Games

We isolate two abstract determinacy theorems for games of length $\omega_1$ from work of Neeman and use them to conclude, from large-cardinal assumptions and an iterability hypothesis in the region of measurable Woodin cardinals thatif the Continuum Hypothesis holds, then all games of length $\omega_1$ which are provably $\Delta_1$ -definable from a universally Baire parameter are determined;all games of length $\omega_1$ with payoff constructible relative to the play are determined; andif the Continuum Hypothesis holds, then there is a model of (...) ${\mathsf{ZFC}}$ containing all reals in which all games of length $\omega_1$ definable from real and ordinal parameters are determined. (shrink)

In this paper, we define a class of dialogue games for Johansson’s minimal logic and prove that it corresponds to the validity of minimal logic. Many authors have stated similar results for intuitionistic and classical logic either with or without actually proving the correspondence. Rahman, Clerbout and Keiff [17] have already specified dialogues for minimal logic; however, they transformed it into Fitch-style natural deduction only. We propose a different specification for minimal logic with the proof of correspondence between the existence (...) of winning strategies for the Proponent in this class of games and the sequent calculus for minimal logic. (shrink)

On Bernard Suits’s celebrated analysis, to play a game is to engage in a “voluntary attempt to overcome unnecessary obstacles”. Voluntariness is understood in terms of the players having the “lusory attitude” of accepting the constitutive rules of the game just because they make possible playing it. In this paper I suggest that the players in Netflix’s hit show Squid Game play the ‘squid games’, but they don’t do so voluntarily, but are forced to play. I argue that this means (...) that we should rethink Suits’s analysis by claiming that all that is needed for players to play is that someone has put the rules in force for them for the reason that it makes playing the game possible. I then illustrate the virtues of the revised analysis by showing how it helps us to defuse Hurka’s recent counterexamples to Suits’s view. -/- . (shrink)

What can the philosophy of agency learn from Nguyen’s book on games? The most important lesson concerns, to use Nguyen’s terms, the ‘layered’ structure of our agency and the ‘fluidity’ requ...

‘Fictional games’ are playful activities and ludic artefacts that were conceptualised to be part of fictional worlds. These games cannot – or at least were not originally meant to – be actually played. This interdisciplinary article discusses fictional games, focusing on those appearing in works of sf. Its objective is that of exploring how fictional games can function as utopian devices. Drawing on game studies, utopian studies, and sf studies, the first half of the article introduces the notion of fictional (...) games and provides an initial articulation of their utopian potential. The second half focuses, instead, on the analysis of one (science-)fictional game in particular: the game of Azad, described in Iain M. Banks’s 1988 sf novel The Player of Games. This analysis is instrumental in clarifying the utopian qualities that are inherent in the activity of play such as its being uncertain and contingent. By presenting relationships of power through a game (and, finally, as a game), utopian fictional games such as Azad serve as a reminder that every socio-political situation – even the most dystopian ones – is ultimately indeterminate, and retains the possibility of change. (shrink)

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

A relatively common approach in game studies understands gameworlds as constituting an existential situation for the player. Taking that stance, which is rooted in the European philosophical tradition of Existentialism, in this chapter we investigate the relationships and similarities between our existence within and without gameworlds. To do so, we first provide a review of existing literature in ‘existential ludology’ - work in game studies which considers our engagement with gameworlds from an existential perspective. In the second part of the (...) chapter, we then engage with some of the most notable ideas of the Norwegian philosopher Peter Wessel Zapffe. Zapffe understood human life as inherently meaningless and identified four ways in which human beings typically protect themselves from the existential panic that accompanies the awareness of that meaninglessness: isolation, anchoring, distraction, and sublimation. These four categories are used as the foundation for an examination of gameworlds as technologies for repressing existential panic. (shrink)

This is a reply to commentators in the Journal of the Philosophy of Sport's special issue symposium on GAMES: AGENCY AS ART. I respond to criticisms concerning the value of achievement play and striving play, the transparency and opacity of play, the artistic status of games, and many more.

