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

European identity is a complex, multi-faced and inherently imprecise concept relating to a range of socio-political and psychological factors. Addressing this topic in educational practice, particularly with respect to Higher Education students, constitutes a complex and open problem for research. This paper reports on an experimental study designed to explore the effectiveness of the educational game “RUEU?” in supporting university students in understanding the key socio-political issues regarding European identity. Quantitative data regarding Greek university students’ attitudes to European identity, before (...) and after playing the game, were collected. Students’ performance of the game group was compared with that of a control group who explored the same issues about European identity through a tutor-guided discussion. The findings showed that both instructional interventions were effective but in different ways. The participants in the game-based group appeared more attached to the EU after the intervention and moved toward a more balanced description of their Greek and European identity. On the other hand, the students in the control group rated higher what “European identity” and being EU citizen means to them. The findings indicated the potential of game-based interventions to deliver not only academic content but also to promote students’ reflection and influence them at an attitudinal and emotional level. (shrink)

The aim of this article is to examine and defend videogame cognitivism (VC). According to VC, videogames can be a source of cognitive successes (such as true beliefs, knowledge or understanding) for their players. While the possibility of videogame-based learning has been an extensive topic of discussion in the last decades, the epistemological underpinnings of these debates often remain unclear. I propose that VC is a domain- specific brand of aesthetic cognitivism, which should be carefully distinguished from other views that (...) also insist on the cognitive or educational potential of videogames. After these clarifications, I discuss and assess different broad strategies to motivate VC: propositionalism, experientialism, and neocognitivism. These map the different ways in which videogames can prove epistemically valuable, showing them to be, respectively, sources of propositional knowledge, experiential knowledge, and understanding. I eventually argue that neocognitivism is a particularly promising and yet underexplored way to defend VC. (shrink)

Gamification is increasingly being proposed as a strategy to increase engagement for mental health and wellbeing technologies. However, its implementation has been criticized as atheoretical, particularly in relation to behavior change theory and game studies theories. Definitions of the term “gamification” vary, sometimes widely, between and within academic fields and the effectiveness of gamification is yet to be empirically established. Despite this, enthusiasm for developing gamified mental health technologies, such as interventions, continues to grow. There is a need to examine (...) how best to implement gamification in mental health and wellbeing technologies in a way that takes quick production cycles into account while still emphasizing empirical investigation and building a rigorous evidence base. With reference to game studies and the medical literature, this article interrogates gamification for mental health and wellbeing by examining core properties of the game form. It then explores how gamification can best be conceptualized and implemented for mental health and wellbeing goals from conceptualization through to iterative co-development and evaluation that accommodates software development schedules. Finally, it summarizes its conceptual analysis into recommendations for researchers and designers looking to do so. These recommendations are: assess suitability, implement to support, assess acceptability, evaluate impact, and document comprehensively. These recommendations aim to encourage clear language, unified terminology, the application and evaluation of theory, comprehensive and constant documentation, and transparent evaluation of outcomes. (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)

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)

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)

This essay proposes an alternative way of studying video games: as thought experiments akin to the narrative thought experiments that are frequently used in philosophy. This perspective incorporates insights from the narratological and ludological perspectives in game studies and highlights the philosophical significance of games. Video game thought experiments are similar to narrative thought experiments in many respects and can perform the same functions. They also have distinctive advantages over narrative thought experiments, as they situate counterfactuals in more complex, developed (...) contexts and present them to players who are participants in game worlds, rather than simply observers. (shrink)

This study investigates how players make ethical decisions in Fable III, a video game, with consideration to avatar gender. Thirty males, 18 to 34 years old, were recruited; 20 were assigned to play Fable III, with half assigned to play as a male avatar (Condition 1), and half assigned as a female avatar (Condition 2). Any ethical thinking skills and thought processes used were identified using a researcher-developed coding scheme. Analysis suggests that all game players, regardless of avatar gender, practiced (...) ethical thinking—35 skills and 19 thought processes were identified and categorized. There were few differences found between conditions; however, when gender was a salient factor in a decision, this affected ethical decisions more frequently. Those in Condition 1 more frequently reported a personal connection to their avatar, and Condition 2 participants reported that gender factored into decisions more at the beginning of the game rather than at the end. (shrink)

