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A game is a structured type of play usually undertaken for entertainment or fun, and sometimes used as an educational tool.[1] Many games are also considered to be work (such as professional players of spectator sports or video games) or art (such as games involving an artistic layout such as mahjong, solitaire, or some video games).
There are many types of games; popular formats include board games, video games, online games, and card games. Games can be played in a variety of circumstances, and some can be played even without any materials or company.[2] Games can be played either for enjoyment or for competition; they can be played alone or in teams; they can be played offline or online.
In a notable, competitive setting, players may have an audience to watch them play. Examples of games that generally draw audiences are chess championships, e-sports, and professional sports.
All games must have a challenge and a structure; barring certain exceptions like sandbox games, all games also have an objective. Multiplayer games also include interaction between two or more players. Not all forms of play are considered games; toys and puzzles, for instance, are not games, as they do not have a structure.
Games generally involve either mental stimulation, physical stimulation, or both. Many games help develop practical skills, serve as a form of exercise, or perform an educational, simulational, or psychological role.
Attested as early as 2600 BC,[3][4] games are a universal part of human experience and present in all cultures. The Royal Game of Ur, Senet, and Mancala are some of the oldest known games.[5]
Definitions
[edit]Ludwig Wittgenstein
[edit]Ludwig Wittgenstein is well known in the history of philosophy for having addressed the definition of the word game. In his Philosophical Investigations,[6] Wittgenstein argued that the elements of games, such as play, rules, and competition, all fail to adequately define what games are. From this, Wittgenstein concluded that people apply the term game to a range of disparate human activities that bear to one another only what one might call family resemblances. As the following game definitions show, this conclusion was not a final one, and today many philosophers, like Thomas Hurka, think that Wittgenstein was wrong and that Bernard Suits' definition is a good answer to the problem.[7][2]
Roger Caillois
[edit]French sociologist Roger Caillois, in his book Les jeux et les hommes (Games and Men)(1961),[8] defined a game as an activity that must have the following characteristics:
- fun: the activity is chosen for its light-hearted character
- separate: it is circumscribed in time and place
- uncertain: the outcome of the activity is unforeseeable
- non-productive: participation does not accomplish anything useful
- governed by rules: the activity has rules that are different from everyday life
- fictitious: it is accompanied by the awareness of a different reality
Chris Crawford
[edit]Game designer Chris Crawford defined the term in the context of computers.[9] Using a series of dichotomies:
- Creative expression is art if made for its own beauty and entertainment if made for money.
- A piece of entertainment is a plaything if it is interactive. Movies and books are cited as examples of non-interactive entertainment.
- If no goals are associated with a plaything, it is a toy. (Crawford notes that by his definition, (a) a toy can become a game element if the player makes up rules, and (b) The Sims and SimCity are toys, not games.) If it has goals, a plaything is a challenge.
- If a challenge has no "active agent against whom you compete", it is a puzzle; if there is one, it is a conflict. (Crawford admits that this is a subjective test. Video games with noticeably algorithmic artificial intelligence can be played as puzzles; these include the patterns used to evade ghosts in Pac-Man.)
- Finally, if the player can only outperform the opponent but not attack them to interfere with their performance, the conflict is a competition. (Competitions include racing and figure skating.) However, if attacks are allowed, then the conflict qualifies as a game.
Crawford's definition may thus be rendered as an interactive, goal-oriented activity made for money, with active agents to play against, in which players (including active agents) can interfere with each other.
Other definitions, however, as well as history, show that entertainment and games are not necessarily undertaken for monetary gain.
Other definitions
[edit]- "My conclusion is that to play a game is to engage in activity directed towards bringing about a specific state of affairs, using only means permitted by rules, where the rules prohibit more efficient in favour of less efficient means, and where such rules are accepted just because they make possible such activity." Bernard Suits[2]
- Alternatively: "To play a game is to engage in activity directed toward bringing about a specific state of affairs, using only means permitted by specific rules, where the means permitted by the rules are more limited in scope than they would be in the absence of the rules, and where the sole reason for accepting such limitation is to make possible such activity." (Bernard Suits)[10]
- "A game is a form of art in which participants, termed players, make decisions in order to manage resources through game tokens in the pursuit of a goal." (Greg Costikyan)[11] According to this definition, some "games" that do not involve choices, such as Chutes and Ladders, Candy Land, and War are not technically games any more than a slot machine is.
- "A game is a form of play with goals and structure." (Kevin J. Maroney)[12]
- "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)[13]
- "A game is an activity among two or more independent decision-makers seeking to achieve their objectives in some limiting context." (Clark C. Abt)[14]
- "At its most elementary level then we can define game as an exercise of voluntary control systems in which there is an opposition between forces, confined by a procedure and rules in order to produce a disequilibrial outcome." (Elliot Avedon and Brian Sutton-Smith)[15]
- "When you strip away the genre differences and the technological complexities, all games share four defining traits: a goal, rules, a feedback system, and voluntary participation." (Jane McGonigal)[16]
Gameplay elements and classification
[edit]Games can be characterized by "what the player does".[9] This is often referred to as gameplay. Major key elements identified in this context are tools and rules that define the overall context of game.
Tools
[edit]
Games are often classified by the components required to play them (e.g., miniatures, a ball, cards, a board and pieces, or a computer). In places where the use of leather is well-established, the ball has been a popular game piece throughout recorded history, resulting in a worldwide popularity of ball games such as rugby, basketball, soccer (football), cricket, tennis, and volleyball. Other tools are more idiosyncratic to a certain region. Many countries in Europe, for instance, have unique standard decks of playing cards. Other games, such as chess, may be traced primarily through the development and evolution of their game pieces.
Many game tools are tokens, meant to represent other things. A token may be a pawn on a board, play money, or an intangible item such as a point scored.