Twitter makes conversation into something like a game. It scores our communication, giving us vivid and quantified feedback, via Likes, Retweets, and Follower counts. But this gamification doesn’t just increase our motivation to communicate; it changes the very nature of the activity. Games are more satisfying than ordinary life precisely because game-goals are simpler, cleaner, and easier to apply. Twitter is thrilling precisely because its goals have been artificially clarified and narrowed. When we buy into Twitter’s gamification, then our values (...) shift from the complex and pluralistic values of communication, to the narrower quest for popularity and virality. Twitter’s gamification bears some resemblance with the phenomena of echo chambers and moral outrage porn. In all these phenomena, we are instrumentalizing our ends for hedonistic reasons. We have shifted our aims in an activity, not because the new aims are more valuable, but in exchange for extra pleasure. (shrink)

This is my reply to commentators in the symposium on my book, GAMES: AGENCY AS ART. The symposium features commentary by Thomas Hurka, Quill Kukla, and Alva Noe, and originally appeared in Analysis 81 (2).

The canonical pair of a proof system P is the pair of disjoint NP sets where one set is the set of all satisfiable CNF formulas and the other is the set of CNF formulas that have P-proofs bounded by some polynomial. We give a combinatorial characterization of the canonical pairs of depth d Frege systems. Our characterization is based on certain games, introduced in this article, that are parametrized by a number k, also called the depth. We show that (...) the canonical pair of a depth d Frege system is polynomially equivalent to the pair (Ad+2,Bd+2) where Ad+2 (respectively, Bd+1) are depth d+1 games in which Player I (Player II) has a positional winning strategy. Although this characterization is stated in terms of games, we will show that these combinatorial structures can be viewed as generalizations of monotone Boolean circuits. In particular, depth 1 games are essentially monotone Boolean circuits. Thus we get a generalization of the monotone feasible interpolation for Resolution, which is a property that enables one to reduce the task of proving lower bounds on the size of refutations to lower bounds on the size of monotone Boolean circuits. However, we do not have a method yet for proving lower bounds on the size of depth d games for d>1. (shrink)

In his earliest philosophical work, Moritz Schlick developed a proposal for rendering aesthetics into a field of empirical science. His 1908 book Lebensweisheit developed an evolutionary account of the emergence of both scientific knowledge and aesthetic feelings from play. This constitutes the framework of Schlick’s evolutionary psychological methodology for examining the origins of the aesthetic feeling of the beautiful he proposed in 1909. He defends his methodology by objecting to both experimental psychological and Darwinian reductionist accounts of aesthetics. Having countered (...) these approaches, Schlick applies Külpe’s psychological distinction between stimulus-feelings and idea-feelings to collapse the traditional philosophical opposition between the agreeable and the beautiful. Both types of feeling, Schlick argues, result from humans’ adaptation to their environment. Because of this adaptation, feelings that were once only stimuli for action can come to be enjoyed for their own sake. This thesis underlies Schlick’s 1908 argument that art, qua mimesis, is necessarily inferior to aesthetic feelings directed towards the environment. Part of Schlick’s justification for this view is that humans are, through a long evolutionary process, better adapted to their environment than to artworks. Schlick nevertheless concedes that mimetic art can involve ways of abstracting from the objects it copies to produce idealised regularities that are not found in the original. Schlick thus concludes that art teaches its audience how to perceive the world in this abstract and idealised manner. This type of environmental aesthetics constitutes a means for reaching Schlick’s utopian ecological vision of a future in which culture will become harmonised with nature. (shrink)

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

Information technologies are fundamentally changing modern society. Almost any human activity, including the caring for a pet, is acquiring new formats related to communication in the virtual space. The authors analyzed such a phenomenon as a virtual pet that has been developing since the early 90s of the 20th century on the basis of more than 100 different virtual pet modifications. The most popular among users and purchased more than 1 million times a year around the world are examined in (...) details in this research (video game Petz, Tamagotchi, Furby, Nintendogs, Neopets, My Talking Tom). Thus in this study the evolution of a digital pet is represented. We analyzed how a person models it according to his needs and identified the main trends of the virtual pet development. These basic directions are advanced similarity with a real pet, development of entertaining aspect, virtual pet applying for practical purposes. We proposed four main factors for analyzing changes in the human-virtual pet relationship: touch, game, communication and social interaction concerning the pet. (shrink)

