C. Thi Nguyen

Games are a unique art form. They do not just tell stories, nor are they simply conceptual art. They are the art form that works in the medium of agency. Game designers tell us who to be in games and what to care about; they designate the player's in-game abilities and motivations. In otherwords, designers create alternate agencies, and players submerge themselves in those agencies. Games let us explore alternate forms of agency. The fact that we play games demonstrates something remarkable about the nature of our own agency: we are capable of incredible fluidity with our ownmotivations and rationality.This volume presents a new theory of games which insists on games' unique value in human life. C. Thi Nguyen argues that games are an integral part of how we become mature, free people. Bridging aesthetics and practical reasoning, he gives an account of the special motivational structure involved inplaying games. We can pursue goals, not for their own value, but for the sake of the struggle. Playing games involves a motivational inversion from normal life, and the fact that we can engage in this motivational inversion lets us use games to experience forms of agency we might never havedeveloped on our own. Games, then, are a special medium for communication. They are the technology that allows us to write down and transmit forms of agency. Thus, the body of games forms a "library of agency" which we can use to help develop our freedom and autonomy.Nguyen also presents a new theory of the aesthetics of games. Games sculpt our practical activities, allowing us to experience the beauty of our own actions and reasoning. They are unlike traditional artworks in that they are designed to sculpt activities - and to promote their players' aestheticappreciation of their own activity.

Agency As Art

Games

How to Stop Playing Somebody Else's Game

The Score

'This is the best book on the topic you'll ever find' Steve Wozniak, cofounder of Apple 'Games offer me the joys of complete absorption in a precise, well-defined world... and within those strictures, I find freedom.' Scoring systems are everywhere. They underpin our daily lives - from social media to education and health - they have become pervasive and increasingly dangerous, warping our desires and outsourcing our values to external institutions. Scores are instructional manuals for behaviour. Instead of encouraging us to be more playful, to take pleasure in the journey of striving towards a goal, institutions weaponize scoring to impose their own interests. In The Score, philosopher C. Thi Nguyen shows us how games and their scoring systems, such as likes on social media or university rankings, have fundamentally changed our value systems, prioritising what can be measured and monetized over what is truly meaningful to us. In this love-letter to the immersive and profound power of games, Nguyen charts a way we might be able to break free from these constraints to lead more creative and joyful lives. To start playing our own game.

How to Stop Playing Someone Else's Game

'Lucid, entertaining and precise... a brilliant warning about the gamification of everyday life' Time Clare, Guardian Is this the game you want to be playing? Scoring systems are everywhere. Underpinning our daily lives – whether it’s the fit bits on our wrists, likes on social media, and even school rankings – they have become pervasive and increasingly dangerous, warping our desires and outsourcing our values to external institutions. Instead of encouraging us to be more playful, to take pleasure in the journey of striving towards a goal, institutions, corporations and bureaucracies weaponize scoring systems to impose their own interests. No matter what, we always seem to be playing by someone else’s rules. In The Score, philosopher C. Thi Nguyen shows us how this newly ‘gamified’ world has fundamentally captured our value systems, turning what might be moral or personal life choices into numerical data, and forcing us to prioritise what can be measured and monetized over what is truly meaningful to us. A life-long lover of online and board games himself, Nguyen argues that we should not stop playing games but rather take a step back and become more aware of their immersive and profound power, so that we might chart a way towards more creative and joyful lives. To start playing our own game.

How to Stop Playing Someone Else’s Game

A philosophy of games to help us win back control over what we value The philosopher C. Thi Nguyen—one of the leading experts on the philosophy of games and the philosophy of data—takes us deep into the heart of games, and into the depths of bureaucracy, to see how scoring systems shape our desires. Games are the most important art form of our era. They embody the spirit of free play. They show us the subtle beauty of action everywhere in life in video games, sports, and boardgames—but also cooking, gardening, fly-fishing, and running. They remind us that it isn’t always about outcomes, but about how glorious it feels to be doing the thing. And the scoring systems help get us there, by giving us new goals to try on. Scoring systems are also at the center of our corporations and bureaucracies—in the form of metrics and rankings. They tell us exactly how to measure our success. They encourage us to outsource our values to an external authority. And they push on us to value simple, countable things. Metrics don’t capture what really matters; they only capture what’s easy to measure. The price of that clarity is our independence. The Score asks us is this the game you really want to be playing?

Games are a unique art form. Games work in the medium of agency. Game designers tell us who to be and what to care about during the game. Game designers sculpt alternate agencies, and game players submerge themselves in those alternate agencies. Thus, the fact that we play games demonstrates the fluidity of our own agency. We can throw ourselves, for a little while, into a different and temporary motivations. This volume presents a new theory of games which insists on their unique value. C. Thi Nguyen argues that games are an integral part our systems of communication and our art. Games sculpt our practical activities, allowing us to experience the beauty of our own actions and reasoning. Bridging aesthetics and practical reasoning, he gives an account of the special motivational structure involved in playing games. When we play games, we can pursue a goal, not for its own value, but for the value of the struggle. Thus, playing games involves a motivational inversion from normal life. We adopt an interest in winning temporarily, so we can experience the beauty of the struggle. Games offer us a temporary experience of life under utterly clear values, in a world engineered to fit to our abilities and goals. Games also let us to experience forms of agency we might never have developed on our own. Games, it turns out, are a special technique for communication. They are a technology that lets us record and transmit forms of agency. Our games form a "library of agency" and we can explore that library to develop our autonomy. Games use temporary restrictions to force us into new postures of agency.

John R. Sageng

Playing games is a basic human activity, and games raise a great number of fascinating philosophical questions. What, exactly, are we doing when we play a game? What is the value of games for human life? What is the ontology of a game? And could games be, or someday become, a form of art? Comprising twenty-seven chapters by an international team of contributors, The Routledge Handbook of Philosophy of Games is an outstanding reference source to the core concepts, problems and debates in this exciting subject, and is the first collection of its kind. Beginning with an Introduction by the editors, the Handbook is divided into five clear parts: Introduction and historical foundations Game ontology Play and players Aesthetics of games Ethics and values of games Within these sections key topics are examined, including sport and games; rules in games; cheating in games; simulation; narrative in games; space in videogames; the nature of play; the body and play; avatars; the aesthetics of gameplay; violence; immersion; representation in games; race and gender in games; and many more. The Routledge Handbook of Philosophy of Games is essential reading for students and researchers working in philosophy of games, philosophy of sport, digital aesthetics and game studies.

C. Thi Nguyen

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