Resolution of Vision«, in: Psychological Science 18/1 (2007), S. 88-94.
20 Lager, Aston/Bremberg, Sven: Health Effects of Video and ComputerGame Playing.
A Systematic Review, Stockholm: Swedish National Institute of Public Health 2005.
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 computergame 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 computergame 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«,
Arsenault, Dominic (2009): »Video Game Genre. Evolution and Innova-
tion«, in: Eludamos. Journal for ComputerGame Culture, Vol. 3, No. 2,
Atkins, Barry (2003): More Than a Game. The ComputerGame 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 computergame 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
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 computergame
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 computergame 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
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 computergame 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.
for ComputerGame 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
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