Games such as hide-and-seek or tag do not use any obvious tool; rather, their interactivity is defined by the environment. Games with the same or similar rules may have different gameplay if the environment is altered. For example, hide-and-seek in a school building differs from the same game in a park; an auto race can be radically different depending on the track or street course, even with the same cars.
Rules and aims
[edit]Games are often characterized by their tools and rules. While rules are subject to variations and changes, enough change in the rules usually results in a "new" game. For instance, baseball can be played with "real" baseballs or with wiffleballs. However, if the players decide to play with only three bases, they are arguably playing a different game. There are exceptions to this in that some games deliberately involve the changing of their own rules, but even then there are often immutable meta-rules.
Rules generally determine the time-keeping system, the rights and responsibilities of the players, scoring techniques, preset boundaries, and each player's goals.
The rules of a game may be distinguished from its aims.[17][18] For most competitive games, the ultimate aim is winning: in this sense, checkmate is the aim of chess.[19] Common win conditions are being the first to amass a certain quota of points or tokens (as in Settlers of Catan), having the greatest number of tokens at the end of the game (as in Monopoly), or some relationship of one's game tokens to those of one's opponent (as in chess's checkmate). There may also be intermediate aims, which are tasks that move a player toward winning. For instance, an intermediate aim in football is to score goals, because scoring goals will increase one's likelihood of winning the game, but is not alone sufficient to win the game.
An aim identifies a sufficient condition for successful action, whereas the rule identifies a necessary condition for permissible action.[18] For example, the aim of chess is to checkmate, but although it is expected that players will try to checkmate each other, it is not a rule of chess that a player must checkmate the other player whenever possible. Similarly, it is not a rule of football that a player must score a goal on a penalty; while it is expected the player will try, it is not required. While meeting the aims often requires a certain degree of skill and (in some cases) luck, following the rules of a game merely requires knowledge of the rules and some careful attempt to follow them; it rarely (if ever) requires luck or demanding skills.
Skill, strategy, and chance
[edit]A game's tools and rules will result in its requiring skill, strategy, luck, or a combination thereof and are classified accordingly.
Games of skill include games of physical skill, such as wrestling, tug of war, hopscotch, target shooting, and games of mental skill, such as checkers and chess. Games of strategy include checkers, chess, Go, arimaa, and tic-tac-toe, and often require special equipment to play them. Games of chance include gambling games (blackjack, Mahjong, roulette, etc.), as well as snakes and ladders and rock, paper, scissors; most require equipment such as cards or dice. However, most games contain two or all three of these elements. For example, American football and baseball involve both physical skill and strategy, while tiddlywinks, poker, and Monopoly combine strategy and chance. Many card and board games combine all three; most trick-taking games involve mental skill, strategy, and an element of chance, as do many strategic board games such as Risk, Settlers of Catan, and Carcassonne.
Single-player games
[edit]Most games require multiple players. However, single-player games are unique in respect to the type of challenges a player faces. Unlike a game with multiple players competing with or against each other to reach the game's goal, a one-player game is a battle solely against an element of the environment (an artificial opponent), against one's own skills, against time, or against chance. Playing with a yo-yo or playing tennis against a wall is not generally recognized as playing a game due to the lack of any formidable opposition. Many games described as "single-player" may be termed actually puzzles or recreations.
Multiplayer games
[edit]
A multiplayer game is a game of several players who may be independent opponents or teams. Games with many independent players are difficult to analyze formally using game theory as the players may form and switch coalitions.[20] The term "game" in this context may mean either a true game played for entertainment or a competitive activity describable in principle by mathematical game theory.
Game theory
[edit]John Nash proved that games with several players have a stable solution provided that coalitions between players are disallowed. Nash won the Nobel Prize for economics for this important result which extended von Neumann's theory of zero-sum games. Nash's stable solution is known as the Nash equilibrium.[21]
If cooperation between players is allowed, then the game becomes more complex; many concepts have been developed to analyze such games. While these have had some partial success in the fields of economics, politics and conflict, no good general theory has yet been developed.[21]
In quantum game theory, it has been found that the introduction of quantum information into multiplayer games allows a new type of equilibrium strategy not found in traditional games. The entanglement of player's choices can have the effect of a contract by preventing players from profiting from what is known as betrayal.[22]
Types
[edit]
Games can take a variety of forms, from competitive sports to board games and video games.
Sports
[edit]
Many sports require special equipment and dedicated playing fields, leading to the involvement of a community much larger than the group of players. A city or town may set aside such resources for the organization of sports leagues.
Popular sports may have spectators who are entertained just by watching games. A community will often align itself with a local sports team that supposedly represents it (even if the team or most of its players only recently moved in); they often align themselves against their opponents or have traditional rivalries. The concept of fandom began with sports fans.
Lawn games
[edit]Lawn games are outdoor games that can be played on a lawn, an area of mowed grass (or alternately, on graded soil) generally smaller than a sports field (pitch). Variations of many games that are traditionally played on a sports field are marketed as "lawn games" for home use in a front or back yard. Common lawn games include horseshoes, sholf, croquet, bocce, and lawn bowls.
Tabletop games
[edit]A tabletop game is a game where the elements of play are confined to a small area and require little physical exertion, usually simply placing, picking up, and moving game pieces. Most of these games are played at a table around which the players are seated and on which the game's elements are located. However, many games falling into this category, particularly party games, are more free-form in their play and can involve physical activity such as mime. Still, these games do not require a large area in which to play them, large amounts of strength or stamina, or specialized equipment other than what comes in a box.
Dexterity and coordination games
[edit]This class of games includes any game in which the skill element involved relates to manual dexterity or hand-eye coordination but excludes the class of video games (see below). Games such as jacks, paper football, and Jenga require only very portable or improvised equipment and can be played on any flat level surface, while other examples, such as pinball, billiards, air hockey, foosball, and table hockey, require specialized tables or other self-contained modules on which the game is played. The advent of home video game systems largely replaced some of these, such as table hockey; however, air hockey, billiards, pinball and foosball remain popular fixtures in private and public game rooms. These games and others, as they require reflexes and coordination, are generally performed more poorly by intoxicated persons but are unlikely to result in injury because of this; as such, the games are popular as drinking games. In addition, dedicated drinking games such as quarters and beer pong also involve physical coordination and are popular for similar reasons.
