The Ludologist My name is Jesper Juul, and I am a ludologist [Noun. Video Game Researcher]. This is my blog on game research and other important things. Wed, 25 Nov 2015 13:32:03 +0000 en-US hourly 1 The Chess set where Form follows Function Wed, 25 Nov 2015 13:32:03 +0000

The Bauhaus Chess SetWhen discussing rules and fiction in games, I invariably show a picture of
the beautiful Bauhaus chess set, where the superfluous ornamentation and fiction of the standard chess set has given way to shaped pieces meant to indicate how each piece moves. And it is easy to illustrate how some pieces signal well – the bishop, the rook – where others quickly fail. How are you supposed to deduce en passant from the cube that is the pawn?

Artist Nova Jiang has now one-upped Josef Hartwig considerably with her Orthogonal/Diagonal art piece. Here, Jiang not only makes a better version of the pawn in Western chess (the pawn’s diagonal attacks are now suggested by the form), the work also includes a range of Asian chess variants.

Nova Jiang- Chess

Western chess



And of course – we never get to quite deduce the entirety of game rules from the shape of the pieces, but it’s just interesting to see that the basic question of how to shape chess pieces does not need to be left to the history books.

]]> 1
New issue of Analog Game Studies Tue, 10 Nov 2015 20:24:41 +0000

For your analog interests, here is Volume II, Issue VII of Analog Game studies.

Manipulating Environments in American Freeform – Jason Cox

Playing With Portals: Rethinking Urban Play With Ingress – Kyle Moore

The Eurogame of Heterotopia – Devin Wilson

The First Nations of Catan: Practices in Critical Modification – Greg Loring-Albright

In this final issue of the year, we are exploring material components of analog gameplay. The materiality of games is important to consider as it lends insight into the ways that games can be located within the clear parameters of space and time—often despite the best efforts of players and designers to otherwise construe them as timeless or nostalgic media. Additionally, materialities help to remind us of the limitations of play. Our bodies must navigate black-box theater rooms and city spaces, as manipulate pawns, chits, meeples, cards and other trappings of board games. These deliberate, sometimes awkward, yet often tacit negotiations help to remind us of the always-present stakes of materiality.

Jason Cox’s essay “Manipulating Environments in American Freeform” offers a starting point for those curious about the ways in which emerging practices of larp design offer more to players than just narrative—they tell stories about spaces as well, and attend to how environments affect our bodies. This is also what is at stake in Kyle Moore’s essay, “Playing With Portals: Rethinking Urban Play with Ingress,” a theoretical sketch of the ways that the game, formerly a Google product, compels players to experience urban space in new and often challenging ways. Finally, the last two essays in this issue, Devin Wilson’s “The Eurogame as Heterotopia,” and Greg Loring-Albright’s “The First Nations of Catan: Practices in Critical Modification”—both in dialogue with last year’s AGS essay by Will Robinson—take up critiques of the abstracted representations characteristic of Eurogames. Wilson’s piece argues for a new and less oppositional reading of abstract game materials, positioning them as a space of polysemic and potentially revolutionary interpretation. In contrast, Loring-Albright moves forward from the problematic of abstraction established by Robinson by offering a new critical ruleset for Catan that accounts for the erasure of indigenous peoples in the game’s narrative. And, in the spirit of materiality: we’ve included the rules as a bonus to our readers.

Thank you, readers, for an excellent year, and keep an eye out in the coming months for more exciting content!

-The Editors
November 9, 2015


]]> 0
Futures: Journal of Virtual Worlds Research issue 8, 2 Fri, 06 Nov 2015 09:16:27 +0000

For your theory itchJournal of Virtual Worlds Research issue 8, 2.

This issue presents six papers each reflecting on one angle to the future of virtual worlds: Four concrete views relating to: bots, head mounted displays (HMD), neuroscience and meditation, and eSports; as well as two theoretical views relating to the focus of virtual worlds research, and looking at virtual worlds as a mediator between “technology trends” and the “digital transformation of society and business.”

From the point of view of 2015: the virtual is becoming the real and the real is becoming the virtual.

Table of Contents

Editor In-Chief Corner

Toward the Futures of Real AND Virtual Worlds PDF
Yesha Y. Sivan


Three Real Futures for Virtual Worlds PDF
Tom Boellstorff
Is a Technological Singularity Near Also for Bots in MMOGs? PDF
Stefano De Paoli
Conceptualizing Factors of Adoption for Head Mounted Displays: Toward an Integrated Multi-Perspective Framework PDF
Ibrahim Halil Yucel, Robert Anthony Edgell
Being There: Implications of Neuroscience and Meditation for Self-Presence in Virtual Worlds PDF
Carrie Heeter, Marcel Allbritton
The eSports Trojan Horse: Twitch and Streaming Futures PDF
Benjamin Burroughs, Paul Rama
The Metaverse as Mediator between Technology, Trends, and the Digital Transformation of Society and Business PDF
Sven-Volker Rehm, Lakshmi Goel, Mattia Crespi


]]> 0
Katherine Isbister: How Games Move Us Wed, 04 Nov 2015 12:17:16 +0000

How Games Move Us

Set for launch in February 2016, we are proud to present the fifth book of the Playful Thinking Series. Katherine Isbister’s How games Move Us: Emotion by Design is an examination of how video game design can create strong, positive emotional experiences for players, with examples from popular, indie, and art games.

This is a renaissance moment for video games—in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples—drawn from popular, indie, and art games—that unpack the gamer’s experience.

Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players’ emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony’s Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero’s Train.

Isbister’s analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human.

]]> 0
Worst thing you’ve done in The Sims Wed, 21 Oct 2015 08:00:52 +0000

I am enthralled by the reddit thread on “What is the worst thing you’ve ever done in The Sims series?

One time I killed a sim by drowning. Then I made everyone show up to his funeral in swimwear.


It’s not too sadistic per-se, but it involved a lot of deaths.
I wanted to make a church with a full, complete graveyard. So I built a small, simple structure moved in a family of 8, get them all inside, remove the door, fill with fire. Yay, 8 new tombstones!
Repeat like 9 times, and you’ve got a full graveyard of tombstones. Then I built the church and moved in a priest to live there and tend to the grounds.


So, in my most recent Sims playthrough, I found this girl that I really wanted my Sim to marry. Problem is she already had a husband, so rather than just doing the (relatively) normal thing and just increasing the relationship and convincing her to break up with him, I instead became best friends with her husband, convinced him to move in with me, and then drowned him in a pool so I could marry his wife.

Then I moved in with his wife (who lived in a HUGE mansion) and killed the rest of her family because I didn’t feel like taking care of the other Sims that she lived with but I still wanted the house

And much more.

Theoretically, it ties to some of my arguments in my Without a Goal chapter about open and expressive games: anything truly expressive can also express things we find offensive and/or transgressive.

… the reason why goal-less games can easily become steeped in controversy. The wide range of player actions – what makes the game expressive – also makes it likely that the player can express something that offends someone.

]]> 0
Well Played 4.2 – Learning and Games Wed, 30 Sep 2015 08:58:20 +0000


Well Played: volume 4 number 2
Stephen Jacobs and Ira Fay et al. 2015


Medulla: A 2D sidescrolling platformer game that teaches basic brain structure and function
Joseph Fanfarelli, Stephanie Vie

Play or science? a study of learning and framing in crowdscience
Andreas Lieberoth, Mads Kock Pedersen, Jacob Friis Sherson

Barriers To Learning About Mental Illness Through Empathy Games – Results Of A User
Study On Perfection
Barbara Harris, Mona Shattell, Doris C. Rusch, Mary J. Zefeldt

Zombie-based critical learning – teaching moral philosophy with The Walking Dead
Tobias Staaby
Distributed Teaching and Learning Systems in Dota 2
Jeffrey B. Holmes

An Analysis of Plague, Inc.: Evolved for Learning
Lorraine A. Jacques

Purchase from, or Download for free

]]> 0
Another day, another Apple rejection of a Game with a Message Mon, 21 Sep 2015 08:20:02 +0000

Dan Archer’s project Ferguson Firsthand was rejected from the App Store because … as often is the case, Apple is unclear, but they’ll know it when they see it.

You can get it on Google Play instead.

Is Apple Evil, ignorant, or just culturally conservative?


]]> 0
Stats: 68 percent of Australians play video games Mon, 14 Sep 2015 08:16:36 +0000

Another day, another report about how common video gaming is.

The Digital Australia 2016 report says that 68% of the Australian population plays video games.

Summary here.

]]> 0
Miyamoto and Tezuka on Super Mario Bros World 1-1 Tue, 08 Sep 2015 09:43:55 +0000

It is hard to imagine a conversation more central to video game history than this:  Shigeru Miyamoto and Takashi Tezuka explaining the design of Super Mario Bros world 1-1.

]]> 0
Are you a Narrative or a non-Narrative? Mon, 07 Sep 2015 07:49:10 +0000

Somewhat tangentially (but tied to the type of pan-narrativism that I used to go up against when writing about games), there is an ongoing discussion about whether we constitute our identities through narratives what we make about ourselves, or not.

Galen Strawson covers it well, The Dangerous Idea that Life is a Story. Here is Jeremy Bruner quoted:

In the end, we become the autobiographical narratives by which we “tell about” our lives”.

Strawson argues that it may well be that many people really do conceive their lives as having narrative form, episodes, arcs, but that this is not universal.

I think it’s false – false that everyone stories themselves, and false that it’s always a good thing. These are not universal human truths – even when we confine our attention to human beings who count as psychologically normal, as I will here. They’re not universal human truths even if they’re true of some people, or even many, or most. The narrativists are, at best, generalising from their own case, in an all-too-human way. At best: I doubt that what they say is an accurate description even of themselves.

[…] it does seem that there are some deeply Narrative types among us, where to be Narrative with a capital ‘N’ is (here I offer a definition) to be naturally disposed to experience or conceive of one’s life, one’s existence in time, oneself, in a narrative way, as having the form of a story, or perhaps a collection of stories, and – in some manner – to live in and through this conception. The popularity of the narrativist view is prima facie evidence that there are such people.

Perhaps. But many of us aren’t Narrative in this sense. We’re naturally – deeply – non-Narrative. We’re anti-Narrative by fundamental constitution. It’s not just that the deliverances of memory are, for us, hopelessly piecemeal and disordered, even when we’re trying to remember a temporally extended sequence of events. The point is more general. It concerns all parts of life, life’s ‘great shambles’, in the American novelist Henry James’s expression. This seems a much better characterisation of the large-scale structure of human existence as we find it. Life simply never assumes a story-like shape for us. And neither, from a moral point of view, should it.

Are you the narrative type? I am not. I have already been an avid reader of novels, but never conceived my own life that way.

]]> 4