There were issues with this book, but I appreciate how the Critical Theory aspects of it serve as a sort of "red pill" to break us out of our complacent acceptance of the world--specifically in video games. Many reviews complain about the erudite verbiage, but all Critical Theory makes use of newly-invented words in order to circumvent our preconceptions about the social constructs that rule our lives. I appreciated the concept of the "allegorithm" of how the programming of games is used to define a world, the questioning of "play" in games when really many games are actually work, criticizing the concept of "flow" and calling it "non-contemplation," and the idea that the best gamers are merely the ones who most internalize the algorithms. This book is not for everyone. It is dense and obtuse, but also highly effective and will be very enjoyable for the right readers.
Another way of looking at "flow" is to call it "non-conte...
As the gamer becomes attuned to the game, they become one event, one action; an oscillating between the line dividing self from other, and the line connecting them as one substance. If the line dividing provides a moment of autonomous self; the line connecting provides a moment of selfless purpose. In games, action has its limits. It is an endless bit-flip between targeter, targeting and target. And yet at least it effects a transformation of gamer and game. Games are a repository for a certa...Play Has Become More Personal and More Intense Through Te...
A similar trend is the rise of personal vacations and separate activities on family vacations. Children’s street games (such as marbles, Hopscotch, and hide-and-go-seek) have been replaced with video games. Face-to-face encounters have been transformed by e-mails, electronic chat groups, and web sur'ng. Revolutionary as all this may be, it represents the clear culmination of a century of developments in media technology. Twentieth-century technology privatized and homogenized play, but it ...Break the Rules of a Game to Improve it
In The Well-Played Game, Bernard DeKoven advocates a fundamental adjustment in players' attitudes towards the rules of a game: You're not changing the game for the sake of changing it. You're changing it for the sake of finding a game that works. Once this freedom is established, once we have established why we want to change a game and how we go about it, a remarkable thing happens to us: We become the authorities. No matter what game we create, no matter how well we are able to play it,...Like adding a push-your-luck component to Candyland or how SFR took Dragon Dice and refactored the rules to make it work.