@inproceedings{Stillmark2021,
  author    = {Stillmark, Hans-Christian},
  title     = {Mythosgestaltung und Genrewahl in Hebbels Tragikom{\"o}die „Ein Trauerspiel in Sizilien"},
  series = {Drama, Mythos und Geschichte. Zu Mythoskonzeptionen in den Dramen Friedrich Hebbels},
  booktitle = {Drama, Mythos und Geschichte. Zu Mythoskonzeptionen in den Dramen Friedrich Hebbels},
  editor    = {Langner, Martin-Maximilian},
  publisher = {Weidler Buchverlag},
  address   = {Berlin},
  isbn      = {978-3-89693-761-2},
  pages     = {147 -- 160},
  year      = {2021},
  abstract  = {Der Beitrag geht mythischen Bez{\"u}gen in Hebbels Zeitst{\"u}ck "Ein Trauerspiel in Sizilien" nach und entdeckt diese in Bau, Personengestaltung und Symbolik.},
  language  = {de}
}
@inproceedings{MoeringAarseth2020,
  author    = {M{\"o}ring, Sebastian and Aarseth, Espen},
  title     = {The game itself?},
  series = {International Conference on the Foundations of Digital Games (FDG '20)},
  booktitle = {International Conference on the Foundations of Digital Games (FDG '20)},
  publisher = {ACM},
  address   = {New York},
  doi       = {0.1145/3402942.3402978},
  pages     = {1 -- 8},
  year      = {2020},
  abstract  = {In this paper, we reassess the notion and current state of ludohermeneutics in game studies, and propose a more solid foundation for how to conduct hermeneutic game analysis. We argue that there can be no ludo-hermeneutics as such, and that every game interpretation rests in a particular game ontology, whether implicit or explicit. The quality of this ontology, then, determines a vital aspect of the quality of the analysis.},
  language  = {en}
}
@inproceedings{MoeringAarseth2020,
  author    = {M{\"o}ring, Sebastian and Aarseth, Espen},
  title     = {The game itself?},
  series = {International Conference on the Foundations of Digital Games (FDG '20)},
  booktitle = {International Conference on the Foundations of Digital Games (FDG '20)},
  publisher = {ACM},
  address   = {New York},
  doi       = {10.1145/3402942.3402978},
  pages     = {1 -- 8},
  year      = {2020},
  abstract  = {In this paper, we reassess the notion and current state of ludohermeneutics in game studies, and propose a more solid foundation for how to conduct hermeneutic game analysis. We argue that there can be no ludo-hermeneutics as such, and that every game interpretation rests in a particular game ontology, whether implicit or explicit. The quality of this ontology, then, determines a vital aspect of the quality of the analysis.},
  language  = {en}
}
@inproceedings{CalvilloGamezCairns2008,
  author    = {Calvillo-G{\´a}mez, Eduardo H. and Cairns, Paul},
  title     = {Pulling the strings : a theory of puppetry for the gaming experience},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-27509},
  year      = {2008},
  abstract  = {The paper aims to bring the experience of playing videogames closer to objective knowledge, where the experience can be assessed and falsified via an operational concept. The theory focuses on explaining the basic elements that form the core of the process of the experience. The name of puppetry is introduced after discussing the similarities in the importance of experience for both videogames and theatrical puppetry. Puppetry, then, operationalizes the gaming experience into a concept that can be assessed.},
  language  = {en}
}
@inproceedings{Pinchbeck2008,
  author    = {Pinchbeck, Dan},
  title     = {Trigens can't swim : intelligence and intentionality in first person game worlds},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-27609},
  year      = {2008},
  abstract  = {This paper explores the role of the intentional stance in games, arguing that any question of artificial intelligence has as much to do with the co-option of the player's interpretation of actions as intelligent as any actual fixed-state systems attached to agents. It demonstrates how simply using a few simple and, in system terms, cheap tricks, existing AI can be both supported and enhanced. This includes representational characteristics, importing behavioral expectations from real life, constraining these expectations using diegetic devices, and managing social interrelationships to create the illusion of a greater intelligence than is ever actually present. It is concluded that complex artificial intelligence is often of less importance to the experience of intelligent agents in play than the creation of a space where the intentional stance can be evoked and supported.},
  language  = {en}
}
@inproceedings{Mitsuishi2008,
  author    = {Mitsuishi, Yara},
  title     = {Diff{\´e}rance at play : unfolding identities through difference in videogame play},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24697},
  year      = {2008},
  abstract  = {This paper approaches the debate over the notion of "magic circle" through an exploratory analysis of the unfolding of identities/differences in gameplay through Derrida's diff{\´e}rance. Initially, diff{\´e}rance is related to the notion of play and identity/difference in Derrida's perspective. Next, the notion of magic circle through Derrida's play is analyzed, emphasizing the dynamics of diff{\´e}rance to understand gameplay as process; questioning its boundaries. Finally, the focus shifts toward the implications of the interplay of identities and differences during gameplay.},
  language  = {en}
}
@inproceedings{JennettCoxCairns2008,
  author    = {Jennett, Charlene and Cox, Anna L. and Cairns, Paul},
