Computer games have been around for over half a century, but we still don’t fully understand their essence and are lost in the variety of their types and genres.
There’s a separate branch of mathematics called “Game Theory.” However, this branch of science was created when computer games were in their infancy, and therefore “Game Theory” has nothing to do with video games. Classical game theory only examines mathematical models of board games: chess, checkers, cards, dominoes. “Game Theory” is simply a branch of probability theory for gaming purposes. Mathematics alone is clearly insufficient to study the phenomenon of computer games
Only very recently has a corresponding science emerged that deals with all issues related to computer games.
Ludology is a discipline that studies games as a modern form of communication and creativity. Other names include Game Studies, Gameology, Game Philosophy, and Computer Game Theory.
Ludology is more than just a mathematical model; it raises philosophical, theoretical, and practical questions about computer games.
In Western countries, the science of ludology received official status over 10 years ago, in the early 2000s. In Russia, to date, only a few enthusiastic individuals are working on this field.
Although many Russian scholars from related fields are beginning to analyze computer games, they attempt to apply the traditional methodology of academic humanities when analyzing the phenomenon of video games, resulting in false conclusions that are strikingly at odds with practice. These false conclusions underlie the assumption that games are far more primitive than films and books, and are suitable only for entertainment.
Ludology (game studies) is based on the premise that previous approaches in the humanities are inappropriate for video games. Computer games cannot be judged by the standards of feature films, plays, or books. Yes, games contain plot, graphics, and sound, but all of this is simplified and merely serves to enhance the core element—gameplay. Gameplay is an entirely new form of information delivery, concealing many mysteries and secrets. Gameplay and interactivity are what distinguish computer games from all previous forms of art.
The goal of the science of “ludology”
The question “Why?”
The first questions that might come to the reader’s mind are: “Why all this? Are we seriously studying games? Who would be interested in this?” We’ll try to answer these questions.
Game research is needed to:
1) Understand the underlying processes involved in creating and consuming games.
To bring to the level of consciousness what is still being done purely intuitively, at the subconscious level.
Why do people play games, and why do they do it? What impact do games have on their players? Why is the development process becoming increasingly complex, while games are becoming simpler and simpler? Where is the gaming industry heading, and what other paths are there for development? Why are games divided into such genres? Why are some genres more popular than others? Why have different genres developed their own game interface templates? How do gaming audiences react to certain innovations? What do players really need in a game, and what is simply added out of tradition and becomes unnecessary?
Many gaming journalists are outraged by what’s happening in the gaming industry: copying itself, stagnation, simplification, the ubiquitous use of DLC, the shift to online and free-to-play models. Many are aware of what’s happened, but that’s where it ends. Few are trying to get to the bottom of it, to understand the reasons behind the current processes in the gaming industry, how to manage them, and what needs to be done to rectify the situation. No one in the gaming industry is yet publicly engaging in full-fledged reflection (identifying and analyzing their own mistakes).
2) Improve the effectiveness of practice through understanding the theory.
Based on the identified patterns, it is easier to build working mechanisms, taking into account all the subtleties, nuances, and pitfalls.
Every field of human knowledge has, sooner or later, generated theoretical information that has qualitatively advanced practical results. For example, high-speed fighter jets were only created after the theoretical study of aerodynamics; before that, people had to make do with ancient aircraft from World War I. Applying this to the gaming industry, it turns out that we’re still flying very low and slow. To soar higher in gaming, you need to delve deeply into the nature and structure of gameplay.
3) Convince players that they also need theoretical knowledge.
Most of the theoretical questions listed above are of interest primarily to developers and publishers. However, developers pursue this information for their own personal gain. Many of them disregard the interests of their players, prioritizing their own well-being above universal values. For example, online game creators are already using psychological techniques that cause serious addiction in players. In the wrong hands, useful knowledge can become a dangerous weapon.
Beyond studying the theory itself, we also need to educate the general public. We need to convince players that they, too, need this knowledge, at least to a minimum. We need to develop safety rules for players to prevent them from falling into the traps of unscrupulous developers.
To prevent developers from misusing acquired knowledge, it must be publicly accessible. This means articles must be written in plain, understandable language, without complications, and without hiding meanings behind artificially created terminology.
Issues to be solved
Specific tasks
Computer game theory encompasses many different areas of game study. We will focus on three areas: 1) Games from a societal perspective, including game goals, objectives, history, and prospects; 2) Games as part of human culture, their art form; 3) Systematization of games, their division into genres, settings, and quality categories.
