The study of expertise is difficult to do in a laboratory environment due to the challenge of finding people at different skill levels and the lack of time for participants to acquire mastery. In this paper, we report on two studies that analyze naturalistic gameplay data using cohort analysis to better understand how skill relates to practice and habit. Two cohorts are analyzed, each from two different games. Our work follows skill progression through 7 months of Halo matches for a (...) holistic perspective, but also explores low-level in-game habits when controlling game units in StarCraft 2. Players who played moderately frequently without long breaks were able to gain skill the most efficiently. What set the highest performers apart was their ability to gain skill more rapidly and without dips compared to other players. At the beginning of matches, top players habitually warmed up by selecting and re-selecting groups of units repeatedly in a meaningless cycle. They exhibited unique routines during their play that aided them when under pressure. (shrink)

In Anarchy, State and Utopia Robert Nozick criticizes a broad range of theories of distributive justice using a thought experiment that involves the financial incentives for playing basketball. In this paper, I defend the so-called “patterning” conceptions of justice that are the targets of Nozick’s “Wilt Chamberlain” argument, via the development of an extended analogy between the distribution of politically relevant resources and the playing of games, as this latter activity is characterized by Bernard Suits in his influential book on (...) the subject, The Grasshopper. I argue that the plausibility of this analogy makes possible a more decisive refutation of Nozick’s argument than those suggested by Thomas Nagel and G.A. Cohen. I also briefly speculate about the implications of my game analogy for how philosophers should think about particular types of economic utopianism, especially those that involve conjectures about what human life would be like in a post-scarcity environment. (shrink)

Detroit Become Human (DBH) offers a stunningly visual gameplay experience that both tells a philosophical story and stimulates the moral reasoning process in players. The game features a futuristic world where highly intelligent androids are bought and sold as workers who take on menial labor tasks for humans. In this chapter, we explore three dimensions of moral reasoning: accounts of moral agency, ethical theories or frameworks, and accounts of moral patiency. We then explore how DBH addresses all of these philosophical (...) issues in its narrative and gameplay scenarios. Issues of moral agency are explored through some of the androids gaining consciousness and autonomy. Ethical theory is explored through various ethical dilemmas that emerge in the gameplay. Moral patiency is explored by questioning if the androids, conscious and unconscious, are worthy of moral concern and why. We then show how the gameplay structure offers a unique interactive opportunity for players to engage in the moral reasoning process. Additionally, through the questions it raises and scenarios it poses, DBH makes an implicit anti-speciesist argument regarding moral patiency. Additionally, it makes a secondary argument that suffering and struggle are necessary to develop the possibility of second-order desires and true freedom and agency. The interactive structure of the game, in which players’ choices have more weight than in many gameplay experiences, makes DBH a unique work of contemporary philosophical pop culture. (shrink)

‘Aesthetics and the semblance of the real in terroristic gameplay’ explores the recreation of terrorism and terrorist role-playing in gaming in a post 9/11 context. Drawing examples from contemporary games like Grand Theft Auto, Call of Duty, ARMA 3: Takistan, Insurgency: Sandstorm and SQUAD, games provide for surprisingly subjective explorations of terrorist role-playing and image-making. What does it mean to recreate these images of terrorism, so closely associated with propaganda from the War on Terror? This article looks at the phenomenon (...) through the Lacanian notion of the real; that which cannot be reduced to the symbolic or semiotic. In particular, it looks at the aesthetic appeal of terroristic images and how these lead to their recreation. The article suggests that the virtual world of gaming provides a risk-free space to explore the taboo of terrorism while participating in the recreation of aesthetic media tropes. It further explores the idea of terrorism as the return of the Lacanian real and how terrorist gameplay can be understood as the re-enactment of the semblance of the real. This article draws from the author’s 2019 short film, Aim Down Sights. (shrink)

How computer games can be designed to create ethically relevant experiences for players. Today's blockbuster video games—and their never-ending sequels, sagas, and reboots—provide plenty of excitement in high-resolution but for the most part fail to engage a player's moral imagination. In Beyond Choices, Miguel Sicart calls for a new generation of video and computer games that are ethically relevant by design. In the 1970s, mainstream films—including The Godfather, Apocalypse Now, Raging Bull, and Taxi Driver—filled theaters but also treated their audiences (...) as thinking beings. Why can't mainstream video games have the same moral and aesthetic impact? Sicart argues that it is time for games to claim their place in the cultural landscape as vehicles for ethical reflection. Sicart looks at games in many manifestations: toys, analog games, computer and video games, interactive fictions, commercial entertainments, and independent releases. Drawing on philosophy, design theory, literary studies, aesthetics, and interviews with game developers, Sicart provides a systematic account of how games can be designed to challenge and enrich our moral lives. After discussing such topics as definition of ethical gameplay and the structure of the game as a designed object, Sicart offers a theory of the design of ethical game play. He also analyzes the ethical aspects of game play in a number of current games, including Spec Ops: The Line, Beautiful Escape: Dungeoneer, Fallout New Vegas, and Anna Anthropy's Dys4Ia. Games are designed to evoke specific emotions; games that engage players ethically, Sicart argues, enable us to explore and express our values through play. (shrink)

