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Erschienen in:
Questions Over Answers: Reflective Game Design Kapitel lesen Erstes Kapitel lesen

2018 | OriginalPaper | Buchkapitel

Makin’ Cake—Provocation, Self-confrontation, and the Opacity of Play

verfasst von : Daniel Cermak-Sassenrath

Erschienen in: Playful Disruption of Digital Media

Verlag: Springer Singapore

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Abstract

Players can do the most extraordinary things in games without raising an eyebrow. Here, three specific questions are discussed: What do objects and actions in games mean? How are these meanings constructed? By and for whom? It is argued that players most naturally understand and know perfectly well what their actions in games mean and how they relate to everyday life: Actions in play are blank, and mean nothing. Meaning is only created within play, in a fluid, dynamic, and collaborative process, over time, based on an implicit understanding and shared practice. Meaning is not seen as abstract truth and values, for all times and across all cultures, but relative: something gains meaning for somebody, in a particular situation and context. The interactive installation Makin’ Cake demonstrates the issue of the meaning of play activities within and without play by providing an immediate and provocative experience to players and spectators.

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Fußnoten
1
The installation has been shown at the Creativity & Cognition (C&C) 2013 conference in Sydney, Australia; at the Design and Semantics of Form and Movement (DeSForM) 2013 conference in Wuxi, China; and at The 9th Australasian Conference on Interactive Entertainment (IE) 2013 in Melbourne, Australia.
 
3
When meaning is essentially an aspect of context (see Suchman 1987, 119), the popular critique of violence in games needs to be reconsidered. Violence is not a category of play. Play is to the same degree violent as, for instance, nature is brutal. Violence is a play-external notion. Game actions have abstract meanings within but not without play. They can only be inadequately judged by everyday rules and ideals.
 
4
Such as the chain saw in Maniac Mansion (1987)?
 
5
Parts of this section have been published in Cermak-Sassenrath (2013).
 
6
Pias (2013) notes a “partial autonomy” of simulations with regard to, for example, physical laws, such as Awakawa improving weather prediction by disregarding thermodynamic laws in his models.
 
7
The connections, overlaps, and differences between play and simulation are not discussed here.
 
8
On a pragmatic note, and “[f]or the purposes of game design,” (Salen and Zimmerman 2004, 508) “understand ‘culture’ to refer to what exists outside the magic circle of a game, the environment or context within which a game takes place.”
 
9
See the chapter, “Questions over Answers: Reflective Game Design and Playing the Subject,” in this volume.
 
10
In den Momenten des erbittertsten Kampfes aber, wenn hinter oder fast schon neben [den Rennfahrern] der Wagen des Gegners sich heranschiebt, denkt keiner mehr daran, was die anderen, die auf den Tribünen sitzen und zuschauen, ihr “Leben” nennen. ... Das alles ist verschwunden, gleichgültig und wesenlos geworden. Der Wille zu kämpfen und zu siegen, getragen und gesteigert von dem Hochgefühl eines unheimlichen Kraftbewußtseins und dem gefährlichen Rausch irrsinniger Schnelligkeiten, ist einzig und allein restlos beherrschend.
 
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Metadaten
Titel
Makin’ Cake—Provocation, Self-confrontation, and the Opacity of Play
verfasst von
Daniel Cermak-Sassenrath
Copyright-Jahr
2018
Verlag
Springer Singapore
Buch
Playful Disruption of Digital Media

Print ISBN: 978-981-10-1889-3

Electronic ISBN: 978-981-10-1891-6

Copyright-Jahr: 2018

DOI
https://doi.org/10.1007/978-981-10-1891-6_15