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METHOD:PUBLISH
BEGIN:VEVENT
UID:20081119T214701---72543a5b-1ecf-4b61-9579-ea1c4ed8786c@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: Juul: "Games are an interaction between 
 the algorithmic game rules and the human players who often enjoy themselve
 s.  Games are formal systems that provide informal experiences." (120)\n
D
 ate: 08/06/07\n
ID: 8310
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---730a9407-f3e8-4dc4-b127-d9446271761d@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Game / Narrative\n
Text: Juul: in games\, "[r]ules an
 d fiction compete for the player's attention ... [R]ules are designed to b
 e objective\, obligatory\, unambiguous\, and generally above discussion.  
 With fiction in games ... a strong part of the attraction ... is that it i
 s highly subjective\, optional\, ambiguous\, and generally evocative and s
 ubject to discussion.  Rules and fiction are attractive for opposite reaso
 ns."\n
Date: 08/07/07\n
ID: 8311
DTSTART;VALUE=DATE:20070807
DTEND;VALUE=DATE:20070807
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---31894b1c-9793-4977-ac19-3502c24bf07c@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Narrative / Information
PRIORITY:5
DESCRIPTION:Keywords: Narrative / Information\n
Text: Juul: "[A]ll fictiona
 l worlds are *incomplete.*  No fiction exists that completely specifies al
 l aspects of a fictional world."\n
\n
some of this information will be fil
 led in by a reader\, using what Marie-Laure Ryan calls the "principle of m
 inimal departure"\n
\n
Juul summarizes thusly: "[W]hen a piece of informat
 ion about [a] fictional world is not specified\, we fill in the blanks usi
 ng our understanding of the actual world."\n
Date: 08/07/07\n
ID: 8312
DTSTART;VALUE=DATE:20070807
DTEND;VALUE=DATE:20070807
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---751f6930-a50a-41ef-b0db-571512e8eca5@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Narrative\n
Text: Juul: "[M]any v
 ideo games present game worlds that are *incoherent worlds\,* where the ga
 me contradicts itself or prevents the player from imagining a complete fic
 tional world."\n
\n
or "games that project some kind of world\, but where 
 it is impossible or very difficult to imagine a complete world from the ga
 me ... because there are events in the game that cannot be explained witho
 ut referring to the game rules."\n
\n
For instance\, the "three lives" rul
 e in Donkey Kong (among other games)\, functions this way: "Mario is not r
 eincarnated (fiction)\; the player just has three Marios (rules)."\n
\n
"I
  think the best explanation for incoherent world games is that by *game co
 nventions\,* the player is aware that it is optional to imagine the fictio
 nal world of the game." (141)\n
\n
Also\, the failure of rules and fiction
  to seamlessly sync can have positive effects: "working as a way of playin
 g with the player's expectations\, as a way of creating parody\, and final
 ly as a way of foregrounding the game as a real-world activity." (163)\n
\
 n
This incoherence "does not mean that video games are dysfunctional provi
 ders of fiction\, but that they project fictional worlds in their own flic
 kering\, optional\, and provisional way."\n
Date: 08/07/07\n
ID: 8313
DTSTART;VALUE=DATE:20070807
DTEND;VALUE=DATE:20070807
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---693c692e-541b-44d4-a8c3-b6250b0a43ab@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Representation / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Game / Representation / Narrative\n
Text: David Parle
 tt (game scholar):\n
"[N]o hard and fast distinction can be drawn between 
 abstract and representational as a classification of games.  How represent
 ational a game is depends on the level at which it is being played and the
  extent of its player's imagination"\n
\n
Juul agrees\, but nevertheless m
 akes a list of five levels of representation in games (see next entry)\n
D
 ate: 08/07/07\n
ID: 8314
DTSTART;VALUE=DATE:20070807
DTEND;VALUE=DATE:20070807
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---6b628109-0f52-4235-b4b3-7ec0dc09b2d9@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Representation / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Game / Representation / Narrative\n
Text: Juul's list
  of five levels of representation in games\n
\n
1. Abstract games ("a game
  that does not in its entirety or in its individual pieces represent somet
 hing else")\n
2. Iconic games ("individual parts have iconic meaning: The 
 king of hearts in the standard deck of cards suggests a king")\n
3. Incohe
 rent world games ("a game with a fictional world but where ... some game e
 vents cannot be explained as part of the fictional world")\n
4. Coherent w
 orld games ("where nothing pervents us from imagining them in any detail")
 \n
5. Staged games ("a special case where an abstract or somewhat represen
 tational game is played in a more elaborate world")\n
Date: 08/07/07\n
ID:
  8315
DTSTART;VALUE=DATE:20070807
DTEND;VALUE=DATE:20070807
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---5adc0830-27f8-4fd9-ae95-040ea551d1c0@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Game / Narrative\n
Text: Juul: "any game can potentia
 lly be read as an allegory of something else"\n
\n
he mentions Janet Murra
 y's famous read of Tetris\, and is careful to qualify that "Murray's readi
 ng does not say that Tetris was *intended* as a comment on American lives 
 or that Tetris *is* a comment on American lives\, but only that it is *pos
 sible* to make this allegorical reading." (133)\n
Date: 08/07/07\n
ID: 831
 6
DTSTART;VALUE=DATE:20070807
DTEND;VALUE=DATE:20070807
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---d023b5a3-c650-4a9e-aeb2-950db543f837@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Game / Narrative\n
Text: Juul: "A game cues a player 
 into imagining a fictional world.  Games can do this in a number of differ
 ent ways: using graphics\, sound\, text\, cut-scenes\, the game title\, bo
 x\, or manual\, haptics\, and rules."\n
Date: 08/07/07\n
ID: 8317
DTSTART;VALUE=DATE:20070807
DTEND;VALUE=DATE:20070807
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---814ff1f6-ebd7-4280-b400-80b5cb91310d@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Narrative / Time
PRIORITY:5
DESCRIPTION:Keywords: Game / Narrative / Time\n
Text: Juul: "[A]ctions [in 
 non-abstract games] have a double meaning.  We move a piece around a board
 \, but this *also* means we are invading Scandanavia with our troops."\n
\
 n
"[T]he *actions* that we perform have the duality of being real events a
 nd being assigned another meaning in a fictional world.  Additionally\, si
 nce our actions take place in time\, that time shares the duality of being
  both real time *and* fictional world time."\n
Date: 08/07/07\n
ID: 8318
DTSTART;VALUE=DATE:20070807
DTEND;VALUE=DATE:20070807
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---586ef9cc-78ed-4193-990d-35157fd6f045@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Artifacts / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Artifacts / Narrative\n
Text: Juu
 l:\n
"the basic detective game model" is one where "artifacts in the game 
 world (fictional time) that tell the player what happened at a previous po
 int in fictional time."\n
\n
see the books in Myst (1993)\n
Date: 08/10/07
 \n
ID: 8346
DTSTART;VALUE=DATE:20070810
DTEND;VALUE=DATE:20070810
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---1defd167-641c-4c2f-b0d3-785071fb0e9c@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Time
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Time\n
Text: Juul points out that
  many videogames have "incoherent time" -- a fictional version of real-lif
 e time but which is not in sync with actual play time\n
\n
For instance: "
 an hour of fictional time lasts one minute in play time" in Grand Theft Au
 to III -- "sixty times faster than ... play time"\n
\n
However\, "most of 
 the events in the game appear nevertheless to proceed at real-time speeds.