Watching other people play videogames —a.k.a. ‘spectator gaming’— is a widespread practice. Yet, it is considered by some as an inadequate form of engagement with games. In this paper, I show that the strongest objection to spectator gaming relies on the claim that some properties of videogames are better, if not exclusively, accessible to the player. After that, I propose two replies to this challenge. The first is that ‘secondary players’, i.e., individuals who indirectly take part in the game, can (...) access the relevant properties. The second reply is that even paradigmatic spectators may engage in simulated play, and therefore, access these properties as well. (shrink)

In this article, I consider Alkis Kontos’ and Allan Bäck’s critiques to Suits that his theory of games and good living lack ontological grounds or rests on the wrong foundations. Taking these criti...

Studying how gaming experiences are encoded is important to understand the effects of gaming on the brain. Although studies have investigated neural correlates of gaming experiences, the brain patterns related to the full range of subjective experiences across different types of games are yet to be identified. The present study used three custom-made, immersive driving games with different input dynamics (controlling a car, a boat, or a spaceship) and different mechanics to assess subjective gaming experiences in a magnetic resonance imaging (...) scanner. A correlational analysis identified several brain networks associated with different subjective gaming experiences, including visual and attentional processing networks. The contributions of these networks were further validated using meta-analysis-based functional term decoding. The results of the present study point to a range of perceptual, motivational, and control networks that are engaged during active gameplay. (shrink)

In this paper I present an in-class game designed to simulate the dynamics of the state of nature. I first explain the mechanics of the game, and how to administer it in the classroom. Then I address how the game can help introduce students to a number of important topics in political philosophy. In broad terms, the game serves to generate discussion regarding to main questions. (1) How does civil society come about? (2) Is the state of nature and the (...) arrangement which arises from it fair? In so doing I suggest how the game can further student understanding of figures such as Aristotle, Hobbes, Locke, Hume, Rousseau, Marx, and Rawls. (shrink)

The mental rotation ability is an essential spatial reasoning skill in human cognition and has proven to be an essential predictor of mathematical and STEM skills, critical and computational thinking. Despite its importance, little is known about when and how mental rotation processes are activated in games explicitly targeting spatial reasoning tasks. In particular, the relationship between spatial abilities and TetrisTM has been analysed several times in the literature. However, these analyses have shown contrasting results between the effectiveness of Tetris-based (...) training activities to improve mental rotation skills. In this work, we studied whether, and under what conditions, such ability is used in the TetrisTM game by explicitly modelling mental rotation via an ACT-R based cognitive model controlling a virtual agent. The obtained results show meaningful insights into the activation of mental rotation during game dynamics. The study suggests the necessity to adapt game dynamics in order to force the activation of this process and, therefore, can be of inspiration to design learning activities based on TetrisTM or re-design the game itself to improve its educational effectiveness. (shrink)

This paper offers an analytical description of the ethics of game design and its influence in the ethical challenges computer games present. The paper proposes a set of game design suggestions based on the Information Ethics concept of Levels of Abstraction which can be applied to formalise ethical challenges into gameplay mechanics; thus allowing game designers to incorporate ethics as part of the experience of their games. The goal of this paper is twofold: to address some of the reasons why (...) computer games present ethical challenges, and to exploit the informational nature of games to suggest how to develop games with ethics at the core of their gameplay. (shrink)

Bernard Suits’ groundbreaking work, The Grasshopper: Games, Life, and Utopia, has profoundly shaped the philosophy of sport. Its sequel, Return of the Grasshopper: Games, Leisure, and the Good Life in the Third Millennium, released in October 2022, enriches scholarly understandings of Suits’ views on games, emphasizing the normative aspects of gameplay and its impact on people’s pursuit of the good life. In this book symposium, world-leading Suits scholars analyze the Suitsian conception of gameplay and its relevance to his views on (...) Utopia outlined in the sequel, covering a wide range of topics. Filip Kobiela explores counterfactual situations in Suits’ oeuvre. Christopher Bartel and Gwen Bradford scrutinize the ethical nature and ramifications of Suits’ claim that life is an unconscious game. R. Scott Kretchmar and John S. Russell present thoughtful critiques of Suits’ musing on Utopia. William J. Morgan’s contribution integrates contemporary work studies to illuminate Suits’ utopia. The symposium concludes with the editors, Francisco Javier Lopez Frias and Christopher Yorke, offering their perspectives on Suitsian Utopia, ethics, and metaethics. (shrink)

