi- ships)
(2004) ronment map
Kick Ass Kung Fu/ Simple projection/video Computer vision Non-tangible (opponent)
Hamalainen, Ilmonen,
Hoysniemi, Lindholm &
Nykanen (2005)
Touch Space/ Cheok, HMD/video Magnetic sensors and Gamepad, position and
Yang, Ying, Billinghurst computer vision (fiducial co-localization, tangible
& Kato (2002) markers) (boxes)
AR PushPush/ Kim, Lee, HMD/video Computer vision (fidu- Gestures
Park, Woo & Lee (2005) cial markers)
Camera Kombat/ Paula, SAR or monitor/optical Computer Vision Gestures
Bonini & Miranda or video, respectively
(2006)

Table 3. Indoor Games: Physical Metaphor

Name/reference Display/merging registration Interaction

Invisible Train/ Wagner, Monitor (PDA)/video Computer vision (fidu- Touchscreen
Pintaric,, Ledermann & cial markers)
Schmalstieg (2005)
Glass Xylophone / Kim Simple projection/video Computer vision Tangible
& Kim (2004) (infrared)
Interactive Storytell- Simple projection/video Computer vision Gestures, non-tangible
ing/ Charles, Cavazza, (chroma key) (features) and natural language
Mead, Martin, Nandi &
Marichal (2004)
Robot ARena/ Calife, SAR/Optical Computer Vision (sever- Several possibilities,
Tomoyose, Spinola, Ber- al possible features, even including traditional or
nardes & Tori (2007) infrared) or ultrasound tangible interfaces

Table 4. Indoor Games: Others

area Independent Games

SymBall (Hakkarainen & Woodward, 2005), a mobile version of the Cam-
Ball (Woodward, Honkamaa, Jäppinen & Pyökkimies, 2004), and the Mobile
Goal Kick (Paelke, Reimann & Stichling, 2004) are the main representatives
 augmented reality Games 241

of this category. Both use the portable device camera as input, computational
vision techniques, and its screen as graphical output.
SymBall simulates a game of table tennis with one or two players, using
an object with a known color (preprogrammed for each game) as reference to
determine its position in each instant. Thus, the cell phone itself can be used
as “paddle” to strike a virtual ball, characterizing the interface as tangible.
Paelke et al. (2004) describe a game in which the device camera registers
the position of the player’s foot and inserts its image in a virtual environment
seen on the screen. The foot can, with real movements, kick a virtual soccer
ball towards a goal defended by a “goalkeeper”, also virtual.
Given the limited computational resources of current portable devices,
fewer AR games can be found using them. However, the possibility of using
the very device as a piece of tangible interface (as illustrated by SymBall) pro-
vides interesting possibilities to be explored.

arToolKIT
While tools to aid in the creation of Augmented Reality applications are not
the focus of this chapter, one specific tool, ARToolKit, has become so popular
and widely used (in a large number of the games discussed previously, for
instance) that it bears mentioning.
Registration and tracking, of both objects and users, are important re-
quirements for augmented reality applications. One of the most complex
challenges in this area is to achieve this 3D registration with a certain degree of
precision. One way of overcoming this challenge is through the use of compu-
ter vision techniques. Registration can also be achieved by other means, such
as using magnetic or other kinds of sensors, but using computer vision brings
the advantage of freeing the user from the need to wear these sensors.
ARToolkit (ARToolKit Home Page, 2006) is a software library which pro-
poses to solve this problem in a simple and practical way. To do that, it imple-
ments computer vision techniques that are capable of calculating the positions
of fiducial markers in relation to a camera in real time. Figure 1. shows a
sample ARToolkit marker.

Figure 1. A sample ARToolKit fiducial marker.

242 Bernardes, Tori, Nakamura, Calife & Tomoyose

ARToolKit’s fiducial markers must always have a black rectangular border, but
what is inside it may vary, as long as it is previously known by the software
applications using it.
While it is not necessary to know the technical details of ARToolKit to use
it, a brief explanation is interesting. First, the real world image containing
the markers, captured by a video camera in real time, is simplified through
thresholding, a process that transforms a color image into a black-and-white
one. Then the markers are segmented, or separated from the image, based on
detection of their known border. Then two steps are carried through. The first
is the marker recognition from a known set of markers, based on the pattern
drawn in its central part. The second step is the calculation of the geometric
transformation corresponding to the marker border detected in the image.
Thus, based on how the marker is deformed in the camera image, it is possible
to register its position in relation to the camera.
Once the fiducial markers are recognized and have their position deter-
mined, this information can be used in several ways. ARToolKit has some
default functionality to calibrate cameras, associate markers with 3D models
of solids and then render those models over the marker, with the real world
images obtained by the video camera as background. This can be done with
little programming, mostly through the manipulation of configuration files,
to create several simple AR applications or prototypes. More complex applica-
tions that do not use this default functionality can be created with a deeper
knowledge of programming and computer graphics.
The relative simplicity of ARToolKit use, its availability as open source soft-
ware in different platforms such as Windows, Linux, IRIX and SGI, and its low
cost hardware minimum requirements (it can be used with simple webcams,
for instance, which are much cheaper than other registration alternatives) are
the main reasons why it has been so widely used. Even simpler to use, with its
graphical interface, but for some reason not as popular, is DART, the Design-
ers Augmented Reality Toolkit (DART, 2006). ARToolKit has also inspired sev-
eral variations: JARToolKit (2006), a JAVA port of ARToolKit; ARTag (2006),
which uses a specific set of fiducial markers that allow a more robust detection
algorithm; and ARToolKit Plus (Handheld Augmented Reality, n.d.).

CoNCluSIoN
In this chapter, the intention is to briefly present the main concepts of the rel-
atively new technology known as Augmented Reality and especially to point
out the benefits and opportunities it brings to the field of human-computer
interaction. Combining the virtual and real domains, both can potentially be
enriched, and this combination is leading to new interaction paradigms, such
as tangible interfaces, which are considerably more attractive and intuitive
than the traditional ones.
For electronic games, this technology brings even more advantages. It al-
lows, for instance, the merging of the important social aspect of board and
card games or sports with the advantages of a computer for games: to make
 augmented reality Games 243

the necessary calculations, store and apply potentially complex sets of game
rules, display engaging graphics, animations and sounds etc.
In fact, the main advantage AR brings for electronic games is original game-
play. While in the past decade games have evolved considerably in fields such
as computer graphics and networking, original playability has been sorely lack-
ing lately and this is actually a great concern for game developers. Freeing gam-
ers from keyboard, mouse and gamepad, AR makes it almost impossible not
to try out original gameplay concepts, as the works discussed previously show.
While some of these new concepts will probably fail and be set aside, we hope
that enough remain to breathe new air into the game industry. In any case, it is
clear that the game industry is not blind to their potential, as demonstrated by
the EyeToy, the Wii controller and AR game engines such as A_Rage.

aCKNowleDGeMeNTS
We, the authors of this chapter, would like to thank our former students,
interns and researchers from Interactive Technology Laboratory (Interlab) at
University of Sao Paulo (USP) and from Interactive Environment Research
Lab (LPAI) at Senac-SP, who directly or indirectly contributed with this work.
We also thank Elisabeth Adriana Dudziak, who very generously helped us
revise and format the bibliography and references. As always, any remained
errors or omissions are solely responsibility of the authors.

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 ParT four
Beyond Design
INTroDuCTIoN To ParT four

I
n the context of films, some directors and produces are referred to as au-
teurs, meaning that their personal creative vision is reflected in their works.
During the short history of computer games, some game designers have
stood out from the crowd by having their names associated with lines of
games with a consistent style, quality, or both. Despite sometimes being asso-
ciated with single names, computer games are results of teamwork sometimes
involving hundreds of creative individuals working in a variety of roles. While
some of them carry a greater creative responsibility than others, each one of
them probably has a vision of how the game should play, how one’s own work
will affect the end result, and what kind of experience the game will deliver
for its player.
Game design, in comparison to many other design practices, has only
rather recently started to have well-educated potential employees and relevant
academic basic research at its disposal. Regardless of the lack of academic
backup in the history, supposedly partly due to a market pressure and partly to
self-contained desire for innovation, the game industry has been able to come
up with find new approaches to the concept of a computer game, in terms
of both hardware and software. Long track-records of individual developers,
combined with a degree of critical reflection and learning by trial and error
have contributed to not only the games themselves, but also to the evolution
of design methods unique to game development.
Computer game design research, as often practiced by designers doubling
as academics and vice versa, is a topic area, on which it is possible to fuse
together the views of the skilled individuals working in the industry with the
critical thinking, which characterizes the academic working practices. Tacit
knowledge, as defined by e.g. Polanyi (1983), exists on both sides of the bor-
der between industry and academia. The fourth and last part of this book
consists of two chapters, which explore the overlap of academic research and
industrial game development practices to arrive at design models of game
development. Apart from being adopted alongside existing design practices,
they can be used for reflecting on game development processes for analytic,
productive and educational purposes alike.
 249

In their chapter, Craig A. Lindley and Charlotte C. Sennersten present a

meta-model for game design. Their model incorporates a variety of game de-
sign approaches, which, with the help of Alexander (1970), the authors have
classified based on the different degrees of design self-consciousness involved.
At one end of their model is implicit game design, which simply borrows from
previous successes while the other end is occupied by formal reflexive game
design, which is able to address fundamental questions related to the nature of
computer games as a creative medium. As suggested in the chapter, the model
can be used for practicing design as well as reflecting on it.
Mark Eyles and Roger Eglin situate computer game design as a multi-
disciplinary practice within the framework of critical realism. They observe
how the designer’s view of the world influences the approaches that are tak-
en toward the problem space of game design. By drawing on critical realism
ontology, information systems’ design research methodologies, and practices
adapted from the game industry, such as paper prototyping, the authors for-
mulate a game design research methodology, which is further stratified into
three layers; “real”, “actual” and “empirical”.

refereNCeS
Polanyi, M. (1983). Tacit Dimension. Gloucester, Mass.: Peter Smith Publisher Inc.
Alexander, C. (1970). Notes on the Synthesis of Form. Cambridge, MA: Harvard University Press.
Craig a. lindley and Charlotte C. Sennersten

an Innovation-oriented Game Design Meta-

Model Integrating Industry, research and artistic
Design Practices

INTroDuCTIoN

T
his chapter presents a meta-model describing and interrelating differ-
ent approaches to and methodologies for game design. Motivations and
questions behind the development of this meta-model include the need
for more systematic, advanced pedagogical methods for teaching game design
within specialized game education programs. A good pedagogical framework
must be able to relate games to the history of other media, to be able to ac-
count for the relationships between viewing games as an industrial design
activity on one hand, and as a contemporary artistic medium on the other.
Games can be designed not only for entertainment or artistic purposes, but
also for specific rhetorical purposes (e.g. advergaming), or to embody specific
theoretical principles aimed at achieving particular affects within players (e.g.
for therapy or to facilitate targeted modes of immersion). A high level view
of game design needs to integrate these different design contexts and mo-
tivations. It is also necessary, specifically from a pedagogical perspective, to
develop approaches to game design that facilitate the evolution of game forms
beyond games that are currently available, in order to create new modes of
experience, to address new markets and applications, and to deepen our cul-
tural understanding of game form and function. A pedagogical framework for
game design education must also foster creativity, leading students to be able
to think ‘outside the box’, as well as integrating education, industrial design
practice and formal research as it relates to design.
The meta-model presented in this chapter is proposed as one way of meet-
ing these requirements. The chapter first presents a foundational distinction
articulated by Alexander (1970) between self-conscious and unselfconscious de-
sign cultures. Based upon this distinction in mind, we then present the overall
meta-model that integrates implicit game design methods, with what we call
‘cook-book’ design approaches, game design patterns and game ontologies,
theory-driven design and formalist design. Each of these approaches is then
described in more detail, including discussion of its relationships with the
other design methods. The meta-model has been used as the foundation for
an advanced game design course, and some of the resulting design concepts
 an Innovation-oriented Game Design Meta-Model 251

are described. The purpose of the meta-model is certainly not to provide any
kind of substitute for the creativity of designers. Rather, it is a tool for facilitat-
ing, opening up and perhaps amplifying that creativity, based upon the gen-
eral principle that representations provide amplification of human cognitive
capacities, as described by Harth (1999). While the model is being used to
facilitate pedagogical processes that encourage more creative design by novices
and to speed up the development of design competence, it also clarifies the
relationships between industrial game design practice and different forms of
research, contributing to ongoing discussions about the relationship between
research and industrial practice in game development.

GaMe DeSIGN
Before going into the detailed discussion of design methodology, it is useful
to present a preliminary representation of the general objects, or outcomes,
of game design, as shown in Figure 1, based upon the driving concept of the
game play experience, a consideration of what remains the same when a game
is realized in different ways, and what design elements change in different
implementations of ‘the same’ game. These are the various elements of form
representing the final outcome of design and that shape and constitute the
designed artifact. In this model, game play is at the center since this represents
the core and overall goal of game design, being the design of the space of pos-
sible interactive experiences for players. This may be more or less open, from
restricting the player to very limited possibilities (e.g. in a simple game like
Tic-Tac-Toe) to very open games having a lot of scope for players themselves
to shape their own experiences (e.g. live-action role-playing games, or larps).
In all cases, the scope for players to vary their game play within the constraints
of a particular game system is always at least implicitly a design decision. Of
course, players may use a game system in ways that do not constitute playing
within the system (e.g. a game to see who can throw a computer game CD
into a hat!), but the game design itself includes, implicitly or explicitly, a scope
beyond which play no longer takes place within the designed game. It is the
scope of play intended by designers that drives the design process.
Driven by the target game play, the next priority in game design is the
design of a logical game system and elements needed to support a space of
designed play experiences. Hence the target game play provides a requirement
specification driving design of the logical game system and elements. The logi-
cal game system and elements include:

- game rules that specify legal moves that players may make, the consequences of moves,
win/lose criteria, etc.
- game objects are the things within the game that are referred to by the rules and may
be manipulated by the player and/or game system; objects may be active or passive, and
their specification can include attributes relevant to game play and referred to by the
rules and game system
252 lindley & Sennersten

Figure 1. Elements of Designed Game Form.