   The cars [appear to] drive fairly fast\, but they are excruciatingly slo
 w in fictional time."\n
\n
"[T]his makes it impossible to decide how [much
 ] time [has] passed in the game world ... the fictional time of the game w
 orld is incoherent." \n
Date: 08/10/07\n
ID: 8347
DTSTART;VALUE=DATE:20070810
DTEND;VALUE=DATE:20070810
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---fef8d3dd-cb16-4dae-9099-9c0d5f389301@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Film / To Read
PRIORITY:5
DESCRIPTION:Keywords: Film / To Read\n
Text: Is it David Bordwell (of Film 
 Art blog) who pioneers the distinction between diegetic and nondiegetic ev
 ents in film?  See his 1985 "Narration In The Fiction Film"\n
\n
(at UIC -
 -  PN1995 .B6173 1985.  Checked out\, due 11-29-07)\n
Date: 08/10/07\n
ID:
  8349
DTSTART;VALUE=DATE:20070810
DTEND;VALUE=DATE:20070810
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---18882f21-545a-4ba9-af80-1f80b326ad53@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Narrative / Media / To Read
PRIORITY:5
DESCRIPTION:Keywords: Narrative / Media / To Read\n
Text: Henry Jenkins: "I
 ncreasingly\, we inhabit a world of transmedia story-telling\, one which d
 epends less on each individual work being self-sufficient than on each wor
 k contributing to a larger narrative economy."\n
\n
see his 'Game Design a
 s Narrative Architecture' in the First Person anthology\n
Date: 08/10/07\n
 
ID: 8350
DTSTART;VALUE=DATE:20070810
DTEND;VALUE=DATE:20070810
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---0945fb60-afb7-446f-a639-7e69e0efd276@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Narrative
PRIORITY:5
DESCRIPTION:Keywords: Narrative\n
Text: One way to think about narrative st
 ructure is to think about it as consisting of two parts:\n
\n
"Story\, den
 oting the events told\, in the order in which they were described as havin
 g occurred."\n
\n
and\n
\n
"Discourse\, denoting the telling of events\, i
 n the order in which they are told.  This is the narrative as a sequence o
 f signs\, be it words or shots in a movie."\n
\n
This is Jesper Juul summa
 rizing Seymour Chatman's theory from 1978's "Story and Discourse: Narrativ
 e Structure in Fiction and Film"\n
\n
Juul: "To read a novel or watch a mo
 vie largely consists of reconstructing a story on the basis of the discour
 se presented."\n
\n
I'm not sure I agree that this is\, in fact\, a fruitf
 ul way to think about narrative.  How widely is Chatman's theory accepted 
 as the governing one\, I wonder? \n
Date: 08/13/07\n
ID: 8351
DTSTART;VALUE=DATE:20070813
DTEND;VALUE=DATE:20070813
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---83cb9799-9403-445d-8fa0-fa02ba324c20@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Emotions
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Emotions\n
Text: Juul: "It is har
 d to create a tragic video game -- tragedies are about events beyond our c
 ontrol that are then transformed into something more meaningful through th
 e tragedy\, but games are mostly about having power and overcoming challen
 ges." (161)\n
\n
Similar to Will Wright's claim that the emotional centers
  of video games are "pride\, accomplishment\, and guilt."\n
\n
[Will Wrigh
 t\, SXSW 2007: "Pride and accomplishment\, guilt\, these things are felt i
 n games\, but are not felt in watching a movie. I once beat the hell out o
 f my creatures in Black & White\, I felt terribly guilty. I’ve never fel
 t guilty watching film."]\n
Date: 08/13/07\n
ID: 8352
DTSTART;VALUE=DATE:20070813
DTEND;VALUE=DATE:20070813
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---b471a3bf-e7ea-47ee-a55f-c2e82dfb6907@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Narrative\n
Text: Juul: "Game fic
 tion is ambiguous\, optional\, and imagined by the player in uncontrollabl
 e and unpredictable ways\, but the emphasis on fictional worlds may be the
  strongest innovation of the video game."\n
Date: 08/13/07\n
ID: 8353
DTSTART;VALUE=DATE:20070813
DTEND;VALUE=DATE:20070813
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---c7777ad4-b3d8-4241-8500-5571ef5b4257@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Narrative\n
Text: Juul on level d
 esign:\n
\n
"The level design of a game world can present a fictional worl
 d *and* determine what players can and cannot do at the same time.  In thi
 s way\, space in games can work as a combination of rules and fiction."\n

 \n
For instance\, in "Battlefield 1942" (2002)\, gameplay takes place on a
 n island: "The shape of the island determines ... what strategies will wor
 k for either side on this map [but also] prompts the player into imagining
  an island in the Pacific.  As such\, level design\, space\, and the shape
  of game objects refer simultaneously to rules and fiction.  This is a cas
 e in which rules and fiction *do* overlap."\n
Date: 08/13/07\n
ID: 8354
DTSTART;VALUE=DATE:20070813
DTEND;VALUE=DATE:20070813
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---240ca7a1-1753-40b7-9ea7-9745a37b1591@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Play / Simulation
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Play / Simulation\n
Text: Juul ta
 kes the so-called "magic circle" concept and incorporates it into the more
  normalized concept of "game space\," a subset of "the space of the world"
 \n
\n
one of the things that is interesting about (some) videogames is tha
 t they retain this model via simulation: although technically the "magic c
 ircle" should be equivalent to the screen\, in many games "[a] fictional w
 orld is projected and a game is played in a part of that fictional world."
