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We acknowledge the friendly support of DiGRA (Digital Games Research Association) and its board.  \nDiversity of Play  \nedited by  \nMathias Fuchs  \nBibliographical Information of the German National Library  \nThe German National Library lists this publication in the Deutsche Nationalbibliografie (German National Bibliography); detailed bibliographic information is available online at [http://dnb.d](http://dnb.d) [nb.de](nb.de).  \nPublished in 2015 by meson press, Hybrid Publishing Lab, Centre for Digital Cultures, Leuphana University of Lüneburg [www. meson](www. meson) [press.com](press.com)  \nDesign concept: Torsten Köchlin, Silke Krieg  \nCover design: Laleh Torabi  \nCopy editing: Andrew Stapleton  \nThe print edition of this book is printed by Lightning Source, Milton Keynes, United Kingdom.  \nISBN (Print): 978 3 95796 075 7  \nISBN (PDF): 978 3 95796 076 4  \nISBN (EPUB): 978 3 95796 077 1  \nDOI: 10.14619/012  \nThe digital editions of this publication can be downloaded freely at: www. meson [press.com](press.com).  \nFunded by the EU major project Innovation Incubator Lüneburg  \nThis Publication is licensed under the CC BY SA 4.0 International. To view a copy of this license, visit:  \n[http://creativecommons.org/licenses/by](http://creativecommons.org/licenses/by) sa/4.0/.  \nContents  \nTotal Gamification: Introduction 7  \nMathias Fuchs  \nGamification of Gothic 21  \nTanya Krzywinska  \nVideo Games as Unnatural Narratives 41  \nAstrid Ensslin  \nIs Hacking the Brain the Future of Gaming? 73  \nKaren Palmer  \nNavigating Uncertainty: Ludic Epistemology in an Age of New Essentialisms 83  \nMarkus Rautzenberg  \nAuthors 109  \nTotal Gamification  \nMathias Fuchs  \nWhen a former US vice president calls games “normal”, it is most likely that the medium he is talking about has lost its innocence. Al Gore’s statement that “games are the new normal”(2011) indicates that the early days when games were new and nice, harmless, or neat and niche, are gone. Games have had their coming of age and the days of ludic infancy are long since past. Through the maturation of games as a medium, we have realised they can serve a purpose and have lost their naïveté . Games can simulate battlefields, games can predict disaster, they can increase profit, and they can crunch markets. On their way to maturity games have lost their enchanting non intentionality.  \nThe original naïveté of being good for nothing but play has vanished into thin air. It has, however, been replaced by a second order naïveté: the interests of games are no longer challenged.1 Nobody would call a game “corrupted”(Caillois 1958) if money was involved in the gameplay. There are also no taboo areas for gaming. Gaming scenarios include warfare, pornography, financial transactions, espionage and counter espionage, theft and antisocial behaviour. Welcome to the days of total gamification!  \nWhat we experience today is a diversity of play and the ubiquity of games, making them not only a popular medium but also a key medium and probably the leading medium of contemporary society.  \nThe coverage of games across media sectors and social niches also makes them a super medium, a medium that can easily adopt the styles and modes of predecessor media. Games can cannibalise sister media and pretend to be film, radio, narration,  \n1 I pick up an idea here that Adorno formulated in regard to art and its lost  \n“naïveté”(Adorno 2004, 3) .  \n8 performance or sculpture. Games can adopt genres, or masquerade as medieval, futuristic, elegant, brutal or Gothic. In this book Tanya Krzywinska casts a critical glance upon the pleasure that Gothic forms invoke, and investigates the horror games subculture, a segment that amounts to 20 percent of digital games. Markus Rautzenberg (this volume) describes video games as“an explorable universal metaphor of the digital medium” and poin","cbCaiegD2IhKjr1O","https://ap.wps.com/l/cbCaiegD2IhKjr1O","pdf",3980191,115,"English","# Contents\n## Total Gamification: Introduction\n## Gamification of Gothic\n## Video Games as Unnatural Narratives\n## Is Hacking the Brain the Future of Gaming?\n## Navigating Uncertainty: Ludic Epistemology in an Age of New Essentialisms\n## Authors","[{\"question\":\"What is the central idea introduced in the book’s “Total Gamification” section?\",\"answer\":\"Games have matured from “ludic infancy” into a pervasive medium whose interests are no longer challenged, producing a “diversity of play” alongside the ubiquity of games in contemporary society.\"},{\"question\":\"How does the introduction describe games’ relationship to innocence and normality?\",\"answer\":\"It argues that games no longer have the early innocence when they were seen as harmless or niche. Statements likening games to the “new normal” reflect that shift, similar to television’s later normalization.\"},{\"question\":\"Why is “distance from the medium” important in the discussion of games’ reception?\",\"answer\":\"The text links early media artifacts and glitches to a maintained distance from the medium, whereas mature media can lose obvious mediality, leaving uncertainty about whether one is inside or outside the medium.\"}]","Diversity of Play - Introduction | PDF",1791312892,177]