- a game space, also referred to by the rules and defining a logical space within which play
takes place

- the game system which specifies how all of these elements are orchestrated together to
constitute a complete game; the game system includes procedures for the execution of
game moves and the manipulation of game objects, according to the rules, within the
logical game space, and in terms of the media used to realize a game.

The game system might include media-specific procedures, but the rest of the
logical game system and elements will often be transferable across different
media. For example, sports games specify particular rules, game objects (such
as bats and balls), player roles and a game space (such as courts or fields); how-
ever, there are many computer versions of sports games where these elements
are intact, although the system of play and the nature of the play experience
are different. To the extent that the system and the play experiences differ
across different media, these are examples of different games, but to the extent
that the game rules, objects, player roles and game space are the same, then
they are the same game: the identity of a game follows from the (variable)
scope of elements taken as constituting that identity.
Once the logical game system and elements are specified, it is possible to un-
dertake the design of the game media components. This may include 2D and
3D graphics, animations, video, audio, lighting, costumes, sets or stages, in-
terfaces, technology and infrastructure. For computer games, costumes, sets or
stages are virtual, and the game space may be organised into game levels within
an overall virtual game world. For physically staged games, this will be physi-
cal elements, such as the costumes of larpers or the uniforms of sports players.
Within this layer design techniques from established design fields may be ap-
plied, but always in terms of meeting the gameplay-driven requirements of the
 an Innovation-oriented Game Design Meta-Model 253

game system. Hence established methods address the design of media elements,
while game design as such is concerned with the inner core of gameplay and the
design of the logical game elements and system required to facilitate gameplay.
Outside the areas of artifact design, game design also has a bearing upon
the context of play. For example, a board game designed for a context such as
a family home makes assumptions about what is possible within that context
(e.g. a clear table around which six adults may sit); if the context does not ac-
commodate those assumptions (e.g. no room for a larger table) then the context
must be modified if the game is to be played (e.g. other furniture is moved out).
Hence the game design implies or specifies requirements for features within the
context of play, amounting to a degree of context design that may be satisfied
either by selecting a suitable context or modifying a context to render it suitable.
Contextual requirements are well understood for computer games and actively
analysed by the designers of console games. Contextual factors are a signifi-
cant challenge to overcome for the widespread commercialization of some new
game forms, such as augmented reality games or technology enhanced games;
barriers here include cost, an unprepared market, and the need for some kind
of bootstrapping process by which increasing markets can drive costs down. For
this reason, contextual design can have a much greater impact for new game
forms having poorly established or supported context requirements.

Self-CoNSCIouS aND uNSelfCoNSCIouS CulTureS

American architect Christopher Alexander (1970) makes a useful distinction
between implicit design within an unselfconscious design culture and explicit
design within a self-conscious design culture. While Alexander is specifically
interested in architecture, these distinctions will be applied here to processes
of game design. This may be regarded by some as a controversial application of
what may be seen as a rather dated distinction. Our answers to this are firstly,
that the distinction provides a useful heuristic for interrelating different ap-
proaches to game design; as a heuristic it is a simplification, but one that we
have found to be effective in practice for stimulating more creative design out-
comes. Alexander’s distinction is a simple binary one. We have taken it further
to distinguish degrees of self-consciousness in order to organize and interrelate
what may be regarded as different approaches to design. This organization is just
that, a way of approaching and regarding design perspectives. We do not claim
that it is more or less correct than other ways of organizing and interrelating
approaches to design may be, although we have not yet seen many other high
level models, and we argue for the usefulness of is particular model. Secondly,
in Architecture the academic discourse around design is well established and
mature. In game design, it is not. It should not therefore be surprising that a
metadiscussion about game design approaches should perhaps look back within
the history of other design disciplines for distinctions that might be used in the
early stages of a discourse that will later gain comparable sophistication.
Alexander characterizes an unselfconscious culture as one in which there
is little thought about design as such and there are no general principles of
254 lindley & Sennersten

design; rather, there is a tradition of right and wrong ways of doing things and
practitioners learn to imitate by practice, the same form being learned over
and over again. Creation involves the repetition of patterns of tradition be-
cause those are the only ones known. There is no particular interest in new or
individual ideas, and there are no written records. Concepts and the language
of self-criticism are too poorly developed within an implicit design culture to
make significant critical discussion possible. A novice learns by very gradual
exposure to the craft, being guided by sanctions, penalties, reinforcing smiles
and frowns, etc. Creation is based upon implicit (unmentioned) and specific
principles of shape; unspoken rules, of high complexity, are not made explicit,
but revealed through the correction of mistakes.
This mode of creation is very typical of longstanding creative practices, such
as those within traditional cultures for building houses or making artifacts of
different kinds. Alexander (ibid.) characterizes the implicit design methods of
an unselfconscious culture as methods that result in highly successful forms,
but only if the rate of change of the functional context of creation is compara-
tively slow. Designs are then adapted to slowly changing contexts by a series
of very small scale changes.
In many ways, at least until very recently, the commercial game indus-
try has shown many of the features of an unselfconscious design culture as
described by Alexander. This is especially the case for games having stable
feature sets, comprising standard design features within game genres such as
strategy games, first-person shooters and role-playing games. Would-be de-
signers of such games have been faced with a bottom-up model of the road
to professional design that begins with hard-core gaming. The gamer might
then move on to modding and scripting as an indicator of commitment and
nascent design talent. The entry point for a would-be designer within a game
company might then be as a tester. After demonstrating some talent for test-
ing, it might be possible to gain a position as a level designer. The career path
then goes from level design to game designer within a team to becoming a lead
designer for new games. All along the way expertise is developed largely by
imitation, trial, correction and experience. There is little innovation involved
within design practices throughout this process and the road to becoming a
fully credible design specialist may take very many years to travel.
This model of breaking into the game industry applies not only to design
roles, but also the development and producing roles (e.g. see http://archive.
gamespy.com/articles/january03/education/day2/). While the model may
work for comparatively stable game genres, it is not suitable under conditions
where design demands/functions are evolving quickly, or when higher levels
of innovation are required, such as when the market is bored with established
forms, when a company or publisher wants to explore uncharted territory,
or to keep up with and take advantage of changing technologies. It is also
unsuitable when the training of designers must be accelerated, e.g. to keep up
with the demands of an expanding industry. It is therefore not surprising that,
especially over the past decade, there has been an increasing development of
self-consciousness in game design.
 an Innovation-oriented Game Design Meta-Model 255

Alexander (ibid.) characterizes a self-conscious culture as one in which

form-making is undertaken by explicit and general (academic) rules and prin-
ciples. Education is formalised, based upon instructions and teachers who train
pupils, and novices learn much more rapidly based upon general principles.
Teachers engage in a general process of trying to make design rules explicit,
condensing knowledge that was once laboriously acquired through experience.
Self-conscious cultures arise in circumstances where new purposes occur all the
time and it is not enough to copy old patterns. In this situation design educa-
tion is based upon explicit general principles of function, facilitating innova-
tions and modifications as required, although the dynamic nature of the design
context means that self-conscious design tends to lead overall to less good fit.
Alexander (ibid.) describes how as a self-conscious design culture develops
further, change for its own sake becomes acceptable. Culture changes too rapidly
for adaptation to keep up with it and factors sustaining equilibrium drop away.
The master craftsman takes over the process of form-making and inventiveness
becomes valued as a way of distinguishing craftsmen/artists, leading to the cul-
tural perception of the designer as a star. Specialisation underlies the establish-
ment of design academies, and the academies make principles explicit, making
them available for criticism and debate. Debate requires justification, leading to
the formulation of general theories, principles and rules. Questioning leads to
unrest, which leads to formal innovation and further self-consciousness.
Self-conscious design culture is concerned with both the design education
of novices and explicit, self-conscious debate among established and experi-
enced designers. One of the distinctions of experienced and expert designers
(as with all forms of expertise) is an increasing implicitness of knowledge, with
ongoing analytical processes oriented towards making that implicit knowl-
edge more explicit. Hence explicit design knowledge accelerates and facilitates
the ongoing development of expertise, but it is always very far from fully
representing that expertise.

GaMe DeSIGN MeThoDS aND DeGreeS of Self-CoNSCIouSNeSS

The distinction between unselfconscious or implicit design cultures and self-con-
scious or explicit design cultures provides a foundation for interrelating different
methods of game design. Different methodological perspectives or approaches are
described in terms of their degree of self-consciousness the following subsections.

Implicit Game Design

Game design within an unselfconscious design culture proceeds primarily by
copying. As Alexander (ibid.) notes, this really amounts to selection rather
than design. Highly conservative development cultures fall largely into this
mode of operation. Within this culture, a design might be developed based
upon a set of known examples, where the game design document, necessary as
a social record of design decisions, really amounts to a list of features selected
from a range of possibilities understood from past games within the tradition
256 lindley & Sennersten

of the genre. For example, if a developer wishes to make a ‘fantasy RPG’,

there are highly conventionalized precedents for combat, magic and trading
(inventory) systems. A conventional combat system may provide precedents
for character features, hit points, armor and attack values, together with rules
for how these parameters are interrelated to generate outcomes from combat
interactions. The fictional genres of fantasy, in literature, cinema and games,
can provide predefined character archetypes, races, functions (fighter, magi-
cian, cleric, etc.) from which selections can also be made. Alternatively, new
fictional elements may be introduced, such as a unique world with its own
kinds of races and character classes, with the game mechanics being never-
theless selected from game genre conventions. In this case innovation is very
much in the level of small scale but perhaps extensive features, such as the
design of visual styles and graphics, design of specific weapons and armor, or
particular novel character classes or races having different combinations or
parameterizations of standard features and/or capabilities. Higher levels of in-
novation created by genre crossover still amount to a selection of features from
established designs within genres.
The persistent popularity of genre productions makes implicit design with-
in genre traditions a viable commercial option. The primary requirements for
innovation include the need to keep up with increasing technological capaci-
ties in target machines, although the impact of this is most directly felt in the
nature and requirements placed upon game media assets (animation sequenc-
es, mesh models, textures, etc.). What the implicit culture is not so good at
dealing with are the rapid education of designers (it takes time to develop an
extensive experience of playing and then designing games within a genre), to
create new modes of experience within genres for perhaps an aging player base
that is becoming restless with the same modes of play, and for creating innova-
tions in the basic form of game mechanics for the sake of attracting new and
different kinds of players.

‘Cook Book’ Game Design

Design ‘cookbooks’ are compilations of design ‘recipes’ consisting of rules, prin-
ciples and heuristics. Cookbook approaches represent the first step in making
design knowledge explicit and in making the design process self-conscious. A
good example is Barwood’s ‘400 design rules’ project (Barwood, 2001; Barwood
& Falstein 2002; see also http://www.theinspiracy.com/400_so_far.htm). Ex-
amples of rules from Barwood’s collection include: Maintain Level of Abstrac-
tion, Make Subgames, Let the Player Turn the Game Off, Maintain Suspen-
sion of Disbelief, Differentiate Interactivity from Non-Interactivity, Make the
Game Fun for the Player, not the Designer or Computer, Provide an Enticing
Long Term Goal, etc. Cookbook elements are a substantial part of many game
design publications (e.g. Rollings & Adams, 2003; Oxland, 2004; Salen &
Zimmerman, 2004; Novak, 2005; Rouse, 2005; Bateman & Boon, 2006).
Cookbook approaches abstract from many specific examples of games to
compile a superset of design features, options and principles. Cookbook de-
 an Innovation-oriented Game Design Meta-Model 257

sign principles may be used as a foundation upon which more self-conscious

approaches are founded, and many game design handbooks present more the-
oretical material as a context or justification of basic cookbook principles (a
notable example being Salen & Zimmerman, 2004). What design cookbooks
do not address in any depth are questions such as why certain design rules
work, what it means to for them to work, what the inner motivations and re-
wards of game play might be, or how to design games for which there are not
well understood games that can function as models to base design upon.