 \n
\n
A game like FIFA 2002 "itself projects a fictional world quite simil
 ar to the real world ... inside which a game space is delineated by a magi
 c circle and a soccer game is played"\n
Date: 08/13/07\n
ID: 8358
DTSTART;VALUE=DATE:20070813
DTEND;VALUE=DATE:20070813
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---30d59055-15be-4d69-845c-fdd1528e5369@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames\n
Text: "invisible walls" in videog
 ames are places where the game space ends without giving a [fictional] clu
 e that the "world" is going to be ending\n
\n
see the distinction between 
 two Miyamoto games: Super Mario 64 and Super Mario Sunshine (165-66)\n
\n

 Juul: "It is a hallmark of a coherent world game that the bounds of the ga
 me space are reasonably motivated by the fictional world"\n
Date: 08/13/07
 \n
ID: 8359
DTSTART;VALUE=DATE:20070813
DTEND;VALUE=DATE:20070813
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---270e0ada-abfe-44ac-9c7b-36ebfc296744@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames\n
Text: Juul: "[G]ames are often *s
 tylized simulations*\; developed not just for fidelity to their source dom
 ain\, but for aesthetic purposes.  These are *adaptations* of elements of 
 the real world."\n
\n
"Only selected aspects of our assumptions about [a] 
 fictional world are implemented in [a] game ... the car [in Grand Theft Au
 to III] never runs out of gas"\n
\n
Juul compares this against the styliza
 tion in comics\, as theorized by Scott McCloud (170)\n
Date: 08/13/07\n
ID
 : 8360
DTSTART;VALUE=DATE:20070813
DTEND;VALUE=DATE:20070813
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---010cfffc-6281-4bb2-9e20-6a92398cdcd1@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Concept / Education
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Concept / Education\n
Text: Juul 
 discusses the "difficulty metaphors" seen in many videogames -- in a tenni
 s game like Top Spin (2004) you can do a perfect serve by pressing a butto
 n and releasing it at a precise time.  The action bears no real resemblanc
 e to a serve\, but the connection "seems to be that both tasks are *diffic
 ult*: instead of performing a serve by mimicking the actual tennis activit
 y\, the serve has been replaced by another difficult task." (172-3)\n
\n
s
 ee also something like "The Typing of the Dead"\n
\n
I wonder if the Wii w
 ill put a dent in the prevalence of "difficulty metaphors" as a game stand
 by\n
\n
\n
Date: 08/13/07\n
ID: 8361
DTSTART;VALUE=DATE:20070813
DTEND;VALUE=DATE:20070813
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---3eaf5c27-9233-4e82-8ee5-04a609e088f3@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Narrative / Genre
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Narrative / Genre\n
Text: Juul: "
 Even though fiction and rules are formally separable\, the player's experi
 ence of the game is shaped by both.  The fictional world of a game can cue
  the player into making assumptions about the game rules [and\, conversely
 ] the rules of the game [projects] the fictional world.  The way a given o
 bject or character behaves will characterize it *as a fictional object*\; 
 the rules that the player deducts from the fiction and from the experience
  of the playing of the game will also cue him or her into imagining a fict
 ional world."\n
\n
Not always true: "the rules [of a game can] allow for a
 ctions that the fictional wor[l]d does not cue the player into expecting."
   For instance the first-person-shooter "crate" thing\, comprehenisble onl
 y to "the trained player knowing the conventions of the game genre" (179)\
 n
Date: 08/14/07\n
ID: 8365
DTSTART;VALUE=DATE:20070814
DTEND;VALUE=DATE:20070814
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---7880c54c-2bb2-4314-a966-b31da1f830a1@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Narrative\n
Text: Juul: "It is a 
 mixing of fictional levels when an object in the fictional world knows abo
 ut things in the real world and knows [for instance] that it is part of a 
 GameCube game."\n
\n
Although this may be an example of a clash that has a
  positive effect: "When an in-game character talks about how to use the co
 ntroller\, it rhetorically befriends us\, not just as in-game characters\,
  but also as real-world players.  The breakdown of fictional levels is a p
 ositive emotional experience."\n
Date: 08/14/07\n
ID: 8366
DTSTART;VALUE=DATE:20070814
DTEND;VALUE=DATE:20070814
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---95db2120-c0c2-46ef-8e1d-f6f881fbf912@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Environments / Play
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Environments / Play\n
Text: some 
 people describe video game play as a process of immersion -- perhaps think
 ing of virtual reality\, or the systems outlined in Janet Murray's Hamlet 
 on the Holodeck\n
\n
Juul describes this as "misleading" -- "[A] player ma
 y be completely absorbed by [a] game *as a real-world activity\,* and the 
 player may for the duration of the game or in isolated parts of the game a
 lso strongly *imagine* the fictional game world [but] [f]ocusing exclusive
 ly on coherent worlds and well formed storytelling is a misunderstanding o
 f what games are about." (190)\n
\n
Salen and Zimmerman refer to the "exag
 gerated focus on immersion" as the "immersive fallacy" (see Rules of Play 
 466-471)\n
Date: 08/14/07\n
ID: 8373
DTSTART;VALUE=DATE:20070814
DTEND;VALUE=DATE:20070814
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---c7a7c935-e54e-40df-949b-188f442725bf@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Play / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Game / Play / Narrative\n
Text: Juul: "The classic ga
 me model describes games on three levels: the game itself\, the player's r
 elation to the game\, and the relation between playing and the rest of the
  world."\n
\n
the game itself includes "the rules of the game\, the state 
 machine\, and the game tree" -- in the "fictional" dimension it includes t
 he "signs that project a fictional world"\n
\n
the "player and the game" c
 overs "gameplay\, learning\, and the player repertoire" -- in the "fiction
 al" dimension it includes "the way the player actually imagines the fictio
 nal world"\n
\n
"the world" covers -- "rule negotiations\, repertoire of s
 kills the player brings\, social interaction\, winning and losing\, conseq
 uence negotiations" -- in the "fictional" dimension it includes "film conv
 entions\, game conventions\, world knowledge\, [and] interpretation conven
 tions"\n
\n
Pretty comprehensive!  I think the individual conventions\, ru
 les\, and signs here might be roughly what Ian Bogost is referring to as "
 unit operations"\n
Date: 08/14/07\n
ID: 8374
DTSTART;VALUE=DATE:20070814
DTEND;VALUE=DATE:20070814
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---122b36dc-9113-4db2-b021-6f12d4748339@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames\n
Text: Juul: the "optional" qualit
 y of game narrative perhaps "places games on par with songs\, opera\, and 
 ballet--cultural forms that can project fiction but can also be enjoyed ev
 en when one does not imagine the worlds that they project." (200)\n
Date: 
 08/14/07\n
ID: 8383
DTSTART;VALUE=DATE:20070814
DTEND;VALUE=DATE:20070814
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---08e4cccd-80a6-40e0-86f4-7e8141d878ee@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Narrative / To Read