Since Sigmund Freud developed and popularized psychoanalysis, this psychological theory has significantly influenced contemporary thinking, particularly in philosophical disciplines focused on understanding human behavior and addressing social problems. Take the examples of political philosophy, race theory, and feminist thought, among many others. However, although sport philosophy qualifies as one such discipline, scholars in this field have given little to no attention to psychoanalysis and psychoanalytical theorists. Remarkably, psychoanalytical notions, especially those of Eric Berne and Norman O. Brown, significantly shaped Bernard (...) Suits’ pioneering thoughts on games. Nevertheless, sport philosophers have largely overlooked the importance of psychoanalysis in Suits’ examinations of games and, more broadly speaking, rarely attempted to apply psychoanalytical concepts to their analyses of sport. In this paper, I explain the psychoanalytical roots of Suits’ theory of games and explore how much of his theory of games is indebted to psychoanalysis. Specifically, I first compare Suits’ analysis of unconscious gameplay to psychoanalytic concepts of repression and neurosis. Subsequently, I explore the alignment between Suits’ views on gameplay and psychoanalytic accounts of play and pleasure. To conclude, I examine the therapeutic and emancipatory character of Suits’ proposal, drawing parallels between his philosophical corpus and critical theorists whose critical analyses of modern society are heavily indebted to Freud. (shrink)

BioShock Infinite begins with the question of “founding.” One enters Columbia for the first time on “Secession Day,” the anniversary of Columbia's secession from the United States in 1902, and the commemoration of the founding of Columbia as the “New Eden.” Racial difference is one of the major antagonisms in BioShock Infinite. BioShock Infinite exemplifies Carl Schmitt's concept of the political, as grounded on fundamental antagonisms that express the will of “the people” of Columbia. Sovereignty is the power to decide (...) what one will do outside of any rules or laws. The questions of decision and responsibility play a key role in the story and gameplay of BioShock Infinite. Players are forced to make a number of decisions throughout BioShock Infinite, without any way of knowing what the outcomes of these decisions will be. It turns out that none of these decisions has any real impact on the game. (shrink)

In Games: Agency as Art, Thi Nguyen has given us a deep and compelling picture of agency as much more layered, volatile, environment-dependent and discontinuous than it appears in most philosophical accounts. Games ‘inscribe … forms of agency into artifactual vessels’.1 1 When we play a game, we take up a form of agency, including a set of motivations, values and goals, which has been artificially provided by the game. Our purpose in playing, in the kinds of gameplay that interest (...) Nguyen, is to have the aesthetic experience of first-personally exercising the kind of agency sculpted by the game. As we move in and out of gameplay, we take up and drop values, motives, and goals that are provided to us by the game. Games can expand our autonomy and the richness of life by allowing us to practice different forms of agency, taking on different ends for the aesthetic experience of striving to meet them. While I am on board with these central moves of Nguyen’s book, in this essay I will argue that the situation is substantially messier than Nguyen portrays it as being. Game play, I will claim, is inextricably embedded and entangled in its larger social, material and cultural context. Conversely, I will argue, everyday life is routinely sculpted in ways Nguyen claims are distinctive of games. (shrink)

In a recent and provocative essay, Christopher Bartel attempts to resolve the gamer’s dilemma. The dilemma, formulated by Morgan Luck, goes as follows: there is no principled distinction between virtual murder and virtual pedophilia. So, we’ll have to give up either our intuition that virtual murder is morally permissible—seemingly leaving us over-moralizing our gameplay—or our intuition that acts of virtual pedophilia are morally troubling—seemingly leaving us under-moralizing our game play. Bartel’s attempted resolution relies on establishing the following three theses: (1) (...) virtual pedophilia is child pornography, (2) the consumption of child pornography is morally wrong, and (3) virtual murder is not murder. Relying on Michael Rea’s definition of pornography, I argue that we should reject thesis one, but since Bartel’s moral argument in thesis two does not actually rely thesis one that his resolution is not thereby undermined. Still, even if we grant that there are adequate resources internal to Bartel’s account to technically resolve the gamer’s dilemma his reasoning is still unsatisfying. This is so because Bartel follows Neil Levy in arguing that virtual pedophilia is wrong because it harms women. While I grant Levy’s account, I argue that this is the wrong kind of reason to resolve the gamer’s dilemma because it is indirect. What we want is to know what is wrong with virtual child pornography itself. Finally, I suggest alternate moral resources for resolving the gamer’s dilemma that are direct in a way that Bartel’s resources are not. (shrink)

