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The potential of video games as storytelling media and the deep involvement that players feel when they are part of the story needs to be analysed vis-à-vis other narrative media. This book underscores the importance of video games as narratives and offers a framework for analysing the many-ended stories that often redefine real and virtual lives.

Traditionally, the idea of being a victim is associated with a crime, accident, trickery or being duped. With the advent of globalisation and rapid growth in the information technology sector, the world has opened itself to numerous vulnerabilities. These vulnerabilities range from individual-centric privacy issues to collective interests in the form of a nation's political and economic interests. While we have victims who can identify themselves as victims, there are also victims who can barely identify themselves as victims, and there are those who do not realise that they have become victims. Misinformation, disinformation, fake news and other methods of spreading questionable content can be regarded as a new and increasingly widespread type of collective victimisation. This paper, drawing on recent examples from India, examines and analyses the rationale and modus operandi—both methods and types—that lead us to regard questionable content as a new form of collective victimisation.

This first volume of the DIGAREC Series holds the proceedings of the conference "The Philosophy of Computer Games", held at the University of Potsdam from May 8-10, 2008. The contributions of the conference address three fields of computer game research that are philosophically relevant and, likewise, to which philosophical reflection is crucial. These are: ethics and politics, the action-space of games, and the magic circle. All three topics are interlinked and constitute the paradigmatic object of computer games: Whereas the first describes computer games on the outside, looking at the cultural effects of games as well as on moral practices acted out with them, the second describes computer games on the inside, i.e. how they are constituted as a medium. The latter finally discusses the way in which a border between these two realms, games and non-games, persists or is already transgressed in respect to a general performativity.