GaMe TaxoNoMIeS aND oNToloGIeS

The development of clear taxonomies and ontologies of game elements con-
stitutes another step in rigour, clarity and comprehensiveness in the process of
making game design self-conscious. A taxonomy can be understood as a system
of named and defined classes or categories and their subclass/superclass rela-
tionships. An ontology can be understood as a taxonomy with the addition of
class properties and relations between classes. In this discussion the terms tend
to be used interchangeably, although in general an ontology provides a more
detailed description of the conceptual structure of a domain than a taxonomy
does. An ontology might be represented using i) a vocabulary of terms denot-
ing ontological concepts, ii) definitions of those terms, that may provide cri-
teria of their applicability, and iii) a specification of how concepts are related,
imposing structure on the domain and constraining the meanings of terms.
Within the general development of game design theory, increasing self-
consciousness requires the development of game ontologies for discussing the
forms and elements of games and raising the structure of the conceptual do-
main of games into greater awareness. Numerous proposals have been made
for this, including the high level taxonomy proposed by Lindley (2003, 2005)
that identifies basic distinctions between simulations, games and narratives
as alternate formal systems being associated with respectively increasing time
scales in the design process; simulations are concerned with modeling tick
by tick (or frame-by-frame) changes, games with modeling player-control-
led actions at intermediate time scales, and narratives being concerned with
the largest scales of time structure. Lindley (2003) further distinguishes the
orthogonal classification dimensions of fact/fiction representational func-
tions and physical/virtual staging strategies for games. Aarseth et al. (2003)
propose a taxonomy based upon a variety of formal (i.e. non-narrative and
non-representational) characteristics covering space (perspective, topography,
environment), time (pace, representation, teleology), player structure, control
(mutability, savability, determinism), and rules (topological, time-based, ob-
jective-based). Klabbers (2003) presents a taxonomy of game pragmatics, i.e.
a taxonomy of the external functional application domains of games, game
form and simulation, including business, administration, education, environ-
ment, health care, human services, international relations, military, religion,
technology, human settlements and imaginary worlds. Foci of interest (in-
cluding theory and methodology, instrumental design, research, training and
25 lindley & Sennersten

education, and entertainment) are then broken down in a different dimension

and themes (including competence, communication, knowledge/skills, man-
agement/organization, policy and fun) in another.
Björk and Holopainen (2005) present a taxonomy of the high level aspects
of games, presented as a game component framework that includes: Holistic
Components dealing with aspects of the game regarded as a whole (game
instances, game sessions, and play sessions), Structural Components that are
the basic parts of the game manipulated by the players and the system (includ-
ing an interface, game elements, players, a game facilitator and game time),
Boundary Components that limit the activities of a player of a game either by
only allowing certain actions or by making some actions more rewarding than
others (including rules, modes of play, goals and subgoals), and Temporal
Components that describe the time flow of a game (including actions, events,
closures and subclosures, end conditions and evaluation functions).
The classic work of Caillois (1958) presents a taxonomy of forms of play
based upon an analysis of Latin terminology, including agon, based upon
competition, alea, based upon chance, mimicry, based upon simulation and
the kind of play associated with acting a role in a theatre production, and
ilinx, based upon vertigo, “an attempt to momentarily destroy the stability
of perception and inflict a kind of voluptuous panic upon an otherwise lucid
mind”. Caillois (1958) also discusses the distinction between paidia as un-
controlled, free, improvised and ecstatic play, and ludus, which is play tightly
bound up with arbitrary, mandatory and often tedious rules and conventions.
Between paidia and ludus there is a continuum between which there are de-
grees of variation, from total freedom to heavy but arbitrary constraint.
Game design patterns are another form of game ontology. The concept
of game design patterns has been developed by Kreimeier (2002), Björk and
Holopainen (2005) and Kirk (2005). Björk and Holopainen (2005) define
game design patterns as “semiformal interdependent descriptions of commonly
reoccurring parts of the design of a game that concern gameplay”. Game design
patterns are essentially higher-level structures of game elements that might be
described by component-oriented taxonomies, together with interaction pat-
terns. Björk and Holopainen (ibid.) present 200 game design patterns, includ-
ing the familiar patterns of Paper-Rock-Scissors, Save-Load Cycles, Enemies,
Game World and Combat. The balance between interaction structure and other
contents of game design patterns, as they have been articulated to date, varies. It
is an issue of ongoing concern to validate the usefulness of the existing patterns
within different contexts, and to further refine them or specify new patterns for
purposes for which the currently identified patterns are not adequate.
Game taxonomies and ontologies are useful for describing game elements
and design concepts in a way that is more systematic and comprehensive that
cookbook compilations of design knowledge, also addressing structural fea-
tures missing from cookbook approaches. However, they are not in themselves
adequate for explaining, justifying or motivating design decisions. The next
level in design self-consciousness must address these issues of why specific de-
sign choices are made. This requires the development of empirically validated
 an Innovation-oriented Game Design Meta-Model 259

theoretical perspectives by which game designs expressed according to suitable

taxonomies and ontologies can be interpreted and/or motivated.

Theory-DrIveN GaMe DeSIGN

Theory-driven design refers to the next stage in the explicit and self-conscious
development of designs in which design elements, principles and/or patterns
are selected according to clear and conscious criteria. Those criteria are re-
garded as constituting or deriving from some form of motivational or inter-
pretative theory. Relevant theories may include rhetorical theories of how a
design can achieve changes in the beliefs, behaviors, consciousness or ways of
perceiving of players, scientific theories about player motivations, the function
of games and affects of play upon players, and general theories, which may be
theories about any aspect of the form, structure, history, purpose or meaning
of the world or things within the world.

rhetorical Game Design

Rhetorical theories amount to theories about how a design can produce specific at-
titudinal, epistemic, behavioral or perceptual changes in players. Games designed
from a rhetorical perspective include so-called ‘serious games’ (e.g. see http://www.
seriousgames.org/) or third-party games, i.e. games designed to achieve purposes for
some agency other than the players and the developers. Third party games include
games that function as advertising, political games, social games, educational games
and ideological games. There are many examples of rhetorical games. America’s
Army (2002) is essentially an advergame commissioned by the US defence depart-
ment and designed to convince players to join the US army. Howard Dean for Iowa
(2004) is a political game supporting Howard Dean’s US presidential bid. Foreign
Ground (2005) is an educational game designed for training defense personnel on
peacekeeping missions. Many games have been developed for health education
(http://www.gamesforhealth.org/) and for making various kinds of political points
or statements (see, for example, http://www.watercoolergames.org/archives/cat_
political_games.shtml).
Although many rhetorical games have been developed, the theory behind
the rhetorical function of games is not yet very advanced. A deeper under-
standing of the rhetorical functions of games and game play requires deeper
and more scientific or empirical study of game functions and player affects.

Scientific Game Design

Scientific theories may address many aspects and levels of game function and af-
fects. This category is distinguished from the previous category of rhetorically
motivated design in the adoption of scientific methodology in understanding
game affects. Of course, rhetorical game designs could also base their design
principles upon scientifically studied design effects, in which case rhetorical
design and scientifically motivated design are the same thing. A number of
260 lindley & Sennersten

studies of game play have investigated emotive issues such as game addiction
(Fischer, 1994; Griffiths & Hunt, 1998; Salguero & Morán, 2002) and cor-
relations between computer game play and violent behavior (Ballard & Weist,
1996; Griffiths, 1999; Anderson, 2004; Smith, Lachlan & Tamborini, 2003).
In order to more fully understand how game play can change players, and to
support much more specifically targeted game design in terms of player affect,
more detailed, fine-grained studies of psychophysiological and neurological re-
sponses to game play are required (e.g. Ravaja et al., 2005; Mathiak & Weber,
2005). The high level context for scientific studies might be regarded as the
question of how player characteristics (personality, aptitudes, motivations) to-
gether with specific design features and play circumstances result in measurable
and identifiable psychological and physiological changes during and perhaps
following game play, where those changes might vary from very temporary
changes to permanent changes. Cognitive, psychophysiological and neurologi-
cal studies of game play hold the potential to reveal the details of cognitive
and emotional processing that lay behind player engagement and immersion
in game play, and unravel the uninformative concept of ‘fun’ into much more
specific factors of motivation, attention and cognitive task performance in re-
lation to different patterns and characteristics of game design features.
Scientific theories of game engagement and affect can provide deeper foun-
dations for designing the rhetorical functions of games. They can also allow
games to be designed for various other targeted effects. For example, games
have been found to function effectively in therapeutical applications, such as
the treatment of phobias (Robillard et al., 2003). A deep understanding of the
effects of game play upon players holds the potential for the design of games
that achieve particular effects of cognitive reprogramming. Of course, there are
ethical considerations in this. However, implicit design or design with limited
self-consciousness holds the danger of achieving these kinds of effects in a com-
pletely unconscious way on the part of designers and players. Articulating a
well-developed science of gaming moves game play effects into the foreground
of consciousness for explicit critical analysis of game functions. This certainly
does not mean that scientific theories of game design should only be used for
third party or rhetorical functions, since those theories can also support more
informed design of the principles and affects of entertainment products.

Time Frames of Scientific and Technical Research

A notable aspect of scientific research is that it can also be regarded in terms
of levels of innovation, as depicted in Figure 2 (focused upon industrial and
technical research in the case of the bottom two levels), analogous to the levels
of self-consciousness involved in design innovation. Within this model:

Basic research, or blue-sky research, is the pursuit of new knowledge without any
assumptions about what it might lead to. This is knowledge for its own sake. In
general (but not always) basic research can be expected to have a long time frame
to the development of clear results, e.g. 10+ years, with even longer times being
 an Innovation-oriented Game Design Meta-Model 261

required to generate practical applications founded upon these results. Research

into the molecular foundations of neural processes falls into this category.

Figure 2. Levels of Scientific Research and Development Innovation.

Strategic research is the pursuit of new knowledge that might in principle have
practical applications but without a precise view of the time scale or nature of
the application. Strategic research will generally have a mid- to long-term time
frame to the development of clear results or practical applications, e.g. 5 to 10
years. A project developing non-invasive methods for detecting brain states
might fall into this category.

Applied research is knowledge developed with a specific objective in mind, par-

ticularly the conversion of existing knowledge into products, processes and
technologies. Applied research will generally have a mid-term time frame to
the development of practical applications, eg. 2 to 5 years. A project aiming
to create a prototype system that detects player-controllable brain waves and
feeds them into a game engine as an interface device might fall into this cat-
egory (e.g. http://www.heroicsalmonleap.net/mle/mindbalance/index.html).

Experimental development is work undertaken for the purpose of achieving tech-

nological advancement for the purpose of creating new, or improving existing,
materials, devices, products or processes, including incremental improvements
to these (http://www.ccra-adrc.gc.ca/taxcredit/sred/publications/recognizing-
e.html). Experimental development projects are relatively short, typically be-
ing completed within one or two years or less. An example of this would be
a project to develop a console controller interface to a skull cap containing
electrodes as a product to integrate mind control with video game play.

Standard development is development by selection of standard solutions to well

understood problems, requiring little to no innovation. This is the level not
only of traditional crafts, but also of routine industrial production. Standard
commercial game development falls within this category.
262 lindley & Sennersten

Within this model of forms of research, long term, basic research asks more
fundamental questions, involves more risk and has potentially very high payoff,
in some cases generating results that totally transform the basic assumptions of a
scientific field. At the other extreme, standard industrial production operates at a
level of highly standardized practice, involves little to no innovation, and incurs
minimum risk. Applying this model to game research shows that potentially
long time scales may be involved (e.g. ten years or more) before more significant
research results are generated and fed into industrial game design practice.
Scientific theories can be understood to include technological research, such
as research within computing and communications technologies. In this case
technological innovations may support new modes of game play. Examples
here are numerous, including games based upon mixed and augmented reality
technologies (eg. Szalavári et al., 1998; Björk et al., 2001; Piekarski & Thomas,
2002; Magerkuth et al., 2003; Magerkuth et al., 2004), and games based upon
modified game play due to the development of artificial intelligence methods
for more effective characterization, dramatic interaction and emergent story
construction (e.g. Cavazza & Charles, 2005; Mateas & Stern, 2002).

Game Research in Relation to Autonomous Research Disciplines

In considering the relationship of research to game design, distinctions may
be made between research specifically directed at understanding game form,
research within autonomous disciplines that is directed at games as an applica-
tion area, and research within autonomous disciplines that is not specifically
concerned with games, as depicted on Figure 3.

Figure 3. Disciplinary structure of game research.

Autonomous disciplines, such as the examples used in Figure 3 including hu-

man-computer interaction (HCI), artificial intelligence (AI), cultural stud-
ies, cognitive science, computer graphics, pedagogy and software engineering,
 an Innovation-oriented Game Design Meta-Model 263

have subcultures and processes that have no intrinsic dependency upon or in-
terest in games. However, research within these disciplines may turn to games
as an application area or object of study. In this case the specific methodolo-
gies and knowledge of those fields is applied to various questions arising from
gaming and game design and development. Core game research, however, is
concerned with game form as its first priority. These different areas interact.
Core game research may derive models and principles from applied research
from other disciplines, while those applied disciplines benefit from the deeper
analysis of game form undertaken by core game research. Hence the input
from research into game design may be highly indirect, generating results first-
ly within autonomous discipline areas that are then fed into research applied
to games, which then feeds into the central analysis and articulation of game
form. Also, autonomous research does not need to feed into industrial game
design and development via core game research, but may flow directly into
industrial game development. In fact, all computer games are based upon re-
search in this way, using research results that provided the foundations for the
technologies and communications infrastructure with which computer games
are implemented. At the time of writing, core game research is too young as
an academic field to have had time to have much impact upon industrial game
development, although this is likely to change as the field matures.

