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: Jeffrey Goldstein/Joost Raessens (Hg.), Hand- book of Computer Game Studies, Cambridge/London: MIT Press 2005, S. 219-226, hier S. 219. [Herv. i.O.] 2 Der Terminus »Ludology« geht auf Gonzalo Frasca aus dem Jahr 1998 zurück, der den studies games in general, and video games in particular.« (Frasca, Gonzalo: »Simulation versus Narrative. Introduction to Ludology«, in: Mark J. P. Wolf/Bernard Perron (Hg.), The Matter? Some Interpretive Problems on Comparative Ludology«, in: The Behavioral and Brain Science 5 (1982), Nr. 1, S. 160. 3 Die Kontinuität von herkömmlicher

Onlinequellen Aarseth, Espen: Computer Game Studies, Year One. In: Game Studies. The Inter- national Journal of Computer Game Research. Ausgabe 1, Nummer 1. Juli 2001. http://gamestudies.org/0101/editorial.html (letzter Zugriff: 31. Oktober 2018) Aarseth, Espen: Genre Trouble. Electronic Book Review, 21. Mai 2004. http://www.electronicbookreview.com/thread/firstperson/vigilant (letzter Zu- griff: 31. Oktober 2018) Adams, Ernest: Postmodernism and the Three Types of Immersion. Gamasutra Online, 9. Juli 2004. www.designernotebook.com/Columns/063_Postmoder- nism/063

, Natascha (2008): »Multimediale Spiele. Verschränkungen von virtu- ellen und realen Spielräumen am Beispiel moderner Vergnügungsarrangements«, in: Mitgutsch/Rosenstingl, Faszination Computerspiel, S. 105-115. Bartels, Klaus/Thon, Jan Noel (Hg.) (2007): Computer/Spiel/Räume. Materialien zur Einführung in die Computer Game Studies (= Hamburger Hefte zur Medien- kultur H. 5), Hamburg: Universität Hamburg. Auch: http://www.slm.uni-ham- burg.de/imk/HamburgerHefte/HamburgerHeft_5.pdf Bausch, Constanze/Jorissen, Benjamin (2004): »Erspielte Rituale. Kampf und

-Hombach, Jan-Noël Thon (Hg.): Game Studies. Aktuelle An- sätze der Computerspielforschung. Köln: Herbert von Halem 2015. S. 9-28, hier S. 11. 11 Thon: Game Studies und Narratologie, S. 107. Vgl. außerdem Espen Aarseth: Compu- ter Game Studies, Year One. In: Game Studies. The International Journal of Computer Game Research. Ausgabe 1, Nummer 1. Juli 2001. (letzter Zugriff: 31. Oktober 2018) 12 Sachs-Hombach, Thon: Einleitung, S. 14. Computerspiele als reale Simulation virtueller Welten | 275 und entwickeln immer wieder neue und „zunehmend spezifischer ausgestaltete

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, 2015. http://hackneycitizen.co.uk/2008/11/29/at-home-with-iain-sinclair/. Atkins, Barry. More Than a Game: The Computer Game as Fictional Form. Man- chester: Manchester University Press, 2003. Atkinson, Brian T. “JOSH RITTER: Beauty in Uncertainty.” American Song- writer. Accessed January 6, 2016. http://americansongwriter.com/2006/05/ josh-ritter-beauty-in-uncertainty/6/. Bachelard, Gaston. The New Scientific Spirit. Translated by Arthur Goldhammer. Boston: Beacon Press, 1985. – – – . The Formation of the Scientific Mind. Manchester: Clinamen Press Ltd., 2006

totalising, continuous immersion. Imaginary fullness, Harrison suggests elsewhere, works like enamoration: “It’s like being in a computer game. One moment you have needs; the next quite suddenly, they’re satisfied and sidelined. The field of vision seems empty. Then you detect this faint serpentine flicker as the fractals grow and boil, and new needs have replaced the old. De- sire is desire.” (Harrison 2004: 429) Desire is desire is desire … A single line flickers and forms in the space opened by fantasy, absorbing need, desire, and vision: “you can’t talk

city’s collapse as early as 1999.66 SimCity, the computer game, provides the player management simulation based on the complex modeling of economic systems, and offers the player options and consequences for the planning, designing and controlling of an unlimited number of cities.67 It raises, for Miller, the same issues that are “at the heart of modern Delhi’s dilemmas” – a never ending spiral or a vicious loop: an improvement in the services or infrastructure results in more migrants, which in turn asserts pressure on the services.68 While in the ‘perfect

of fatigue or confusion” (TZ 26). The gaps cannot be conscious- ly triggered or induced (TZ 29) and therefore controlled. Nothing in Remy’s life is controllable. He is divorced and his teenage son Edgar, who partly immerses himself in the alternative world of a computer game (“Like an alternate world…Just like the real world”, TZ 30), insists on proclaiming the death of his father: “I’m grieving my dead father” (TZ 33). When Edgar philosophically announces “Don’t tell me I shouldn’t be devastated by the death of my father just because he isn’t dead!”, Remy

personalities called “The Group”. Eventually, some computer game inspired violent scenes with pump guns erupt while civilization is doomed (Zur 2005). 324 | BEWARE OF THE OTHER SIDE(S) unnamed narrator felt trapped within the forces of consumerism, the essentials of Ty- ler Durden’s pastoral scenery of a new autarkic human species paints a picture of a post-capitalist society: “‘Imagine’, Tyler said, ‘stalking elk past department store window and stinking racks of beauti- ful rotting dresses and tuxedos on hangers; you’ll wear leather clothes that will last you the

, and in the city of “Serendipity” everything seems to be under control. Situated at the Pacific coast of today’s British Columbia, shielded by walls and governed by “Saturna,” one of six mega-corporations that rule the market and thus the world, Serendipity is populated by well-to-do middleclass citizens, who subsist on virtual, computer-game-style labor and flawless, genetically engineered foods. The task of these citizens is the administration of corporate profit and production, a production, notably, that is predominantly delegated to female, genetically