Speedrunning is a kind of ‘metagame’ involving video games. Though it does not yet have the kind of profile of multiplayer e-sports, speedrunning is fast approaching e-sports in popularity. Aside from audience numbers, however, from the perspective of the philosophy of sport and games, speedrunning is particularly interesting. To the casual player or viewer, speedrunning appears to be a highly irreverent, even pointless, way of playing games, particularly due to the incorporation of “glitches”. For many outside the speedrunning community, the (...) use of glitches appears to be cheating. For speedrunners, however, glitches are entirely within the bounds of acceptability. Because of this, however, speedrunning frequently involves sidestepping what are typically taken to be the core challenges of the game. By examining the distinction between the use of glitches and cheating in speedrunning, we can gain a greater understanding of the unique ethos of this activity; that is, we can make sense of what fundamentally constitutes speedrunning as a metagame. I argue that by understanding the code of the game not as rules but as physics, and by examining what actions are deemed impermissible by the speedrunning community – such as hardware modification and hacking – we can see that the ethos of speedrunning has three components: constitutive skills (including dexterity, memorisation and mental fortitude); a collective, fine-grained knowledge of the game and the desire to subvert the intentions of the programmers. Each of these components limits and structures the earlier ones: collective knowledge takes priority over constitutive skills, and subversion takes priority over both. These three components form the ethos that structures speedrunning as a metagame, expressing what speedrunners take to be its central aim. (shrink)

I argue that in purely professional games of pure chance, such as slot machines, roulette, baccarat or pachinko, any instance of cheating that successfully deceives the judge can be ‘part of the game’. I examine, and reject, various proposals for the ‘ethos’ that determines how we ought to interpret the formal rules of games of pure chance, such as being a test of skill, a matter of entertainment, a display of aesthetic beauty, an opportunity for hedonistic pleasure, and a fraternal (...) activity. Ultimately, I argue that ‘winning the benefit’ is the only ethos that can apply in purely professional games of pure chance, and that if we interpret the formal rules according to this ethos, cheating that is undertaken with respect for the judge’s authority, but that attempts to cause the judge of the game to ‘voluntarily’ relinquish the benefit of the game by deceiving them into thinking that the formal rules of the game have been followed, is impermissible but acceptable cheating, and is therefore within, rather than outside, the game. Here, I define ‘games of pure chance’ as games in which chance is the only determinant of winning. (shrink)

Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...) Our agency is more fluid than we might have thought. In playing a game, we take on temporary ends; we submerge ourselves temporarily in an alternate agency. Games turn out to be a vessel for communicating different modes of agency, for writing them down and storing them. Games create an archive of agencies. And playing games is how we familiarize ourselves with different modes of agency, which helps us develop our capacity to fluidly change our own style of agency. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Many philosophers think that games like chess, languages like English, and speech acts like assertion are constituted by rules. Lots of others disagree. To argue over this productively, it would be first useful to know what it would be for these things to be rule-constituted. Searle famously claimed in Speech Acts that rules constitute things in the sense that they make possible the performance of actions related to those things (Searle 1969). On this view, rules constitute games, languages, and speech (...) acts in the sense that they make possible playing them, speaking them and performing them. This raises the question what it is to perform rule-constituted actions (e. g. play, speak, assert) and the question what makes constitutive rules distinctive such that only they make possible the performance of new actions (e. g. playing). In this paper I will criticize Searle’s answers to these questions. However, my main aim is to develop a better view, explain how it works in the case of each of games, language, and assertion and illustrate its appeal by showing how it enables rule-based views of these things to respond to various objections. (shrink)

Trotz der steigenden Zahl an Computerspielern weltweit markiert die moralische Einordnung von Computerspielhandlungen ein bislang ungelöstes Rätsel der philosophischen Ethik. Angesichts der Brisanz der Thematik im Alltag (zu sehen an der ‚Killerspiel-Debatte‘) ist augenfällig, dass es einer differenzierten fachlichen Klärung des Phänomens bedarf: Kann das Spielen von Computerspielen unmoralisch sein? -/- Zur Beantwortung dieser Frage erörtert der Autor zunächst, was wir überhaupt tun, wenn wir Computerspiele spielen: Über welche Art von Handlung sprechen wir? Im zweiten Schritt erfolgt eine moralische Einordnung, (...) die erschließt, ob (und wenn ja, warum) manche Computerspielhandlungen moralisch problematisch sind. Die hier angestellten Überlegungen gewähren einen grundlegenden Einblick in die normative Dimension des Computerspielens. (shrink)

