What is a Video Game? Rules, Puzzles and Simulations

This post is going to be outlining my notes and opinions based on the second chapter of James Newman's book 'Videogames'. The chapter is entitled 'What is a Video Game? Rules, Puzzles and Simulations', hence the title of this blogpost.

The chapter begins by asking what a 'videogame' is, then explaining that it is difficult to classify the term'videogame' because of the varied approach to 'videogames'. The chapter continues to discuss the study of 'videogames' to other forms of media such as film and television, asking if 'videogames' are a continuation of such media and whether this will help in the classification of the 'videogame'.
This statement partially explains the mystery behind classifying 'videogames' as is described as difficult within the chapter. Furthermore, the concept of genre is passed over briefly in the chapter as being described as a tool to help classify 'videogames' in a way that makes it easier to identify with them. This method has, as stated in the chapter, become so widely used that it is often overlooked or considered natural. These terms relate to such labels as 'Action and Adventure', 'Shoot-'em-up' and more. This term apparently came into use in early gaming magazines, around the 1980's, and is now a commonly used term in the industry.
Another method of classification that is brought to light in this chapter is a method created by Geoff Howland utilises five different characteristics to help classify 'videogames', however this method is too vague to offer any suitable classification, below is an overview of this method.
Utilising the different elements from a 'videogame' it allows the game to be classified, the elements are:

Graphics; this is the use of visual effects and assets to classify the game. Includes 3D and 2D objects and all characteristics that the character will see.
Sound; this is what the player will hear, any sound effects or music that is played by the game.
Interface; Anything that the player must interact with in order to play the game, this can include graphics that must be selected or gameplay controls.
Gameplay; In my own opinion it is difficult to assess a 'videogame' solely on its gameplay, however the chapter references this as how 'fun' the game is to play, how immersive and the length of the playability.
Story; An important aspect of 'videogames' in my own opinion, this represents the information given before the game starts, information gained during gameplay and information about the characters.

Also, as stated in the chapter, many magazines have begun to utilise the name of the designers as a method of categorising games when they have been released. An example of which includes Metal Gear Solid, being introduced as a 'Hideo Kojima game'. This method is used with major game titles because there is a belief that the designer carries a sign of merit, or a symbol that the game will be part of the designers 'legacy', for want of a better word. This method of labelling is often the downfall of games in the modern industry, a game that carries the title of a legendary developer will be weighed down with expectations to appear very similar, if not identical, to a previous game in said developers designs. Another idea behind this is that it is a method of attempting to relate video games to other forms of media, such as film.

If there is to be more classification found it can be made through the use of coin-op versus home gaming. As mentioned in the chapter these are two varied methods of gaming. The coin-op is required to earn money repeatedly, therefore offering much shorter and harder sessions than you would find on a home system. Another difference between the two is the interface, coin-op games often use specialised equipment, such as a light gun, or perhaps a mock-setup of a car seat whilst at home you would be gaming with a joystick and keyboard. Another difference between the two set ups is the atmosphere of the location, where at home you will mostly be alone or with friends, a coin-op game is played with a sense of public display and you are often being viewed by strangers as they observe your gaming.

The chapter also brushes on what a video game isnt, and slightly causes a contradiction with an earlier statement. A statement made by Rollings and Morris is that:
a game is not:
        a bunch of cool features
        a lot of fancy graphics
        a series of challenging puzzles
        an intriguing setting and story

This statement contradicts the classification method stated earlier by Geoff Howland, who described that games are classified based on the majority of these features. I believe that what Rollings and Morris are trying to get across is that individual sections as found in this least alone do not make a video game. My belief is that a video game utilises all of these features collaberatively in order to function as the interactive artwork that modern gamers have found to enjoy.

The chapter continues to ask the question: 'Why do players play?'
It begins to explain the different reasons that gamers may take when deciding the kind of games that they would like to engage in. One such reason is  a statement made by Rouse, who believes that:

Players expect: A challenge
                          Immersion
                         To do, not watch

These reasons, when thought about carefully, are true. A player will not feel stimulated to play a game if there is no interaction. Likewise he will not feel the need to interact with an easy game that does not challenge him. Also, notably important in RPG games, the player needs to become immersed in the world and feel like he is making a difference with his choices.
Non-interactive cutscenes, or 'movie sequences' can ruin a gamers immersion. I do not disbelieve that the immersion of a gamer is an important factor, however; I heartily disagree with this statement because, although a game is an immersive experience and I would enjoy playing instead of watching, I believe that cutscenes are a necessary evil in a video game because they are needed to help progress the games story, or to show off necessary sequences. Not always are they good for the game itself, however they often offer the player backstory, or reasoning into the actions that will be made into the game. The change in viewpoint, or character, or backdrop does not bother me as long as the cutscene is there for a reason, and not just for the sake of being a cutscene.
The chapter continues to discuss the immersive experience of 'being there' in the game and relates the concentration of the player to the game and how games designers try to keep that and not to 'detach' the player from their experience.

