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Computer games have become a major cultural and economic force, and a subject of extensive academic interest. Up until now, however, computer games have received relatively little attention from philosophy. Seeking to remedy this, the present collection of newly written papers by philosophers and media researchers addresses a range of philosophical questions related to three issues of crucial importance for understanding the phenomenon of computer games: the nature of gameplay and player experience, the moral evaluability of player and avatar actions, and the reality status of the gaming environment. By doing so, the book aims to establish the philosophy of computer games as an important strand of computer games research, and as a separate field of philosophical inquiry. The book is required reading for anyone with an academic or professional interest in computer games, and will also be of value to readers curious about the philosophical issues raised by contemporary digital culture.
How can Wii Sports teach us about metaphysics? Can playing World of Warcraft lead to greater self-consciousness? How can we learn about aesthetics, ethics and divine attributes from Zork, Grand Theft Auto, and Civilization? A variety of increasingly sophisticated video games are rapidly overtaking books, films, and television as America's most popular form of media entertainment. It is estimated that by 2011 over 30 percent of US households will own a Wii console - about the same percentage that owned a television in 1953. In Philosophy Through Video Games, Jon Cogburn and Mark Silcox - philosophers with game industry experience - investigate the aesthetic appeal of video games, their effect on our morals, the insights they give us into our understanding of perceptual knowledge, personal identity, artificial intelligence, and the very meaning of life itself, arguing that video games are popular precisely because they engage with longstanding philosophical problems. Topics covered include: * The Problem of the External World * Dualism and Personal Identity * Artificial and Human Intelligence in the Philosophy of Mind * The Idea of Interactive Art * The Moral Effects of Video Games * Games and God's Goodness Games discussed include: Madden Football, Wii Sports, Guitar Hero, World of Warcraft, Sims Online, Second Life, Baldur's Gate, Knights of the Old Republic, Elder Scrolls, Zork, EverQuest Doom, Halo 2, Grand Theft Auto, Civilization, Mortal Kombat, Rome: Total War, Black and White, Aidyn Chronicles
Games are a unique art form. They do not just tell stories, nor are they simply conceptual art. They are the art form that works in the medium of agency. Game designers tell us who to be in games and what to care about; they designate the player's in-game abilities and motivations. In other words, designers create alternate agencies, and players submerge themselves in those agencies. Games let us explore alternate forms of agency. The fact that we play games demonstrates something remarkable about the nature of our own agency: we are capable of incredible fluidity with our own motivations and rationality. This volume presents a new theory of games which insists on games' unique value in human life. C. Thi Nguyen argues that games are an integral part of how we become mature, free people. Bridging aesthetics and practical reasoning, he gives an account of the special motivational structure involved in playing games. We can pursue goals, not for their own value, but for the sake of the struggle. Playing games involves a motivational inversion from normal life, and the fact that we can engage in this motivational inversion lets us use games to experience forms of agency we might never have developed on our own. Games, then, are a special medium for communication. They are the technology that allows us to write down and transmit forms of agency. Thus, the body of games forms a "library of agency" which we can use to help develop our freedom and autonomy. Nguyen also presents a new theory of the aesthetics of games. Games sculpt our practical activities, allowing us to experience the beauty of our own actions and reasoning. They are unlike traditional artworks in that they are designed to sculpt activities - and to promote their players' aesthetic appreciation of their own activity.
Why computer games can be ethical, how players use their ethical values in gameplay, and the implications for game design. Despite the emergence of computer games as a dominant cultural industry (and the accompanying emergence of computer games as the subject of scholarly research), we know little or nothing about the ethics of computer games. Considerations of the morality of computer games seldom go beyond intermittent portrayals of them in the mass media as training devices for teenage serial killers. In this first scholarly exploration of the subject, Miguel Sicart addresses broader issues about the ethics of games, the ethics of playing the games, and the ethical responsibilities of game designers. He argues that computer games are ethical objects, that computer game players are ethical agents, and that the ethics of computer games should be seen as a complex network of responsibilities and moral duties. Players should not be considered passive amoral creatures; they reflect, relate, and create with ethical minds. The games they play are ethical systems, with rules that create gameworlds with values at play. Drawing on concepts from philosophy and game studies, Sicart proposes a framework for analyzing the ethics of computer games as both designed objects and player experiences. After presenting his core theoretical arguments and offering a general theory for understanding computer game ethics, Sicart offers case studies examining single-player games (using Bioshock as an example), multiplayer games (illustrated by Defcon), and online gameworlds (illustrated by World of Warcraft) from an ethical perspective. He explores issues raised by unethical content in computer games and its possible effect on players and offers a synthesis of design theory and ethics that could be used as both analytical tool and inspiration in the creation of ethical gameplay.