"Robert Brandom" is one of the most significant philosophers writing today, yet paradoxically philosophers have found it difficult to get to grips with the details and implications of his work. This book aims to facilitate critical engagement with Brandom's ideas by providing an accessible overview of Brandom's project and the context for an initial assessment. Jeremy Wanderer's examination focuses on Brandom's inferentialist conception of rationality, and the core part of this conception that aims to specify the structure that a set (...) of performances within a social practice must have for the participants to count as sapient beings by virtue of their participation in the practice, and for the performances within the practice to have objective semantic content by virtue of their featuring within the practice. Wanderer's exploration of these two goals forms the structure to the book. It Includes: Part I that provides a structural model of linguistic practice and considers various groups of potential participants in terms of their relationships to this practice; and, Part II that examines the meaning of the performances that are caught up in this gameplaying practice. Brandom's approach to semantics is outlined and the challenge such an approach has in allowing for a representational dimension of language and thought is explored. Wanderer offers readers a valuable framework for understanding the Brandomian system and helps situate Brandom's systematic theorizing within contemporary Anglo-American philosophy. This book will be a sought after aid to reading Brandom for advanced students and philosophers engaging with his challenging body of work. (shrink)

The gamer’s dilemma, initially proposed by Luck (Ethics and Information Technology 11(1):31–36, 2009) posits a moral comparison between in-game acts of murder and in-game acts of paedophilia within single-player videogames. Despite each activity lacking the obvious harms of their real-world equivalents, common intuitions suggest an important difference between them. Some responses to the dilemma suggest that intuitive responses to the two cases are based on important differences between the acts themselves or their social meaning. Others challenge the fundamental assumptions of (...) the dilemma. In this paper, we identify and explore key imaginative and emotional differences in how certain types of in-game violence are experienced by players, consider how these differences factor into the moral lives of players, and use these insights to resolve the dilemma. The view we develop is that the key moral emotion in offensive video gameplay is self-repugnance. This is not repugnance of the act one directs a game character to perform in the game, nor repugnance of the character one plays. It is repugnance of oneself in playing the game. If self-repugnance is a fitting emotional response to playing a videogame, then this is prima facie grounds for thinking it is wrong to play the videogame. Our approach to the gamer’s dilemma is to distinguish the fittingness conditions of self-repugnance from the fittingness conditions of other moral emotions as they pertain to playing videogames. We argue that because of the virtual character of the actions performed in video games, self-repugnance is a fitting response to particular kinds of offensive gameplay. On the other hand, in-game murder is not invariably a fitting ground for self-repugnance. We argue that this difference is grounded in imaginative responses to the harm of death and the harms of profound suffering. Our task is to explain and justify this difference in fittingness conditions and use this to resolve the gamer’s dilemma. (shrink)

This paper expands Rami Ali’s dissolution of the gamer’s dilemma (Ethics Inf Technol 17:267-274, 2015). Morgan Luck’s gamer’s dilemma (Ethics Inf Technol 11(1):31-36, 2009) rests on our having diverging intuition when considering virtual murder and virtual child molestation in video games. Virtual murder is seemingly permissible, when virtual child molestation is not and there is no obvious morally relevant difference between the two. Ali argues that virtual murder and virtual child molestation are equally permissible/impermissible when considered under different modes of (...) engagement. To this end, Ali distinguishes between story-telling gameplay and simulation games, discussing both in depth. I build on the dissolution by looking into competitive gameplay in order to consider what the morally relevant difference between virtual murder and virtual child molestation might be when competing in a video game. I argue that when competitors consent to participate in a competition, the rules of the competition supersede everyday moral intuitions. As such, virtual competitions ought to represent such consent from virtual characters. Virtual children cannot be represented as giving consent to be molested because (1) children cannot be represented as giving sexual consent, and (2) consent to be possibly molested cannot be given. This creates a morally relevant difference between murder and molestation. By fully addressing competitive gameplay, I answer Luck’s worry that Ali’s dissolution is incomplete (Ethics Inf Technol 20:157-162, 2018). (shrink)

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

In this paper we conduct an analysis of the critical narratives of Stardew Valley and compare them to other relevant videogames in order to develop new possibilities for an ecological critique of capitalist extractive econo­mies. Critical narratives of this game are aimed primarily at the alienating conditions of labour and deeply devastating modes of production under capitalism that impact and severely damage the environment. Analysing these narratives, we superimpose the immediate messages of the game with the procedural rhetoric and material (...) conditions of their existence. Over the course of our analysis, we highlight a material-narrative disso­nance which, in the case of Stardew Valley, fails to function as a commu­nicative strategy of the game and remains its mere external contradiction. Although the game’s critical narrative may seem overly utopian and its political imaginary a bit underdeveloped, the game elaborates on concrete ways to tackle the alienation of labour and resolve the ecological crisis. In addition to this, the paper covers the history of the interplay between the video game industry and the field of global ecological crisis research. We compare the attempts to raise awareness of the videogames’ own material­ity that preceded Stardew Valley. We conclude that Stardew Valley utilises the language of sustainable co-existence and wasteless local production, expanding this logic both to the sphere of labour and the spectrum of en­vironmental problems. In the case of ecological critique, some gameplay decisions in Stardew Valley enable us to come up with new strategies aimed at creating critical narratives about the environment in videogames. Thus supplementing Stardew Valley’s findings with critical tropes derived from other games (mainly, Rain World), we were able to gather a set of theoretical instruments that could facilitate the creation of games about ecosystems. Following Donna Haraway’s emphasis on the crucial role of narrative fram­ing (“it matters which stories tell stories”), we highlight new opportunities for the entire medium of videogames. (shrink)