Players of videogames describe their gameplay in the first person, e.g. “I took cover behind a barricade.” Such descriptions of gameplay experiences are commonplace, but also puzzling because players are actually just pushing buttons, not engaging in the activities described by their first-person reports. According to a view defended by Robson and Meskin (2016), which we call the fictional identity view, this puzzle is solved by claiming that the player is fictionally identical with the player character. Hence, on this view, (...) if the player-character fictionally performs an action then, fictionally, the player performs that action. However, we argue that the fictional identity view does not make sense of players' gameplay experiences and their descriptions of them. We develop an alternative account of the relationship between the player and player-character on which the player-character serves as the player's fictional proxy, and argue that this account makes better sense of the nature of videogames as interactive fictions. (shrink)

Weakly Aggregative Modal Logic (WAML) is a collection of disguised polyadic modal logics with n-ary modalities whose arguments are all the same. WAML has some interesting applications on epistemic logic and logic of games, so we study some basic model theoretical aspects of WAML in this paper. Specifically, we give a van Benthem-Rosen characterization theorem of WAML based on an intuitive notion of bisimulation and show that each basic WAML system Kn lacks Craig Interpolation.

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

Is there a right or wrong way to play a game? Many think not. Some have argued that, when we insist that players obey the rules of a game, we give too much weight to the author’s intent. Others have argued that such obedience to the rules violates the true purpose of games, which is fostering free and creative play. Both of these responses, I argue, misunderstand the nature of games and their rules. The rules do not tell us how (...) to interpret a game; they merely tell us what the game is. And the point of the rules is not always to foster free and creative play. The point can be, instead, to communicate a sculpted form of activity. And in games, as with any form of communication, we need some shared norms to ground communicative stability. Games have what has been called a “prescriptive ontology.” A game is something more than simply a piece of material. It is some material as approached in a certain specified way. These prescriptions help to fix a common object of attention. Games share this prescriptive ontology with more traditional kinds of works. Novels are more than just a set of words on a page; they are those words read in a certain order. Games are more than just some software or cardboard bits; they are those bits interacted with according to certain rules. Part of a game’s essential nature is the prescriptions for how we are to play it. What’s more, we investigate the prescriptive ontology of games, we will uncover at least distinct prescriptive categories of games. Party games prescribe that we encounter the game once; heavy strategy games prescribe we encounter the game many times; and community evolution games prescribe that we encounter the game while embedded in an ongoing community of play. (shrink)

Morality has always been a pressing issue in video game scholarship, but became more contentious after “realistic” violence in games became possible. However, few studies concern themselves with how players experience moral dilemmas in games, choosing instead to focus on the way games affect postplay behavior. In my thesis I discuss the moral choices players encounter in the Metal Gear series of games; then, I analyze and compare the responses of players with and without martial career experiences. My argument is (...) that the moral choices players encounter during gameplay affect them differently, particularly if they have life experiences related to medical trauma, law enforcement, fire fighting, or military career fields, and that the behavior of those players will be observably different from players without the same experiences. In chapter one I present my personal history with Metal Gear, before moving on to the literature review in chapter two, which focuses on scholarship about the Metal Gear series of games and video game research as a whole, particularly studies concerned with how violent content affects players. In chapters three and four, I analyze Metal Gear Solid 3 (2004) and Metal Gear Solid V (2014/2015) in order to gain insight into the moral dilemmas posed by each game. In chapter five I report the results of a survey about player responses towards the game dilemmas given by martial and non-martial groups to identify observable patterns of behavior in how they act and react towards each scenario. -/- This is a preprint version of the official paper until an update is produced. The current official version is available at the West Chester Digital Commons in the external link section below. (shrink)

Some theorists claim that games are “transmedial”, meaning that the same game can be played in different media. It is unclear, however, what are the limits of transmedial games. Are all games in-principle transmedial, or only some? One suggestion offered by Jesper Juul is that, if games are understood as sets of rules, then a game is transmedial if its rules can be either implemented or adapted into some new media. I argue against this view on the grounds that the (...) rules of many games are dependent on the game’s media such that they cannot be adapted to a new medium. As such the games-as-rules view of transmediality is not restrictive enough. To add the necessary restriction, I suggest that games are transmedial, not only when they contain the same rules, but also when it requires the same set of skills to play each. I further argue that a skill-set view of transmediality is better able to account for many common intuitions about games. (shrink)

While we often see games as less serious or at least less transcendental than religion there is reason to believe that games can evoke similarly meaningful narratives that allow us to learn a great deal about ourselves and our world. And games do so often using the same symbolic and metaphorical mechanisms that generate meaning in religious experience. In this paper, I explore some of the ways in which game myths—the myths created from and through games—generate meaning in our lives. (...) People experience myths in games very similarly to how they might in religion. I first explain what myth means in contemporary literature and then show how the very make up of games opens them to a mythical reality. I highlight two ways in particular. I will argue that the inefficiencies within games promote a deep engagement with the world, and this gratuitous nature provides a system for creating myths and actualizing mythical potential. (shrink)

ABSTRACTHidden among the many fascinating things that Bernard Suits says in his classic The Grasshopper is a passing observation he makes about one of the works of Søren Kierkegaard, the Seducer’s...

