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17 N.N.: Das therapeutische Spiel: Snow World, 2011, http://www.seriousgames- berlin.de/archiv/2011/10-11/therapeutisches-spiel.html 18 Vgl. Holmes, Emily A. et al. »Can Playing the Computer Game ›Tetris‹ Reduce the Build-Up of Flashbacks for Trauma?«, in: A Proposal from Cognitive Science PLoS ONE 4/1 (2010), http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal. pone.0004153 19 Henry Mahne zitiert nach Zha, Weixin: »Computerspiele als Heilmittel : Playstation statt Ritalin gegen ADHS«, in: Financial Times (2012), http

these questions have varied over the last three decades of game design theory: From the first im- portant publication, Chris Crawford’s The Art of Computer Game Design (1984)2, to the trio of books that are probably most influential in contemporary game design and education: Katie Salen and Eric Zimmerman’s Rules of Play: Game Design Fundamentals (2003)3, Jesse Schell’s The Art of Game Design: A 1 Salen/Zimmerman: Eric: Rules of Play, loc. 186. 2 Crawford, Chris: The Art of Computer Game Design

-Design-theoretischen Ansätze war und ist die künstlerische Praxis, das heißt die Doppelfrage: »Was macht ein gutes Spiel aus?« und »Wie macht man ein gutes Spiel?« In der Geschichte der Game- Design-Theorie fielen die Antworten im Detail selbstredend unterschiedlich aus – von der ersten bedeutenden Publikation, Chris Crawfords The Art of Computer Game Design (1984)2, bis zu dem Trio der gegenwärtig in der Game-Design- 1 Salen/Zimmerman: Rules of Play, loc. 186. 2 Crawford, Chris: The Art of Computer Game Design, Berkeley

compel viewers to dance; and Prue Lang transforms the space/ time of choreography via other means Artworks involving dance and technologies do not always manifest in performances for the stage, but may involve the audience as participants or performers. These projects have tended until recently to be created by those specializing in interactive media, but today one can point towards choreographers who are blurring the boundaries of their disciplines by making non-stage based, installation works. Combining 3-D motion capture, computer gaming environments and

Quandt, Wimmer, Wolling. 2008. Die Computerspieler: Studien zur Nutzung von Computergames. VS Verlag Raessens, Joost & Goldstein, Jeffrey (Hg). 2005. Handbook of computer game studies. MIT press Richard, Birgit. 2004. Sheroes. Genderspiele im virtuellen Raum. transcript Verlag Riegraf, Spreen, Mehlmann. 2012. Medien – Körper – Geschlecht. Diskursivie- rung von Materialität. Transcript Verlag Rommes, Bos, Geerdink. 2011. Design and Use of Gender Specific and Gender Sterotypical Toys. International Journal of Gender, Science and Technology, Vol 3. Nr 1.; Im

team of researchers comparing empirical material from a number of subprojects as an ongoing part of the research process. My subproject was fo- cused on an analysis and conceptualization of the basic social mechanisms which enact in- and exclusion and bullying practices among children and young people. Entangled in this focus, however, was an interest in the digital-analogue move- ments and interactions of the children and young people and, among such move- ments, their engagement, together or alone, with computer gaming and digital play with violence and

. Particularly when the computer game’s space does not depict a real space, the question becomes relevant as to whether players will be able to get their bearings, with their motivation and acceptance more or less intact. All our observations are based on the assumption that a computer game must establish its playability. This can be done inelegantly – as a break with the per- fectly staged “anything-goes, make-believe world” – and rather obviously, such as in P.T. before the player enters the loop: as if the staging of the entrance door – solid, polished, illuminated

Ethics as a Game Mechanism Wolfgang Walk As the computer game matures and grows as an art form, the question of how game designers can use ethics as a means of game motivation and thus also as a means of game mechanics becomes increasingly important. The times when de- signers could hide behind phrases like “It’s just a game” are a thing of the past. For an art form that wants to be taken seriously, it is intellectually pathetic any- way. When I started to approach the question, I quickly found out that we still know far too little about whom the

commentary field of the YouTube clip. 5 J. Newman: Playing with Videogames, pp. 160-161. 6 Laukkanen, Tero: Modding Scenes—Introduction to User-created Content in Computer Gaming, Tampere: Tampere University 2005, pp. 30-59. 7 Champion, Erik: Game Mods. Design, Theory and Criticism, Pittsburgh, Pa.: ETC Press 2012, p. 12. 8 Lowood, Henry: “High-Performance Play: The Making of Machinima,” in: Clarke, Andy/Mitchell, Grethe (eds.), Videogames and Art, Chicago: Intellect 2007, pp. 59-79, here p. 60. WE HAVE WON THIS BATTLE ;) | 289 Mods are sometimes modified

Technikentwicklung, dass sich allenfalls historiographisch ausbuchstabieren ließe, was Henry Jen- kins folgendermaßen konstatiert hat: »Over the past three decades, computer and video games have progressed from the primitive two-paddles-and-a-ball Pong to the sophistication of Final Fantasy, a partici- patory story with cinema-quality graphics that unfolds over nearly 100 hours of game play, or Black and White, an ambitious moral tale where the player’s god-like choices between good and evil leave tangible marks on the landscape. The computer game has been a killer app for the