A broad treatment of computer and video games from a wide range of perspectives, including cognitive science and artificial intelligence, psychology, history, film and theater, cultural studies, and philosophy. New media students, teachers, and professionals have long needed a comprehensive scholarly treatment of digital games that deals with the history, design, reception, and aesthetics of games along with their social and cultural context. The Handbook of Computer Game Studies fills this need with a definitive look at the subject from a broad range of perspectives. Contributors come from cognitive science and artificial intelligence, developmental, social, and clinical psychology, history, film, theater, and literary studies, cultural studies, and philosophy as well as game design and development. The text includes both scholarly articles and journalism from such well-known voices as Douglas Rushkoff, Sherry Turkle, Henry Jenkins, Katie Salen, Eric Zimmerman, and others. Part I considers the "prehistory" of computer games (including slot machines and pinball machines), the development of computer games themselves, and the future of mobile gaming. The chapters in part II describe game development from the designer's point of view, including the design of play elements, an analysis of screenwriting, and game-based learning. Part III reviews empirical research on the psychological effects of computer games, and includes a discussion of the use of computer games in clinical and educational settings. Part IV considers the aesthetics of games in comparison to film and literature, and part V discusses the effect of computer games on cultural identity, including gender and ethnicity. Finally, part VI looks at the relation of computer games to social behavior, considering, among other matters, the inadequacy of laboratory experiments linking games and aggression and the different modes of participation in computer game culture.
The return of the classic book on games and play that illuminates the relationship between the well-played game and the well-lived life. In The Well-Played Game, games guru Bernard De Koven explores the interaction of play and games, offering players—as well as game designers, educators, and scholars—a guide to how games work. De Koven’s classic treatise on how human beings play together, first published in 1978, investigates many issues newly resonant in the era of video and computer games, including social gameplay and player modification. The digital game industry, now moving beyond its emphasis on graphic techniques to focus on player interaction, has much to learn from The Well-Played Game. De Koven explains that when players congratulate each other on a “well-played” game, they are expressing a unique and profound synthesis that combines the concepts of play (with its associations of playfulness and fun) and game (with its associations of rule-following). This, he tells us, yields a larger concept: the experience and expression of excellence. De Koven—affectionately and appreciatively hailed by Eric Zimmerman as “our shaman of play”—explores the experience of a well-played game, how we share it, and how we can experience it again; issues of cheating, fairness, keeping score, changing old games (why not change the rules in pursuit of new ways to play?), and making up new games; playing for keeps; and winning. His book belongs on the bookshelves of players who want to find a game in which they can play well, who are looking for others with whom they can play well, and who have discovered the relationship between the well-played game and the well-lived life.
A comprehensive examination of the interfaces of logic, computer science, and game theory, drawing on twenty years of research on logic and games. This book draws on ideas from philosophical logic, computational logic, multi-agent systems, and game theory to offer a comprehensive account of logic and games viewed in two complementary ways. It examines the logic of games: the development of sophisticated modern dynamic logics that model information flow, communication, and interactive structures in games. It also examines logic as games: the idea that logical activities of reasoning and many related tasks can be viewed in the form of games. In doing so, the book takes up the “intelligent interaction” of agents engaging in competitive or cooperative activities and examines the patterns of strategic behavior that arise. It develops modern logical systems that can analyze information-driven changes in players' knowledge and beliefs, and introduces the “Theory of Play” that emerges from the combination of logic and game theory. This results in a new view of logic itself as an interactive rational activity based on reasoning, perception, and communication that has particular relevance for games. Logic in Games, based on a course taught by the author at Stanford University, the University of Amsterdam, and elsewhere, can be used in advanced seminars and as a resource for researchers.
"This book offers a high interdisciplinary exchange of ideas pertaining to the philosophy of computer science, from philosophical and mathematical logic to epistemology, engineering, ethics or neuroscience experts and outlines new problems that arise with new tools"--Provided by publisher.
This collection of essays is devoted to the philosophical examination of the aesthetics of videogames. Videogames represent one of the most significant developments in the modern popular arts, and it is a topic that is attracting much attention among philosophers of art and aestheticians. As a burgeoning medium of artistic expression, videogames raise entirely new aesthetic concerns, particularly concerning their ontology, interactivity, and aesthetic value. The essays in this volume address a number of pressing theoretical issues related to these areas, including but not limited to: the nature of performance and identity in videogames; their status as an interactive form of art; the ethical problems raised by violence in videogames; and the representation of women in videogames and the gaming community. The Aesthetics of Videogames is an important contribution to analytic aesthetics that deals with an important and growing art form.
A group biography of seven enduring and beloved games, and the story of why—and how—we play them. Checkers, backgammon, chess, and Go. Poker, Scrabble, and bridge. These seven games, ancient and modern, fascinate millions of people worldwide. In Seven Games, Oliver Roeder charts their origins and historical importance, the delightful arcana of their rules, and the ways their design makes them pleasurable. Roeder introduces thrilling competitors, such as evangelical minister Marion Tinsley, who across forty years lost only three games of checkers; Shusai, the Master, the last Go champion of imperial Japan, defending tradition against “modern rationalism”; and an IBM engineer who created a backgammon program so capable at self-learning that NASA used it on the space shuttle. He delves into the history and lore of each game: backgammon boards in ancient Egypt, the Indian origins of chess, how certain shells from a particular beach in Japan make the finest white Go stones. Beyond the cultural and personal stories, Roeder explores why games, seemingly trivial pastimes, speak so deeply to the human soul. He introduces an early philosopher of games, the aptly named Bernard Suits, and visits an Oxford cosmologist who has perfected a computer that can effectively play bridge, a game as complicated as human language itself. Throughout, Roeder tells the compelling story of how humans, pursuing scientific glory and competitive advantage, have invented AI programs better than any human player, and what that means for the games—and for us. Funny, fascinating, and profound, Seven Games is a story of obsession, psychology, history, and how play makes us human.