Board games
[edit]
Board games use as a central tool a board on which the players' status, resources, and progress are tracked using physical tokens. Many also involve dice or cards. Most games that simulate war are board games (though a large number of video games have been created to simulate strategic combat), and the board may be a map on which the players' tokens move. Virtually all board games involve "turn-based" play; one player contemplates and then makes a move, then the next player does the same, and a player can only act on their turn. This is opposed to "real-time" play as is found in some card games, most sports and most video games.
Some games, such as chess and Go, are entirely deterministic, relying only on the strategy element for their interest. Such games are usually described as having "perfect information"; the only unknown is the exact thought processes of one's opponent, not the outcome of any unknown event inherent in the game (such as a card draw or die roll). Children's games, on the other hand, tend to be very luck-based, with games such as Candy Land and Chutes and Ladders having virtually no decisions to be made. By some definitions, such as that by Greg Costikyan, they are not games since there are no decisions to make which affect the outcome.[11] Many other games involving a high degree of luck do not allow direct attacks between opponents; the random event simply determines a gain or loss in the standing of the current player within the game, which is independent of any other player; the "game" then is actually a "race" by definitions such as Crawford's.
Most other board games combine strategy and luck factors; the game of backgammon requires players to decide the best strategic move based on the roll of two dice. Trivia games have a great deal of randomness based on the questions a person gets. German-style board games are notable for often having rather less of a luck factor than many board games.
Board game groups include race games, roll-and-move games, abstract strategy games, word games, and wargames, as well as trivia and other elements. Some board games fall into multiple groups or incorporate elements of other genres: Cranium is one popular example, where players must succeed in each of four skills: artistry, live performance, trivia, and language.
Card games
[edit]
Card games use a deck of cards as their central tool. These cards may be a standard Anglo-American (52-card) deck of playing cards (such as for bridge, poker, Rummy, etc.), a regional deck using 32, 36 or 40 cards and different suit signs (such as for the popular German game skat), a tarot deck of 78 cards (used in Europe to play a variety of trick-taking games collectively known as Tarot, Tarock or Tarocchi games), or a deck specific to the individual game (such as Set or 1000 Blank White Cards). Uno and Rook are examples of games that were originally played with a standard deck and have since been commercialized with customized decks. Some collectible card games such as Magic: The Gathering are played with a small selection of cards that have been collected or purchased individually from large available sets.
Some board games include a deck of cards as a gameplay element, normally for randomization or to keep track of game progress. Conversely, some card games such as Cribbage use a board with movers, normally to keep score. The differentiation between the two genres in such cases depends on which element of the game is foremost in its play; a board game using cards for random actions can usually use some other method of randomization, while Cribbage can just as easily be scored on paper. These elements as used are simply the traditional and easiest methods to achieve their purpose.
Dice games
[edit]
Dice games use a number of dice as their central element. Board games often use dice for a randomization element, and thus each roll of the dice has a profound impact on the outcome of the game, however dice games are differentiated in that the dice do not determine the success or failure of some other element of the game; they instead are the central indicator of the person's standing in the game. Popular dice games include Yahtzee, Farkle, Bunco, liar's dice/Perudo, and poker dice. As dice are, by their very nature, designed to produce random numbers, these games usually involve a high degree of luck, which can be directed to some extent by the player through more strategic elements of play and through tenets of probability theory. Such games are thus popular as gambling games; the game of craps is perhaps the most famous example, though liar's dice and poker dice were originally conceived of as gambling games.
Domino and tile games
[edit]Domino games are similar in many respects to card games, but the generic device is instead a set of tiles called dominoes, which traditionally each have two ends, each with a given number of dots, or "pips", and each combination of two possible end values as it appears on a tile is unique in the set. The games played with dominoes largely center around playing a domino from the player's "hand" onto the matching end of another domino, and the overall object could be to always be able to make a play, to make all open endpoints sum to a given number or multiple, or simply to play all dominoes from one's hand onto the board. Sets vary in the number of possible dots on one end, and thus of the number of combinations and pieces; the most common set historically is double-six, though in more recent times "extended" sets such as double-nine have been introduced to increase the number of dominoes available, which allows larger hands and more players in a game. Muggins, Mexican Train, and Chicken Foot are very popular domino games. Texas 42 is a domino game more similar in its play to a "trick-taking" card game.
Variations of traditional dominoes abound: Triominoes are similar in theory but are triangular and thus have three values per tile. Similarly, a game known as Quad-Ominos uses four-sided tiles.
Some other games use tiles in place of cards; Rummikub is a variant of the Rummy card game family that uses tiles numbered in ascending rank among four colors, very similar in makeup to a 2-deck "pack" of Anglo-American playing cards. Mahjong is another game very similar to Rummy that uses a set of tiles with card-like values and art.
Lastly, some games use graphical tiles to form a board layout, on which other elements of the game are played. Settlers of Catan and Carcassonne are examples. In each, the "board" is made up of a series of tiles; in Settlers of Catan the starting layout is random but static, while in Carcassonne the game is played by "building" the board tile-by-tile. Hive, an abstract strategy game using tiles as moving pieces, has mechanical and strategic elements similar to chess, although it has no board; the pieces themselves both form the layout and can move within it.
Pencil and paper games
[edit]Pencil and paper games require little or no specialized equipment other than writing materials, though some such games have been commercialized as board games (Scrabble, for instance, is based on the idea of a crossword puzzle, and tic-tac-toe sets with a boxed grid and pieces are available commercially). These games vary widely, from games centering on a design being drawn such as Pictionary and "connect-the-dots" games like sprouts, to letter and word games such as Boggle and Scattergories, to solitaire and logic puzzle games such as Sudoku and crossword puzzles.
