Do demons and devils have free will? Does justice exist inMenzoberranzan? What’s the morality involved with playercharacters casting necromancy and summoning spells? Dungeons & Dragons and Philosophy probes the richterrain of philosophically compelling concepts and ideas thatunderlie Dungeons & Dragons, the legendary fantasyrole-playing game that grew into a world-wide cultural phenomenon.A series of accessible essays reveals what the imaginary worlds ofD&D can teach us about ethics, morality, metaphysics andmore. Illustrates a wide variety of philosophical concepts and (...) ideasthat arise in Dungeons & Dragons gameplay and presentsthem in an accessible and entertaining manner Reveals how the strategies, tactics, improvisations, androle-play employed by D&D enthusiasts have startlingparallels in the real world of philosophy Explores a wide range of philosophical topics, including thenature of free will, the metaphysics of personal identity, themorality of crafting fictions, sex and gender issues in tabletopgameplay, and friendship and collaborative storytelling Provides gamers with deep philosophical insights that can leadto a richer appreciation of D&D and any gamingexperience. (shrink)

The so-called geek-culture becomes increasingly more mainstream, and its social and economic impact is growing. In contrast, there is very little quantitative psychological research on this subculture and the people immersed in it. The aim of this study was to investigate whether there are differences in the Big Five personality factors between Dungeons & Dragons players and non-players. Within a sample of 801 individuals – 399 Dungeons & Dragon players and 402 non-players - the results indicated that (...) Dungeons & Dragons players show statistically significant higher scores in extraversion as well as in openness to new experiences. Furthermore, we found a statistically significant correlation between Dungeons & Dragons players’ scores in extraversion and their character’s charisma. The results are in line with more recent findings from Big Five research in the geek-culture and contradict older findings regarding a low extraversion and high neuroticism of Dungeons & Dragon players. (shrink)

Do demons and devils have free will? Does justice exist in Menzoberranzan? What’s the morality involved with player characters casting necromancy and summoning spells? Dungeons & Dragons and Philosophy probes the rich terrain of philosophically compelling concepts and ideas that underlie Dungeons & Dragons, the legendary fantasy role–playing game that grew into a world–wide cultural phenomenon. A series of accessible essays reveals what the imaginary worlds of D&D can teach us about ethics, morality, metaphysics and more. (...) Illustrates a wide variety of philosophical concepts and ideas that arise in Dungeons & Dragons gameplay and presents them in an accessible and entertaining manner Reveals how the strategies, tactics, improvisations, and role–play employed by D&D enthusiasts have startling parallels in the real world of philosophy Explores a wide range of philosophical topics, including the nature of free will, the metaphysics of personal identity, the morality of crafting fictions, sex and gender issues in tabletop gameplay, and friendship and collaborative storytelling Provides gamers with deep philosophical insights that can lead to a richer appreciation of D&D and any gaming experience. (shrink)

Dungeons and Dragons and Philosophy presents twenty-one chapters by different writers, all D&D aficionados but with starkly different insights and points of view. The book is divided into three parts. The first, "Heroic Tier: The Ethical Dungeon-Crawler," explores what D&D has to teach us about ethics. Part II, "Paragon Tier: Planes of Existence," arouses a new sense of wonder about both the real world and the collaborative world game players create. The third part, "Epic Tier: Leveling Up," is (...) at the crossroads of philosophy and the exciting new field of Game Studies. (shrink)

This paper examines two practices — the Roman Catholic Practice of Eucharist and the game Dungeons and Dragons — to show how social critique can be mounted from within a practice. It begins by relating Alasdair MacIntyre’s notion of tradition to his earlier analysis of ideology and to the notion of ideology in general. The paper then tackles two dominant forms of ideology — Commodity Fetishism and Scientism — and shows how both Eucharist and Dungeons and (...) class='Hi'>Dragons promote critical thinking to resist those ideologies. In the process, it denies the Althusserian-Foucauldian analysis of ideology as mere materiality and defends a conception of ideology as material and ideal. (shrink)