PRIORITY:5
DESCRIPTION:Keywords: Narrative / To Read\n
Text: Thomas Pavel\, Fictional 
 Worlds\n
\n
(not in UIC Library)\n
Date: 08/14/07\n
ID: 8384
DTSTART;VALUE=DATE:20070814
DTEND;VALUE=DATE:20070814
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---e6f40d80-864e-40ab-81b7-2cc5196ba8a2@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / To Read
PRIORITY:5
DESCRIPTION:Keywords: Game / To Read\n
Text: Celia Pearce\, "Towards a Game
  Theory of Game" (in the First Person anthology)\n
Date: 08/14/07\n
ID: 83
 85
DTSTART;VALUE=DATE:20070814
DTEND;VALUE=DATE:20070814
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---1d5507d9-a65f-44fa-9221-b9b9e29dc548@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Narrative / Game
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Narrative / Game\n
Text: "In havi
 ng fictional worlds\, video games deviate from traditional non-electronic 
 games that are mostly abstract\, and this is part of the newness of video 
 games."\n
--Jesper Juul\n
Date: 07/06/07\n
ID: 8171
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---6b746689-0c33-4e21-9536-fb81417d7b22@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Game
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Game\n
Text: "[T]he question is n
 ot whether video games are old or new\, but how video games are games\, ho
 w they borrow from non-electronic games\, and how they depart from traditi
 onal game forms." --Jesper Juul\, 4\n
Date: 07/06/07\n
ID: 8172
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---0b7ca7d4-ed4a-443c-ae30-be8a5c05056b@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Media: Videogames / Computers
PRIORITY:5
DESCRIPTION:Keywords: Game / Media: Videogames / Computers\n
Text: "There a
 ppears to be a basic affinity between games and computers: Like the printi
 ng press and cinema historically promoted and enabled new kinds of storyte
 lling\, computers works as enablers of games\, letting us play old games i
 n new ways\, and allowing for new types of games that would previously not
  have been possible."\n
--Jesper Juul\, 5\n
Date: 07/06/07\n
ID: 8173
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---3e7cc2f9-f17a-4bf8-90c7-9578bc401809@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: "It is a basic paradox of games that whi
 le the rules themselves are generally definite\, unambiguous\, and easy to
  use\, the enjoyment of a game depends on these easy-to-use rules presenti
 ng challenges that *cannot* be easily overcome."\n
--Jesper Juul\, 5\n
Dat
 e: 07/06/07\n
ID: 8174
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---550c7745-84df-4c08-ab0a-d77bb556ad2c@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Systems
PRIORITY:5
DESCRIPTION:Keywords: Game / Systems\n
Text: "Emergence is the primordial g
 ame structure\, where a game is specified as a small number of rules that 
 combine and yield large numbers of game variations for which the players m
 ust design strategies to handle.  This is found in card and board games\, 
 in sports\, and in most action and all strategy games."\n
\n
compare again
 st "progression\," a "historically newer structure" in which "the player h
 as to perform a predefined set of actions in order to complete the game."\
 n
\n
Juul\, 5\n
Date: 07/06/07\n
ID: 8175
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---cc03685e-7ae9-4ac9-bb49-e66727acef9f@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: Juul's model for what constitutes a game
 :\n
\n
1. a rule-based formal system\n
2. with variable and quantifiable o
 utcomes\;\n
3. where different outcomes are assigned different values\;\n

 4. where the player exerts effort in order to influence the outcome\;\n
5.
  the player feels emotionally attached to the outcome\;\n
6. and the conse
 quences of the activity are optional and negotiable.  [Hmm on this last on
 e]\n
\n
Juul\, 7\n
Date: 07/06/07\n
ID: 8176
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---3ed78773-d115-4aac-b9e9-85ba6de349a8@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Media / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Game / Media / Narrative\n
Text: Jesper Juul's game m
 odel (see previous entry) "does not tie games to any specific medium\, and
  games are therefore *transmedial* in the same way that storytelling is tr
 ansmedial."\n
\n
Juul\, 7\n
Date: 07/06/07\n
ID: 8177
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---27ca8c88-09f5-47c9-95c3-f9fb43d6aaf9@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: Linda Hughes\, on girls playing Foursqua
 re:\n
\n
"Game rules can be interpreted and reinterpreted toward preferred
  meanings and purposes\, selectively invoked or ignored\, challenged or de
 fended\, changed or enforced to suit the collective goals of different gro
 ups of players.  In short\, players can take the same game and collectivel
 y make of it strikingly different experiences."\n
\n
Thus "children's game
 s cannot be meaningfully described only as the rules that make them up" \n
 
Juul\, 11\n
Date: 07/06/07\n
ID: 8178
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---65f8e6aa-4dd7-4781-b3c3-2ff2d6d7acb6@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Narrative / To Read
PRIORITY:5
DESCRIPTION:Keywords: Game / Narrative / To Read\n
Text: key texts in the n
 arratology vs. ludology debate (cited by Juul)\n
\n
Murray 1997\; Frasca 1
 999\; Juul 1999\; Eskelinen 2001b\; King and Krzywinska 2002b\; Atkins 200
 3\; Aarseth 2004a\; Jenkins 2004\n
\n
aka\n
\n
Murray\, Janet: Hamlet on t
 he Holodeck (1997)\n
Frasca\, Gonzalo: "Ludology Meets Narratology: Simili
 tude and Differences Between (Video) Games and Narrative" (available onlin
 e)\n
Eskelinen\, Markku: "Towards Computer Game Studies\, Part 1: Narratol
 ogy and Ludology" (available online as PDF)\n
King\, Geoff and Krzywinska\
 , Tanya: "Computer Games/Cinema/Interfaces" in Computer Game and Digital C
 ultures Conference Proceedings (2002)\n
Atkins\, Barry: More than a Game: 
 The Computer Game as Fictional Form (2003)\n
Aarseth\, Espen: "Genre Troub
 le: Narrativism and the Art of Simulation" in First Person (2004)\n
Jenkin
 s\, Henry: "Game Design as Narrative Architecture" in First Person (2004)\
 n
Date: 07/06/07\n
ID: 8182
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---60a82af9-3d53-4bb7-89d5-1d371f156a7c@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: "ludology" is a word first coined by Csi
 kszentmihalyi in 1982 (although popularized by Gonzalo Frasca\, starting 1
 999)\n
Date: 07/06/07\n
ID: 8183
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---4cd797aa-f04b-41f1-8d84-25880c9d707c@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / To Read
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / To Read\n
Text: Rune Klevjer's "I
 n Defense of Cutscenes"\n
in which Klevjer defends cut-scenes as providing
  "a unifying logic for the game and rewards for the player's actions" (Juu
 l's paraphrase)\n
\n
article appears in Computer Game and Digital Culture 
 Proceedings (2002)\n
\n
Juul\, 16 \n
Date: 07/06/07\n
ID: 8184
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---5abcfad6-4cfe-4fca-bbef-0757e99708b4@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Narrative / To Read
PRIORITY:5
DESCRIPTION:Keywords: Game / Narrative / To Read\n
Text: Wibroe\, Mads\, K.
