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1. I Lose, Therefore I ThinkA Search for Contemplation amid Wars of Push-ButtonGlareby Shuen-shing Lee

2. Shuen-ShingLee Associate Professor in the Department of Foreign Languages and Literatures at the National Chung Hsing University, Taiwan.Created one of the first Taiwanese websites aimed toward the Chinese hypertext literature in 1998

3. Article OverviewThe win-lose logic of gamesBinary win-lose logic of games induces players to wield means of any kind in order to win and thus easily corrupts any seriousness implicit in their content. Successful game design encourages players to motivate themselves towards a goal of their own "I lose, therefore I think", so as to figure out a strategy toward the win state: a player response overtly desired by game design mandated by the trail-and-error notion. In order to stop the player from advancing through the game too quickly & to get him to think, the difficulty level's raised. Morphing the player from an in-gaming loser into an off-game thinker.

4. Games You Never WinDisrupting the linear process

5. “You never win”- a tragedy

6. 9/11 game example“Saving the Twin Towers game”

7. Trial-and-Error BreakoutTrying to beat a high scoreReplacing generic enemy (aliens) with representations of issues such as drug dealers and policeEugene Jarvis---Form of making a social statement without saying “drugs are bad”People have an interactive experience with the statement.

8. "I Lose, Therefore I Think": Alternative Goals in GamesImplicit or explicit goals

9. Pacman vs. SimCity vs. MUD/ MOD games

10. Implicit- decentralized, player focused

11. Explicit- direct goal where all the elements of the games support that goal

12. Political computer games= goal is to loss, a metaphorical end

13. First/ second model players

14. Unwinnable games require a player to be a second model player type/ trying to figure it out.

15. "These games aren't trying to get you hooked or make your thumbs sore. They're trying to make you think""De-Gaming" GamesComplete removal of visual effect –Arena reduces user to basic biological function, absence of presence. Because of the visual stimuli, when its removed, they are more struck by the violence of the game.Adam’s Killer (modified Doom), changed targets to an actual person- represents, Columbine ShootingsAdding art and identity to the game causes the user to change their game play into artistic performance.

16. Time and Pleasure in Twisted SpacesComputer games – congested spaces – embrace rigid design and gaming conventions trial-and-error encourage players’ desire to win/conquerCritical games – twisted spaces – change design and gaming conventions for purposes beyond entertainmentTime: event time, negotiation time and progression timePleasure: immersion and engagement

17. The Unregretful, Objective PlayerComputer games – use partial reinforcement and regret to encourage players to continue playing“Player becomes les and less of me, and more and more a part of the game.”Player is concerned with design strategyCritical gaming – creates an “unregretful” player instead“Player becomes less and less of the game, and more and more of me.” (hermeneutic objectivity)After realizing the “un-winning” gaming strategies, player will then be concerned with design strategy“critical games provoke one to quit and continue gaming paradoxically at the same time.”

18. The Rise of Art Games"the videogame experience has to be thrilling, but not necessarily fun" (Frasca, 2001a). “Artists have become increasingly agitated about equating games and pleasure. Jarvis's declaration of the need for "something more" in games planted a seed of metamorphosis. Its recent embodiments include a series of content-provocative "newsgames" at Newgrounds and the newly launched Newsgaming, a website claimed to be wholly devoted to pristine game design that responds to immediate socio-political issues and happenings.” (www.newgaming.com)

19. Key Terms“a functional definition of 'game' [as] an interactive structure of endogenous meaning that requires players to struggle toward a goal”MUD’s and MOD’sFirst and second model playersFirst- winning the game, overcoming hurdlesSecond- trying to figure out why the game is designed the way it is and what is expected of them as a player

20. Video Games and Computer Holding PowerBy Sherry Turkle

21. About Sherry TurkleProfessor of the Social Studies of Science and Technology at MIT

22. Founder (2001) and current director of the MIT Initiative on Technology and Self

23. Received a joint doctorate in sociology and personality psychology from Harvard University and is a licensed clinical psychologist.

24. Writes on the "subjective side" of people's relationships with technology, especially computers. She is an expert on mobile technology, social networking, and sociable robotics.Computer Holding PowerVideo game debate - reflects how people feel about computers in general“Addictive” qualityGenerational gap between parents and childrenNew kind of intimacy with machines“The holding power of video games, their almosthypnotic fascination, is computer holding power. At theheart of computer culture is the idea of constructed, “rule-governed” worlds. I use the video game to begin a discussion of the computer culture as a culture of rules and simulation.”

25. Time Magazine Man or Woman of the Year: 1983

26. “Mindless” Addiction MythNon-game players – compare them to tv, drugsGame players – compare them to sports, sex, or meditation“Video games are interactive computer microworlds.”Beyond thinking – automatic movements to be successfulDeciphering game logicUnderstand game designer’s intent

27. Computational Specificity“logic technology”

28. no physical limitations

29. more perfect expression of player’s actions“In pinball you act on the ball. In Pac-Man you are the mouth.”

30. Computers within the GameResponds to the player’s skill level

31. Compels to our need to control or take charge

32. Player can figure out strategies, because there is a program; rules

33. Polarization between action and imaginative identification breaks down with computers

34. 1st video game – Space Wars – built at MIT; early 1960s (http://www.youtube.com/watch?v=Rmvb4Hktv7U)

35. Microtechnology and Nolan Bushnell – Pong

36. Space Invaders– launched video gaming culture

37. Future of GamesCurrent model - character who lives in piece of literatureFuture – more complex games worlds and/or player as designer of his own game. Players as users of someone’s program vs. being the programmerability to change the rules of the game

38. Computer Culture“rule-governed worlds” “world where everything is possible but where nothing is arbitrary.” Infatuation with the challenge of simulated worlds – affects relationships with the real world.Concentration is part of the holding power; blink and you can lose.Video games to relaxSense of achievement “Unconscious self”Continuity of mind and body“relationship with the game”

39. Metaphysical Machinespotentially infinitePerfect Mirrors; Perfect Contestsprogram is perfect and is perfect measure of players abilitiesdesire to control inside through outside action (improve oneself)can get out of control when used to measure oneselfhard to walk away from perfect testwoman have the most difficulty with this perfect mirror

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