I argue that even if video games are interactive artworks, typical video games are not works for performance and players of video games do not perform these games in the sense in which a musician performs a musical composition (or actors a play, dancers a ballet, and so on). Even expert playings of video games for an audience fail to qualify as performances of those works. Some exemplary playings may qualify as independent “performance-works,” but this tells us nothing about the (...) ontology of video games or playings of them. The argument proceeds by clarifying the concepts of interactivity and work-performance, drawing particularly on recent work by Dominic Lopes, Berys Gaut, and David Davies. (shrink)

In The Grasshopper, Bernard Suits argues that the best life is the one whose essence is game-play. In fact, only through the concept of game-play can we understand how anything at all is worth doing. Yet this seems implausible: morality makes things worth doing independently of any game, and games are themselves subject to moral evaluation. So games must be logically posterior to morality. The current paper responds to these objections by developing the theory of Ludic Constructivism. Constructivist theories such (...) as Kant’s explain normativity in a way that is both objective and cognitivist but also mind-dependent. Roughly, constructivists ground normative structures in rational procedures. But rational agency is diverse: it is realized in different ways and to different degrees by different agents. Yet Kantian Constructivism requires a strong identity of rational procedures across rational agents. Ludic Constructivism avoids this challenge by rejecting this strong identity of agency, instead building a normative framework out of the ingredients of Suits’s definition of game-play. We want to play the best games we can. In order to do so we must play games with a certain structure: they must be nested multiplayer games in which everyone who is capable of self-originating activity is engaged as a fellow player rather than a plaything. Nested games – games that are constructed out of other games – go best when each game contributes to the value of each other game in the nest. Such game nests are “reciprocating value-maximization structures”. Our lives go best when we design, play, and revise the game of our Individual Life and we also embed that game within the highest-order nested game of Fate of Humankind. In this way, Ludic Constructivism delivers a normative system that expands Kant’s Kingdom of Ends, and a life that meets Aristotle’s conception of pleasure. (shrink)

In this essay I develop a case for games as a primitive form of culture and an early arrival at our ancestors’ cultural gates. I analyze the modest intellectual prerequisites for game behavior including the use of metaphor, a reliance on constitutive rules, and an ability to understand the logic of entailment. In arguing for its early arrival during the late Middle and Upper Paleolithic, I develop a case for its powerful adaptive qualities in terms of both natural and sexual (...) selection. I accept ecological dominance coupled with an increasing sense of self as primary sources of selection pressure. I show how these two factors threatened homeostatic balances ranging from low arousal and atrophy to malaise, depression, and anomie. I suggest that an antidote or adaptation was found in culturally-enhanced forms of play — that is, formal, rule-governed games. The upshot of this analysis is a broadened discussion of cultural adaptation from one that often focuses on cooperation, social complexity, and language to other fundamental issues related to survival — namely, increased leisure time, enhanced arousal needs, and the health and physical skills required for a hunter-forager existence. (shrink)

In 'The Grasshopper' Suits proposes that ‘playing a game’ can be captured as an attempt to achieve a specific state of affairs (prelusory goal), using only means permitted by rules (lusory means). These rules prohibit more efficient means, and are accepted because they make the activity possible (lusory attitude). I argue these conditions are not jointly sufficient. The starting point for the argument is the idea that goals, means and attitudes can pick out their content in different ways. They can (...) involve a direct reference (‘crossing this specific finish line’), or a description that picks out something (‘crossing a line on the track after running 100 m’). I provide cases in which one’s attitudes, accepted goals or accepted means pick out their content by a description such that the person does not play a game, even if Suits’s conditions are satisfied. I show that this demands an epistemic condition for playing a game that also applies to commitment based accounts. Finally, I discuss what such an epistemic condition could be. I argue that the condition does not require personal knowledge of all goals and means, but merely enough epistemic access that the goal and permissible means can guide one’s behavior safely enough. This might be satisfied by social extensions, such as access to tools (e.g. a rulebook) or other people (e.g. referees). (shrink)

