Theoretical models

Two years later, game scholar Jesper Juul in Half-Real formulated a more detailed

“A game is a rule-based system with a variable and quantifiable outcome, where different

outcomes are assigned different values; the player exerts effort in order to influence the

outcome, the player feels emotionally attached to the outcome, and the consequences of

the activity is negotiable.” Juul

From these characteristics Schell comes up with another definition:

“A game is a problem-solving activity, approached with a playful attitude.” This makes them appear closer to serious games.

Theoretical models

Video games can be examined in different perspectives from narrative, simulation, performance, and art

education tools, a ground for social interaction and as a medium of entertainment (Wolf, 2005). The

various theoretical model that conceptualizes games, in this study can serve to trace parallels with

architecture and to understand their significant role in the future development of architecture.

Games as magic circles

Huizinga, a Dutch historian, and anthropologist claimed in his book Homo Ludens that games create a

different setting outside of the actual world, which he refers to as “the magic circle” ( Huzinga, 1938). The rules of the magical circle do not intersect with the rules of the outer world. The game action within

the magical circle constitutes a different realm, disconnected from the actual world. However, this is not

completely true because games have real-world implications. Games take time away from our actual

lives, teach us, influence our behavior and attitude, and so on. In this way, the notion that the magical

circle as separate from reality falls. According to Mia Conslavo's essay "There Is No Magic Circle," gaming

activity cannot be separated from real-world activities. Jesper Juul's perspective on games as goal-

oriented, experiential activities, and social settings argues that these game tree components are

subjective. As a result, the bounds of the magic circle are likewise determined by the player.

Games as cultural and social reflection

Video games are means of entertainment, but this does prevent them to be considered as a creative and

expressive medium. Like other media, games are a form of expression and communication. In his book

“Understanding Media” , Canadian media theorist Marshall McLuhan describes games as "popular art,

collective, social reactions to any culture's principal impulse or activity." Games are inextricably linked to

the society in which they exist, and are the expression of artistic, political, and social issues of that

culture. Moreover, they can be viewed as a form of persuasion based on rules and interaction. Games

have a moral character, that makes player reflect on their behavior and decide the type of morals to

pursue. Usually, games mimic situations of real-life either working context or social contexts. In these

contexts, players can choose how to behave and act, revealing cultural aspects of their context.

Games as education and communication

Video games must change the way we learn and communicate. In his theoretical text Mind, Self, and

Society, social psychologist George Herbert Mead highlight the role of playing activity and

communication through gaming in the process of education. Games are a medium of communication

between children or adults. Layers enter the game world by taking a certain role, a fighter, an

adventurer, a city major, etc. This is what Calloise called “make-believe”. Considering what the player pretends to be, he enters the role and learns by integrating himself into the group organization. Games

represent excellent models of self-organization. Furthermore, according to British anthropologist

Gregory Bateson's metacommunication theory, players transmit and receive information about his

statement as well as communicate with other players or computers.While in the real world we

communicate through body language and voice tone, in games we communicate through actions.

Players expand their communication ability as they become more mature, come to know the game, and

get trained on it. Moreover, players start to create online networks with other players, chasing complex

clues. Thus, they become able through an advanced form of meta-communication to get outside the

magic cycle and educate themselves to solve complex issues related also to the real world. In fact, games

can be considered as mirrors in which we can see the way people organize themselves. Players through

games learn to take different roles growing themselves but also learn to deal and communicate with

others belonging at the same time to different contexts. Thus, games stimulate dynamic communication

such as strategic thinking, networking communication and offer contextual knowledge.

The game as a new art form

Professor Henry Jenkins, one of the most famous media studies theorists, believed that video games

were a new art form, and that game designers, like painters and architects before them, were the artists

of the new century. Nowadays art has assumed new forms, and in particular with the advancement of

technology, a new form of kinetic art is considered more appealing. Video games represent a new

kinetic and interactive form of art, appropriate for the digital age. Its potential lies in the exploration of

action aesthetic and not mere representation like traditional forms of art.

Games as Play of Experience

Video games offer mainly experience in virtual reality. Players can see, touch, hear, move through the

game space, feel emotions, communicate with other players, and change patterns of thinking.

Experience is archived within a free movement, manipulation, or active participation in events taking

place in the game world. The play of experience means participation in the ludic activity and presence in

the game world.

Games as the Play of Pleasure

The various emotions and experiential pleasure derived from game playing can be put under the word

“fun”. According to Le Blanc (2000) “Fun” is a very general term, so he proposed to structure and categorize the notion of pleasure in eight kinds of experience:

1. Sensation: Game as sense-pleasure. Games offer engagement of senses through memorable audio-

visual effects.

2. Fantasy: Game as make-believe. Games offer pleasure to stare at a fantastic, imaginary world and

allow players to imagine themselves in various roles.

3. Narrative: Game as drama. The game has interesting characters and a compelling drama.

4. Challenge: Game as an obstacle course. Pleasure is achieved by wining individual confrontations,

challenges, or ultimately winning the game.

5. Fellowship: Game as social networks. it refers to our constant search for people with whom to interact

and create bonds. What we aspire to is to exchange experiences and create relationships, as well as carry

out together with other people activities that we consider important.

6. Discovery: Game as uncharted territory. Pleasure is provoked by exploring new things, places, and

learning new techniques of playing.

7. Expression: Game as self-discovery. Pleasure is provided by offering the possibility to explore player

creativity

8. Submission: Game as masochism. This means the pleasure to submit to a system of rules and follow

them blindly.