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Resolution of Vision«, in: Psychological Science 18/1 (2007), S. 88-94. 20 Lager, Aston/Bremberg, Sven: Health Effects of Video and Computer Game Playing. A Systematic Review, Stockholm: Swedish National Institute of Public Health 2005. www.fhi.se/PageFiles/4170/R200518_video_computer_game(1).pdf 21 Fery, Yves-Andre/Ponserre, Sylvain: »Enhancing the Control of Force in Putting by Video Game Training«, in: Ergonomics 44/12 (2001), S. 1025-1037. 22 Hebbel-Seeger, Andreas: »Videospiel und Sportpraxis – (K)ein Widerspruch«, in: Zeitschrift für E-Learning, 4/3 (2008), S

accompany two German psychological scientists in their re- search on computer game effects. Rothmund: The statement was published in 2015 – two years ago – and the pro- cess of writing started considerably earlier. It refers to the then most recent publi- cations on media violence, and since then many other studies have been published. However, the general themes and topics of psychological media effect research haven’t changed and regrettably neither have the challenges mentioned in the statement been overcome. The disputes over psychological media effect research

both identity and community. Seen in this way, virtual entry into the computer game world-beyond dispersion and mere entertainment-is not only an act of individual perception, but it also pos­ sesses deep ethical and moral character under the described conditions. From this perspective, the previously neglected research question of ethical implica­ tions of computer games plays a significant role. 6 Computerspieler. Studien zur Nutzung van Computergames, Wiesbaden: VS Verlag 2009, pp. 25-40. 4 Mitgutsch, KonstantiniHuber, SimoniWimmer, JeffreyiWagner

, Marcus (2010): »Game UI Discoveries: What Players Want«, http://www.gamasutra.com/view/feature/4286/game_ui_discoveries_wh at_players_.php Arsenault, Dominic (2009): »Video Game Genre. Evolution and Innova- tion«, in: Eludamos. Journal for Computer Game Culture, Vol. 3, No. 2, S. 149-176. Atkins, Barry (2003): More Than a Game. The Computer Game as Fiction- al Form, Manchester: Manchester University Press. Aumont, Jacques (1992): »Projektor und Pinsel. Zum Verhältnis von Male- rei und Film«, in: montage/av 1/1/1992, S. 77-89. Bartels, Klaus (2007): »Vom Elephant

Aarseth (*1965) noted that “games celebrate their spatial representation as their central motif and raison d’être”,32 while Jenkins— comparing architecture and game design, citing both as preoccupied with design over a spatial substrate—suggested game design as “narrative ar- chitecture”.33 More recently, Stephan Günzel (*1971) proclaimed the “spa- tial turn” as a paradigm shift in computer game studies, reflecting both their design and practice.34 EUCLID’S FIFTH POSTULATE AGAINST THE SHAPE OF SPACE While the importance and utility of Euclidian geometry is

The Lived Space of Computer Games Stephan Günzel HENRI LEFEBVRE AND THE SPATIAL TURN Since the late 1980s, a “spatial turn” has affected the arts and humanities, and in particular, cultural studies. This also extends to computer game studies—one could even assert they had involved analyzing the spatial- ity of digital games from the very beginning.1 To understand this new approach, it is crucial to examine the origin of current debates about the spatial turn. This can be traced back to 1974, with the publication of Henri Lefebvre’s (1901-1991) book La

Taxonomie führen würde: »The state of computer game design is changing quickly. We would therefore expect the taxonomy presented here to become obsolete or inadequate in a short time. New taxonomies must be created to reflect the changes in the marketplace in the next few years.«6 Crawford gibt also nichts anderes als die Prekarität seiner Einteilung zu, insofern die Dynamik der Genres vom Spielemarkt bestimmt werde.7 An- gesichts der technischen und ökonomischen Entwicklung steht die Compu- terspielforschung seit Crawford also vor der Entscheidung, die

of the le- gitimisation of the assault on Iraq. The WMD attack on European and US cit- ies within 45 minutes is a crucial example here. But the pronouncements of Bush and Blair are only the tip of the iceberg here. Much less discussed, but perhaps more powerful still, have been the way in which Iraqi and Afghani cities have been portrayed as little but targets for ordnance within a wide range of media, military, and computer-game environments. It is worth ex- ploring a few examples of how this has been done. First, the voyeuristic consumption by Western

inspiration for this. The Ministry of Cul- ture must ask the Media Council for Children and Young People to involve other stakeholders in assessing the need for a Danish labelling system” (my translation). In April 2014, the Media Council held a workshop entitled The Media Coun- cil’s role in the computer game area – What should a knowledge centre do? (my translation). The workshop was the second in a series about the development of games and children’s and young people’s use of games. They held the first work- shop in February 2014 and it was entitled What is good

: vwh 2020 (in print); also see F Picot / Said Zahedani / Albrecht Ziemer (eds.), Spielend die Zukunft gewinnen. Wachstumsmarkt Elektronische Spiele, Berlin / Heidelberg: Springer 2008, p. 123 144; here p. 129. 8 Eludamos. Journal for Computer Game Culture, Special Issue: Digital Seriality, 8/1 (2014), pp. 151 170; http://www.eludamos.org/index.php/eludamos/article/view/vol8no1-10; here p. 153 154. HOW TO GET AWAY WITH COLONIALISM | 225 INTO A DIGITAL NO-MAN S-LAND One part of the answer may be that the colonialist attitude was not discussed more