There are well-known problems for formalist accounts of game-play with regards to cheating. Such accounts seem to be committed to cheaters being unable to win–or even play–the game, yet it seems that there are instances of cheaters winning games. In this paper, I expand the discussion of such problems by introducing cases of pre-game cheating, and see how a formalist–specifically a Suitsian–account can accommodate such problems. Specifically, I look at two (fictional) examples where the alleged game-players cheat prior to a (...) game-instance in such as a way as to cast doubt on whether the alleged game-players are truly playing the game. To escape the worries brought about by these examples of pre-game cheating, I will appeal to the concept of nested games. This concept will give us the needed tools to explain how the alleged players are cheating and how the alleged players are players. On the whole, this discussion should help illuminate some important issues with regards to cheating and rules on a Suitsian account of game-play, and help give support for formalist accounts more generally. (shrink)

Historically, video games featuring content perceived as excessively violent have drawn moral criticism from an indignant (and sometimes, morally outraged) public. Defenders of violent video games have insisted that such criticisms are unwarranted, as committing acts of virtual violence against computer-controlled characters – no matter how heinous or cruel those actions would be if performed in real life – harm no actual people. In this paper, I present and critically analyze key aspects of this debate. I argue that while many (...) ethical objections to playing violent video games seem to miss their marks, there is sufficient reason to take modest steps in order to address the concerns that theorists have raised. (shrink)

ABSTRACTAn essential and yet often neglected motivation of Bernard Suits’ elevation of gameplay to the ideal of human existence is his account of capacities along perfectionist lines and the function of games in eliciting them. In his work Suits treats the expression of these capacities as implicitly good and the purest expression of the human telos. Although it is a possible interpretation to take Suits’ utopian vision to mean that gameplay in his future utopia must consist of the logically inevitable (...) replaying of activities we conduct in the present for instrumental reasons, because gameplay for Suits is identical with the expression of sets of capacities specifically elicited by game rules, it is much more likely that he intends utopian gameplay to be an endless series of carefully crafted opportunities for the elicitation of special capacities, and thus embody his ideal of existence. This article therefore provides a new lens for understanding both... (shrink)

In this paper, I engage the debate on Suits’ theory of games by providing a Kantian view of Utopia. I argue that although the Kantian aspects of Suits’ approach are often overlooked in comparison to its Socratic-Platonic aspects, Kant’s ideas play a fundamental role in Suits’ proposal. In particular, Kant’s concept of ‘regulative idea’ is the basis of Suits’ Utopia. I regard Utopia as Suits’ regulative idea on game playing. In doing so, I take Utopia to play a double role (...) in Suits’ theory of games. First, it highlights the primary condition of possibility of game-playing, namely, the lusory attitude. Second, it provides a normative criterion that serves as a critical principle to evaluate instances of game playing and as a counterfactual assumption that makes game playing possible. I provide further support for my Kantian interpretation of Suits’ Utopia by bringing to light the anthropological assumptions upon which Utopia is built. In doing so, I argue that both Suits’ theory of games, in general, and his Utopia, in particular, lay out the conditions of possibility of game playing, not an analysis on the life most worth living. (shrink)

This chapter focuses on the relation between ‘philosophy’ and ‘games’ and argues most of philosophy is a form of game-playing. Two approaches are considered: Wittgenstein’s notion of family resemblance and Suits’ analytic definition of a game. Both approaches support the assertion that the relationship is a close, if not categorical, one but it is the lusory attitude that is the ultimate determinant.

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...) and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

Games have a complex, and seemingly paradoxical structure: they are both competitive and cooperative, and the competitive element is required for the cooperative element to work out. They are mechanisms for transforming competition into cooperation. Several contemporary philosophers of sport have located the primary mechanism of conversion in the mental attitudes of the players. I argue that these views cannot capture the phenomenological complexity of game-play, nor the difficulty and moral complexity of achieving cooperation through game-play. In this paper, I (...) present a different account of the relationship between competition and cooperation. My view is a distributed view of the conversion: success depends on a large number of features. First, the players must achieve the right motivational state: playing for the sake of the struggle, rather than to win. Second, successful transformation depends on a large number of extra-mental features, including good game design, and social and institutional features. (shrink)