Guessing games
[edit]A guessing game has as its core a piece of information that one player knows, and the object is to coerce others into guessing that piece of information without actually divulging it in text or spoken word. Charades is probably the most well-known game of this type, and has spawned numerous commercial variants that involve differing rules on the type of communication to be given, such as Catch Phrase, Taboo, Pictionary, and similar. The genre also includes many game shows such as Win, Lose or Draw, Password and $25,000 Pyramid.
Video games
[edit]Video games are computer- or microprocessor-controlled games. Computers can create virtual spaces for a wide variety of game types. Some video games simulate conventional game objects like cards or dice, while others can simulate environs either grounded in reality or fantastical in design, each with its own set of rules or goals.
A computer or video game uses one or more input devices, typically a button/joystick combination (on arcade games); a keyboard, mouse or trackball (computer games); or a controller or a motion sensitive tool (console games). More esoteric devices such as paddle controllers have also been used for input.
There are many genres of video game; the first commercial video game, Pong, was a simple simulation of table tennis. As processing power increased, new genres such as adventure and action games were developed that involved a player guiding a character from a third person perspective through a series of obstacles. This "real-time" element cannot be easily reproduced by a board game, which is generally limited to "turn-based" strategy; this advantage allows video games to simulate situations such as combat more realistically. Additionally, the playing of a video game does not require the same physical skill, strength or danger as a real-world representation of the game, and can provide either very realistic, exaggerated or impossible physics, allowing for elements of a fantastical nature, games involving physical violence, or simulations of sports. Lastly, a computer can, with varying degrees of success, simulate one or more human opponents in traditional table games such as chess, leading to simulations of such games that can be played by a single player.
In more open-ended video games, such as sandbox games, a virtual environment is provided in which the player may be free to do whatever they like within the confines of a particular game's universe. Sometimes, there is a lack of goals or opposition, which has stirred some debate on whether these should be considered "games" or "toys". (Crawford specifically mentions Will Wright's SimCity as an example of a toy.)[9]
Online games
[edit]Online games have been part of culture from the very earliest days of networked and time-shared computers. Early commercial systems such as Plato were at least as widely famous for their games as for their strictly educational value. In 1958, Tennis for Two dominated Visitor's Day and drew attention to the oscilloscope at the Brookhaven National Laboratory; during the 1980s, Xerox PARC was known mainly for Maze War, which was offered as a hands-on demo to visitors.
Modern online games are played using an Internet connection; some have dedicated client programs, while others require only a web browser. Some simpler browser games appeal to more casual game-playing demographic groups (notably older audiences) that otherwise play very few video games.[23]
Role-playing games
[edit]Role-playing games, often abbreviated as RPGs, are a type of game in which the participants (usually) assume the roles of characters acting in a fictional setting. The original role playing games – or at least those explicitly marketed as such – are played with a handful of participants, usually face-to-face, and keep track of the developing fiction with pen and paper. Together, the players may collaborate on a story involving those characters; create, develop, and "explore" the setting; or vicariously experience an adventure outside the bounds of everyday life. Pen-and-paper role-playing games include, for example, Dungeons & Dragons and GURPS.
The term role-playing game has also been appropriated by the video game industry to describe a genre of video games. These may be single-player games where one player experiences a programmed environment and story, or they may allow players to interact through the internet. The experience is usually quite different from traditional role-playing games. Single-player games include Final Fantasy, Fable, The Elder Scrolls, and Mass Effect. Online multi-player games, often referred to as massively multiplayer online role playing games, or MMORPGs, include RuneScape, EverQuest 2, Guild Wars, MapleStory, Anarchy Online, and Dofus. As of 2009[update], the most successful MMORPG has been World of Warcraft, which controls the vast majority of the market.[24]
Business games
[edit]Business games can take a variety of forms, from interactive board games to interactive games involving different props (balls, ropes, hoops, etc.) and different kinds of activities. The purpose of these games is to link to some aspect of organizational performance and to generate discussions about business improvement. Many business games focus on organizational behaviors. Some of these are computer simulations while others are simple designs for play and debriefing. Team building is a common focus of such activities.
Simulation
[edit]The term "game" can include simulation[25][26] or re-enactment of various activities or use in "real life" for various purposes: e.g., training, analysis, prediction. Well-known examples are war games and role-playing. The root of this meaning may originate in the human prehistory of games deduced by anthropology from observing primitive cultures, in which children's games mimic the activities of adults to a significant degree: hunting, warring, nursing, etc. These kinds of games are preserved in modern times.[original research?]
See also
[edit]- Game club – Association of people united by a common interest or goal
- Game mechanics – Construct, rule, or method designed for interaction with a game's state
- Gamer – Someone who plays games
- Girls' games and toys – Subset of toy and games that appeal to female children
- History of games
- Learning through play – Concept in education and psychology
- List of games – Overview of and topical guide to games
- Ludeme – Basic unit of play
- Ludibrium – Latin word
- Ludology – Study of games and the act of playing them
- Ludomania – Repetitive gambling despite demonstrable harm and adverse consequences
- Mobile game – Video game played on a mobile device
- N-player game – Game which can have any number of players
- Personal computer game – Electronic game played on a personal computer
References
[edit]- ^ "Definition of GAME". Merriam-Webster. Retrieved 7 May 2017.
- ^ a b c Suits, Bernard (2005). The Grasshopper: Games, Life and Utopia. Broadview Press. p. 37-56. ISBN 1-77048-011-0. Retrieved 5 January 2025.
- ^ Soubeyrand, Catherine (2000). "The Royal Game of Ur". The Game Cabinet. Retrieved 5 October 2008.
- ^ Green, William (19 June 2008). "Big Game Hunter". 2008 Summer Journey. Time. Archived from the original on 20 June 2008. Retrieved 5 October 2008.