This article builds upon earlier research in which the authors presented case studies focused on the design and development of two original ethical learning video games. Through this case study and a review of relevant literature, the authors explored the content creation of, and theoretical rationale for, the design and development of ethics games. Both games were geared toward an undergraduate student audience as casual learning games to be completed in a few hours of gameplay. To update and expand this (...) original work, the authors reviewed contemporary research on identity, cognition, and self in relation to video game environments as well as literature dealing more specifically with ethics and video games. From this literature base and their applied design experiences, the authors offer ten guidelines as best practices to follow for aspiring ethics game developers. (shrink)

Could a person ever transcend what it is like to be in the world as a human being? Could we ever know what it is like to be other creatures? Questions about the overcoming of a human perspective are not uncommon in the history of philosophy. In the last century, those very interrogatives were notably raised by American philosopher Thomas Nagel in the context of philosophy of mind. In his 1974 essay What is it Like to Be a Bat?, Nagel (...) offered reflections on human subjectivity and its constraints. Nagel’s insights were elaborated before the social diffusion of computers and could not anticipate the cultural impact of technological artefacts capable of materializing interactive simulated worlds as well as disclosing virtual alternatives to the “self.” In this sense, this article proposes an understanding of computers as epistemological and ontological instruments. The embracing of a phenomenological standpoint entails that philosophical issues are engaged and understood from a fundamentally practical perspective. In terms of philosophical praxis, or “applied philosophy,” I explored the relationship between human phenomenologies and digital mediation through the design and the development of experimental video games. For instance, I have conceptualized the first-person action-adventure video game Haerfest (Technically Finished 2009) as a digital re-formulation of the questions posed in Nagel’s famous essay. Experiencing a bat’s perceptual equipment in Haerfest practically corroborates Nagel’s conclusions: there is no way for humans to map, reproduce, or even experience the consciousness of an actual bat. Although unverifiable in its correspondence to that of bats, Haerfest still grants access to experiences and perceptions that, albeit still inescapably within the boundaries of human kinds of phenomenologies, were inaccessible to humans prior to the advent of computers. Phenomenological alterations and virtual experiences disclosed by interactive digital media cannot take place without a shift in human kinds of ontologies, a shift which this study recognizes as the fundamental ground for the development of a new humanism (I deem it necessary to specify that I am not utilizing the term “humanism” in its common connotation, that is to say the one that emerged from the encounter between the Roman civilization and the late Hellenistic culture. According to this conventional acceptation, humanism indicates the realization of the human essence through “scholarship and training in good conduct” (Heidegger 1998, p. 244). However, Heidegger observed that this understanding of humanism does not truly cater to the original essence of human beings, but rather “is determined with regard to an already established interpretation of nature, history, world, and […] beings as a whole.” (Heidegger 1998, p. 245) The German thinker found this way of embracing humanism reductive: a by-product of Western metaphysics. As Heidegger himself specified in his 1949 essay Letter on Humanism, his opposition to the traditional acceptation of the term humanism does not advocate for the “inhuman” or a return to the “barbaric” but stems instead from the belief that the humanism can only be properly understood and restored in culture as more original way of meditating and caring for humanity and understanding its relationship with Being.). Additionally, this study explicitly proposes and exemplifies the use of interactive digital technology as a medium for testing, developing and disseminating philosophical notions, problems and hypotheses in ways which are alternative to the traditional textual one. Presented as virtual experiences, philosophical concepts can be accessed without the filter of subjective imagination. In a persistent, interactive, simulated environment, I claim that the crafting and the mediation of thought takes a novel, projective (In Martin Heidegger’s 1927 Being and Time, the term “projectivity” indicates the way a Being opens to the world in terms of its possibilities of being (Heidegger 1962, pp. 184–185, BT 145). Inspired by Heidegger’s and Vilem Flusser’s work in the field of philosophy of technology as well as Helmuth Plessner’s anthropological position presented in his 1928 book Die Stufen des Organischen und der Mensch. Einleitung in die philosophische Anthropologie, this study understands the concept of projectivity as the innate openness of human beings to construct themselves and their world by means of technical artefacts. In this sense, this study proposes a fundamental understanding of technology as the materialization of mankind’s tendency to overcome its physical, perceptual and communicative limitations.) dimension which I propose to call “augmented ontology.”. (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)