  K. Nygard\, and Peter Bogh Andersen: "Games and Stories"\n
\n
appears in 
 Virtual Interaction (2001)\, Lars Qvortrup\, ed.\n
\n
cited by Juul as "a 
 nuanced discussion of game/story relations"\n
Date: 07/06/07\n
ID: 8185
DTSTART;VALUE=DATE:20070706
DTEND;VALUE=DATE:20070706
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---1184ab47-c7a1-47e3-90cf-d5058c814029@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Narrative\n
Text: "quests" as a c
 oncept\n
\n
a quest in a videogame provides "an interesting bridge between
  game rules and game fiction in that the game can contain a predefined seq
 uence of events that the player then has to actualize or enact"\n
\n
Juul 
 17\n
Date: 07/13/07\n
ID: 8187
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---6444783c-9e5d-4366-895f-5f69f5dd39bc@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Narrative / Media / Media: Videogames
PRIORITY:5
DESCRIPTION:Keywords: Narrative / Media / Media: Videogames\n
Text: Henry J
 enkins "sees video games as part of a bigger complex of * transmedia story
 telling \,* where content can move between different media"\n
\n
"Realisti
 cally\, video games are to some degree part of a general * storytelling ec
 ology \,* incorporating at least some elements of popular stories"\n
\n
se
 e also Seymour Chatman\, who claims that "The transposability of the story
  is the strongest reason for arguing that narratives are indeed structures
  independent of any meaning."\n
Date: 07/13/07\n
ID: 8188
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---d91274b0-7b30-4c5e-80a9-7c1cf7bdf96e@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: "Games provide context for actions: movi
 ng an avatar is much more meaningful in a game environment than in an empt
 y space: throwing a ball has more meaningful implications on the playing f
 ield than off the playing field\; a rush attack is only possible if there 
 are rules specifying how attacks work\; winning the game requires that the
  winning condition has been specified\; without rules in chess\, there are
  no checkmates\, end games\, or Sicilian openings." Juul 18-9\n
\n
Perhaps
  one more reason why games are not reducible to rules alone?  Because the 
 context derives not only from the rules but from non-rule trappings?\n
Dat
 e: 07/13/07\n
ID: 8189
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---63edfc2d-b7a8-4ae4-aeec-d3c6ea82e6fa@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: Sid Meier: "A game is a series of intere
 sting choices."\n
\n
Juul expands: "high-quality games are the ones whose 
 choices provide high-quality mental challenges for players"\n
Date: 07/13/
 07\n
ID: 8190
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---a5db209f-7b01-40e4-a8a5-4324f86fb949@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: Juul's notion that a game contains "goal
 s and conflict" is prefigured by Bernhard Suits (1978)\, who writes that a
  game is "directed towards bringing about a specific state of affairs"\n
\
 n
and also in Chris Crawford's / Katie Salen and Eric Zimmerman's "conflic
 t"\n
\n
Juul: "a conflict presupposes mutually contradicting goals between
  two entities or\, in a broader sense\, between a player and the difficult
 y of reaching a goal ... [A] game without a goal is a borderline case"\n
D
 ate: 07/13/07\n
ID: 8191
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---c7500896-f513-4f68-ac5f-882012bbfadf@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Media: Videogames
PRIORITY:5
DESCRIPTION:Keywords: Game / Media: Videogames\n
Text: Bernard Suits' state
 ment that game rules "prohibit more efficient in favor of less efficient m
 eans" "completely breaks down in the case of video games ... If we look at
  *any* video game\, how can we say that the player is using less efficient
  means?  Would this be compared to making the game yourself?  Hacking the 
 game?  Using a cheat code?"\n
\n
Additionally\, simulation games are gener
 ally "much easier to master than their real-life counterparts are" (in the
  case of soccer and tennis)\n
\n
Juul\, 34\n
Date: 07/13/07\n
ID: 8192
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---cdc566f9-3dd9-487a-960a-379f288fdbea@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Media: Videogames
PRIORITY:5
DESCRIPTION:Keywords: Game / Media: Videogames\n
Text: Will Wright claims t
 hat The Sims and SimCity are "not games but toys" (because they have no ex
 plicit goals)\n
Date: 07/13/07\n
ID: 8193
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---f95d8564-eedd-4551-b9e7-69068666d84c@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: Juul: "In Roger Caillois's definition\, 
 games are *separate* in time and space from the rest of the world and *unp
 roductive.*  It is fairly easy to find examples of games that transgress t
 he first aspect ... [T]he time span of [a chess-by-mail game] overlaps a n
 on-game part of life and ... it is possible to consider the moves one want
 s to play while going about one's daily business.  Likewise\, many Interne
 t-based strategy games stretch over months or even years."\n
\n
the claim 
 for their unproductive nature is tricky\, too\, when considering the quest
 ion of gambling ("[N]ote that it is possible to bet on the outcome of any 
 game\," writes Juul)\n
\n
\n
Date: 07/13/07\n
ID: 8194
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---b7ae3c41-7340-4ff3-844b-f686afd628da@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game: ARG / Game: LARP
PRIORITY:5
DESCRIPTION:Keywords: Game: ARG / Game: LARP\n
Text: Juul notes that Roger 
 Caillois' concepts of games being "separate" in time and space from the re
 st of the world is especially problematic in the question of live-action r
 ole-playing games\, because "the games may be played in spaces also used f
 or 'normal life.'  In these cases\, specific descriptions have to be made 
 as to what interactions are allowed between non-playing people and players
 ."\n
\n
also true-- possibly even more true --in ARG / alternate reality g
 ames -- see Jane McGonigal's concept of "dark play" \n
Date: 07/13/07\n
ID
 : 8195
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---014bb260-130b-4e80-9642-4b71f974cd07@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: continuing to critique Caillois (see oth
 er notes)\, this time on the notion of the voluntary / involuntary aspect 
 of games\, Jesper Juul suggests that because "all games are potential targ
 ets for betting and professional playing ... games [should be] characteriz
 ed as activities with *negotiable consequences*"\n
\n
"That games carry a 
 degree of separation from the rest of the world is entailed in their conse
 quences being negotiable."\n
\n
This is what separates games from other ru
 le-guided activities like "traffic" and "war"\n
