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,...

 Gaming Produces a Meditative State

Your brain, in other words, may not consent to be trained. But t will improve a few of these key skills if you let it enjoy a few hours of the first-person shooter BioShock. Recent research, the 2012 re noted, has revealed action games' positive effects, not just on attentional control and emotional regulation, but also on decision making, "mental rotation" (the ability to create a mental image of m object and manipulate it in three dimensions), and the ability to switch rapidly between compe...

 Agency in Game Creation VS Game Play

Game design has been referred to as an art, and it is for the designers, calling upon all their powers of imaginative and creative production. For the child user, however, game play is not an art, but more of a sport. What we're talking about here is the difference between the free-form activity of pretend play and soccer on the playground or in organized leagues. In the first, child-determined goals and constraints respond or in organized leagues. In the first, child-determined goals and con...

 Agency in Reading VS Gaming

Comparing computer play with reading fiction reveals much about thes^se shortcomings. Reading stimulates the mental recreation of settingg, characterers, a and acactiojons in viLxal, auditory, tactile, kinesthetic, and other sensory images. One "sees" the pirate h the scar slashing across his cheek. One "hears" the sail flapping in the wind. One "feels" the swell of the waves on ship deck. Perhaps one also "smells" the salt air. nd so on. The reader pulls all these sensory images together i...

 Video Games Require the Scientific Method

Video games aren’t as easy as they seem to the uninitiated. One cannot simply sit down and immediately begin shooting those aliens. One must first learn how to play the game. Gee (2003) suggests that skilled players learn to play using a four-step probing process (p. 90): 1. The player must probe the virtual world by looking around the current environment, clicking on something, or engaging in a certain action. 2. On the basis of the probing results, the player must form a hypothesis abou...

 Nationalism in a Virtual World

As the game grew in international popularity, players from all over the world converged on the U.S. West server, leading to frequent overloading and lag in game play. The problem became particularly acute when Diablo II was released in Korea. Within a few weeks of its release, Diablo II sold 300,000 copies, making it far and away Blizzard’s most profitable overseas launch. This rapid uptake produced a massive influx of game players into U.S. West, causing further problems with game lag. Whe...

 The Hypersociality of Collectible Card Games

Yu-Gi-Oh! demonstrates how pervasive media technologies in everyday settings integrate the imagination into a wider range of sites of social activity. Far from the shut-in behavior that gave rise to the most familiar forms of antimedia rhetoric, this media mix of children’s popular culture is wired, extroverted, and hypersocial, reflecting forms of sociality augmented by dense sets of technologies, signifiers, and systems of exchange. David Buckingham and Julian Sefton-Green (2004) have arg...