The chapter begins to talk about rules in videogames and 'ludology', or the study of games and play and how poorly developed it is. The chapter discusses how gaming is voluntary and offers its own rewards, thus encouraging players to seek them out. However it could be argued that gaming is not voluntary, such as being forced to play in order to repeat a certain task that is repeatedly failed. An idea that the key to this is the rules that bind and constrict a game. There is the notion that to 'play' is to be free and unrestricted, whilst a 'game' follows rules and conventions.

There are two terms that are used in relation to rules found in games, these are paidea and ludus, which are simple and complex rules respectively, as stated by Piaget. More research claims that playing does in fact have a ruleset, as set by Daniel Vidart and finally Frasca suggests that the difference between play and game is the outcome, because there is victory and defeat in games whilst not in play.
This new ruleset based upon victory also redefines paidea and ludus. Paidea is an activity that has no objective and is performed for pleasure, whilst ludus is an activity that follows a ruleset with the players aiming for a victory or defeat.
The chapter continues to discuss these topics in relation to video games, relating Paidea to Sim city and The Sims, whilst also insinuation that you are able to create your own ludus whilst playing, creating your own rules and goals. In relation to a gaming world, the chapter explains that whilst many of these worlds have restrictions and goals, they leave it up to the player on their method of reaching this goals and thus cause a mix of the two terms. The idea that this notion of discovering the methods of reaching the goals and discovering the rules is the appeal of some games is brought to the readers attention and then the chapter imposes that players may either purchase new games or impose new ludus rules to help enrich their experience.

The chapter suggests there are 4 different types of games:
Agon: Where competition is dominant
Alea: Where change and randomness are dominant
Ilinx: Where pleasure is derived from movement
Mimicry: Games based around mimicry, simulation and roleplaying.

This types are not exclusive, they are able to work together in different methods in order to create a game. An example could be a game that is Agon and Ilinx using racing cars as the method of competition and movement.
The chapter then goes onto discussing puzzle games and their methods of solving. The discussion as to puzzle games having a single solution is brought up, allowing the arguement as to whether Tetris is a puzzle game or not to be delivered. The chapter continues to talk about how puzzle games can introduce different mechanics and ludus rules to enhance the experience and keep gamers interested, instead of having linear paths of repetition.
The chapter mentions that playing a game is to interact with the apparatus that works beneath or behind the game, therefore the underlying mechanics. This is then expanded by mentioning that games offer the choice of how to interact with this apparatus and interact within the boundaries of the rules set.
The chapter states that 'Games are interactive because the actions of the player play a part in determining the events in the game'. This statement relates to how interactivity affects games. As stated before, gamers enjoy being immersed into the game and therefore they want to be able to interact with the game on a high level, therefore changing many aspects of how the narrative and game will pan out. Other comments include that it is the introduction of more ludus rules that define how a game is interactive, or how interactivity is what differs a video game from a static puzzle.

The chapter ends off on another question which states 'So what is a video game?' and leaves a quote by Frasca:

any forms of computer-based entertainment software, either textual or image-based, using any electronic platform such as personal computers or consoles and involving one or multiple players in a physical or network environment.

For me to finish off this blogpost I should give my opinion on what a videogame is, based on what ive read and experienced over this text. In my views a video game is an interactive computer based software, I claim for it to be computer based because otherwise it would become a board game. I believe that this software is created in order to entertain the target consumer, AKA gamers and allow them to immerse themselves in a fabricated world which is set up using a limited number of restrictions that still allow a gamer to engage in paidea. This paidea is then left open for a gamer to implement their own ludus rules into the game, therefore affecting how the final product will play. The games will then, beyond all of this apparatus that is 'under the hood', enjoy the game world that is created through a combination of graphics, sounds, mechanics, interfaces and narratives.

I personally enjoy playing games and believe that there is no classification. A videogame is what you want it to be, be that good or bad, exciting or boring or even a memorable experience. They are there to be enjoyed and played. So game on.