Date: 07/13/07\n
ID: 8202
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---e969e1d4-ac17-4be1-b41c-9c43cecc5188@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Play / Concept
PRIORITY:5
DESCRIPTION:Keywords: Game / Play / Concept\n
Text: "[G]ame activity ... re
 quires that the players *respect* the rules.  Bernard Suits has described 
 this as *lusory attitude* -- the player accepts the rules because they mak
 e the game activity possible." (Juul\, 38)\n
Date: 07/13/07\n
ID: 8203
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---0e926c68-99da-4b54-86a5-e572ee67734b@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Concept
PRIORITY:5
DESCRIPTION:Keywords: Game / Concept\n
Text: Juul's conception that games h
 ave a "variable\, quantifiable outcome" helps to explain the reason why pl
 ayers may "feign ineptitude" when playing against more novice players -- p
 art of their desire when playing is to "ensure suspense about the outcome 
 of the game"\n
\n
Juul calls this "player-organized criticality" (39)\n
Da
 te: 07/13/07\n
ID: 8204
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---70ca21d2-f7d5-4f93-b2fd-5b4ecdac8b0e@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: when Juul writes that games need to have
  a "quantifiable outcome\," he means that "the outcome of a game is design
 ed to be beyond discussion  ... the goal of Pac-Man (Namco 1980) is to get
  a high score\, rather than to 'move in a pretty way'"\n
\n
note that this
  quantifiable outcome can sometimes be flexible [?].  See notes on "player
 -organized criticality"\n
Date: 07/13/07\n
ID: 8205
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---759243ee-41a7-4bfd-8d8c-3849f91b22c2@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: More on "negotiable outcome"\n
\n
"Elect
 ions are not games since the consequences of the outcome are defined and n
 ot subject to negotiation\, but the rules governing the execution of the e
 lection are potentially usable for game purposes."\n
\n
(Juul 42)\n
Date: 
 07/13/07\n
ID: 8206
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---bed41ac9-f5e1-4700-b8bf-e0aaea049ea1@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: More on the question of professional ath
 letes (who Roger Caillois says are working\, rather than playing)\n
\n
due
  to Juul's "negotiable outcomes" clause\, we can say that "even profession
 al players are *playing* a *game\,* but that in this specific *game sessio
 n\,* the consequences have been determined to be financial and career-dete
 rmining."\n
Date: 07/13/07\n
ID: 8207
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---49cc0cb4-77d1-4d81-80d4-3baa9daa1c20@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: "It is possible to take anything with ru
 les\, variable outcomes\, player effort\, and negotiable consequences and 
 turn it into a game simply by assigning value to the outcomes between play
 ers.  For example\, two people walking down the street can decide to turn 
 it into a race by describing it as *better* to reach the destination first
 ."  (Juul\, 45)\n
Date: 07/13/07\n
ID: 8208
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---be58ba26-b2a8-405a-9523-49f8c6779953@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: Juul : "Most of the things described as 
 games are sufficiently well defined that they can be played again.  This i
 ndicates that there is a loose idea that games are repeatable." (45)\n
Dat
 e: 07/13/07\n
ID: 8209
DTSTART;VALUE=DATE:20070713
DTEND;VALUE=DATE:20070713
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---e1fd3efa-c002-4cd3-9985-a75515a4faf1@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Concept
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Concept\n
Text: Juul distinguishe
 s between "implementations" and "adaptations"--\n
\n
"Card games on comput
 ers should be considered *implementations* since it is possible to unambig
 uously map one-to-one correspondences between all the possible game states
  in the computer version and in the physical card game.  Sports games on c
 omputers are better described as *adaptations\,* since much detail is lost
  in the physics model of the computer program because it is a simplificati
 on of the real world and in the interface because the video game player's 
 body is *not* part of the game state." Juul\, 49\n
Date: 07/15/07\n
ID: 82
 12
DTSTART;VALUE=DATE:20070715
DTEND;VALUE=DATE:20070715
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---ce3f72c2-f93d-4c8d-befe-8759006f7667@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Computers / Media: Videogames
PRIORITY:5
DESCRIPTION:Keywords: Game / Computers / Media: Videogames\n
Text: "[V]ideo
  games are just as rule-based as other games\, [but] they modify the class
 ic game model in that it is now the *computer* that upholds the rules.  Th
 is gives video games much flexibility\, allowing for rules more complex th
 an humans can handle\; freeing the player(s) from having to enforce the ru
 les\; and allowing for games where the player does not know the rules from
  the outset."\n
Date: 07/15/07\n
ID: 8213
DTSTART;VALUE=DATE:20070715
DTEND;VALUE=DATE:20070715
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---5f537559-5b26-40e1-aee8-10770ba97c5f@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: Juul (52): "[G]ames that are formally eq
 uivalent can be experienced completely differently."  (see his Tic-Tac-Toe
  / magic square example-- although one could argue that these games are no
 t truly formally equivalent since their rule-sets are fundamentally differ
 ent).   The argument about context\, noted elsewhere\, is perhaps a more f
 orceful proof of this claim\n
\n
\n
Date: 07/15/07\n
ID: 8214
DTSTART;VALUE=DATE:20070715
DTEND;VALUE=DATE:20070715
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---37a8143b-c7f9-4142-bcb5-cf8a27d08505@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Pleasure
PRIORITY:5
DESCRIPTION:Keywords: Game / Pleasure\n
Text: Juul: "something not challeng
 ing can still be a positive experience—executing a plan\; hitting the be
 at\; performing the final kill\; doing a routine to perfection." (113) \n

 Date: 01/05/08\n
ID: 54592
DTSTART;VALUE=DATE:20080105
DTEND;VALUE=DATE:20080105
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---7f279cd7-f782-4c49-8e8e-f4800c91894e@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Art: Algorithmic Art
PRIORITY:5
DESCRIPTION:Keywords: Game / Art: Algorithmic Art\n
Text: Juul: "[R]ules of
  [a] game constitute a *state machine*\, a 'machine' that responds to play
 er action ... The state machine of the game can be visualized as a landsca
 pe of possibilities or a branching *game tree* of possibilities ... To pla
 y a game is to interact with the state machine and explore the game tree."