Over the past 3 years, the authors have pursued unique cross-college collaboration. They have hosted a National Endowment for the Humanities (NEH)–funded Humanities Gaming Institute and team-taught a cross-listed course that brought together students from the humanities and computer science. Currently, they are overseeing the development of an NEH-supported social history game called Desperate Fishwives. In the process, the authors have realized that “game” is not the most appropriate designator for the kind of projects they are pursuing. Instead, they propose (...) critical interactives, a term that suggests projects that mobilize ludic methods in order to engage participants in socially and politically sensitive, indeed controversial, subject matter. Their most recent project, Ghosts of the Horseshoe, offers an initial look at how critical interactives are particularly apt at raising awareness about the relations among institutional policy, broader public policy, and the ways that people negotiate the public history of a particular place. (shrink)

In this article we would like to examine an area of onomastics that has not received much scholarly attention. We aim to provide an adequate linguistic analysis of the place-names found in The Elder Scrolls (ES) video game series. For our analysis, we rely chiefly on the methods of linguistic statistics, which have not yet gained widespread use in onomastic research. Our goal is to give a boost to linguistic and onomastic research into video games and to develop related aspects (...) of its research methodology. Two main methods of place-name formation can be observed in our results: one is when the fictional names are coined on the basis of the lexical elements of already existing non-fictional languages (we call these mimetic names), and the other is when the game developers create so-called speaking names. In our article we demonstrate that the toponyms of the ES universe in part conform to the conventions of non-fictional place-name formation (e.g. they can be sorted into the two main categories of habitative names and topographical names), and in part they contradict such conventions, because around 14 percent of the names we analyzed are purposefully coined as semantically obscure toponyms, which does not happen in the case of non-fictional names. (shrink)

This article analyses the skills and knowledges involved in multiplayer first-person shooting games, specifically Call of Duty 4 for the Xbox 360 games console. In doing so, it argues that the environments of first-person shooting games are designed to be intense spaces that produce captivated subjects – users who play attentively for long periods of time. Developing Heidegger’s concept of attunement and Stiegler’s account of retention, the article unpacks the somatic and sensory skills involved in videogame play and discusses how (...) videogame environments cultivate a sense of captivation. In conclusion the article reflects on the politics of captivation for the bodies that engage with these games through the idea of vulnerability as an ‘opening of the body’s capacity for sense’. (shrink)

In this paper we recount several research projects conducted at ImaginationLancaster a Design-led research laboratory, all of which consider Object-Oriented Ontology. The role OOO plays in these projects is varied: as a generative mechanism contributing to ideation; as a framework for analysis; and as a constituent in developing new design theory. Each project’s focus is quite unique—an app, a board game, a set of Tarot cards, a kettle and a living room—however they are all concerned with developing new understandings relating (...) to the ubiquitous, networked, ‘smart’ technologies which are often referred to as the Internet of Things. Through our reflexive account of these research projects the aim of this paper is to provide insights into, and promote new discussion about, the relevance and scope for OOO in socio-technical Design Research, and beyond. (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)

With the rise of the so-called military-entertainment complex, critical scholars note with alarm the integration of the political economies of entertainment companies and the military, in particular its potential influence on millions of young people who consume its concomitant films, toys and especially video games. Seen from a broad perspective, a potentially productive means of understanding the complexities of this sphere is through the lens of Michel Foucault’s notion of governmentality—a concept that ties together the actions and preferred outcomes of (...) the modern surveillance state with the microlevel actions of individual behavior. In this analytical framework, social norms are inculcated through subtle forms of coercion, where the state establishes the field of action in which state subjects ultimately perform self-discipline. This article argues that the first person shooter genre inculcates what I refer to as the governmentality of battlefield space: a form of discipline in which players adhere to gamic norms of performance—efficiency, proficiency, and masculine performativity—which are delineated by ludic structures and largely understood on terms which originate within the social ecology of gaming. The genre accomplishes this though disciplinary techniques such as informational verisimilitude, statistics, and masculinized “gamer” discourse, particularly during multiplayer instances, in which players constitute social understandings of what is “good” and “bad” play. It is on these terms that virtual combat performance and player performance become conflated in a kind of masculinized performance, which both adheres to and undermines traditional, hegemonic norms of (Western) military masculinity. This phenomenon transcends local social realities, and highlights the ways in which particular aspects of gaming and combat appear to have increasingly overlapping phenomenological and ontological qualities, working to produce a form of self-performance that may be required of tomorrow’s soldiers. (shrink)