Chapter 1
1. How does Mary Flanagan’s definition of game differ from Chris Crawford’s as well as the definition crafted by Katie Salen and Eric Zimmerman?
- Mary Flanagan’s definition of a game emphasizes the process and interaction within the game, where games are systems of play that allow participants to actively shape their experience. She focuses on the player’s agency and the dynamics between player actions and game systems.
- Chris Crawford’s definition is more focused on the interactivity aspect, defining a game as an interactive system where players engage with choices and responses to achieve specific outcomes. Crawford highlights the feedback loop between the player and the game’s system.
- Katie Salen and Eric Zimmerman’s definition defines a game as a system in which players make decisions within a set of rules, aiming to achieve a goal. They define games in terms of structure and goals, providing a more formalized view of how games operate within systems.
2. What is an activist game?
An activist game is a type of game designed to promote social or political change, raising awareness of issues and encouraging players to reflect on the real-world impact of their actions. These games often aim to challenge the status quo, provoke thought, and inspire action towards specific causes or issues.
Chapter 3
1. Go and Chess are examples of games that feature “perfect information,” what other games share that feature?
Other games with perfect information include:
- Checkers (Draughts)
- Reversi (Othello)
- Backgammon (although it includes elements of chance, players have complete knowledge of the game state except for dice rolls)
In these games, all information about the state of the game is available to both players, and there is no hidden information or randomness.
2. Why might chance or gambling games hold spiritual or religious importance to ancient cultures?
Chance or gambling games may hold spiritual or religious significance because they represent a symbolic connection to fate, the divine, or the unknown. In ancient cultures, these games were often viewed as a way to connect with gods or spirits, relying on chance as a means of divination or to reflect the unpredictability of life.
3. When was the earliest battle between government/religious groups and games? What modern games can you think of that have been banned or demonized?
The earliest battles between governments/religious groups and games occurred in ancient Rome when gladiatorial games were seen as morally corrupting or decadent, leading to debates about the ethics of such entertainments. In modern times, games like Grand Theft Auto, Doom, and Pokémon have been demonized or banned due to concerns about violence, moral decay, or the impact of their content on players.
4. What is a fox game, and what would be a modern example?
A fox game is a type of game where one player (the “fox”) tries to evade capture by other players (the “hounds”). It involves strategy, agility, and social interaction. A modern example of a fox game is Tag or Capture the Flag, where one player is pursued by others in a game of chase.
5. What was the purpose or intent of the game: Mansion of Happiness?
The purpose of Mansion of Happiness, a 19th-century parlor game, was to teach moral lessons and reflect Christian virtues. It was an educational game designed to guide players toward moral and virtuous living through a journey of choices, similar to a life path, based on ethics and societal expectations.
6. Why do artists from the Fluxus and Surrealist movements play games? Why did Surrealists believe games might help everyone?
Artists from the Fluxus and Surrealist movements used games to break down traditional boundaries between art, life, and play. Surrealists believed that games could unlock creativity, help players tap into their subconscious, and explore irrationality or chance, providing a means to engage with the world in a new, more playful and free way.
7. Changes in what can signal profound changes in games? How were pinball games reskinned during WW2?
Changes in game mechanics, objectives, and context can signal profound shifts in the way games are played or perceived. During WW2, pinball machines were reskinned to have war-related themes, reflecting the societal mood and aligning the game with wartime imagery and national pride.
8. What statements did Fluxus artists make by reskinning games like Monopoly and Ping Pong?
Fluxus artists reskinned games like Monopoly and Ping Pong to challenge the conventions of game design and highlight the absurdity of capitalism and consumer culture. By altering these games, they aimed to make a statement about the art of play and the deconstruction of traditional structures.
9. How are artists like Lilian Ball, Marcel Duchamp, Takako Saito, Yoko Ono, Gabriel Orozco, and Ruth Catlow using war games?
Artists like Lilian Ball, Marcel Duchamp, Takako Saito, Yoko Ono, Gabriel Orozco, and Ruth Catlow use war games as a medium to critique violence, conflict, and societal structures. Their work often transforms or subverts traditional war games to comment on the human cost of war, challenge militaristic values, and promote peace or alternative perspectives.
10. Why is it important for players to have agency in a critical or serious game?
It’s important for players to have agency in critical or serious games because it allows them to make meaningful choices and experience the consequences of those choices, fostering a deeper understanding of the issues at hand. Player agency is essential for engagement and for conveying the complexity of real-world problems in an interactive and reflective manner.