- ^ "History of Games". MacGregor Historic Games. 2006. Retrieved 5 October 2008.
- ^ Wittgenstein, Ludwig (1953). Philosophical Investigations. Oxford: Blackwell. ISBN 978-0-631-23127-1.
{{cite book}}: ISBN / Date incompatibility (help) - ^ "Was Wittgenstein Wrong About Games?". Nigel Warburton. 2007. Retrieved 28 June 2013.
- ^ Caillois, Roger (1957). Les jeux et les hommes. Gallimard.
- ^ a b c Crawford, Chris (2003). Chris Crawford on Game Design. New Riders. ISBN 978-0-88134-117-1.
- ^ Suits, Bernard (1967). "What Is a Game?". Philosophy of Science. 34 (2): 148–156. doi:10.1086/288138. ISSN 0031-8248. JSTOR 186102. S2CID 119699909.
- ^ a b Costikyan, Greg (1994). "I Have No Words & I Must Design". Archived from the original on 12 August 2008. Retrieved 17 August 2008.
- ^ Maroney, Kevin (2001). "My Entire Waking Life". The Games Journal. Archived from the original on 21 November 2008. Retrieved 17 August 2008.
- ^ Salen, Katie; Zimmerman, Eric (2003). Rules of Play: Game Design Fundamentals. MIT Press. p. 80. ISBN 978-0-262-24045-1.
- ^ Clark C. Abt (1987). Serious Games. University Press of America. ISBN 978-0-8191-6148-2.
- ^ Avedon, Elliot; Sutton-Smith, Brian (1971). The Study of Games. J. Wiley. p. 405. ISBN 978-0-471-03839-9.
- ^ McGonigal, Jane (2011). Reality is Broken. Penguin Books. ISBN 978-0-14-312061-2.
- ^ Schwyzer, Hubert (October 1969). "Rules and Practices". The Philosophical Review. 78 (4): 451–467. doi:10.2307/2184198. ISSN 0031-8108. JSTOR 2184198.
- ^ a b Marsili, Neri (12 June 2018). "Truth and assertion: rules versus aims" (PDF). Analysis. 78 (4): 638–648. doi:10.1093/analys/any008. ISSN 0003-2638.
- ^ Kemp, Gary (2007). "Assertion as a practice". Truth and Speech Acts: Studies in the Philosophy of Language.
- ^ K.G. Binmore (1994). Game Theory and the Social Contract. MIT Press. ISBN 978-0-262-02444-0.
- ^ a b Laszlo Mero; Anna C. Gosi-Greguss; David Kramer (1998). Moral calculations: game theory, logic, and human frailty. New York: Copernicus. ISBN 978-0-387-98419-3.
- ^ Simon C. Benjamin & Patrick M. Hayden (13 August 2001). "Multiplayer quantum games". Physical Review A. 64 (3) 030301. arXiv:quant-ph/0007038. Bibcode:2001PhRvA..64c0301B. doi:10.1103/PhysRevA.64.030301. S2CID 32056578.
- ^ De Schutter, Bob (March 2011). "Never Too Old to Play: The Appeal of Digital Games to an Older Audience". Games and Culture. 6 (2): 155–170. doi:10.1177/1555412010364978. ISSN 1555-4120. S2CID 220317720.
- ^ Woodcock, Bruce Sterling (2008). "An Analysis of MMOG Subscription Growth". Retrieved 16 November 2008.
- ^ "Roleplay Simulation for Teaching and Learning". Archived from the original on 5 February 2008.
- ^ "Roleplay Simulation Gamer Site". Playburg.com. Retrieved 29 July 2009.
Further reading
[edit]- Avedon, Elliot; Sutton-Smith, Brian. The Study of Games (Philadelphia: Wiley, 1971), reprinted Krieger, 1979. ISBN 0-89874-045-2.
- Agôn: Competitive games emphasizing skill and rivalry, such as chess or athletics.
- Alea: Chance-based games relying on luck, like dice or lotteries.
- Mimicry: Imitative or role-playing games involving pretense, such as theater or children's make-believe.
- Ilinx: Dizzying or vertigo-inducing activities that alter perception, like spinning or extreme sports.
Definitions and Conceptual Foundations
Etymology and Basic Definitions
The word "game" derives from the Old English term gamen, which denoted joy, fun, amusement, or sport, with roots traceable to the Proto-Germanic gamaną implying communal merriment or "people together." This usage emerged around the 12th century, evolving through Middle English forms like gamen or gamme to encompass structured pastimes by the late medieval period, while retaining its core association with pleasurable diversion.[8][9] At its most basic, a game is a structured activity governed by explicit rules, pursued toward defined goals, and typically involving challenge, competition, or cooperation among participants, setting it apart from unstructured play that lacks such formal constraints. Key defining criteria include voluntary participation, where individuals freely commit to the activity; clear outcomes that resolve the engagement; and a deliberate separation from real-world consequences, allowing for risk-free experimentation within the game's boundaries. Philosopher Bernard Suits formalized this in his analysis, describing game-playing as a "voluntary attempt to overcome unnecessary obstacles" through adherence to constitutive rules, an orientation he called the lusory attitude—the willing acceptance of artificial limitations to enable the pursuit of an otherwise inefficient goal. Historical evidence underscores these foundational elements, with the Royal Game of Ur from ancient Mesopotamia—dating to circa 2600 BCE—representing one of the earliest known board games, featuring a race mechanic with dice-determined moves, player pieces, and a track to a winning endpoint, all within a rule-bound framework.[3] Artifacts like those excavated from royal tombs in Ur illustrate how such games integrated strategy and chance while maintaining the voluntary, escapist nature central to the concept.Philosophical Perspectives
Philosophers in the 20th century have grappled with defining games, often rejecting rigid criteria in favor of more flexible conceptual frameworks. Ludwig Wittgenstein introduced the idea of "family resemblances" to describe how games, like other categories, lack a single essential feature but instead share a network of overlapping similarities, such as rule-following, competition, or playfulness, without a strict boundary.[10] In his Philosophical Investigations, Wittgenstein illustrated this with examples ranging from board games to Olympic sports, arguing that attempts to pinpoint necessary and sufficient conditions fail because games form a "complicated network of similarities overlapping and criss-crossing."[11] Building on such critiques, Bernard Suits offered a more prescriptive definition in The Grasshopper: Games, Life and Utopia, portraying game-playing as "the voluntary attempt to overcome unnecessary obstacles." Suits elaborated this through the "lusory attitude," where players accept inefficient means (pre-lusory rules, like using a club to hit a ball) to achieve a goal for the sake of the activity itself, distinguishing games from mere tasks or simulations.[12] This framework emphasizes the artificiality of games, where participants willingly impose constraints to create challenge and meaning. Katie Salen and Eric Zimmerman extended these ideas in Rules of Play: Game Design Fundamentals, proposing a tripartite framework of rules, play, and culture to understand games as emergent systems.[13] They defined a "meaningful play" as arising when rules lead to dynamic actions and outcomes that players perceive as fair and interpretable within a cultural context, positioning games not just as isolated activities but as cultural artifacts that generate shared meaning.[13] These perspectives have fueled ongoing debates about essential game elements, particularly whether games necessitate competition or determinate outcomes. Critics of stricter definitions, like Suits', argue that cooperative or non-competitive forms—such as collaborative board games—still qualify as games by fostering voluntary engagement without rivalry.[14] Similarly, open-ended games like The Sims, which lack predefined victory conditions, challenge outcome-based criteria by prioritizing simulation and player-driven narratives over resolution, prompting philosophers to broaden definitions toward experiential or emergent qualities.[15]Sociological and Anthropological Views