General Theories Motivating Game Design

General theories represent interpretation paradigms, or sets of basic assumptions
about aspects of the world from which many other understandings may follow.
An explanation that maps a phenomenon back to one or more of the basic as-
sumptions or their implications within an interpretation paradigm constitutes an
explanation within that paradigm. For example, identification of a player with a
player character while playing a first-person shooter might be interpreted with-
in a Freudian interpretation paradigm as the expression of unresolved Oedipal
conflicts in which enemy monsters represent threatening aspects of the player’s
(primal, symbolic understanding of their) father; then the Freudian-inspired de-
signer might seek a game design that substitutes simplistic victory over the game
boss with a more subtle process of identification with the father figure and trans-
formation to a post-Oedipal psychodynamic motivation. Of course, the same
phenomena can be explained by different interpretation paradigms in totally dif-
ferent ways, mapping them back to completely different foundational ideas. The
interesting outcome may not be the theoretical justification in itself (which could
be quite idiosyncratic), but the novel game concepts that result from it.

forMal reflexIve GaMe DeSIGN

Formal reflexive design focusses upon fundamental questions about the form
of a creative medium; it is concerned with the production of artefacts that are
about the medium within which they are produced, including conventions of
production and interpretation for the medium in question. This approach has
264 lindley & Sennersten

been a significant facet of modernist investigations of different media. Mod-

ernism has been a prominent cultural movement, particularly in the twentieth
century, representing a radical change in the way different creative fields ap-
proach their work. This change has occurred within all established art forms
and media, including painting and visual art, sculpture, literature, poetry,
music, theatre, cinema, dance, and architecture. When cultural movements
go through revolutions, genres tend to be attacked and mixed up, new genres
are generated and old ones fade. These changes are often reactions against the
prior cultural form, which typically has grown stale and repetitive. While the
history of modernism is very complex, here it is possible to refer to a number
of strong tendencies relevant to the game design meta-model:

- maximisation of self-consciousness and reflexivity in relation to a particular medium.

- questioning all aspects of the form and content of a medium.

- there is a movement away from representation, and away from or to disrupt conven-
tional codes of representation.

- there is a strong focus upon pure form itself (e.g. line, colour, texture, material of the me-
dium), frequently with a concern with the emotional, conscious and/or affective states
induced by form (rather than by any denoted object). In the case of games this means a
focus upon the essential nature of a game, and the relationships between the core game
system and the media used to realise a game.

- a lot of modernist work has sought to answer the fundamental structuralist question:
what is the medium? Since games have a tendency to be trans-medial (i.e. a particular
game may be able to be realised using quite different media, e.g. as a board game, as a
computer game, or as a game staged by people), the reflexive questions may be asked as
to whether games can really be considered to be a medium, what may be gained or lost by
considering them to be a medium, and if they are not a medium, then what are they?

Modernist work that disrupts conventions and expectations functions to

make those conventions and expectations, and their consequences as media
functions, become explicit rather than implicit. In a sense this amounts to the
deliberate production by modernist artists of what might be seen as ‘misfit
variables’ in Alexander’s (1970) terms in relation to the preceding media cul-
ture and how it expects art (or a medium) to function. Just as design misfits
make design features visible, disrupted expectations make media form and
function visible. Modernist works therefore function as explicit statements of
abstracted media form and affect.
This chapter will not dwell in any detail upon the vast and complex field of
modernism. However, formal reflexive ideas of a kind that have been strongly
demonstrated within modernism are here regarded as informing a large-scale
cultural project of maximizing self-consciousness within various media. One
key issue here, however, is that, as Small (1994) points out in the case of avante
 an Innovation-oriented Game Design Meta-Model 265

garde cinema, the high levels of self-consciousness and reflexivity involved in

much formally reflexive practice do not rely upon textual or verbal representa-
tions. Rather, a great deal of work is self-consciously articulated within the tradi-
tion of its medium, in a form referred to by Small (1994) as direct theory. Writ-
ing may surround, refer to, critique and analyse works in other (than literary)
media, but those ‘other’ media also have an autonomous discourse. This is the
whole point of reflexive design, to create work that reflects upon its own form.
These considerations apply within all media. It may also be observed that
formal reflexive or programs within a medium tend to ‘burn out’ or become
exhausted after a period of intensive investigation. Avant garde artworks thereby
function to map out a space of design possibilities from which ongoing work
may draw without in itself being avant garde. In other words, avant gardes define
a self-conscious design space in terms of which ongoing design may locate and
define itself. Further innovations within these (‘modernistically’) exhausted me-
dia may proceed via postmodern strategies, often involving hybrid media forms,
reiteration of past styles and forms, new combinations of formal elements, and
self-conscious production of pre-modern or naïve forms in the form of self-con-
scious kitsch. This tends to occur together with a devaluation of the academised
values of modernism and formal reflexiveness (which may be regarded as being
‘too sterile’), and the distinctions between ‘high’ culture, popular culture and
commercial culture break down. Meanwhile, if new media are developed, the
modernist impulse becomes relevant again in application to those media, to
push their limits and expose their form, meaning and functions.
Applying the formal reflexive perspective to game design asks fundamen-
tal questions about the nature of games and play, leading to experiments in-
tended to stress our understanding of and assumptions about games and play.
Examples of games manifesting this perspective include the genres of alternate
reality games (see http://www.argn.com/) and larps played in games spaces
where people may be interacting with gamers in a game but without any
consciousness that they are part of the game. These examples raise questions
about whether unwitting participants are players or not, and even of whether
the game is a game or not, when it has extra-game consequences for (possibly
unknowing) participants.
Formally reflexive game design constitutes a kind of avant garde game design
practice having philosophical and operational similarities to other avande garde
practices in the history of the arts. This does not mean that formalist work ex-
hausts the possibilities of dealing with games from a contemporary artistic per-
spective. For example, artistic projects concerned with games may also be driven
by theoretical considerations, or focus upon various rhetorical possibilities of
game form. However, it is formally reflexive game design concepts that have the
greatest self-consciousness about the fundamental nature of games and play.

aN INTeGraTeD MeTa-MoDel
The design approaches described above represent an increasing level of ex-
plicitness and self-consciousness about game design, leading to the integrated
266 lindley & Sennersten

design meta-model illustrated in Figure 4. The triangle form is used to suggest

the metaphor of a pyramid, with higher levels being at least conceptually built
upon lower levels, and involving a hierarchy of increasing abstraction and
conceptual essentialism.

Figure 4. Game Design Meta-Model.

Moving from the base to the apex of the pyramid shown on Figure 4 repre-
sents the following tendencies:

- as already emphasized in this chapter, an increase from implicit, unselfconscious design

to more and more explicit and self-conscious design.

- a movement from a focus on the small scale details of a design to higher level abstract
properties of a design.

- a movement of awareness from an intuitive understanding of form based upon an (ex-

tensional) understanding of very many examples to a more reflective (i.e. intensional,
explicit and conceptual) approach to design and understanding of design features, based
upon the extraction of a comparatively smaller number of generalizations from a large
number of examples.

- a development away from design knowledge as peripheral background knowledge to-

wards design knowledge as focused foreground knowledge.

- a shift of concern from the representational functions of a design toward basic game form.
The representational functions of a design concern the (fictional) world of a game, typi-
cally following from a fictional genre (science fiction, fantasy, etc.). Basic game form con-
cerns game mechanics and modes of interaction. The details of a represented game world
can be modified extensively with no change to the underlying basic form, and vice versa.
 an Innovation-oriented Game Design Meta-Model 267

- a decreasing stability of function of the design and increasing role of design per se. For
example, modes of game play may be based upon well established models (e.g. ‘a role-
playing game’, RPG, or ‘a first-person shooter’, FPS) at the bottom of the pyramid, while
at higher levels completely new gameplay modes having unknown value for and effects
upon players may be introduced. Commercialisation of unstable design forms may re-
quire consolidation of their functions into specific variants that can be communicated to
markets and associated with market preferences.

The pyramid from the base to the apex also represents an increasing scope of
novelty and innovation. At the implicit and cookbook levels novelty tends to
be limited to representational content and small-scale details of formal de-
sign. Representational innovation refers to the development of new and novel
types and instances of game stories, scenarios, characters and game objects,
especially as conveyed by graphics and sound design. Small scale details in the
game form itself might include elements such as parameter ranges for the fea-
tures of game characters (e.g. attribute statistics, like strength, intelligence and
dexterity), inventory items (values, damage points), etc.. At the level of design
patterns, novelty may be achieved by new combinations of patterns being re-
alized together within a specific game. At the level of theoretically motivated
design, theoretical motivations may lead to, facilitate or require novel game
mechanics, or mechanics designed to frustrate player expectations in order
to make a specific point or to serve particular rhetorical aims. At the formal
reflexive design level novelty may occur in the most fundamental aspects of a
game design, leading to totally new kinds of games and play experiences, or
even to questioning and redefinition of the players’ understanding of the very
nature of a game.

reSulTS of aPPlyING The DeSIGN MeTa-MoDel

The design meta-model presented here has been applied in a game design
education context. The model was initially devised to address the concerns
listed in the introduction, and particularly with a view to structuring design
activities aimed at achieving higher than usual levels of innovation. ‘Higher
than usual’ here refers to a history of design workshops within undergradu-
ate game development programs and other professional and semi-professional
design workshop contexts.
Statistical empirical testing of this kind of meta-model is impractical in the
short term, the best global measure of its usefulness being the degree to which
it may be referred to and/or used over time by professional game designers or
game design educators. In terms of our immediate experiences in applying the
model within undergraduate game design education programs, the following
anecdotal evaluation information is offered:

- the meta-model has been used as the foundation for an advanced game design course
in which students study the various levels of the proposed hierarchy. Within the course,
games are brainstormed and developed to a playable stage and evaluated in a sequence
26 lindley & Sennersten

corresponding to a movement up through the hierarchy, beginning in this course with

the design patterns and taxonomies level, moving through theory-driven designs and
ending with formally reflexive game design.

- the meta-model appears to be understandable to students (although not all levels are in-
itially obvious). Students in the third year of a game development education program
expressed the view that they really would have benefited from having this framework pre-
sented to them much earlier in their studies, since it provides a framework and language for
talking about game design that they had lacked and would have greatly benefited from.

- the higher levels of the design pyramid represent areas that could be developed in end-
less ongoing detail. The framework therefore appears to represent a very convenient
conceptual model for integrating ongoing research and development activities in game
design, game aesthetics and related fields. Within the environment of the authors, the
framework is very appealing as a high level map clearly interrelating the content of un-
dergraduate game education programs and higher-level game research activities.

- the design workshops at the game pattern, theory-driven and modernist levels have re-
sulted in examples of games having relatively high levels of interest and novelty com-
pared with the typical results from game concept workshops in our experience. One
simple example is the formally reflexive computer game Sumo (2005/2006), designed by
Kajfa Tam. Sumo is a two-player game in which each player must place their fingers on
specific keys on the keyboard. They must then try to use their respective hands to push
their opponent’s hand so that at least one finger is pushed off its assigned key, without
stopping pushing down on their own assigned keys. The first person to take a finger off
a key is the loser. Sumo is a very simple game that nevertheless completely violates our
normal expectations about computer game play and interaction.

- in many cases the initial reaction of students to the design assignments based upon the
meta-model has been trepidation if not outright fear of entering design spaces having
few if any exemplified precedents. Despite this, most of the resulting designs are success-
ful in achieving fresh results and often highly entertaining game play.

The meta-model has also been very useful in clarifying our own thinking
about design processes and methods, their interrelationships and the role of
different kinds of research.

CoNCluSIoN
The game design meta-model presented in this chapter is a principled heuris-
tic framework interrelating a variety of design approaches, including implicit
design (by copy), cookbook design methods, taxonomy and ontology-based
game design, theory-driven design and formal reflexive design. The theory-
driven level inspires new game and play concepts based upon technical, scien-
tific and theoretical innovations, while the formal reflexive level represents the
application of contemporary artistic perspectives to games. The meta-model
 an Innovation-oriented Game Design Meta-Model 269

provides a clear account of the nature and place of research both for motivat-
ing design decisions and for game design innovation, and provides a founda-
tion that can be used for game education curriculum development integrated
with higher-level research. We do not claim that the model is absolute; for
instance, the boundaries between levels could be drawn differently; they rep-
resent tendencies rather than precisely definable distinctions. However, our
experience indicates that the meta-model is effective in opening up new ways
of thinking about, talking about and practicing game design, leading to fresh
and innovative gameplay concepts.

aCKNowleDGeMeNTS
We express our thanks to Staffan Björk and Jussi Holopainen for holding a
week long game workshop on design patterns for us, and for many fruitful
and interesting discussions about game design patterns and related issues.

