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Albert Camus in Rumänien
(2009)
One of the informal properties often used to describe a new virtual world is its degree of openness. Yet what is an “open” virtual world? Does the phrase mean generally the same thing to different people? What distinguishes an open world from a less open world? Why does openness matter anyway? The answers to these questions cast light on an important, but shadowy, and uneasy, topic for virtual worlds: the relationship between those who construct the virtual, and those who use these constructions.
Jesper Juul has convincingly argued that the conflict over the proper object of study has shifted from “rules or story” to “player or game.” But a key component of digital games is still missing from either of these oppositions: that of the computer itself. This paper offers a way of thinking about the phenomenology of the videogame from the perspective of the computer rather than the game or the player.
Nach einer Einführung in die Geschichte der Strategiespiele und im Speziellen von 4X-Spielen wird das Phänomen der „Hands-off-Games“ erläutert. Im Anschluss wird ein Vorschlag unterbreitet, wie 4X-Geschichtsspiele im Unterricht eingesetzt werden können. Dabei soll ein 4X-Strategiespiel zu einem historischen Thema entworfen werden. Die Modellierung erfolgt in drei Arbeitsschritten: Themenfindung, Modellfindung, Parametrierung. In den Entwurf des Modells fließen viele Überlegungen ein, die zentrale Fragen der Gemeinschaftskunde betreffen.
This paper is a critical examination of the relationship between reality and simulation. After a brief theoretical introduction, it unfolds its argument on an empirical level, using a thick game playing description of GRAND THEFT AUTO IV. This in-game experience serves as material for the subsequent analysis, in the course of which defining characteristics of computer game playing are formulated. Finally, on the basis of this analysis, the paper postulates the hypothesis that playing computer games like GTA IV promotes competency in deconstructing simulations and implements a cyclic logic of recreation.
Normality is one of the defining categories of our society. Statistics of all kinds play a crucial part in establishing the normal. Computers, on the other hand, have a very close connection to statistics as the digital world is a statistical one in itself. In a multitude of games statistics are used as an element of gameplay. In this perspective, games can be regarded as a training in self-normalization. However, it is still questionable whether this leads to a genuine production of normality.
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.
Der Beitrag widmet sich der Frage, ob und wie bei virtuellen Online-Spielen und verschiedene Rechte, wie z. B. (virtuelles) Eigentum, Urheber- oder Persönlichkeitsrechte verletzt oder Verbote etwa im Bereich des Jugendschutzes missachtet werden können. Mehrere Fallbeispiele aus der Praxis der Online-Spiele dienen dabei der Veranschaulichung dieser Fragestellungen und der Suche nach rechtlichen Lösungen.
Communication, simulation, interactive narrative and ubiquitous computing are widely accepted as perspectives in humancomputer interaction. This paper proposes play as another possible perspective. Everyday uses of the computer increasingly show signs of similarity to play. This is not discussed with regard to the so-called media society, the playful society, the growing cultural acceptance of the computer, the spread of computer games or a new version of Windows, but in view of the playful character of interaction with the computer that has always been part of it. The exploratory learning process involved with new software and the creative tasks that are often undertaken when using the computer may support this argument. Together with its high level of interactivity, these observations point to a sense of security, autonomy and freedom of the user that produce play and are, in turn, produced by play. This notion of play refers not to the playing of computer games, but to an implicit, abstract (or symbolic) process based on a certain attitude, the play spirit. This attitude is discussed regarding everyday computer use and related to the other mentioned perspectives.