In sociological and anthropological perspectives, games are viewed as fundamental to human social organization and cultural formation. Johan Huizinga, in his seminal work Homo Ludens (1938), posits that play predates culture and civilization, serving as a foundational element that structures societal rituals and institutions.[16] He describes play as occurring within a "magic circle," a temporary sphere insulated from ordinary life, where participants voluntarily enter a rule-bound world that fosters creativity and communal bonds without encroaching on everyday realities.[16] Building on such ideas, Roger Caillois expanded the analysis in Man, Play and Games (1958), classifying play into four categories that reflect diverse social functions: agon, involving competitive rivalry and skill-based contests that mirror societal hierarchies; alea, centered on chance and fate, promoting equality through impartial outcomes; mimicry, encompassing imitation and role-playing that enable identity exploration and group cohesion; and ilinx, evoking vertigo or sensory alteration, which channels collective ecstasy and release from norms.[17] These categories illustrate how games adapt to cultural contexts, evolving from unstructured, ecstatic forms in primitive societies to regulated competitions in advanced ones, thereby reinforcing social order and individual agency.[17] Anthropologically, games often function as rites of passage or mechanisms for social integration. Among Native American groups, such as the Cheyenne, the hoop-and-pole game—where players throw poles at a rolling hoop—served ritual purposes during seasonal gatherings, symbolizing skill, balance, and communal harmony while marking transitions in social or spiritual life.[18] Similarly, African mancala variants, like oware played across West African communities, facilitate social bonding by encouraging intergenerational interaction, strategy-sharing, and conflict resolution, thereby strengthening kinship ties and cultural transmission.[19] In modern sociological views, games have historically perpetuated gender roles and hierarchies. Chess, for instance, remained male-dominated until the 20th century, with women largely excluded from clubs and tournaments due to prevailing norms that confined them to domestic spheres, only gaining formal international recognition through events like the Women's World Championship in 1927.[20] This exclusion reinforced patriarchal structures, positioning chess as a domain of intellectual masculinity while limiting female participation and visibility.[21]Essential Elements of Gameplay
Rules, Objectives, and Structures
Rules in games serve as formal constraints that define the boundaries and possibilities of play, creating a structured environment distinct from everyday life. Philosophers distinguish between constitutive rules, which establish the very nature of the game by enabling specific forms of activity, and regulative rules, which merely guide or restrict pre-existing behaviors. According to John Searle, constitutive rules "create new forms of behavior" by specifying what actions count as valid within the game's framework, such as the prohibitions on pawn movement in chess that fundamentally shape the game's logic and strategy.[22] These rules not only limit options but also imbue ordinary actions with new meaning, transforming them into moves within a playful context.[22] Objectives provide the directional force in games, outlining the goals that propel player engagement and determine success. Win conditions typically mark explicit endpoints, such as accumulating the highest score in competitive sports or fulfilling a sequence of tasks in strategy games, thereby resolving the play session. In contrast, some objectives emphasize progression or experiential rewards, like navigating expansive environments for discovery in open-world video games, where fulfillment arises from immersion rather than direct competition. Game theory highlights how these objectives function within reward systems, with mechanisms like quests guiding player actions toward meaningful outcomes and sustaining motivation through structured incentives.[23] Game structures organize the flow and duration of play, balancing deliberation and immediacy to suit the game's intent. Turn-based structures alternate player actions in discrete phases, fostering analytical depth as seen in board games like checkers, while real-time structures demand concurrent decisions, heightening tension through unpausable progression in genres like action simulations. Play can be finite, concluding upon meeting criteria such as a victory point threshold that signals dominance, or infinite, allowing perpetual engagement without termination. Feedback loops within these structures, exemplified by victory points in board games that amplify advantages through iterative scoring, create dynamic cycles where actions influence subsequent opportunities and reinforce strategic adaptation.[24] Rules may briefly incorporate chance to introduce variability, ensuring structures remain engaging without overriding core constraints. The evolution of game rules reflects shifts from communal oral transmission to formalized documentation, adapting to cultural and social changes. In ancient and traditional games, rules were preserved through oral traditions, passed verbally within communities to maintain cultural continuity, as in Indigenous hand games where generational storytelling enforced norms without written aids. By the 19th century, the rise of parlour games prompted codified rulebooks, standardizing procedures for domestic entertainment and enabling consistent play across diverse groups. Publications building on Edmond Hoyle's foundational treatises, which first systematically outlined card and board game protocols in the 18th century and were revised extensively thereafter, exemplified this transition, providing accessible written guides that democratized rule adherence.[25][26]Tools, Mechanics, and Components