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Mark eyles & roger eglin

Outlining a Stratified Game Design Research

Methodology

INTroDuCTIoN

I
n this chapter game play mechanisms are set in the context of full games,
which are in turn set in a wider context of simulated future technologies.
Additionally this methodology is viewed and informed through a critical
realist lens to give an example of an ontological perspective, and a founda-
tion, not only for the way the games operate, but also for the proposed de-
sign research methodology. Prototyping processes that mimic components
of the development process within the games industry are described and
by considering all the differently layered components of research, games
and emergent phenomena a holistic approach to game design research is
proposed.
One of the authors of this chapter spent over twenty years working as a
designer in the computer game industry before moving into academic re-
search and teaching. The other author has wide research experience, includ-
ing research for the games industry, and lectures on research for the creative
technologies. The methodology described here has evolved through both
reflection on game design in the computer games industry, the game de-
velopment process and through a search for an example of a philosophi-
cal basis for viewing game design research. As with design in information
systems projects designing useful artifacts (such as games) is complex due
to the need for creative advances in domain areas in which existing theory
is often insufficient or non-existent (Hevner, 2004). This chapter describes
the way a number of different threads can be merged to form a methodology
that not only offers a flexible way of interrogating game play mechanisms
and computer game design, but also allows researchers to investigate future
game technologies. The types of game discussed in this chapter are computer
games, though it may be that this methodology could be adapted for other
types of game such as board or collectable card games. Video-games (console,
handheld, set-top box and so on) are considered to be types of computer
game. Although they include non-computer game components this method-
ology should also work for pervasive games, such as alternate reality games
(often also known as cross-media games) and locative game types, such as
augmented reality games.
 Outlining a Stratified Game Design Research Methodology 273

exPerIeNCING GaMeS

This section considers the fundamental structure of computer game playing. This
is not about different game genres and game play mechanisms but rather is about
what it is to play a game, how this relates to a proposed underlying structure of
reality and human experience. An explicit description is given of how a view of
fundamental strata of reality may be echoed in the process of playing games.
When playing computer games auditory, visual and other information
from the games are received by the senses (sight, hearing and so on). The
physical existence of computer games consists of flows of electrons through
electronic circuits, the glowing of phosphors or liquid crystals on screens and
the electromechanical movements of speakers. Importantly games also com-
prise the inputs from players via controllers of some kind (joypad, keyboard,
mouse, joystick, camera and so on). Each input derived from the result of a
decision by the player. The decision-making occurs in the minds of the play-
ers, based on prior knowledge and the information they have received via
their senses. They use this knowledge and information to create a model of the
computer game in their minds. The physical processes in the brain are part of
this system, though whether these are wholly responsible for the mind is still
open to debate. The mind of the player may be a consequence of (currently
partially undiscovered) mechanical processes (materialistic monism) or may
be wholly separate from the physical world (described as dualism by René
Descartes). Predicting the properties of the mind that emerges from the physi-
cal structures of the brain is not currently possible. Perhaps the differentiation
between the physical brain and mind will be explained eventually by quantum
mechanics (quantum brain dynamics (Globus, 2004)), resulting in an un-
derstanding of processes and structures that remove the need to differentiate
between brain and mind. Consciousness becomes something understood in a
“quantum theoretical framework” (Hagan, Hameroff & Tuszyäski, 2002) or
perhaps, more precisely, quantum computation in cytoskeletal microtubules
(Hagan et al., 2002) and (Hameroff, 2006). However a detailed discussion of
this is beyond the scope of this chapter, suffice that the mind emerges from,
or in, the brain and may be a result of quantum events.
In academic research, and commercial game companies, design of games
is often based on ‘kernels of knowledge’ derived from experience and experi-
mentation. These kernel themes may be extended by means of induction and
abduction by the researcher or designer (Walls et al., 1992; Markus et al., 2002
cited in (Hevner, 2004)). This is analogous to empirical studies which are fre-
quently used by researchers to generate results that can be robustly defended.
The use of empirical studies is fine, but should not be at the exclusion of all
else. Focussing solely on empirical studies is the methodological doctrine of
empiricism, which is a great way to create empirical generalisations, but use-
less at creating explanatory theories. A discipline is only elevated to the status
of a science when it is underpinned by theory. This chapter next discusses the
theoretical underpinning of game design research, drawing on critical realism
as an example of a vehicle to link ontology and game design.
274 eyles & eglin

When discussing anything in the world we are taking a view of the world.
Any knowledge that we have is dependent on this view of the world and
we cannot discuss anything without having a view of the world, whether we
choose to acknowledge it or not. This understanding of a view of the world is
also known as ‘ontology’, the nature of what is. A solid foundation for the cre-
ation of new knowledge can be laid by making our view of the world clear.
Epistemology is the nature of what can be known. If we talk together I
can make sense of what you say, but also accept that you have sense and intel-
ligibility that is separate and independent from mine (we each have our own
view of the world). We might further accept that there is an independent and
separately existing reality. There are viewpoints that do not require this inde-
pendent reality, but the stance we are suggesting does not encompass these. The
different understanding that people have of events, even if they agree there is an
independent reality, makes it clear that an understanding of context is neces-
sary when considering the relevance and authenticity of any information. For
example the statement ‘I think you are really clever’ could be delivered as genu-
ine praise or as a sarcastic comment, with completely the opposite meaning.
To further develop the way in which a particular understanding of the world,
or ontology, can inform research methodology and hence the methods used
we will next use as an example a view of the world known as critical realism.
Founded by Roy Bhaskar, critical realism may be described as a philosophical
or ontological view of the world. At its heart critical realism is a stratified view
of the world in which layers of ‘real’ mechanisms, ‘actual’ events and ‘empiri-
cal’ experiences each sit one upon the other. Roy Bhaskar (1978) states that the
world may be viewed as comprising of structures and mechanisms that com-
bine to create a flux of phenomena that are ‘happenings of the world’ or events.
These events, when manifest, may be identified by people. For example atoms
combine to form molecules whose properties we can observe and measure.
However, studying properties of atoms does not allow us to predict the proper-
ties of molecules; an understanding of the properties of hydrogen and oxygen
does not enable the observer to deduce the properties of water (Sayer, 2000).
The world consists of ‘things’, which are complex objects with ‘tendencies, lia-
bilities and powers’ or properties. These properties may be used to explain the phe-
nomena of the world. New phenomena, entities, structures and so on are generated
from existing material, however this generation is emergent and it is not possible to
deduce or induce them by looking at the properties of this pre-existing material.
As mentioned previously reality may be described as three overlapping do-
mains: the real, actual and empirical, which correspond to mechanisms that
generate events that are perceived as experiences. In this way the monist and
dualistic views of the world are superseded by a view in which the observer may
be part of the world. The brain, including quantum structures, belongs to the
‘real’ which has mechanisms that generate quantum and other electrochemical
‘actual’ events that are perceived as ‘empirical’ experiences (and consciousness).
However, people may imagine experiencing events that allow them to in-
duce, or deduce, mechanisms, which may be either imaginary (i.e. not real) or
real. Ascertaining which mechanisms are imagined and which are known to
 Outlining a Stratified Game Design Research Methodology 275

be real requires empirical study, which gives rise to epistemic questions about
the nature of knowledge and how this determines our fundamental under-
standing of the universe we live in.
The experience of different people of the same object in time and space can
vary, for example Kepler watching the rim of the earth drop away while Tycho
Brahe watches the sun rise (Bhaskar, 1998). Events are independent of experi-
ences and the world may contain events both unperceived and unperceivable.

overlapping domains of reality

Real Actual Empirical
Mechanisms Events Experiences
Brain structures Quantum and electrochemical Consciousness
events
Strata of computer games
Game rules Game interface and events Player engagement/presence
Digital code and art assets… Screen, controller… Decision making, aesthetic
appreciation…

Table 1. An example of overlapping domains of reality if viewed from critical realism

In the approach adopted this stratified view has each layer building on the
previous (Walliman, 2001). Table 1 shows the strata applied to both the world,
the brain and computer games where sets of instructions (program code) create
sensory information (visual, auditory and even tactile) containing cues that are
then interpreted by players to create rich and complex worlds in their minds.
This is evident, for example, in text adventures, where only limited information
on the worlds is provided, yet players are sufficiently involved to play for many
hours as they move through imagined worlds. In games with little or no story,
such as simple puzzle games like Tetris (1986) a set of rules is converted into
graphics that engage the player in a competition with themselves as they make
many decisions a second. The player does not create the same sort of ‘rich and
complex world’ they create when playing an adventure, but does become im-
mersed in their own fast paced endeavour as they compete with the tokens on
screen and try to better their own highest score. The player’s immersion can be
highly emotive and satisfying and may be similar to the flow state described by
Mihaly Csikszentmihalyi. In a flow state the player has an ‘optimal experience’
typified by a high degree of focus and enjoyment (Salen & Zimmerman, 2004).
These behavioural elements must be taken into account when evaluating games
in combination with software engineering aspects of the game, see Figure 1.

Figure 1. Combination of behavioural and engineering aspects to give game design research
276 eyles & eglin

Consequently computer games combine the worlds of rules, mechanisms

and experiences. A set of underlying game rules are used to create observ-
able, emergent game play mechanisms exhibited in the computer, or console,
and in the responses and game inputs of the player. For example, imagine a
platform game with a character standing on a platform facing across a gap to
a second platform. The game rules determine that the character can jump a
certain distance, will not fall through platforms and is affected by gravity and
so on. These rules are not in and of themselves fun, however when they are
combined you have a ‘jump the gap’ game play mechanism, which may be
found in a platform game.
Computer games further have an experiential component (such as the flow
state) that exists in the mind of the player and which is not directly observ-
able by a researcher. In order to study these emergent events it may be useful
to isolate (or focus on) single game play mechanisms, in order to decrease the
complexity to manageable levels. A full game may be simulated to do this, but
the mechanism at the centre of the research is given greater emphasis. For ex-
ample if a researcher was investigating ‘jump the gap’ mechanisms in platform
games they could create a simple, playable platform game in which the levels
consisted entirely of platforms with different sized gaps; there would be no
ladders, pick ups, power ups, enemies, title screens and so on.
Computer games containing stories (role-playing games, for example)
present the player with an incomplete model of a fabulated world. The player
may then willingly suspend their disbelief and spend time inhabiting this vir-
tual space. To study this requires moving beyond observed events, and we can
draw upon a critical realist structured approach with its ‘structured’ or ‘strati-
fied’ reality (Grix, 2004). The ability to approach the subject on a number of
different levels and the acknowledgement that reality contains components
that are perceptually constructed is essential.
Figure 2 shows the relationship of a researcher to a game player and a com-
puter game within the wider context of ‘all reality’. In this figure the body has
been firmly rooted in the physical world whereas, for convenience, minds are
in their own stratum. As discussed earlier the brain contains its own mecha-
nisms, events and experiences, but to try to add this would make the diagram
unnecessarily complex ending up with an infinitely regressing loop of reflection
(mind thinking about watching mind thinking about mind watching mind
thinking about...). The three strata, previously described, of the real (mecha-
nisms), actual (events) and empirical (experiences) are shown on this diagram.
At the left of the figure is a console (or computer) which is running the
game. At the centre of the game is a player controlled avatar, the player’s
representative in the game world. Around the avatar is a layer labelled ‘avatar
interface’, which interfaces directly with a layer labelled ‘gameplay mecha-
nisms’. These two layers are how the avatar interacts with the game world. For
example the avatar may have the ability to pick up items in the game world;
to achieve this the avatar needs a ‘pick up’ component as part of its interface
and the game world needs to have a game play mechanism that assigns the
attribute ‘pick up’ to objects in the game world.
 Outlining a Stratified Game Design Research Methodology 277

ALL REALITY
REAL
Mechanisms

A vatar ac tion
THE WORLD THE MIND
ACTUAL E M P IR IC A L
Console or Events Experiences
computer
G am e

G am eplay Player
Digital code and assets

Body Mind
A vatar

User Interface:
screen, controller, HUD*
G am e

not directly engaged

Senses and body
C om m ands P layer's

engaged with
and control

with game
Senses
A vatar inter-

game
A vatar
Inform ation pretation
Inform ation of gam e
Interfac e W orld
M ec hanis m s

W orld

E nvironm ent Interac tion s hell Researcher

Inform ation:
s ound, vis ion, touc h Body Mind
*H U D - 'H ead U p D is play':

not directly engaged

game research

with game research

engaged with

Senses and body

ons c reen indic ators

and control
Senses

Figure 2. An example of an ontological position for games research viewed from

critical realism

The player and researcher to the right of the figure each consist of a physical
body and a mind. The player is thinking about the game and has a model of
the game world and avatar in their mind (not necessarily identical to the ac-
tual game, but their interpretation). The researcher is thinking about the game
and the player. Note that the researcher has knowledge of the player’s physical
body, but does not have direct knowledge of the mind of the player. Though
the researcher may build a model of what they think the player’s mind is like
this is not shown due in order to reduce the complexity of the figure.
The player is interacting with the game by sending ‘commands’ via a user
interface and receiving information of the avatar and game world (i.e. screen
images showing the avatar in the game world).
This figure shows how the researcher is firmly incorporated into the process
of research. There is a complete system that, using the language of semiotics,
includes the referent (researcher), the thing or object being talked about (game
and player) and the words used. The adoption of a critical realist standpoint
has placed the referent in the picture (Bhaskar, 2002). However, it is impor-
tant to remember that existence is independent of observation (Sayer, 2000).

DeSIGN reSearCh MeThoDoloGy

In this example of a realist view of games research it is possible to develop
compatible methods by bringing scholarly knowledge to the research (Sayer,
2000). Due to the short history of computer games research there are no
cookbook methodologies that can be simply applied to computer games, in-
stead an existing methodology may be adapted.
27 eyles & eglin

Design research methodology has been used for many years, the Design Re-
search Society (Design Research Society , 2005) has been promoting and dissem-
inating design research practices since 1967. Design research is used in a variety
of areas such as education, architecture, graphic design, software development
and engineering. The Stanford Center for Design Research (The Stanford Center
for Design Research, 2005) has been using design research for twenty years in the
field of engineering design. The Journal of Design Research (Journal of Design
Research, 2005) covers many disciplines, including architecture, social sciences
and education. As a result of this wide variety of applications of design research
there are a large number of different varieties of design research. Brenda Laurel’s
2003 Design Research: Methods and Perspectives book gives a good overview of
the different types of design research and contains articles by researchers working
with design research. Nine different approaches to design research are listed, see
table 2, including qualitative design research, quantitative design research, experi-
ential design research and so on (Laurel, 2003). This clearly demonstrates the way
that design research has been modified and used in many different situations.

