In view of this challenge, I discuss an approach to game space design comprised of three overlapping design concerns - functionality, context, and performance, in order to provide a perspective which encapsulates several conventional theories of player experience. Video game space design presents numerous challenges, not only in creating game content which successfully conveys game concepts to players, but also in promoting engaging play which results in a positive player experience. The goal of this thesis is to explore what certain games mean, to certain players, rather than appeal to a higher, objective sense of true, universal meaning. Therefore, videogame theory should become at least as varied and agile as videogame players themselves. Through close studies of a range of contemporary, mainstream videogames, I conclude that not only are there fundamentally different kinds of videogames which cannot all be adequately served by a single approach, but that players utilise different approaches themselves when playing. Each of these offer fundamentally different ways of addressing videogames as objects and the play of games as a practice, which creates a more nuanced language with which to discuss various kinds of videogames and experiences of play. Finally, I explore three broad videogame-play experiences: ludic play, narrative or dramatic pleasure, and paidic curiosity and exploration.
Critics must acknowledge and respect the varied play practices of various kinds of players in exploring what any given videogame means. Following from this, I develop a framework which considers the role of the player as part of the game system, whose attitude will influence their relationship with the videogame. The analysis of various approaches to videogames, from ludology to unit operations and simulation, places each approach alongside each other to compare and contrast what is gained and lost by adhering to each perspective.
This thesis is a critical examination of videogame theory and of videogames.
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