Physical tools in games encompass a variety of objects designed to facilitate interaction and movement within gameplay, ranging from manufactured items to environmental features. Balls and bats, fundamental to bat-and-ball sports like baseball and cricket, trace their origins to medieval English games where rudimentary sticks and spheres were used for striking and fielding, evolving into standardized equipment by the 18th century to ensure fair play across regions.[27] Boards, such as those in chess, provide structured surfaces for piece placement; the modern Staunton chess set, introduced in 1849 by Jaques of London, standardized carved wooden pieces and boards with neoclassical motifs, becoming the global norm for competitive play and influencing board design in other strategy games.[28] Natural elements like terrain in the game of tag serve as dynamic tools, where playground features such as trees, hills, or open fields act as safe zones or obstacles, promoting physical agility and spatial awareness in this ancient chasing pursuit documented in folk traditions worldwide.[29] Digital mechanics represent the intangible systems powering electronic games, relying on computational processes to simulate interactions and environments. Algorithms form the core of these mechanics, processing player inputs and game states to generate outcomes, as seen in pathfinding routines that enable non-player character navigation in real-time strategy titles.[30] User interfaces, including joysticks, touchscreens, and heads-up displays, translate these algorithms into accessible actions, evolving from basic keyboard controls in early arcade games to adaptive layouts that minimize cognitive load during complex maneuvers.[31] Procedural generation, a key mechanic for creating varied content, uses algorithms to dynamically build levels and assets; this technique gained prominence in 1980s roguelike computer games like Rogue, where random dungeon layouts ensured replayability without manual design.[32] Components such as tokens, cards, and dice function as carriers of information, chance, or representation in both analog and hybrid games, embedding gameplay logic into physical or digital forms. Tokens, often abstract markers like wooden meeples or coins, denote player resources or positions on boards, originating in ancient race games where they symbolized progress along paths.[33] Cards convey strategic choices or narrative elements, with decks like playing cards emerging in 14th-century Europe as portable tools for trick-taking games, adaptable to diverse rulesets.[33] Dice introduce randomness, their polyhedral forms dating to Mesopotamian knucklebones around 3000 BCE, later refined into cubic ivory sets for fair probability in board games like backgammon.[33] Notably, tarot cards, developed in 15th-century Italy as a 78-card deck for the game tarocchi, served dual purposes in gameplay and early ritualistic contexts, blending suits with allegorical trumps to encode both chance and symbolism.[34] Accessibility adaptations modify tools, mechanics, and components to enable inclusive participation, particularly for players with disabilities. Braille dice, featuring raised dots on faces for tactile reading, allow independent rolling and outcome verification in games like Yahtzee. Simplified controls in digital games, such as one-button interfaces or voice commands, have been developed to support players with motor impairments, with early efforts including adaptations for arcade games in the 1970s.[35] These adaptations, including braille overlays on cards, ensure that core mechanics remain equitable without altering fundamental gameplay structures.[36]Role of Skill, Strategy, and Chance
Skill in games refers to the acquired proficiency that players develop through practice and experience, enabling them to recognize patterns, anticipate outcomes, and execute effective actions within the game's constraints. For instance, in the board game Go, skilled players excel at pattern recognition amid an estimated 2.08 × 10^{170} legal board positions, far exceeding the complexity of chess and demanding deep strategic intuition honed over years of study.[37] This learned expertise allows players to navigate vast decision spaces, turning raw ability into consistent performance advantages in deterministic games where outcomes depend solely on player choices. Strategy complements skill by involving deliberate planning and decision-making under the game's rules and opponent actions, often requiring foresight to optimize long-term results. A classic example is the minimax algorithm applied to tic-tac-toe, where players (or computational agents) evaluate all possible moves to select the one that maximizes their minimum guaranteed outcome, assuming optimal play from the opponent.[38] In multiplayer contexts, such strategies extend to coordinating alliances or predicting group dynamics, though they remain grounded in individual planning amid shared constraints. Chance introduces randomization as a core element, where outcomes incorporate probabilistic events beyond player control, such as the roll of a fair six-sided die yielding any specific face with probability 1/6.[39] Many games blend skill, strategy, and chance in hybrid forms; poker, for example, combines probabilistic card draws with strategic betting and bluffing based on incomplete information, where long-term success favors skilled players despite short-term variance from luck.[40] This interplay creates dynamic tension, influencing game design and player engagement. The psychological effects of balancing these elements are profound, particularly in fostering a "flow state," where players experience optimal immersion and enjoyment when challenges match their skill levels, as described by Mihaly Csikszentmihalyi in his 1975 analysis of autotelic activities like games.[41] In such states, the equilibrium between skill demands, strategic depth, and controlled chance elements minimizes anxiety and boredom, enhancing motivation and performance across various game types.Classifications and Frameworks
By Number of Players
Games are often classified by the number of participants, which influences the social dynamics, strategic depth, and interaction patterns involved. This categorization ranges from solitary experiences designed for individual engagement to group activities that foster collaboration or rivalry among multiple players. Such classifications highlight how player count shapes the core experience, from personal challenge to collective decision-making.[42] Single-player games emphasize self-directed challenges, where individuals compete against predefined rules, puzzles, or artificial opponents without real-time human interaction. These games promote introspection and personal skill development, often through puzzles or solitaire variants that require sequential problem-solving. A classic example is Peg Solitaire, a board game originating in France around 1697, where players jump pegs over one another to remove them until one remains, testing spatial reasoning and patience.[43] This format, popularized in the court of Louis XIV, exemplifies how single-player mechanics can provide enduring solitary entertainment.[43] Two-player games typically involve direct opposition between participants, creating balanced confrontations that rely on anticipation of an opponent's moves. These setups often feature symmetric rules to ensure fairness, with outcomes determined by strategy, bluffing, or simple comparison mechanics. The card game War, dating to at least the 19th century in Europe, illustrates this through its straightforward rules: players simultaneously reveal cards, and the higher rank wins the round, leading to escalating "battles" in ties.