• Experimental design research • Performative design research

• Qualitative design research • Discovery-led/poetic design research
• Quantitative design research • Formal/structural design research
• Speculative design research • Procedural design research
• Experiential design research (Laurel, 2003)

Table 2. Nine approaches to design research

Despite the many varieties of design research, they fall broadly into the follow-
ing three categories (Frayling cited by Lunenfeld 2003): research into design,
research through design and research for design. Research into design incorpo-
rates historical and aesthetic studies. Research through design utilises design as
a component of the research process and tends to be project based. Research for
design is to ‘create objects and systems that display the results of the research
and prove its worth’. The research into games proposed here concentrates on
‘research through design’, consisting of a project to test game play mechanisms or
components (which may have been specially designed). This is also the approach
recommended by game designer and researcher Eric Zimmerman, the co-author
of the book Rules of Play (Zimmerman, 2003).
While evaluating designs (game play mechanism designs, for example)
the researcher needs to employ methods to gather useful information. Eric
Dishman (Dishman, 2003) suggests an ‘Ask, Observe, Perform’ framework
for his design research projects. ‘Ask’ is about getting information from peo-
ple, whether at the start of the project when defining the research or at the
end when testing a product. ‘Observe’ is about watching what people actually
do. ‘Perform’ is concerned both with designers putting themselves into the
roles of the users of their products and with getting those users to try out and
critique ‘plausible future scenarios using concept, prototype and product level
“props” to simulate future technologies’ (ibid). Research into computer games
designed to run on technologies that do not yet exist fits neatly with the idea
of creating ‘”props” to simulate future technologies.
 Outlining a Stratified Game Design Research Methodology 279

The ‘design’ in design research is interpreted in different ways, as indicated

by Brenda Laurel’s list of nine different types of design research (see Table 2).
The Oxford English Dictionary definition of design forms part of the basis for
the version of design research described here: “To plan, purpose, intend. To
form a plan or scheme of; to conceive and arrange in the mind; to originate
mentally, plan out, contrive”. (Oxford English Dictionary Online: Second
Edition, 1989).
These ideas lead directly to the methodology suggested for games research:
to generate a hypothesis, or research question, and then plan and contrive (and
build) an artefact or experience that can be used in exploring that hypothesis
or answer a question. Vaishnavi and Kuechler (2004) outline a design research
methodology on the Association for Information Systems website that may be
used for developing software. This methodology comprises five steps: Aware-
ness of Problem (Space), Suggestion, Development, Evaluation and Conclu-
sion with built in feedback loops, allowing the developed artefact to be evalu-
ated and altered and then evaluated again until enough data has been gathered
(qualitative and quantitative as appropriate) to reach a conclusion on the verac-
ity of the hypothesis or draw useful conclusions about the research question.
Adapting this version of design research methodology for games research ena-
bles experimentation with prototypes to evaluate and reveal underlying proper-
ties that may lead to generalisable results that are applicable to a wide range of,
or even all, computer games. The process is shown in Figure 3.
Game design research methodology is a stratified approach to design that
is consistent with critical realism. The design process builds by an iterative
process, giving an opportunity for double loop learning (Bednar, 2007), that
allows the emergent properties of different game play mechanisms to surface
and to take into account the individual interpretation of the game play. This
allows the designers the opportunity to observe a game and the emergent
properties of the game and utilise these to improve the design. Some emergent
properties improve play and may be exploited, others may hinder play and
ways of removing, or ameliorating, these may be found.
The underpinning philosophy adopted here, and theory, is flexible enough
to allow for events that may come from design or implementation of the game.
This also provides a theoretical underpinning to draw on in the game design that
can be used as it is acceptable that we can choose a methodology, but will under-
stand it in different ways according to our (ontological) view of the world.
In Figure 4 the critical realist overlapping domains of reality and the cor-
responding strata of games exist beneath this process, switching in and out
of relevance as the process is enacted. For example early in the process the
underlying reality, the mechanisms and game rules are considered when be-
coming aware of the problem space and suggesting hypotheses. In the central
development phase the actual events and interface of the game (prototype) are
explored. During evaluation, player experiences and engagement become cru-
cial, which then leads directly back to the rules and mechanisms. Then either
definitions of game mechanisms may be produced or alternatively the process
loops back to ‘construct hypothesis’ in the ‘suggestion’ phase to test out a new
20 eyles & eglin

hypothesis that has resulted from a modification of the previous one. Figure
4 shows this stratified game design research methodology.

Figure 3. Design research methodology applied to games

 Outlining a Stratified Game Design Research Methodology 21

Figure 4. Stratified game research methodology

DeveloPING GaMeS
The loop at the heart of the game design research process, moving the game
through the different strata (see Figure 4), is similar to design/development
loops frequently used when creating commercial games. Unexpected emer-
gent properties that appear during development may be picked up during
testing and can be included in a game’s features.
22 eyles & eglin

Eric Zimmerman recommends using an iterative design loop when carrying

out design research with games (Zimmerman, 2003) in which the researcher ‘De-
signs’, ‘Tests’ and ‘Analyses’ over and over as they hone in on a game design. As
Zimmerman points out this resource intensive way of creating games is not com-
monly used in this pure form by the games industry. However, there are points
during game development when these iterative design loops are vitally important,
being frequently used for fine tuning rather than for developing the initial game
premise. For example, in the pre-production phase of game development there
are opportunities for testing game play ideas before committing full resources to
the development. Once the pre-production is complete the game development
normally continues in a series of stages, each corresponding to milestone deliv-
erables specified in a development contract between the developer and publisher,
who are sometimes both divisions of the same company. Once the beta milestone
is reached, and the game is essentially complete apart from debugging and game
play tuning, a period of iterative improvement occurs until money or time runs
out and the game is considered both robust and fun enough to release.
This model of game development, used since the 1990s, moves through
different development lifecycles: waterfall, staged delivery and evolutionary
delivery (described by Steven McConnell in his seminal work on software
projects ‘Rapid Development’ (McConnell, 1996)). Figure 5 shows, in a sim-
plified version, how these different lifecycles and iterative loops may be com-
bined when developing a game.
There are many similarities to the game design research methodology, though
since the outcome of design research is not usually a robust and fully function-
ing game, but just those features of a game that are being explored, the time con-
suming staged delivery phases may be reduced or removed altogether, linking the
pre-production phase directly to the ‘Game play tuning and debugging’ phase
of development. The researcher has some initial thoughts and ideas they want
to explore (preproduction) and then moves to a variation on the final evolution-
ary delivery phase of development, where they may test their ideas out with an
evolving prototype. A researcher may just wish to experiment with a single game
play mechanism, for example comparing real time and turn based combat. To
do this they may create a prototype game that can be switched between these
two modes of combat. A full game is clearly not required for this, just a simple
prototype that is only fully realised in the target area. However, players may
be given the illusion that they are playing a prototype of the full game, even
though they are only asked to look at one narrow area. Further, the prototype
should ideally be easily modifiable so that as the experiment progresses it may
be changed in response to feedback during evaluation and data gathering. The
creation and the evaluation of the prototype are crucial phases of this process.

ProToTyPING aND New TeChNoloGIeS

Technology used for games moves forward extremely quickly with new con-
sole platforms appearing every couple of years and PC and mobile phone
game technologies constantly moving forward month by month. This con-
 Outlining a Stratified Game Design Research Methodology 23

stant evolution of technology can result in unpredictable, emergent game

play, similar to the emergent phenomena predicted by critical realism. Critical
realism provides us with a useful lens through which to view these technolo-
gies and encourages us to consider their effects on more than one level. We
are not just concerned with how fast a processor is, but with new game play
that is enabled by this additional speed and the responses of the players to this
new game play.

Figure 5. Game development lifecycle

24 eyles & eglin

There are different ways of approaching this constant evolution. Research-

ers may take an established gaming technology and design experiments around
it or they may simulate future technologies and carry out experiments with
these simulations, looking to future developments. In May 2003 Celia Pearce
suggested on the International Game Developer Association website that aca-
demic researchers have the ‘luxury of both studying the past and imagining
the future five, ten, twenty years out’ (Pearce, 2003). Gaming technology
moves forward so rapidly that some gaming technology around now will be
looking dated in less than five years. Developers often surf on the wave front
of new technology and do not have the luxury of looking further ahead than
the next game platform as they rush to release products. Academic researchers
may not be constrained by the need to get games to market. They can study
games and technologies that do not yet exist without the same commercial
pressures that game developers have.
Paper prototyping has been widely used to design, test and refine user in-
terfaces (Snyder, 2003). The advantage of paper prototyping is that the actual
computer technology does not have to be implemented in order to determine
how a system appears to the user. The developer creates paper sketches of
screen interfaces that testers can use in place of fully functioning interfaces. A
facilitator takes on the role of the computer manipulating the paper ‘screens’
as the tester acts out clicking on buttons etc. Further members of the paper
prototyping team, the observers, watch and make notes on what happens (and
can talk with the participants) (ibid.). In Wizard of Oz testing a person acts
as an intermediary between a technology and the user. This can be used for
systems where the responses of the system are too complex to be easily repre-
sented on paper (ibid.). Using combinations of paper prototyping, Wizard of
Oz testing and simple computer generated prototypes enables researchers to
simulate advanced systems that do not yet exist.
Evaluation may be built into these prototyping systems allowing the re-
searcher to start generating data very quickly by means of questionnaires, in-
terviews, observation, focus groups and so on. The prototype may be designed
to allow quantitative data to be generated; for example, timing response times,
number of events, physiological responses and so on.
The rapid generation of data and the flexibility of this prototyping process
allows the researcher to respond rapidly and, if necessary, modify the proto-
type. This rapid reaction to information keeps the iterative loop at the heart
of this game design research methodology tightly wound. The researcher is
expected to refine the experiment while it is running, modifying the prototype
each time round the loop and responding to emergent properties.

a holISTIC aPProaCh To GaMe DeSIGN reSearCh

The game design research methodology described here has been specifically
developed to facilitate the design of games for future technologies. Games can
be large complex systems in which game play mechanisms interact with each
other and may create (ideally) a coherent experience. Poorly designed games
 Outlining a Stratified Game Design Research Methodology 25

in which the game play is fragmented jolt the player out of the illusory worlds
created – this is self evident to game players (though perhaps research is need-
ed to confirm this). Game design research allows the researcher to directly
experiment with individual game play mechanisms and emergent properties
but in the holistic context of simulations of complete games. The simulation
may appear to be of a full game, even though the players are focussed on one
narrow area of the game. This allows the researcher to investigate some of the
experiences of the players, as they play what they may believe to be a simula-
tion of a full game, not just a simulation of a single game play mechanism.
Game play may be an emergent property, or event, of more than one game
play mechanism that is used by the players. This emergent game play may not
become apparent if the game is reduced and separated too far into its simplest
components and cannot necessarily be derived from the mechanisms. Con-
sequently game design research is not a reductive methodology but supports
a holistic approach, allowing examination at different levels or strata. As pre-
dicted by critical realism, emergent phenomena, entities and structures may
not be predicted by examining properties of the things that generate them.
The design research methodology allows the creation of game designs without
alienating the user, emergent properties or an objective view of the world.
These facets help develop a unified approach to game design.
Game play mechanisms have been set in the context of full games, which
in turn have been set in a wider context of simulated technologies. The wider
context also includes game genres and different gaming platforms. Addition-
ally the methodology has been viewed through a critical realist lens which has
set a perspective, and foundation, not only for the way the games operate,
but also for selecting a design research methodology. The paper prototyping
process described is consistent with components of the development process
within the games industry.
Simulating the whole game system (albeit in a Wizard of Oz fashion with
smoke and mirrors), rather than a single isolated element, allows the research-
er to consider the differently layered components and emergent phenomena
and to take a holistic approach to game design research.

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Index

2D 97, 203-206, 234-6, 239, 252 Aquinas, T. 133

3D 204-5, 229-32, 234, 236-42, 252 AR (see augmented reality)
AR Air Hockey 233
A Kiss to Build a Dream On 112 AR Billiards 239
A_Rage 237, 243 AR Bowling 239
Aarseth, E. 125, 211, 257 AR Mahjong 238
achievements 48, 73, 75-9, 81-2, 85, 148, AR PushPush 239-40
173, 178-79, 188, 199 AR2Hockey 239
Ad Verbum 225 arcade games 47, 127, 163-4, 216
Adams, E. 64 ARG (see augmented reality game)
Adventure 210, 214-7 Armstrong, L. 112
adventure games 54, 63, 68, 125-6, 128-9, Art of War 133
135-6, 186, 209-25, 275 ARToolkit 241-242
aesthetic experience 45, 47, 188 ARWorms 238
aesthetics 11, 16, 30-1, 60, 113, 124, 129, ARQuake 235-7
137, 186, 191, 210, 268 attention 30-40, 45, 54, 153, 187, 191-2,
affordances 113, 191-209 196, 204, 260
Age of Empires 54, 205 audience 174
agency 61, 63, 118, 121, 135-6, 138, 222-4 Augmented Pool 233
aggression 51, 168, 171-3 augmented reality 224, 228-243, 253, 262, 272
agôn 60, 169, 258 game 228-243, 253, 272
AirBuccaneers 77-83, 85 spatial .. 230-1
Aldrich, C. 149 Aumont, J. 113
alea 60, 258 Aura: Fate of the Ages 223
Alexander, C. 249-50, 253-5, 264 avant-garde 16
Allport, A. 32 avatars 9, 35-9, 46, 54, 63, 67, 111, 113, 126-
Ambiguity of Play 48 8, 130-1, 133-6, 191-3, 199-200, 204-5,
America’s Army 137, 259 276-277 (see also characters)
Anderson, C.A. 171 Azuma, R. 231, 233, 237
Anger, K. 15 Backgammon 52
Another Code 224 Bad Mojo 223
Apter, M.J. 26 Baldur’s Gate 127
2 Index