 \n
(56) \n
\n
Also\, 60:\n
"A game is a machine that can be in different s
 tates\, it contains input and output functions and definitions of what sta
 te and what input will lead to the following state ... In a board game\, t
 his state is stored in the position of pieces on the board\; in sports\, t
 he game state is the score and the players\; in computer-based games\, the
  state is stored in memory and then represented on screen."\n
Date: 08/04/
 07\n
ID: 8270
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---8e21278b-5768-44c4-966d-8f5edf90ccbe@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Education
PRIORITY:5
DESCRIPTION:Keywords: Game / Education\n
Text: Juul:\n
"Games are learning 
 experiences\, where the player improves his or her skills at playing the g
 ame.  At any given point\, the player will have a specific *repetoire* of 
 skills and methods for overcoming the challenges of the game.  Part of the
  attraction of a good game is that it continually challenges and makes new
  demands on the player's repetoire."\n
Date: 08/04/07\n
ID: 8271
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---a63e8116-022c-460d-b723-75774c0e648f@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Instructions
PRIORITY:5
DESCRIPTION:Keywords: Game / Instructions\n
Text: Jesper Juul makes a subtl
 e distinction regarding game rules\, distinguishing between "Rules limit p
 layer action" (as in Salen and Zimmerman) and rules setting up potential a
 ctions:\n
\n
"actions that are meaningful inside the game but meaningless 
 outside"\n
\n
"Rules specify [both] *limitations* and *affordances*."\n
Da
 te: 08/04/07\n
ID: 8272
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---9f797b24-36be-4686-9150-c63a16696940@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Sport / Game: ARG
PRIORITY:5
DESCRIPTION:Keywords: Game / Sport / Game: ARG\n
Text: Juul: "The main diff
 erence between the rules of a video game and the rules of a sport is that 
 sports use the preexisting systems of the physical world in the game."\n
\
 n
Interesting.  Isn't the same also true of ARGs?\n
Date: 08/04/07\n
ID: 8
 273
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---97a6dc03-038e-4884-ad57-3243752bdc55@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Information
PRIORITY:5
DESCRIPTION:Keywords: Game / Information\n
Text: Juul:\n
"Game theory ... d
 istinguishes between games of *perfect information* and games of *imperfec
 t information*: In the former case\, all players have complete knowledge o
 f the game state at any given moment.  In the latter case\, players have o
 nly partial knowledge of the game state."\n
(59)\n
Date: 08/04/07\n
ID: 82
 74
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---19b7dcb2-2788-4d55-b22c-dfcf0753dfd6@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: In Counter-Strike\, there is an unsports
 manlike strategy known as "camping" -- staying hidden for most of the game
  simply to snipe unsuspecting players\n
\n
camping is not explicitly prohi
 bited by the game rules\, but Juul categorizes the agreement among players
  not to camp as a kind of non-explicit rule \n
\n
it reminds me of the dis
 dain towards "cheese decks" in Magic: The Gathering\n
Date: 08/04/07\n
ID:
  8275
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---2b365616-0310-4e43-b74f-caed486fe796@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Systems / Generative Art
PRIORITY:5
DESCRIPTION:Keywords: Game / Systems / Generative Art\n
Text: Salen and Zim
 merman: "Every game [of Pong] is unique.  Because the ball can travel anyw
 here on the screen\, Pong is an open-ended game with endless possibilities
 .  Pong rewards dedicated play: it is easy to learn\, but difficult to mas
 ter."\n
\n
Juul: "Pong has very few rules\, yet it provides the players wi
 th a large possibility space."\n
\n
what Juul calls an "emergent game" or 
 a "game of emergence"\n
Date: 08/04/07\n
ID: 8276
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---925d167c-4c6d-404f-9ac5-25372e908508@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Systems / Computers
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Systems / Computers\n
Text: Juul 
 paraphrases Chris Crawford:\n
\n
"Crawford argues that since the computer 
 is a data-processing device\, a game should take advantage of the computer
 's strengths by emphasizing processing over data storage." (71)\n
Date: 08
 /04/07\n
ID: 8277
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---455de13b-fc68-401e-87a9-2eef6e01ec3b@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Systems / Narrative
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Systems / Narrative\n
Text: In Ju
 ul's distinction between emergent games and progression games\, he writes:
  \n
"The progression structure yields strong control to the game designer:
  Since the designer controls the sequence of events\, this is also where w
 e find the games with cinematic or storytelling ambitions."\n
Date: 08/04/
 07\n
ID: 8278
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---9058a56d-e422-435f-991c-2ada567e1ff4@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Pleasure
PRIORITY:5
DESCRIPTION:Keywords: Game / Pleasure\n
Text: Juul refers to a piece by Dav
 id Myers \n
"Time\, Symbol Transformations\, and Computer Games" (from 199
 2 -- early)\n
that discusses repetitive tasks in games that are not boring
 .  Useful\n
Date: 01/05/08\n
ID: 54611
DTSTART;VALUE=DATE:20080105
DTEND;VALUE=DATE:20080105
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---b7f76897-4e85-4786-bd9c-1a6189fb3ca0@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Systems
PRIORITY:5
DESCRIPTION:Keywords: Game / Systems\n
Text: Juul:\n
"Games of emergence ex
 hibit a *basic asymmetry* between the relative simplicity of the game rule
 s and the relative complexity of the actual playing of the game."\n
\n
See
  other entry\, on Pong\n
Date: 08/04/07\n
ID: 8279
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---66c90d3a-93a4-4268-bf06-020cc3ee82e7@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Systems
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Systems\n
Text: Another way emerg
 ence shows up in videogames is in "emergent gameplay\," where creative pla
 yers play a game "in a way the game designer did not predict" (Juul)\n
\n

 see designer Harvey Smith\, who argues for "systemic level design\," a sty
 le of level design that allows for emergent gameplay.\n
\n
Smith distingui
 shes between "desirable emergence" (which leads to interesting gameplay) a
 nd "undesirable emergence\," which hacks the system in a way that makes th
 e game less enjoyable\n
Date: 08/04/07\n
ID: 8280
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---521c4298-0a7d-4435-be9a-1114054735f1@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Systems
PRIORITY:5
DESCRIPTION:Keywords: Systems\n
Text: Stephen Wolfram\, circa 1994: "Whenev
 er you look at very complicated systems in physics and biology ... you gen
 erally find that the basic components and the basic laws are quite simple\
 ; the complexity arises because you have a great many of these simple comp
 onents interacting simultaneously.  The complexity is actually in the orga
 nization -- the myriad of possible ways the components of the system can i
 nteract."\n
\n
\n
Date: 08/04/07\n
ID: 8281
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---5bb1cc28-cf7e-4558-8e29-088447922e31@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Systems
PRIORITY:5
