This document discusses how games can "play with reality" through their environments and ability to create "situations". It explores the work of urban planner Georges-EugĂšne Haussmann and the Situationist International group who aimed to transform environments. The document defines games as "semi-regulated situations that unfold over time and resolve based on the creative participation of one or more players". It provides examples of games like Gone Home and Tag: You're It that interact with physical or social environments in meaningful ways.
13. â[Only] play can
deconsecrate, open up
the possibilities of total
freedom . . . the
freedom, for example, to
turn Chartres Cathedral
into a fun-fair, into a
labyrinth, into a
shooting-range, into a
dream landscape.â
Raoul Vaneigem, quoted
in Plant, The Most Radical
Gesture, 129.
16. Environmental Game Design
The practice of designing games with and around the physical, digital,
social, and emotional environment of players so as to manifest an
impact on the way in which that environment is used
17. Environmental Games and Direct Action
The transformative potential of environmental games lies in the fact
that they can be more than just a call to action -- they can
meaningfully be the action itself
23. Action: Macon Money (2010)
Impact mandates: build personal connections, support local business
Game actions: build personal connections, support local business
24. Action: Reality Ends Here (2011-present)
Impact mandates: collaboration, peer discovery, media experimentation
Game actions: collaboration, peer discovery, media experimentation
28. Situation
(noun)
a set of circumstances in which one finds
oneself; a state of affairs.
synonyms: circumstances, (state of) affairs,
state, condition
29.
30. Situation
(via Sartre)
âThe situation is an appeal: it surrounds us,
offering us solutions which itâs up to us to
choose.â (Theater of Situations)
âThus we begin to catch a glimpse of the
paradox of freedom: there is freedom only in a
situation, and there is a situation only through
freedom.â (Being And Nothingness)
31. The writer is in a
situation in their epoch.
Jean-Paul Sartre
Editorial in Les Temps Modernes,
Issue 1 (1945)
47. I perceive four common
factors: representation ["a
closed formal system that
subjectively represents a
subset of reality"], interaction,
conflict, and safety ["the
results of a game are always
less harsh than the situations
the game models"].
Chris Crawford, 1981
48. A game is a system in which
players engage in an artificial
conflict, defined by rules, that
results in a quantifiable
outcome.
Katie Salen and Eric
Zimmerman, 2003
49. [An] activity which is
essentially: Free (voluntary),
separate [in time and space],
uncertain, unproductive,
governed by rules, make-
believe.
Roger Caillois, 1961
50. A game is a rule-based formal
system with a variable and
quantifiable outcome, where
different outcomes are assigned
different values, the player exerts
effort in order to influence the
outcome, the player feels attached
to the outcome, and the
consequences of the activity are
optional and negotiable.
Jesper Juul, 2003
52. Games are permeable
regulated situations that
unfold over time and resolve
or conclude based in whole or
in part on the creative
participation of one or more
players.
Jeff Watson, just now
53. Games are permeable
regulated situations that
unfold over time and resolve
based on the creative
participation of one or more
players.
Jeff Watson, just now-er
54. Games are semi-regulated
situations that unfold over
time and resolve based on the
creative participation of one
or more players.
Jeff Watson, just now-est
Western Lit & Dramatic art: conflict, crisis, revolution
[papers, please]
âŠand itâs situations all the way down.
Games interface and interact with and constitute situations of play. This is how I want to think about the notion of games âplaying with reality.â What happens in the game can permeate outâŠand vice versa.
Semi-regulated situationsâŠ
Two separate pies â and equally important to consider in our critical and designerly appraisal of games
Two separate pies â and equally important to consider in our critical and designerly appraisal of games