Barakonyi, I. 237 challenges 23, 34, 37, 40, 125, 142, 45, 148,
Barwood, H. 256 168, 170, 172, 183, 188, 206, 211
Bates, B. 143, 149 characters 34, 37-38, 53, 63, 66-7, 73-86,
BattleZone 54 97, 98-100 (see also avatars)
Baudelaire, C. 14 chat 75, 79, 83, 96, 98-101, 102-105
Baudrillard, J. 11 cheats 123-38
Bauer, M. 237 chess 45-6, 63, 69
beat’em-up games (see fighting games) Chinese Checkers (ARG) 238
“becoming-machine” 134 Civilization IV 204-5, 9
Bernardes, J. 232-3 Clippinger, C.A. 172
Bettman, J.R. 187 closures 44, 46-8, 258
Bhaskar, R. 274-5 Coghill, R.C. 173
Bible 133 cognition 32, 34-5, 47, 65-6, 173, 184, 186-
Billinghurst, M. 232 8, 194, 251, 260
Bimber, O. 228-30 cognitive
Björk, S. 50-1, 258 psychology 30-1, 35
Black and White 205 science 29, 55, 58, 262
Bladeships 240 Colin McRae Rally 54
Blythe, M. 182 Command & Conquer 54
board games 52-53, 58, 69, 237-8, 253, 264 communication 10-11, 34, 38-9, 61, 73-4,
body 46, 53-4, 58, 61-2, 67, 69, 73, 171 82-3, 85, 96, 100, 112, 118, 119, 153-
Boonstra, J.J. 158 4, 184, 232, 234-5, 258
Bordwell, D. 65, 100 community 95, 97, 110, 113, 115, 118, 121, 130
Brahe, T. 275 belonging to a .. 168, 170
Branigan, E. 65 of interpretation 197-8, 202
Brave, H. 232 of developers 210, 225
Briggs, R. 114-5 of players 49, 98, 102-5, 107, 120, 167, 194
Broken Sword: The Shadow of the Templars 223 competition 75-8, 81, 163-75, 258, 275
Bronstring, M. 224 physical .. 50, 163, 167-75
Bruegge, B. 237 social .. 39
Burghardt, G. 49 computer game structure (see game structure)
Burnout Revenge 204, 209 Computer Space 60-1
Bushnell, N. 164 configuration 58, 67, 111, 235, 242
Constable, J. 44
Caillois, R. 59, 169-70, 174, 258 consumption 111
Call of Duty 2 61, 63, 68 control 32, 37, 61-3, 134-5, 137-8
CamBall 239-40 aesthetics of .. 124
Camera Kombat 240 and flow 55
CandyLand 238 authorial .. 119, 125-6, 131-2
card games 174, 234, 237, 242, 272 co-operation 39, 78, 96, 142, 168
caricatures 44-6, 50, 52, 55 Correspondences 14-5
cartography 117-118 creative practices 113, 132
Castle of Oulu 77-85 Crazy Taxi 54
Castronova, E. 93, 106 Csikszentmihalyi, M. 26, 37, 55, 147, 178,
cell phones 181, 234, 241 183, 275
Cubitt, S. 118
 Index 29

culture 14-6, 52, 58-60, 65-6, 93-106, 115, Elder Scrolls III: Morrowind, The 129
119, 130, 194 Elder Scrolls IV: Oblivion, The 199, 204, 209
fan .. 97, 115, 121 Eliza 217
gaming .. 123, 126 emotions 10, 12, 38, 62-3, 65, 93, 120, 171,
popular .. 29, 121, 265 181-2, 184, 186-8, 218, 260, 264
cyborgs 128, 134, 198 engagement 64, 118, 137-8, 148, 187-8,
260, 275, 277, 279
Dark Age of Camelot 75, 94 Engelke, T. 237
Day of the Tentacle 213, 215, 218 enjoyment 48-9, 55, 76-8, 81-2, 85-6, 95,
Dead or Alive 53 100-1, 103, 105, 124, 129, 143, 167,
Deadline 212, 216-7 170, 181-183, 275
Deadline (novel) 214 Entertainment Software Association 93-4
Derrida, J. 141-2, 144, 149 Ermi, L. 29-31, 34
design ESA (see Entertainment Software Association)
culture 250, 253-6 Eskelinen, M. 60
education 250, 255, 267-8 Eternal Darkness 201, 203, 209
metamodel 250, 251, 253, 264-269 ethnicity 101-2, 93-106
methodology 183, 250-1, 254-5, 268 EVE Online 16
patterns 50, 250, 258, 267-9 everyday
research 272-285 actions 224
desires 38, 58-9, 69, 118, 169, 174 behaviour 50
Deus Ex 54, 123-38 being 44
diegesis 97, 106, 199, 214-5, 219 experience 45, 62, 114
diegetic 195, 199-207, 214-5, 220-1 life 10, 11, 55, 59, 110-21, 134
extra- .. 215, 220-1 practice 110-1
non- .. 195, 199, 200, 203-4, 220 routines 11, 13
Dill, K.E. 171 society 73
direct manipulation 200, 210-1, 215-6, EverQuest 75
218-25, 237 Experientialist cognitive theory 58
discourse 38, 95, 101-2, 111, 124, 125, 131, EyeToy 233, 243
137, 253, 265
analysis 140-160 Fabricatore, C. 183
Dishman, E. 278 Façade 224
Disney, W. 15 Fahrenheit 215, 224
documentary practices 110-21 False Prophets 238
Dovey, J. 134 Fatal Frame 209
duel 53, 163, 169-71, 173 Father Christmas 114-5
Duke Nukem 3D 54 fighting games 47, 53, 127, 211
Dune II 54 Fine, G. 74
Dyer, R. 93, 106 first-person shooter games 35, 36, 38, 54,
209, 126-31, 136, 198, 204, 214, 254,
education 11, 112, 140-60, 186, 250, 255-9, 263, 267
267-9, 278 Fischinger, O. 15
educational games (see learning games) Fiske, J. 121
EIS Simulation 142-3, 158-9 flow 37, 40, 55, 147-8, 182-3, 275-6
Eisenstein, S. 15 Flowers of Evil, The 14
290 Index

Foreign Ground 259 Gance, A. 15

Forgotten Worlds 47 Gaver, W. 202
FPS (see first-person shooter games) Gay Lesbian Bisexual Transsexual 104-5
Freeman, D. 26 gender 94, 104-5, 186
From Russia With Love 213 Genesis 65
frustration 54-5, 84, 120, 145-8, 155, 172, genres 39, 54, 63, 65-6, 74, 91, 125-30,
193, 201, 207, 213-4, 217, 236, 267 136, 183, 186, 189, 194, 205, 209, 210-
Full Throttle 222 5, 220-1, 223, 225, 254, 256, 264-5,
Fuller, M. 135 273, 285
fun 44, 49, 55 Gesamtkustwerk 15-6
Fungus the Bogeyman 114-5 Ghost Recon: Advanced War Fighter 204, 209
Future Shock 10 Gibson, J.J. 194-5
F-Zero GX 54 Gibson, W. 66, 133-4
Glass Xylophone 239-40
game GLBT (see Gay Lesbian Bisexual Transsexual)
as avant-garde 16 GM (see game)
as system 45, 62, 63, 64, 66, 76, 112, Go 63
121, 191-3, 199, 202, 204, 207, 217, Godard, J.-L. 15
251-3, 256-8, 264, 285 Goldeneye 213
as technology 110, 113, 127, 134, 164, “goldfarming” 93-106
184, 188, 234, 252, 254, 272, 284 Golf Simulator 239
design 10, 29, 64, 82, 123, 131, 155, Google 111, 123
181, 195, 211, 225, 250-69, 273, 279- Gorfinkel, E. 33
82, 284-5 (see also design) Gran Turismo 54
development 184, 251, 261, 263, 267-8, Grand Theft Auto III 126
282-3 Grandia 3 109, 202, 209
engine 215, 219-22, 225, 237, 243, 261 graphic adventure games 212, 218-21, 223
genres (see genres) (see also adventure games)
master 98, 107, 117 Grasset, R. 232
mechanics 75-6, 78, 105, 146, 149, 151, guild 96-9, 101, 104-5, 107, 110, 115-7,
214, 221, 223, 256, 266-7 119-20
paradigm 11-12 Guildenstern Are Dead 114
prototype 165, 242, 279, 284-5 Guild Wars 119
space 9, 16, 33-8, 40, 54, 68, 76-77, 80,
95-98, 100, 103-4, 106, 110-3, 118-9, hackers 123, 133, 235
126, 134-6, 138, 210, 212-6, 219-25, Halo 35-6, 38, 126
252, 258, 266, 276-7 (see also virtual Hamlet 114
world) haptic 164, 175, 236
structure 33-5, 39-40, 44-6, 115 hardcore players 167, 171, 176
studies 29, 31, 39-40 Harrison, T. 110
“Game Ego” 58-69 Harth, E. 251
Game of Twenty 52 Hartmann, T. 170
”gameflow” 183 Hassenzahl, M. 179, 182, 184
gameplay 51-4, 73-4, 76, 77-83, 86, 119, HCI (see human-computer interaction)
124, 131, 134-5, 137, 138, 211-2, 243, Hebdige, D. 93
252-3, 258, 267, 269, 276-7 Heinlein, R. 133
 Index 291

Herding Sheep 238 interface 35, 39, 60, 73, 127, 142, 151, 172,
Herodotus 51 188, 191, 192, 193, 195, 196, 201, 204,
Herzog Zwei 54 210-25, 228-42, 258, 261, 275-7, 279,
history of games 50-4, 63, 164, 210-25, 227 284
Hirstein, W. 44-5 gestural 223-4
Hitchhiker’s Guide to the Galaxy, The 218 graphical .. 164, 212, 242
Hobbit, The 219 tangible .. 163-175, 230, 232-3, 236-7,
Homo Ludens 90 240-2
Hogan, P.C. 32-3 textual .. 212, 218
Højbjerg, E. 152 International Karate 53
Holopainen, J. 46-7, 50-1, 258 Invisible Train 239, 240
Howard Dean for Iowa 259 Invisible War 135
Huizinga, J. 27, 59, 90, 169 Ishii, H. 231-2
Human Pacman 253-6
human-computer interaction 183-4, 188, Jakobson, R. 196
191, 193-4, 201, 242, 262 James, W. 115
Janal, M.N. 173
I Ching 51 Järvinen, A. 11
IJsselsteijn, W. 31 Jaworski, B.J. 188
Ico 199, 201, 209 Jenkins, H. 97, 135
identity 12, 49, 74, 100, 102, 104-5, 114, Jennings, H. 110
134, 218-9, 222 Johnson, M. 58, 61-2
device 10, 12 Jørgensen, A.H. 178
IF (see interactive fiction) Jumanji Singapore 237-9
illinx 60 Juul, J. 44, 60, 64, 68
Illumination Light 231
immersion 9, 29-40, 54, 69, 75-6, 80-5, 183, Kameo 199, 209
210, 225, 228, 230, 250, 260, 275 Kanjï Learning 238
ludic .. 36-7 Karate Champ 53
narrative .. 37-8 Kaufman, J. 124-5
perceptual .. 31-2, 34, 40 Kennedy, H. 134
physical .. 229 Kent, S.L. 60
psychological .. 31-3, 39 Kepler, J. 275
social .. 38-9 Kick Ass Kung Fu 240
spatial .. 35-6 King’s Quest 219-20
Indigo Prophecy (see Fahrenheit) Kirk, W.J. 258
indirect manipulation (see direct manipulation) Kiyokawa, K. 236
indoor games 238-40 Klabbers, J.H.G. 257
information systems 207, 212, 272, 279 Klevjer, R. 124
intentional activities 50, 55 Klimmt, C. 170
intentionality 193, 197 Kline, S. 130
interaction cues 191-207 Klinker, G. 237
interactive fiction 211-2, 217 KnightMage 238
Interactive Storytelling (ARG) 240 Koyama, T. 173
interactivity 64-5, 127, 188, 195-6, 198-9, 200 Kreimeier, B. 258
Kuechler, W. 279
292 Index

LA Rush 209 markedness 196

Laclau, E. 141 masochism 172
Lakoff, G. 58,61-2 massively multiplayer online game 9, 16, 36,
language 12, 14, 59, 65, 93-106, 195, 205- 38-9, 74-5, 77, 85, 95-6, 110-21, 209
7, 240, 254, 268, 277 Matrix, The 113
programming .. 212 Mäyrä, F. 29-31, 34
LARP (see role-playing games) McCarthy, J. 181
Last Express 223 McHaffie, J.G. 173
Laurel, B. 278-9 McLuhan, M. 9
Laurienti, P.J. 173 McMahan, A. 29-31, 33-4
Lave, J. 149 media 60-1, 100, 111, 113, 195, 199-200,
Lazzaro, N. 26 203, 250, 263-5
learning 44-5, 53, 58, 60-1, 67, 69, 140-60, Memisoglu, M. 237
171, 202, 279 message processing 188
learning games 140-60 Metal Gear Solid 2 212
Legend of Zelda, The 213 Metal Gear Solid 3: Subsistence 201-2, 209
Legshocker 174 Metroid Prime 209
Leibe, B. 237 Meyers, S. 46-7
Leisure Suit Larry III 222 Microsoft Xbox 360 233
Lepper, M.R. 145-6 mimicry 60, 258
Lindley, C.A. 257 mind 66-7, 69, 86, 92, 133, 258, 273, 275-
Lipsitz, G. 106 7, 279
Looser, J. 232 control 261
Lord of the Rings: The Two Towers 114 state of .. 182
Lost Files of Sherlock Holmes: theory of .. 46
The Case of the Serrated Scalpel, The 215 MIND-Warping 238
Low, K.L. 230 Minesweeper 50
Lowood, H. 119 mixed reality (see augmented reality)
ludic structure (see game structure) MMO/G/RPG (see massively multiplayer
Ludo 52 online game)
ludology (see game studies) Mobile Goal Kick 240
ludus 60, 65-6, 258 mobile phones (see cell phones)
Lye, Len 15 Monkey Bridge 238
Monkey Island
machinima 112-3, 118 2: Lechuck’s Revenge 215
MacInnis, D.J. 188 The Curse of .. 220
MacWilliams, A. 237 The Secret of .. 129, 213, 221
Madge, C. 110 Monopoly (ARG) 238
Magerkurth, C. 237 Montfort, N. 211-2, 214-5, 217, 225
“magic circle” 59 Morawe, V. 163-5, 174
Magical Drop II 211 Morris, S. 38
Malone, T.W. 145-6 Morrowind (see Elder Scrolls III:
Maniac Mansion 114-6, 213, 215, 220, 124-6 Morrowind, The)
Manovich, L. 135, 203 Mortal Kombat 53
Marino, P. 118 motivation (see play)
Mario Kart: Double Dash!! 54 Mouffe, C. 141
 Index 293