Acquiring expertise in a task is often thought of as an automatic process that follows inevitably with practice according to the log‐log law (aka: power law) of learning. However, as Ericsson, Chase, and Faloon (1980) showed, this is not true for digit‐span experts and, as we show, it is certainly not true for Tetris players at any level of expertise. Although some people may simply “twitch” faster than others, the limit to Tetris expertise is not raw keypress time but the (...) techniques acquired by players that allow them to use the tools provided by the hardware and software to compensate for the game's relentlessly increasing drop speed. Unfortunately, these increases in drop speed between Tetris levels make performance plateaus very short and quickly followed by game death. Hence, a player's success at discovering, exploring, and practicing new techniques for the tasks of board preparation, board maintenance, optimal placement discovery, zoid rotation, lateral movement of zoids, and other tasks important to expertise in Tetris is limited. In this paper, we analyze data collected from 492 Tetris players to reveal the challenges they confronted while constructing expertise via the discovery of new techniques for gameplay at increasingly difficult levels of Tetris. (shrink)

This paper provides frameworks for understanding how ethics might be expressed in gameplay situations, and how we can study the ethical frameworks that games offer to players. There are many ways to delve into such topics, and this paper considers only a few approaches. It briefly surveys some of the important ques-tions and critiques arising from audience studies, theories of play and games, and work on cheating, and begins to build a framework for considering ethics in relation to games and (...) players that transcends the “place apart” that games are often constructed as. (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)

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

The potential negative impact of sexualized video games on attitudes toward women is an important issue. Studies that have examined this issue are rare and contain a number of limitations. Therefore, it largely remains unclear whether sexualized video games can have an impact on attitudes toward women. This study examined the consequences of sexualized video game content and cognitive load on rape victim blame and rape perpetrator blame, and whether the degree of humanness of the victim and of the perpetrator (...) mediated these effects. Participants played a video game using sexualized or non-sexualized female characters. Cognitive load was manipulated by setting the difficulty level of the game to low or high. After gameplay, participants read a rape date story, and were then asked to judge the victim’s and the perpetrator’s degree of responsibility and humanness. Based on the General Aggression Model, it was hypothesized that playing the video game with a sexualized content would increase the responsibility assigned to the victim and diminish the responsibility assigned to the perpetrator. Further, degree of humanness of the victim and the perpetrator was expected to mediate this relation. The results were partially consistent with these predictions: Playing a video game containing sexualized female characters increased rape victim blame when cognitive load was high, but did not predict degree of humanness accorded to the victim. Concerning the perpetrator, video game sexualization did not influence responsibility, but partly influenced humanness. This study concludes that video games impact on attitudes toward women and this, in part, due to its interactive nature. (shrink)

In this explorative study, we investigated motives of autonomous learners to participate in an online course, and how these motives are related to gameplay motivations, engagement in the course experience, and learning outcomes. The guiding premise for the study has been the idea that learning and game playing carry phenomenal similarities that could be revealed by scrutinizing motives for participating in a massive open online course that does not involve any intentionally game-like features. The research was conducted by analyzing survey (...) data collected from individuals who had voluntarily participated in an open online course about artificial intelligence and its societal impact. The survey included an explorative Motives for Autonomous Learning inventory. Exploratory factor analysis suggested that the MAL inventory consisted of six dimensions out of which four were consistent with factors that earlier research has associated with motives to engage with video games. Of the identified factors, the dimension that most clearly described autonomous and playful predispositions was found to be a main precedent for both experienced gamefulness of the learning experience and positive learning outcomes. In all, the results of this study demonstrated that playfulness and autonomy were both prominent and significant factors across the whole learning process. (shrink)

Video games are ideal platforms for the study of skill acquisition for a variety of reasons. However, our understanding of the development of skill and the cognitive representations that support skilled performance can be limited by a focus on game scores. We present an alternative approach to the study of skill acquisition in video games based on the tools of the Expert Performance Approach. Our investigation was motivated by a detailed analysis of the behaviors responsible for the superior performance of (...) one of the highest scoring players of the video game Space Fortress. This analysis revealed how certain behaviors contributed to his exceptional performance. In this study, we recruited a participant for a similar training regimen, but we collected concurrent and retrospective verbal protocol data throughout training. Protocol analysis revealed insights into strategies, errors, mental representations, and shifting game priorities. We argue that these insights into the developing representations that guided skilled performance could only easily have been derived from the tools of the Expert Performance Approach. We propose that the described approach could be applied to understand performance and skill acquisition in many different video games and help reveal mechanisms of transfer from gameplay to other measures of laboratory and real-world performance. (shrink)

