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This book starts with the proposition that digital media invite play and indeed need to be played by their everyday users. Play is probably one of the most visible and powerful ways to appropriate the digital world. The diverse, emerging practices of digital media appear to be essentially playful: Users are involved and active, produce form and content, spread, exchange and consume it, take risks, are conscious of their own goals and the possibilities of achieving them, are skilled and know how to acquire more skills. They share a perspective of can-do, a curiosity of what happens next? Play can be observed in social, economic, political, artistic, educational and criminal contexts and endeavours. It is employed as a (counter) strategy, for tacit or open resistance, as a method and productive practice, and something people do for fun. The book aims to define a particular contemporary attitude, a playful approach to media. It identifies some common ground and key principles in this novel terrain. Instead of looking at play and how it branches into different disciplines like business and education, the phenomenon of play in digital media is approached unconstrained by disciplinary boundaries. The contributions in this book provide a glimpse of a playful technological revolution that is a joyful celebration of possibilities that new media afford. This book is not a practical guide on how to hack a system or to pirate music, but provides critical insights into the unintended, artistic, fun, subversive, and sometimes dodgy applications of digital media. Contributions from Chris Crawford, Mathias Fuchs, Rilla Khaled, Sybille Lammes, Eva and Franco Mattes, Florian 'Floyd' Mueller, Michael Nitsche, Julian Oliver, and others cover and address topics such as reflective game design, identity and people's engagement in online media, conflicts and challenging opportunities for play, playing with cartographical interfaces, player-emergent production practices, the re-purposing of data, game creation as an educational approach, the ludification of society, the creation of meaning within and without play, the internalisation and subversion of roles through play, and the boundaries of play

Wir alle sind Computerspieler. Um diese neue Perspektive ergänzt das Buch herkömmliche Sichtweisen, die den Umgang mit dem Computer als Kommunikation, Simulation, »interactive narrative« oder »ubiquitous computing« beschreiben: Es argumentiert, dass die alltägliche Computernutzung in zunehmendem Maße Ähnlichkeit mit dem Spiel gewinnt. Das ist keine Folge einer propagierten Medien- und Spielgesellschaft, von Computerspielen oder einer neuen Version von »Windows«, sondern zeigt den spielerischen Charakter des interaktiven Umgangs mit dem Computer. Die Spielhaltung des »Users« wird diskutiert, an Beobachtungen gezeigt und in einen Zusammenhang mit den genannten Sichtweisen gestellt

This project investigates how players of digital games apply their own play with the intent to transmit political messages to other players. Acts of activism are collected from a sample of commercial multiplayer online games; three taxonomies are proposed of which one is used to present the findings, and popular patterns or structures of activism are identified. It is found that in-game activism often takes its cue from activism in everyday life, but that some original topics emerge, for example, the ownership of virtual worlds and practices of in-game political activism such as novel forms of rallies. Current political activism often appears to utilize generic and widely-shared game mechanics, rather than mechanics specific to individual games or genres. Games are therefore selected for their topics, availability, and costs, and popularity with the target audience ; This project investigates how players of digital games apply their own play with the intent to transmit political messages to other players. Acts of activism are collected from a sample of commercial multiplayer online games; three taxonomies are proposed of which one is used to present the findings, and popular patterns or structures of activism are identified. It is found that in-game activism often takes its cue from activism in everyday life, but that some original topics emerge, for example, the ownership of virtual worlds and practices of in-game political activism such as novel forms of rallies. Current political activism often appears to utilize generic and widely-shared game mechanics, rather than mechanics specific to individual games or genres. Games are therefore selected for their topics, availability, and costs, and popularity with the target audience

This article investigates how players of digital games apply their own play with the intent to transmit political messages to other players. Acts of activism are collected from a sample of commercial multiplayer online games; three taxonomies are proposed of which one is used to present the findings, and popular patterns or structures of activism are identified. It is found that in-game activism often takes its cue from activism in everyday life, but that some original topics emerge, for example, the ownership of virtual worlds and practices of in-game political activism such as novel forms of rallies. Current political activism often appears to utilize generic and widely-shared game mechanics, rather than mechanics specific to individual games or genres. Games are therefore selected for their topics, availability, and costs, and popularity with the target audience.

Vom Umgang mit Medien -- Spiel -- Narrative (story telling) -- Calm computing, Simulation und Kommunikation

When we created PoliShot, a political Dada game and interactive installation, we were confronted quite unexpectedly with the question of what is morally or ethically tolerable in digital games. When it was exhibited, it provoked shocked and concerned reactions from curators and visitors alike. The stumbling block was the use of violence, or more specifically, asking the players to act violently in the game. We take our experiences as an occasion to enquire into and discuss the contradictions of the actual and the virtual, of concept and content. We attempt to draw historical and contemporary parallels and reflect on how art production is not limited to the work, but includes the artists and the audience as essential players in a dynamic system of meanings, motives, and interpretations, full of (un)intended and (un)anticipated conflicts, provocations, breakdowns and shifts, creating exciting and challenging opportunities for play.