  title     = {Being "in the game"},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24682},
  year      = {2008},
  abstract  = {When people describe themselves as being "in the game" this is often thought to mean they have a sense of presence, i.e. they feel like they are in the virtual environment (Brown/Cairns 2004). Presence research traditionally focuses on user experiences in virtual reality systems (e.g. head mounted displays, CAVE-like systems). In contrast, the experience of gaming is very different. Gamers willingly submit to the rules of the game, learn arbitrary relationships between the controls and the screen output, and take on the persona of their game character. Also whereas presence in VR systems is immediate, presence in gaming is gradual. Due to these differences, one can question the extent to which people feel present during gaming. A qualitative study was conducted to explore what gamers actually mean when they describe themselves as being "in the game." Thirteen gamers were interviewed and the resulting grounded theory suggests being "in the game" does not necessarily mean presence (i.e. feeling like you are the character and present in the VE). Some people use this phrase just to emphasize their high involvement in the game. These findings differ with Brown and Cairns as they suggest at the highest state of immersion not everybody experiences presence. Furthermore, the experience of presence does not appear dependent on the game being in the first person perspective or the gamer being able to empathize with the character. Future research should investigate why some people experience presence and others do not. Possible explanations include: use of language, perception of presence, personality traits, and types of immersion.},
  language  = {en}
}
@inproceedings{HoffstadtNagenborg2008,
  author    = {Hoffstadt, Christian and Nagenborg, Michael},
  title     = {The concept of war in the World of Warcraft},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24674},
  year      = {2008},
  abstract  = {MMORPGs such as WORLD OF WARCRAFT can be understood as interactive representations of war. Within the frame provided by the program the players experience martial conflicts and thus a "virtual war." The game world however requires a technical and as far as possible invisible infrastructure which has to be protected against attacks: Infrastructure means e.g. the servers on which the data of the player characters and the game's world are saved, as well as the user accounts, which have to be protected, among other things, from "identity theft." Besides the war on the virtual surface of the program we will therefore describe the invisible war concerning the infrastructure, the outbreak of which is always feared by the developers and operators of online-worlds, requiring them to take precautions. Furthermore we would like to focus on "virtual game worlds" as places of complete surveillance. Since action in these worlds is always associated with the production of data, total observation is theoretically possible and put into practice by the so-called "game master." The observation of different communication channels (including user forums) serves to monitor and direct the actions on the virtual battlefield subtly, without the player feeling that his freedom is being limited. Finally, we will compare the fictional theater of war in WORLD OF WARCRAFT to the vision of "Network-Centric Warfare," since it has often been observed that the analysis of MMORPGs is useful to the real trade of war. However, we point out what an unrealistic theater of war WORLD OF WARCRAFT really is.},
  language  = {en}
}
@inproceedings{Schrape2008,
  author    = {Schrape, Niklas},
  title     = {Playing with information : how political games encourage the player to cross the magic circle},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24668},
  year      = {2008},
  abstract  = {The concept of the magic circle suggests that the experience of play is separated from reality. However, in order to interact with a game's rule system, the player has to make meaningful interpretations of its representations - and representations are never neutral. Games with political content refer in their representations explicitly to social discourses. Cues within their representational layers provoke the player to link the experience of play to mental concepts of reality.},
  language  = {en}
}
@inproceedings{Pohl2008,
  author    = {Pohl, Kirsten},
  title     = {Ethical reflection and emotional involvement in computer games},
  url       = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus-24652},
  year      = {2008},
  abstract  = {This paper focuses on the way computer games refer to the context of their formation and ask how they might stimulate the user's understanding of the world around him. The central question is: Do computer games have the potential to inspire our reflection about moral and ethical issues? And if so, by which means do they achieve this? Drawing on concepts of the ethical criticism in literary studies as proposed by Wayne C. Booth and Martha Nussbaum, I will argue in favor of an ethical criticism for computer games. Two aspects will be brought into focus: the ethical reflection in the artifact as a whole, and the recipient's emotional involvement. The paper aims at evaluating the interaction of game content and game structure in order to give an adequate insight into the way computer games function and affect us.},
  language  = {en}
}