Espen Aarseth

Investigació sobre jocs: aproximacions metodològiques a l'anàlisi de jocs

INTRODUCTION The study of game aesthetics is a very recent practice, spanning less than two decades. Unlike game studies in mathematics or the social sciences, which are much older, games became subject to humanistic study only after computer and video games became popular. This lack of persistent interest might seem odd, but only if we see traditional games and computer games as intrinsically similar, which they are not. We might try to explain this lack by noting that games are usually seen as trivial and low-brow by the aesthetic and theoretical elites who cultivate the analysis of artistic media objects: literature, the visual arts, theatre, music, etc. But this does not explain the fact that aesthetic studies of games are now possible, and even, in some academic environments, encouraged and supported with grants. What happened to cause this change?

Game Classification and Game Design Construction Through Critical Analysis

This article discusses the viability of the open-ended game classification model described in “A Multi Dimensional Typology of Games.” The perspectives of such a model is discussed with emphasis on how a structural theory of games can contribute to game design and the development of formal and semiformal game design methods, such as Game Design Patterns.This article discusses the viability of the open-ended game classification model described in “A Multi Dimensional Typology of Games.” The perspectives of such a model is discussed with emphasis on how a structural theory of games can contribute to game design and the development of formal and semiformal game design methods, such as Game Design Patterns.

I Fought the Law: Transgressive Play and The Implied Player

This paper is an attempt to understand Game Studies through the contested notion of the “player” both inside and outside “the game object” – that is the object that game users perceive and respond to when they play. Building on Hans-Georg Gadamer’s notion of games as a subject that “masters the players”, the paper will go beyond the traditional split between the social sciences’ real players and the aesthetics/humanities critical author-as-player, and present a theory of the player and player studies that incorporates the complex tensions between the real, historical player and the game’s human components. Since games are both aesthetic and social phenomena, a theory of the player must combine both social and aesthetic perspectives to be successful. The tension between the humanities and the social sciences over who controls the idea of the player can be found mirrored also in the struggle between the player as individual and the “player function” of the game. Transgressive play, the struggle against the game’s ideal player, far from being a marginal, romanticized phenomenon, is the core expression of this struggle.

A narrative theory of games

This paper presents a narrative theory of games, building on standard narratology, as a solution to the conundrum that has haunted computer game studies from the start: How to approach software that combines games and stories?

Scholars’ open debate paper on the World Health Organization ICD-11 Gaming Disorder proposal

Concerns about problematic gaming behaviors deserve our full attention. However, we claim that it is far from clear that these problems can or should be attributed to a new disorder. The empirical basis for a Gaming Disorder proposal, such as in the new ICD-11, suffers from fundamental issues. Our main concerns are the low quality of the research base, the fact that the current operationalization leans too heavily on substance use and gambling criteria, and the lack of consensus on symptomatology and assessment of problematic gaming. The act of formalizing this disorder, even as a proposal, has negative medical, scientific, public-health, societal, and human rights fallout that should be considered. Of particular concern are moral panics around the harm of video gaming. They might result in premature application of diagnosis in the medical community and the treatment of abundant false-positive cases, especially for children and adolescents. Second, research will be locked into a confirmatory approach, rather than an exploration of the boundaries of normal versus pathological. Third, the healthy majority of gamers will be affected negatively. We expect that the premature inclusion of Gaming Disorder as a diagnosis in ICD-11 will cause significant stigma to the millions of children who play video games as a part of a normal, healthy life. At this point, suggesting formal diagnoses and categories is premature: the ICD-11 proposal for Gaming Disorder should be removed to avoid a waste of public health resources as well as to avoid causing harm to healthy video gamers around the world.

From hunt the wumpus to everquest: introduction to quest theory

The paper will explore how the landscape types and the quest types are used in various games, how they structure the gameplay, how they act as bones for the game-content (graphics, dialogue, sound) and how they sometimes form the base on which a story is imposed and related to the player. The question then becomes, how does the quest structure influence the story structure? How do the limitations of the quest combinations limit the kinds of story that are possible? How rich can the imposed story be, without breaking the gameplay? Are landscape and quest-structure the dominant factors in quest game design, to which the story-ambitions must defer? The main thesis of the paper is that if we understand the powerful but simple structure – the grammar – of quests (how they work, how they are used) we can understand both the limits and the potential of these kinds of games.

A weak scientific basis for gaming disorder: Let us err on the side of caution

We greatly appreciate the care and thought that is evident in the 10 commentaries that discuss our debate paper, the majority of which argued in favor of a formalized ICD-11 gaming disorder. We agree that there are some people whose play of video games is related to life problems. We believe that understanding this population and the nature and severity of the problems they experience should be a focus area for future research. However, moving from research construct to formal disorder requires a much stronger evidence base than we currently have. The burden of evidence and the clinical utility should be extremely high, because there is a genuine risk of abuse of diagnoses. We provide suggestions about the level of evidence that might be required: transparent and preregistered studies, a better demarcation of the subject area that includes a rationale for focusing on gaming particularly versus a more general behavioral addictions concept, the exploration of non-addiction approaches, and the unbiased exploration of clinical approaches that treat potentially underlying issues, such as depressive mood or social anxiety first. We acknowledge there could be benefits to formalizing gaming disorder, many of which were highlighted by colleagues in their commentaries, but we think they do not yet outweigh the wider societal and public health risks involved. Given the gravity of diagnostic classification and its wider societal impact, we urge our colleagues at the WHO to err on the side of caution for now and postpone the formalization.

Virtual worlds, real knowledge: towards a hermeneutics of virtuality

What is the ‘virtual’ and what types of phenomena can be so described? This article tries to establish the context within which this unclear and ideological term can be constructive. Phrases such as ‘virtual community’ are paradoxical and weak, but ‘virtual’ applied cognitively to simulated phenomena, such as virtual worlds or computer games, has validity and represents an alternative discourse mode to narratives and storytelling in conveying experience and knowledge.

»Ich will nicht, dass es mir schmeckt, aber es schmeckt mir doch!«

Mathias Fuchs (MF): Spatestens seit Johan Huizinga 1938 in seinem einflussreichen Homo ludens den Ursprung der Kultur im Spiel verortete, hat sich der Begriff des Spielerischen standig erweitert. Arbeit soll Spiel sein, in der Musik wird gespielt, Sexualitat ist angeblich ein Spiel, Politik und Okonomie wollen spielerisch betrachtet werden und selbst der Krieg ist nur mehr ein Spiel. Darf ich, Herr Aarseth, unser Gesprach mit der Frage beginnen, was denn eigentlich kein Spiel mehr ist?