Movies, The 204, 209 Papert, S. 145

multi-player 73-86, 119 (see also massively “paratelic” activities (see “telic” activities)
multiplayer online game) participation 64-5, 77, 106, 111, 120, 141,
Murgatroyd, S. 186 144-5, 148-50, 152, 156
Murray, J. 29-31, 33-4 Pascal, B. 59
Myst 210, 215, 219, 222-3 Pearce, C. 284
Myst V: End of Ages 201, 209 Peirce, C. 201-2
Mystery House 218 perception 9-10, 13-14, 31-2, 38, 45, 47,
62, 103, 126, 135-6, 138, 147, 168,
naming policies 98-100 172-3, 181, 184, 191, 194, 199, 231
narration 37, 60, 64, 66, 67, 68, 135 Perfect Dark Zero 209
narrative 30, 33-5, 37-40, 58, 60-1, 64-8, Phoenix Wright 225
97, 106, 111-4, 118, 127-9, 135-6, 151, Photopia 212
211-2, 220, 257 Ping Pong Plus 239
Nash, J. 59 platform games 192-3, 198, 203, 205-6,
Need for Speed 54 209, 276
Nelson, G. 217, 225 play
NetAttack 235-6 fair .. 125-6, 172
Nintendo foul .. 156
DS 224-5, 233 ”manipulative ..” 124, 126
Wii 223, 243 meaningful .. 74, 83, 135-6, 192-3
nodal point 141 modes of .. 47, 50, 59, 256, 258
non-diegetic (see diegetic) motivation of .. 48, 55, 75-85, 112, 115,
non-player character 192, 197, 206, 214, 217 143-5, 147, 170, 172, 182, 186-7, 189,
Norman, D.A. 191, 193-5, 205, 216 257, 259-60, 263
NPC (see non-player character) outcomes of .. 51, 169-70
Nussbaum, M. 183 practices of .. 112, 115, 117-8, 121, 124
process of .. 30, 33, 35-6, 63, 67, 118,
Oblivion (see Elder Scrolls IV: Oblivion, The) 131, 136, 165, 273
Ödeen, M. 65 rhetorics of .. 49
online gaming 100 (see also massively multi- playability 34, 135, 137, 215, 234-6, 243
player online game) player vs. player 117
ontology 257-8, 268, 273-4 playful behaviour 50-1, 53, 186
otherness 93-106 playing situation 169
outdoor games 234-5 playtesting 131
Outrun 53 Playstation (see Sony Playstation)
ownership 121, 232 Polanyi, M. 248
Pole Position 53
PacMan 48, 63-4, 68, 235-6 Pong 61-3, 163-6, 176
Paelke, V. 241 power 49, 51, 75-6, 81, 93, 130-1, 152, 157
Pagulayan, R. 183 presence 30-2, 34-5, 38-40, 58, 61, 63-4,
paidia 60, 66, 258 68, 70, 95, 104
pain 163-75 Project Entropia 94
PainStation 163-76 Propp, V. 66
Pair, J. 237 Psik, T. 237
paper prototyping 284-5
294 Index

psychology 48, 115, 182-3 (see also cogni- Russell, J.A. 187-8
tive psychology) Ruttmann, W. 15
Psychology of Everyday Things, The 194 Ryan, M.-L. 29-30, 33, 38
puzzle games 209, 211-2, 275 RV Border Guards 233, 240
PvP (see player vs. player)
Psychonauts 201 Said, E. 100
Salen, K. 44, 59, 74, 123, 131, 178, 192-3
Quake 54, 125-7, 129, 133, 235-6 Sandor, C. 237
SAR (see augmented reality)
race 94, 101-2, 106, 114 Saussure, F. de 193
character’s 76, 114, 256 Schaffer, D.W. 149
racing games 52-4, 202, 204 Schmalstieg, D. 237
RalliSport Challenge 2 202-3, 209 Schubert, T. 32
Ramachandran, V.S. 44-5 Scriabin, A. 15
Randell, B. 124 Second Life 115
Raskar, R. 228-30 Sega Rally 53
realism 141-4, 149, 155-7, 159, 160, 171, 188 self-esteem 168, 170
critical .. 273-5, 277, 279, 283, 285 semiotics 14, 126, 193-4, 196, 201-2, 277
reality tv 11 SENAC AR Hockey 239
real-time strategy games (see strategy games) Senet 52
Regenbrecht, H. 32 Sfard, A. 153-4
Reiff, T. 163-5, 167 Shadow of the Colossus 199, 209
Resnick, M. 149 Shakespeare, W. 114
Riva, G. 31 Shields, R. 118
Robot ARena 239-40 Shneiderman, B. 200, 211, 223
Rodgers, S. 186-7 signs (iconic, indexical, symbolic) 192-4,
Rodriguez, H. 27 201-2, 205
role 73-86 SimCity 48
role-play 74, 77, 81, 84-5 Simpsons, The 112
role-playing games 49, 54, 127-8, 209, 213, Sims, The 210
254, 267, 276 Sims 2, The 203-4, 209
live-action .. 251-2 Sims Online, The 130
Rollings, A. 64 simulation 9, 37, 54, 60-3, 142, 214, 257, 258
Rome: Total War 205 simulation games 53, 127-8, 209,
Rosas, R. 183 single-player 38, 124, 126, 137
Rosencrantz 114 Singletary, B. 237
Rouse, R. 35 situation model 31-40
RTS (see strategy) Small, E.S. 264-5
rules 34, 36, 38, 44, 47, 51-2, 61, 65-7, 93, Slocombe, W. 135
105, 131, 135-7, 164, 166, 169-70, 173, social
188, 191, 202, 243, 251-2, 254-8, 275-6 immersion 38-39
behavioural .. 73, 80 interaction 34, 38-9, 61, 74-9, 82-3, 85,
breaking the .. 124-6 95, 97, 183
of common decency 98-101, 104 space 34, 39-40
semantic and/or syntactic .. 66 structure 154, 34, 39
vs. inspiration 60 socializing (see social interaction)
 Index 295

Sons & lumières 14 TankWar 238

Sony Playstation 165 TARBoard 237-8
- 2 127, 233 taxonomy 59-60, 145-6, 193, 195-207,
- 3 233 257-8, 268
Soul Calibur 53, 211 Taylor, T.L. 90
space 30, 32-40, 59-61, 63-4, 84, 95, 97, 104, TeamSpeak 96, 119-20
106, 110-1, 113, 115, 117-8, 121, 135, Tekken 47, 53
137-8, 169, 180, 195, 204, 214, 219, Tekken Torture 174
221, 224 ”telic” activities 186
(see also game space, virtual world) Tennis for Two 53, 60, 63
Space Quest 220 terms of use 98-106
SpaceWar! 60, 62 Tetris 46-8, 50, 63, 192, 275
spatial augmented reality (see augmented text adventure games 215-8
reality) The Moon Is a Harsh Mistress 133
spatial structure 34-5 Thief 54, 126
Spivak, G. 100 Thief: Deadly Shadows 199
Splinter Cell 126 Thomas, B. 236
sports 49, 50-1, 234, 237, 239, 242, 252, Thompson, K. 65
sports games 127, 197 Thorson, E. 186-7
Sports over a Distance 238-9 Tic-Tac-Toe 53, 233, 251
Sprawl 134 Toffler, A. 10
Spyro the Dragon 64 Tolkien, J.R.R. 112
SSX 3 199, 203-4, 209 Tomas, D. 134
staging 13, 146-9, 152, 154-60, 257 Tomb Raider 46, 127
Star Trek 133 Torah 100
Starner, T. 23 Tori, R. 232-3
stimulation 14, 32, 34, 49, 55, 97, 168, TOU (see terms of use)
174-5, 168, 186-7 Touch Space 239-40
Stoppard, T. 114 Trace Memory (see Another Code)
story 13, 30, 34, 37, 38, 40, 63-4, 66-9, 75, Transparent Society 11
77, 80, 97, 105, 114, 129, 132, 151, Treasure Island 219
191, 199, 204, 211-5, 262, 275 Tsu, S. 133
strategy games 54, 127-8, 179, 205, 214, 254 TUI (see interface)
Street Fighter 53
subjectivity 9, 10, 12, 62-4, 134-5, 138, 184 Ullmer, B. 231
Summa Theologica 133 Ultima Online 75, 94
Sumo 264 Ultima Underworld 54
Suspended 213, 218 Underkoffler, J. 231
Sutton-Smith, B. 48-9 Unreal 54
Sweester, P. 183 usability 182-3, 188, 191, 193, 195, 206-7,
Syberia 223 222, 236
SymBall 240-1 user-centered design methodology 183
Synchronized Distributed Physical Object 232 (see also design)

Tactile motor 61, 69 Wagner, M. 237

tangible user interface (see interface) Wagner, R. 15
296 Index

Vaishnavi, V. 279 Virtual Catch Ball 238-9

Walkthrough 123-5, 128-9, 199 virtuality 106
Warcraft 54 augmented .. 229
Vattimo, G. 11 Vitas, A. 133
Weilguny, M. 237 Wizard of Oz 219
Ventrilo 96 Voice over IP 96
Vernes, J.R. 170 Wood, J. 218
Westen, D. 173 Vorderer, P. 170
videogame history (see history of games) World of Warcraft 16, 35-6, 38, 94-107, 110-
Wii (see Nintendo) 21, 143, 199, 202-4, 209
Williams, R.B. 172 VR (see virtual)
Willie, R. 125 Wright, P. 181
Winnicott, D. 136 Wright, T. 131
Wirth, W. 33 Wyeth, P. 183
Wittgenstein, L. 59
virtual Xbox 360 (see Microsoft Xbox360)
body 72 (see also avatar)
character 74, 175 (see also avatar) Yan, J. 124
ecology 111 Yantis, S. 32
life 94, 115 Yee, N. 75-6, 85
personification 115
proprioceptive chain 61 zeitgeist 10
reality 9, 11, 16, 31, 228, 243 (see also Zelda (see Legend of Zelda, The)
augmented reality) Zimmerman, E. 44, 59, 74, 123, 131, 164,
world 32, 54, 73-4, 76-8, 80, 85, 94-5, 178, 192-3, 278, 282
97, 110, 115, 118, 134, 187-8, 195, Zork 61, 63, 68, 215, 217
228-243 Zork II 213
reviewers
Espen Aarseth, Head of Research at the Center for Computer Games Re-
search, IT University of Copenhagen; Professor II at the Department of Media
and Communication, University of Oslo.

Thomas Howalt, Business Development Manager at IO Interactive, Denmark.

Markku Eskelinen, Independent Scholar and Experimental Writer of ergodic

prose and critical essays.

Mark Green, Studio Communications Manager at the Cambridge Studio of

Sony Computer Entertainment Europe, UK.

Emmanuel Guardiola, Concept Director, Member of CEDRIC lab in Paris

(a CNAM Computer sciences lab), and Teacher at the French national school
of game and interactive media (Enjmin, Angoulème).

Erkki Huhtamo, Media Archaeologist, Writer, and Exhibition Curator, Pro-

fessor of Media History and Theory at the University of California Los Ange-
les (UCLA), Department of Design | Media Arts.

Rune Klevjer, Senior Lecturer at the Department of Information Science

and Media Studies, University of Bergen.

Craig Lindley, Professor of Game Development, Department of Game De-

velopment, Narrative and Time-Based Media, at Gotland University College;
Research Leader in Digital Game Development, Blekinge Institute of Tech-
nology, Sweden.

Frans Mäyrä, Ph.D., Professor of Game Studies and Digital Culture at the
Hypermedia Laboratory in the University of Tampere, Finland; Founding
President of DiGRA (Digital Games Research Association).

Julian Oliver, Game Artist, Free-Software Developer, Educator and Media-

Theorist; Establisher of the artistic game-development collective, Select Parks.

Randy Pagulayan, Ph.D., User Research Lead for Microsoft Game Studios,
Member of the Games User Research Group since 2000.
29

Joost Raessens, Associate Professor of New Media Studies at Utrecht Uni-

versity, The Netherlands.

Gunilla Svingby, Professor of Education, Group Leader of research on the

use of simulation games in schools and in teacher training at the School of
Teacher Education, Malmö University, Sweden.

Eija Timonen, Professor of Media Sciences at the Department of Audiovisual

Media Culture, University of Lapland, Finland.

Catherine Warren, Founder and President of FanTrust Entertainment

Strategies; Board Director of Canada’s Bell Broadcast and New Media Fund;
serves on Canada’s Women in Media Foundation Board and International
Jury Member for the Emmy Awards.

Nick Yee, Ph.D. Research Assistant at the Virtual Human Interaction Lab,
Stanford University, Member of Research Staff , Palo Alto Research Center,
Palo Alto.

Mauri Ylä-Kotola, Ph.D., Rector of the University of Lapland.