The return of a classic book about games and play that illuminates the relationship between the well-played game and the well-lived life. In The Well-Played Game, games guru Bernard De Koven explores the interaction of play and games, offering players—as well as game designers, educators, and scholars—a guide to how games work. De Koven's classic treatise on how human beings play together, first published in 1978, investigates many issues newly resonant in the era of video and computer games, including social (...) gameplay and player modification. The digital game industry, now moving beyond its emphasis on graphic techniques to focus on player interaction, has much to learn from The Well-Played Game. De Koven explains that when players congratulate each other on a “well-played” game, they are expressing a unique and profound synthesis that combines the concepts of play (with its associations of playfulness and fun) and game (with its associations of rule-following). This, he tells us, yields a larger concept: the experience and expression of excellence. De Koven—affectionately and appreciatively hailed by Eric Zimmerman as “our shaman of play”—explores the experience of a well-played game, how we share it, and how we can experience it again; issues of cheating, fairness, keeping score, changing old games (why not change the rules in pursuit of new ways to play?), and making up new games; playing for keeps; and winning. His book belongs on the bookshelves of players who want to find a game in which they can play well, who are looking for others with whom they can play well, and who have discovered the relationship between the well-played game and the well-lived life. (shrink)

Video games are ideal platforms for the study of skill acquisition for a variety of reasons. However, our understanding of the development of skill and the cognitive representations that support skilled performance can be limited by a focus on game scores. We present an alternative approach to the study of skill acquisition in video games based on the tools of the Expert Performance Approach. Our investigation was motivated by a detailed analysis of the behaviors responsible for the superior performance of (...) one of the highest scoring players of the video game Space Fortress. This analysis revealed how certain behaviors contributed to his exceptional performance. In this study, we recruited a participant for a similar training regimen, but we collected concurrent and retrospective verbal protocol data throughout training. Protocol analysis revealed insights into strategies, errors, mental representations, and shifting game priorities. We argue that these insights into the developing representations that guided skilled performance could only easily have been derived from the tools of the Expert Performance Approach. We propose that the described approach could be applied to understand performance and skill acquisition in many different video games and help reveal mechanisms of transfer from gameplay to other measures of laboratory and real-world performance. (shrink)

Morality meters are a commonly used mechanic in many ethically notable video games. However, there have been several theoretical critiques of such meters, including that people can find them alienating, they can instrumentalise morality, and they reduce morality to a binary of good and evil with no room for complexity. While there has been much theoretical discussion of these issues, there has been far less empirical investigation. We address this gap through a qualitative study that involved participants playing a custom-built (...) visual novel game (The Great Fire) with different intuitive and counter-intuitive morality meter settings. Overall, we found that players’ attitudes towards the morality meter in this game was complex, context sensitive and variable throughout gameplay and that the intuitiveness of the meter encouraged participants to treat the meter more ‘as a moral guide’ that prompts reflection and less ‘as a score’ to be engaged with reactively. (shrink)

Despite the emergence of computer games as a dominant cultural industry, we know little or nothing about the ethics of computer games. Considerations of the morality of computer games seldom go beyond intermittent portrayals of them in the mass media as training devices for teenage serial killers. In this first scholarly exploration of the subject, Miguel Sicart addresses broader issues about the ethics of games, the ethics of playing the games, and the ethical responsibilities of game designers. He argues that (...) computer games are ethical objects, that computer game players are ethical agents, and that the ethics of computer games should be seen as a complex network of responsibilities and moral duties. Players should not be considered passive amoral creatures; they reflect, relate, and create with ethical minds. The games they play are ethical systems, with rules that create gameworlds with values at play. Drawing on concepts from philosophy and game studies, Sicart proposes a framework for analyzing the ethics of computer games as both designed objects and player experiences. After presenting his core theoretical arguments and offering a general theory for understanding computer game ethics, Sicart offers case studies examining single-player games, multiplayer games, and online gameworlds from an ethical perspective. He explores issues raised by unethical content in computer games and its possible effect on players and offers a synthesis of design theory and ethics that could be used as both analytical tool and inspiration in the creation of ethical gameplay. (shrink)

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

Why computer games can be ethical, how players use their ethical values in gameplay, and the implications for game design.

