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Internet gaming disorder today. GAMBLING AND MORALITY One cannot discuss Internet gaming disorder without discussing pathological gambling disorder because the criteria for the latter form the basis for the former. One overview of the largest survey studies of computer game addiction found that 15 out of 23 surveys used screening tools that were directly based on DSM criteria (Griffiths, Kuss & King, 2012) (many others were indirectly inspired by the DSM). Because many of these studies simply replace the word gambling with playing computer games, it is

Heidelberg. Konzack, Lars (2002): “Computer Game Criticism: A Method for Computer Game Analysis”. Proceedings of Computer Games and Digital Cultures Conference, Tampere: Tampere UP, http://www .digra.org/dl/db/05164.32231. Real Wars on Virtual Battlefields? 400 Kreimeier, Bernd (2002): “The Case for Game Design Patterns”. Gamasutra 13 Mar., http://www.gamasutra.com/features/200 20313/kreimeier_pfv.htm Kreimeier, Klaus (2002): Die UFA-Story. Geschichte eines Filmkonzerns, Frankfurt a.M.: Fischer. Kreimeier, Klaus (2005): “Die Konfiguration des Bösen”. In: Heinz

-dystopic discourses can be identified across national borders, frequently even within the very same interview with the very same interviewee: PARENTING FOR DIGITAL LITERACY IN DENMARK AND GERMANY | 207 A father in Germany does not want one of his son’s kindergarten friends to come over, as the friend is a purported digital addict and the father fears the friend might harm his son’s social behaviour – while at the same time the father himself is an eager computer game player and also praises his son as a digital native. A mother in Denmark tells me that she is fascinated

conceptualize this task have not ceased to puzzle me. Some researchers appear to be optimistic concerning the possibili- 68 Frank Furtwängler | Human Practice ties of general theories of computer and video games, possibilities I don’t really trust. I also don’t trust conceptions of terminology in many parts of the fi eld, which is indeed the main topic of this paper. As a result, my own basic demands regarding computer game research were to avoid terminological debates, particularly concerning such terms and notions that are derived from traditional theories only

Tageszeitungen, Spielezeitschriften und von Internetseiten werden, sofern sie nicht von größerem Interesse sind, nur in der entsprechenden Fußnote belegt. Espen Aarseth, Cybertext. Perspectives on Ergodic Literature, Baltimore, London 1997. — Allegorien des Raums: Räumlichkeit in Computerspielen, in: Zeitschrift für Semiotik 23 (2001) 1, S. 301–318. — Computer Game Studies, Year One, in: Game Studies 1 (2001) 1, url: http://www.gamestudies. org/0101/editorial.html (besucht am 10. 09. 2008). — Quest Games as Post-Narrative Discourse, in: Marie-Laure Ryan (Hrsg.), Narrative

(bereits titelgebende) Zusammenhalt dieser Arbeit: Die Arbeit will fragen, wie Computerspiele ›Mittelalter‹ erzählen, simulieren und darstellen und was damit überhaupt jeweils konkret gemeint ist. Forschungsarbeiten, die sich dem Zusammenhang von Geschichtsdarstellung und Computerspiel widmen, 1 | Dialog zwischen den Figuren Tony Soprano und Silvio Dante (gekürzt), in: Die Sopranos, Staffel 4, Folge 3, Idee und Drehbuch: David Chase, USA 2002. 78 | Mittelalter Computer Spiele sprechen häufig vom »historischen Computerspiel«2 bzw. vom »historical computer game«.3 Gemeint

niches but use distribution channels online that are ac- cessible to a broad public. Fans engage with a text, a movie or a computer game not only by reading and discussing it; they also want to explore the fictional world of their beloved Karin Wenz | Storytelling Goes On After the Credits 114 text further, expand it and share their interpretation with other fans. The fans’ interpretation and engagement lead to the creation of fan narratives produced by fans that clearly relate to one source text, mostly a “critically acclaimed” text of popular culture. Fan

Siehe beispielsweise Newman, James: »The Myth of the Ergodic Videogame. Some Thoughts on Player-Character Relationships in Videogames«, in: Game Studies. The International Journal of Computer Game Research 2/1 (July 2002), http://www.game studies.org/0102/newman 5 Felzmann, Sebastian: »Playing Yesterday: Mediennostalgie und Videospiele«, in: An- dreas Böhn/Kurt Möser (Hg.), Techniknostalgie und Retrotechnologie, Karlsruhe: KIT Scientific Publ. 2010, S. 197-215, hier: S. 199. Zu einer Kritik dieser Position siehe Beil, Benjamin: »Spiel mit der Perspektive. Von

Babbages Analytical Engine, den Kriegsspielen des 19. Jahrhunderts, John von Neumanns und Oskar Morgensterns 1 | Handbuch zu Grand Master Chess, o. S. 2 | Vgl. dazu z. B. Steven Malliet/Gust de Meyer, The History of the Video Game, in: Joost Raessens/Jeffrey Goldstein (Hrsg.), Handbook of Computer Game Studies, Cambridge, London 2005, S. 23–45; Mathias Mertens, »A Mind Forever Voyaging«. Durch Computerspielräume von den Siebzigern bis heute, in: Claus Pias/Christian Holtorf (Hrsg.), Escape! Computerspiele als Kulturtechnik, Köln, Weimar, Wien 2007, S. 45–54; Mark J. P

.a. Morris, Sue (2003): »WADs, Botsand Mods: Multiplayer FPS Games as Co-creative Media« (2003), http://www.digra.org/dl/db/05150.21522.pdf; So- tamaa, Olli: »Computer Game Modding, Intermediality and Participatory Cul- ture« (2003), http://people.uta.fi/-olli.sotamaaldocuments/sotamaa_participatory _culture.pdf 28 Vgl. u.a. Behr, Katharina-Maria: Kreativer Umgang mit Computerspielen. Die Entwicklung von Spielmodifikationen aus aneignungstheoretischer Sicht, Boi- zenburg: vwh 2010. 29 Vgl. u.a. Knorr, Alexander: Cyberanthropology, Wuppertal: Hammer 2011. 30 Vgl. u