DESCRIPTION:Keywords: Game / Systems\n
Text: Jesper Juul distinguishes betw
 een four types of emergence in games: "emergence as variation\, as pattern
 s\, as irreducibility\, and as novelty or surprise"\n
\n
variation = "the 
 variety of possible states and game sessions that a game's rules allow"\n

 patterns = "patterns that players cannot immediately deduce from the rules
  of the game"\n
irreducibility = the way the outcome of a game system can 
 only be observed through actual playtesting\n
novelty = "when several rule
 s or objects in a game are combined in a hitherto unforseen way"\n
Date: 0
 8/04/07\n
ID: 8282
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---16edc6d7-16b0-4279-b499-10fd09a28404@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Systems / Computers
PRIORITY:5
DESCRIPTION:Keywords: Systems / Computers\n
Text: Stephen Wolfram\, circa 1
 998\, on cellular automata: "The behavior of the system can thus be found 
 effectively only by explicit simulation.  No computational short cut is po
 ssible.  The system must be considered 'computationally irreducible.'"\n
D
 ate: 08/04/07\n
ID: 8283
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---cb737ab9-47da-4c1d-86e1-7899f93f3c5f@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames\n
Text: In Grand Theft Auto III the
 re are certain missions\, but the emergent elements allows player "to comp
 lete the mission in the way he or she wants.  ... The advantage of structu
 ring a game like this is that the player experiences a predefined story by
  completing the missions\, *while* having the freedom to solve the tasks i
 n different ways." (Juul\, 82-3)\n
Date: 08/04/07\n
ID: 8284
DTSTART;VALUE=DATE:20070804
DTEND;VALUE=DATE:20070804
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---2958cc77-585b-4eb5-94db-00dd5fe2c589@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Concept
PRIORITY:5
DESCRIPTION:Keywords: Game / Concept\n
Text: Jesper Juul's concept of "game
 play" involves the interaction of three things:\n
\n
"1. The rules of the 
 game.\n
2. The player(s)' pursuit of the goal.  The player seeks strategie
 s that work due to the emergent properties of the game.\n
3. The player's 
 competence and repertoire of strategies and playing methods."\n
Date: 08/0
 6/07\n
ID: 8285
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---8e819a48-31fd-47f0-993a-81b46f7f4db0@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: Sid Meier's "interesting choices" are fl
 eshed out thusly:\n
\n
"1. No single option should be the best.\n
2. The o
 ptions should not be equally good.\n
3. The player must be able to make an
  informed choice."\n
\n
quoted by Juul\, 92 -- although Juul rightfully po
 ints out that Meier's choices are "strategic rather than skill-oriented"\n
 
\n
see also Juul 115\, in which he writes about Vib-Ribbon\, which\, acco
 rding to Meier's classifications "does not contain any interesting choices
  whatsoever [but] is still an enjoyable game"\n
Date: 08/06/07\n
ID: 8286
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---01892353-5181-41e9-aa89-34143ebe890f@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Puzzles
PRIORITY:5
DESCRIPTION:Keywords: Puzzles\n
Text: Marcel Danesi:\n
"[S]ome puzzles are 
 more intellectually pleasurable than others are.  The *aesthetic index* of
  a puzzle ... seems to be inversely proportional to the complexity of its 
 solution or to the obviousness of the pattern\, trap\, or trick it hides."
 \n
Date: 08/06/07\n
ID: 8287
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---93a69c4c-2ebc-4ebf-bbeb-5f000aac3449@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Education
PRIORITY:5
DESCRIPTION:Keywords: Game / Education\n
Text: Juul: "[A] game changes the 
 player that plays it."\n
\n
"Improving skills at playing a game involves e
 xpanding and refining the repetoire. A quality game must present the playe
 r with challenges\, continually letting the player develop a better repeto
 ire for methods for playing the game\, while continually preventing the pl
 ayer from playing the game just using a well defined routine."\n
Date: 08/
 06/07\n
ID: 8293
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---a67b2ef9-ea16-4f5f-b9a9-583b8a56dff9@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Mind / Patterns / Information / Systems
PRIORITY:5
DESCRIPTION:Keywords: Game / Mind / Patterns / Information / Systems\n
Text
 : Juul: "[T]he element of surprise in games of emergence is due to the way
  humans think about the world.  ... Humans are tricked because we play gam
 es not by going through every possible position in the game tree\, but by 
 finding patterns in the game by chunking or ignoring information."\n
Date:
  08/06/07\n
ID: 8294
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---572e77a2-0cf3-4d9c-9897-233d5056c2c4@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game / Patterns / To Read
PRIORITY:5
DESCRIPTION:Keywords: Game / Patterns / To Read\n
Text: the "game design pa
 tterns project" attempts to codify game features in the style of Charles A
 lexander\n
\n
their book\, Patterns In Game Design\, is at the UIC library
 :\n
QA76.76.C672 B56 2005\n
\n
see also the 400 Project or the "Formal Abs
 tract Design Tools" group\n
Date: 08/06/07\n
ID: 8295
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---2e35b49e-8e03-4980-86c9-98097750953b@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Game
PRIORITY:5
DESCRIPTION:Keywords: Game\n
Text: Game designer Harvey Smith uses the term
  "orthogonal unit differentiation" [!] to describe the way certain "units"
  in games have strengths and weaknesses along several different axes. Cons
 ider the character types in Gauntlet\, or\, even more simply\, Rock Paper 
 Scissors\n
Date: 08/06/07\n
ID: 8296
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---13fc93b8-faf6-4242-a112-a868da552ee5@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames\n
Text: Chris Crawford:\n
"Any game
  that requires reloading as a normal part of the player's progress through
  the system is fundamentally flawed.  On the very first playing\, even a b
 elow-average player should be able to successfully traverse the game exper
 ience."\n
Date: 08/06/07\n
ID: 8297
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---300808c2-fe78-4473-b535-59756805a704@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames / Boredom / Fear
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames / Boredom / Fear\n
Text: Mihaly Csi
 kszentmihalyi's concept of "flow" is applicable to thinking about videogam
 es\, esp. in regard to "aesthetics of frustration" stuff\n
\n
a "flow chan
 nel" exists between anxiety and boredom\n
\n
Juul: "According to the flow 
 framework\, the player will enjoy playing if the challenges match the play
 er's abilities and thereby lead to a state of flow."\n
Date: 08/06/07\n
ID
 : 8301
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
BEGIN:VEVENT
UID:20081119T214701---6ba5ea6c-67be-4c8d-8c11-9ecf231a6da0@shasta.smallthou
 ght.com
CREATED:20081119T214701Z
SEQUENCE:0
SUMMARY:Media: Videogames
PRIORITY:5
DESCRIPTION:Keywords: Media: Videogames\n
Text: Juul: "Playing WarioWare in
 volves identifying the challenge of a given game within a very short time 
 frame\, and the repertoire needed to play it is a meta-repertoire of being
  able to identify different game types and the methods needed for playing 
 them."\n
Date: 08/06/07\n
ID: 8302
DTSTART;VALUE=DATE:20070806
DTEND;VALUE=DATE:20070806
END:VEVENT
END:VCALENDAR