Morality meters are a commonly used mechanic in many ethically notable video games. However, there have been several theoretical critiques of such meters, including that people can find them alienating, they can instrumentalise morality, and they reduce morality to a binary of good and evil with no room for complexity. While there has been much theoretical discussion of these issues, there has been far less empirical investigation. We address this gap through a qualitative study that involved participants playing a custom-built (...) visual novel game (The Great Fire) with different intuitive and counter-intuitive morality meter settings. Overall, we found that players’ attitudes towards the morality meter in this game was complex, context sensitive and variable throughout gameplay and that the intuitiveness of the meter encouraged participants to treat the meter more ‘as a moral guide’ that prompts reflection and less ‘as a score’ to be engaged with reactively. (shrink)

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

This paper interprets the influential colony management simulator ‘Dwarf Fortress’ existentially, in terms of finitude, absurdity, and narrative. It applies Aarseth/Möring’s proposed method of game interpretation, adopting their definition of ‘cybermedia’ as a generalized game ontology, then providing a specialized ontology of ‘Dwarf Fortress’ which describes its genre and salient gameplay features, incorporating Ian Bogost’s concept of ‘procedural rhetoric’. It then gives an existentialist interpretation of ‘Dwarf Fortress’ which centres on ‘finitude’, ‘absurdity’, and ‘narrative’, showing that ‘Dwarf Fortress’ is a (...) game about the existential tensions involved in being human. We live knowing our lives and civilizations are finite, that there are radical limits on what we can know and do. There is no meaning inherent in the world, or in history, so it is up to us to create our own, and one of our most powerful ways of doing this is narrative. (shrink)

ABSTRACTI argue that the apparently exclusive choice between Suits’ utopia of gameplay and death by suicide is a false dilemma, one which obscures a ‘third way’ of positive boredom. Further, I offe...

Although previous studies have found that video games induce stress, studies have not typically measured all salient indicators of stress responses including stress appraisals, cardiovascular indicators, and emotion outcomes. The current study used the Biopsychosocial Model of Challenge and Threat (Blascovich & Tomaka, 1996) to determine if video games induce a cardiovascular stress response by comparing the effects of threat and challenge appraisals across two types of video games that have shown different cardiovascular outcomes. Participants received challenge or threat appraisal (...) instructions, and played a fighting game (Mortal Kombat) or a puzzle game (Tetris). Study outcomes were heart rate variability, systolic and diastolic blood pressure, and positive and negative emotion ratings measured before, during and after gameplay. Results indicated that threat appraisal instructions increased negative emotion ratings and decreased heart rate variability, but not blood pressure, which is an essential marker for cardiovascular stress responses. Increased blood pressure and decreased heart rate variability was associated with fighting game players when compared with the puzzle game players, indicating a cardiovascular stress response; however, fighting game players also reported higher positive emotion ratings. Based on the study findings, video games do not induce stress responses like mental stressors used in previous research, demonstrating that the interactive player experience in video gaming may have more complex effects on stress outcomes. Future research should comprehensively measure biopsychosocial stress indicators and multiple emotional states over time to fully examine the relationship between video games and stress. (shrink)

Acquiring expertise in a task is often thought of as an automatic process that follows inevitably with practice according to the log‐log law (aka: power law) of learning. However, as Ericsson, Chase, and Faloon (1980) showed, this is not true for digit‐span experts and, as we show, it is certainly not true for Tetris players at any level of expertise. Although some people may simply “twitch” faster than others, the limit to Tetris expertise is not raw keypress time but the (...) techniques acquired by players that allow them to use the tools provided by the hardware and software to compensate for the game's relentlessly increasing drop speed. Unfortunately, these increases in drop speed between Tetris levels make performance plateaus very short and quickly followed by game death. Hence, a player's success at discovering, exploring, and practicing new techniques for the tasks of board preparation, board maintenance, optimal placement discovery, zoid rotation, lateral movement of zoids, and other tasks important to expertise in Tetris is limited. In this paper, we analyze data collected from 492 Tetris players to reveal the challenges they confronted while constructing expertise via the discovery of new techniques for gameplay at increasingly difficult levels of Tetris. (shrink)

Why do we seek out and enjoy uncertain success in playing games? Game designers and researchers suggest that games whose challenges match player skills afford engaging experiences of achievement, competence, or effectance—of doing well. Yet, current models struggle to explain why such balanced challenges best afford these experiences and do not straightforwardly account for the appeal of high- and low-challenge game genres like Idle and Soulslike games. In this article, we show that Predictive Processing provides a coherent formal cognitive framework (...) which can explain the fun in tackling game challenges with uncertain success as the dynamic process of reducing uncertainty surprisingly efficiently. In gameplay as elsewhere, people enjoy doing better than expected, which can track learning progress. In different forms, balanced, Idle, and Soulslike games alike afford regular accelerations of uncertainty reduction. We argue that this model also aligns with a popular practitioner model, Raph Koster’s Theory of Fun for Game Design, and can unify currently differentially modelled gameplay motives around competence and curiosity. (shrink)

