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The task is only a convenient device - the players' striving to perform what the game demands of them, with the means the game allows them, gives their being in the game a particular shape. Of course, it could well be argued that to play a game at all, one has to willingly subordinate oneself to its prescriptive frame (Nguyen [22], 125) - meaning that, in existential terms, bad faith, or the willful denial of one's own freedom, is constitutive of the player's existential situation in the game as such (Kania [12], 100). Keywords: Existentialism; phenomenology; ludology; digital games; aesthetics EN Existentialism phenomenology ludology digital games aesthetics 436 447 12 12/22/21 20211101 NES 211101 In digital game studies, approaches to the aesthetics of games have primarily focused on games' narrative (Tavinor [28]) or sensory (Niedenthal [23]) qualities, considered the status of games as embodied action (Kirkpatrick [13]), or as structured practices (Vella [30]), or identified a fundamental opposition between "gameness", governed by unambiguous rules, a practical orientation towards goals and an orientation towards entertainment, and "art", which is concerned with ambiguity, reflection, critical detachment, and meaning (Sharp [27]; Leino [18]). The "agential posture" as the aesthetic object of games Nguyen begins by delineating the category of play he terms "striving play" (2020, 9), describing situations of play in which players take on a particular aim or goal that they strive to achieve with the means made available to them by the rules of the game. [Extracted from the article] |