[44] Such games, widespread by the 1800s, serve as accessible introductions to competitive play, emphasizing chance alongside basic decision-making.[44] Multiplayer games, accommodating three or more players, expand into cooperative or competitive structures that amplify social elements. In cooperative variants, participants unite against shared objectives, such as mitigating global threats, which encourages communication and joint planning. The board game Pandemic, released in 2008 by designer Matt Leacock, exemplifies this with 2-4 players collaborating as disease specialists to cure four outbreaks before they overwhelm the world.[45] Conversely, competitive multiplayer games pit groups against each other, often in team-based formats where coordination within teams heightens rivalry. Team sports like association football (soccer), involving two teams of 11 players each, represent this archetype, with matches structured around territorial control and scoring to determine victory. Many modern games incorporate scalability to adapt to varying group sizes, allowing expansions to modify rules or components for additional players without altering the fundamental design. This trend, prominent in board games since the 2010s, enables flexibility for diverse playgroups; for instance, expansions for Agricola extend the base game's 1-4 players to 5, introducing new resources and roles to maintain balance.[46] Similarly, Everdell's Bellfaire expansion supports 5-6 players by adding event tiles and meeples, enhancing replayability across sessions.[47] These adaptations reflect evolving design priorities toward inclusivity in social gaming.[46]By Interaction and Competition
Games are often classified by the nature of player interactions and the level of competition involved, which shapes the relational dynamics among participants. This framework emphasizes how players relate to one another—through direct opposition, collaboration, mixed motives, or absence of rivalry—independent of player numbers, though larger groups can amplify these dynamics. Such classifications highlight the spectrum from adversarial conflicts to harmonious or solitary engagements, influencing game design and player experience.[48] Competitive games feature players in direct opposition, typically with zero-sum outcomes where one participant's success directly equates to others' failure, fostering rivalry and individual achievement. In these games, victory is positional, meaning resources or positions are finite, and players must outperform rivals to win. Racing games exemplify this, as participants vie for first place on a shared track, where the leader's gain in position inherently diminishes opportunities for trailing competitors; Formula 1 racing, for instance, structures outcomes around absolute rankings rather than shared rewards. This structure promotes strategic blocking, acceleration tactics, and risk assessment to secure dominance.[48][49] Cooperative games, in contrast, unite players toward a common objective, where success or failure is collective, eliminating individual winners and emphasizing teamwork and coordination. Players pool efforts against external challenges, such as environmental threats or puzzles, with shared victory conditions that reward synergy over personal gain. Escape room games illustrate this, requiring groups to solve interconnected riddles within a time limit to "escape," a format that gained widespread popularity in the 2010s following its spread from Asia to global markets around 2012. Titles like Pandemic further embody this by tasking players with collaborative disease eradication, where isolated actions undermine the group's survival.[48][50] Semi-cooperative games introduce tension through hybrid dynamics, where players generally collaborate but harbor individual or subgroup agendas that can lead to betrayal or divergent wins, blending alliance-building with suspicion. These often incorporate hidden roles or traitor mechanics, allowing some players to sabotage the collective for personal victory while maintaining a facade of cooperation. The game Werewolf (also known as Mafia), invented in 1986 by psychology student Dimitry Davidoff at Moscow State University as a social deduction experiment, exemplifies this with villagers and hidden werewolves voting to eliminate threats amid deception. Modern examples like Battlestar Galactica extend this by assigning secret Cylon infiltrators among human players, where collective survival hinges on detecting treachery.[48][51] Non-competitive games prioritize exploration, narrative immersion, or personal discovery without oppositional elements, allowing players to engage at their own pace free from win-lose pressures or rivalry. These lack scoring, timers, or direct conflicts, focusing instead on experiential journeys that encourage contemplation or environmental interaction. Walking simulators in video games represent this category, emerging prominently post-2013 with titles like Gone Home, where players navigate domestic spaces to uncover stories through unobstructed wandering and object examination, emphasizing emotional resonance over achievement. Such designs, often single-player by nature, foster introspective play without competitive stakes.[48][52]Theoretical Models and Analyses
Game theory provides a mathematical framework for analyzing strategic interactions among rational decision-makers, originally developed to model economic behavior but applicable to various competitive scenarios including games. In their seminal 1944 work, Theory of Games and Economic Behavior, John von Neumann and Oskar Morgenstern introduced the concept of games as structured conflicts where players select strategies to maximize their outcomes, represented through payoff matrices that quantify the results of strategy combinations.[53][54] A payoff matrix lists players' strategies and the corresponding rewards or penalties for each possible pairing; for instance, in the Prisoner's Dilemma—a classic two-player game illustrating tension between individual and collective rationality—each player simultaneously chooses to cooperate or defect, assuming symmetric players. The matrix yields payoffs of 3 units for mutual cooperation (both benefit moderately), 5 for one defecting while the other cooperates (defector gains most, cooperator loses), 0 for the cooperator when the other defects (sucker payoff), and 1 for mutual defection (both fare poorly).[55] This dilemma highlights how rational self-interest can lead to suboptimal group outcomes, as mutual defection is the dominant strategy despite mutual cooperation offering higher joint payoffs. The full payoff matrix, assuming symmetric players where row player chooses first (cooperate or defect) and column player second, is:| Cooperate | Defect | |
|---|---|---|
| Cooperate | (3, 3) | (0, 5) |
| Defect | (5, 0) | (1, 1) |