O objetivo desse trabalho é relacionar os três princípios, ou prazeres, estéticos de um videogame, isto é, imersão, agência, transformação, com o summum bonum e as categorias fenomenológicas de Charles S. Peirce. O summum bonum pode ser entendido como uma mistura entre sentimento, ação e razão. Os sentimentos, ações e pensamentos do jogador são responsáveis pela concretização e ampliação desse horizonte estético. A imersão é um princípio estético de primeiridade. Podemos entender o ato de imergir como um prazer de primeiridade (...) – pois o jogador, metaforicamente e literalmente, vai para outro lugar, estando sem relação com o que está fora da imersão. O princípio estético da agência é regido pela secundidade. Obtém-se prazer em forçar-se contra o mundo do jogo, controlando-o mecanicamente, agindo e reagindo. Todos os jogos possuem secundidade, mas os jogos de competição, lutas, corridas, e mesmo alguns RPGs online, possuem características marcantes de força mecânica, embate, ação e reação. O terceiro e último princípio estético é a transformação. A transformação é um processo. Jogos que permitem diferentes abordagens costumam ser jogos em que há um processo de crescimento, tanto na questão do gameplay quanto da própria narrativa do jogo. O mundo do jogo e o personagem vão se transformando em algo diferente no decorrer do tempo – há uma evolução, e essa evolução é caracterizada como um fenômeno de terceiridade. Concluiu-se que, embora todos os videogames tenham esses três princípios estéticos, cada jogo individual privilegia um ou dois desses princípios. É justamente esses princípios estéticos que direcionarão a escolha do que vai ser jogado, muito mais do que a temática ou o gênero desse jogo. (shrink)

In order to explore one aspect of the engaging nature of computer games, this study will propose a method that aims at classifying the experience of engagement in video games. Inspired by a literature review, we will focus on the fundamental causes of engagement that motivate a player so much that he or she wants to continue playing. By organizing this willingness to continue playing into six broad types of causes of engagement—intellectual, physical, sensory, social, narrative, and emotional—we describe a (...) typology of player engagement and a method that is intended to map players’ experience of engagement while playing video games. The engagement mapping method is inspired by card sorting found from a perspective of usability testing, and in order to exemplify the use of the method, occurrences of the six types of engagement were investigated during gameplay in Angry Birds and Wii Sports. (shrink)

The flow state – an experience of complete absorption in an activity – is linked with less self-referential processing and increased arousal. We used the heart-evoked potential, an index representing brain–heart interaction, as well as indices of peripheral physiology to assess the state of flow in individuals playing a video game. 22 gamers and 21 non-gamers played the video game Thumper for 25 min while their brain and cardiorespiratory signals were simultaneously recorded. The more participants were absorbed in the game, (...) the less they thought about time and the faster time passed subjectively. On the cortical level, the fronto-central HEP amplitude was significantly lower while playing the game compared to resting states before and after the game, reflecting less self-referential processing while playing. This HEP effect corresponded with lower activity during gameplay in brain regions contributing to interoceptive processing. The HEP amplitude predicted the level of absorption in the game. While the HEP amplitude was overall lower during the gaming session than during the resting states, within the gaming session the amplitude of HEP was positively associated with absorption. Since higher absorption was related to higher performance in the game, the higher HEP in more absorbed individuals reflects more efficient brain–heart interaction, which is necessary for efficient game play. On the physiological level, a higher level of flow was associated with increased overall sympathetic activity and less inhibited parasympathetic activity toward the end of the game. These results are building blocks for future neurophysiological assessments of flow. (shrink)

In his groundbreaking and fantastic new book, Games: Agency as Art, C. Thi Nguyen asks us to see gameplay, and hence the ‘humorous, the playful, and the ridiculous’, as an important sphe...

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)

This study aimed to evaluate if eye blinks can be used to discriminate players with different performance in a session of Nintendo Entertainment System (NES) Tetris. To that end, we developed a state-of-the-art method for blink extraction from EAR measures, which is robust enough to be used with data collected by a low-grade webcam such as the ones widely available on laptop computers. Our results show a significant decrease in blink rate per minute (blinks/m) during the first minute of playing (...) Tetris. After having defined 3 groups of proficiency based on in-game performance (Novices, Intermediates, and Experts) we found out that expert players display a significantly lower decrease in blinks/m compared to novices during the first minute of gameplay, which shows that Tetris players' proficiency can be detected by looking at eye blinks/m variations during the early phase of a game session. This difference in blinks/m is observed throughout the entire game session, which supports the general conclusion that proficient Tetris players have a lower decrease in blinks/m, even when playing more difficult levels. Finally, we offer some interpretations of this effect and the relationship that our results may have with the visual cognitive workload experienced during the gameplay. (shrink)