Dungeons Dragons is full of great heroes and villains. The many worlds of the DD multiverse are overflowing with them – from heroes such as the twin‐scimitar‐wielding drow Drizzt Do'Urden and the self‐sacrificing knight Sturm Brightblade to villains such as the lord of Barovia, the vampire Count Strahd Von Zorovich, Vecna, the lich who rose to demi‐godhood, and countless others. However, there is one that stands above all others. It is the Master of Past and Present, Raistlin Majere. (...) This chapter is concerned with a seemingly simple question: who is Raistlin Majere? Of course, he is the brother of Caramon Majere. He is the wizard with golden skin and hourglass pupils. He is the Master of Past and Present. The chapter answers the question of what makes it true that it was a single person that accomplished all of the extraordinary feats that Raistlin did. (shrink)

For some Dungeons Dragons (DD) players, the death of a beloved character, especially if that death isn't heroic, is like losing a dear friend. That might make some people squirm and worry about gamers. In DD, unlike video games, it typically takes years and years to advance a character to levels of significance. According to Socrates, the life of philosophy is a life of the mind. Or as he would likely put it, a life of the soul. Death, (...) according to Socrates, is “separation of the soul from the body”. This chapter talks about how the death of a PC can be an invitation to think about passion and detachment, and how the creation of a new PC can be an invitation to think about fairness and justice. Does playing DD really lend itself to thinking about such things? Of course! (shrink)

Dungeons Dragons gamers exemplify Aristotle's claim that “no one would want to live without friends”. One might even see gaming as an attempt to find friends and build that political community of which Aristotle says friendship is the root. The really interesting thing about gamers is that, as they play Dungeons Dragons, they at one and the same time build bonds between their characters and between each other as players. The trajectory of these bonds often mirrors (...) the trajectory of friendships we find in epic fantasy literature where the characters, at first suspicious of each other, in the end have developed true friendships and established peaceful kingdoms where chaos had reigned before. Aristotle's philosophy of friendship can help us to understand this development. Dungeons Dragons players know a lot about friendship and the value of friendship in a person's life, despite the popular depiction of gamers. (shrink)

Dungeon Masters may or may not make use of familiar fantasy elements whose beginnings lay with Tolkien, but they must always put their players in a world. Dark Sun, Eberron, and the Planar City of Sigil little resemble the history, languages, lands, peoples, and places of Middle Earth, but they follow Tolkien's practice of creating a world in which all these elements are meant to fit together. The first part of fantasy is the human capacity to separate the qualities of (...) things from the things in which they appear, and to imagine them in other things that do not have them. Many Dungeons Dragons campaigns treat magic as a kind of alternate science, but in fairy tales there is more to it than that. Fantasy succeeds when it transports us to an imaginary land, and we escape the grayer parts of our own for a little while. (shrink)

This chapter focuses on the archetypal image of the necromancer: the black‐robed creator and master of the undead. The necromancer is often depicted as a mere cackling villain, using her power over death to forward her evil agenda. In this way, necromancy has been philosophically maligned. Although necromancers were traditionally considered to be evil in Dungeons Dragons (DD), the game came to accommodate the idea that necromancers, in theory, could be neutral, or even good‐aligned, with their powers used (...) for the greater good. The distaste for necromancy and its mindless minions is instead a relic of “pre‐theoretical intuition” a common‐sense belief that may not hold up to philosophical scrutiny. Films and TV series depict the walking dead as ravenous, brain‐eating monstrosities. Next to such depictions, the relatively harmless nature of Dungeons Dragons’ mindless undead is easy to overlook. (shrink)

Imaginative pretend play is often thought of as the domain of young children, yet adults regularly engage in elaborated, fantastical, social-mediated pretend play. We describe imaginative play in adults via the term “pretensive shared reality;” Shared Pretensive Reality describes the ability of a group of individuals to employ a range of higher-order cognitive functions to explicitly and implicitly share representations of a bounded fictional reality in predictable and coherent ways, such that this constructed reality may be explored and invented/embellished with (...) shared intentionality in anad hocmanner. Pretensive Shared Reality facilitates multiple individual and social outcomes, including generating personal and group-level enjoyment or mirth, the creation or maintenance of social groups, or the safe exploration of individual self-concepts (such as alternative expression of a players sexual or gender identity). Importantly, Pretensive Shared Reality (both within the specific context of table-top role-playing games, and other instances) are primarily co-operative and co-creative. We draw on multiple examples, and focus on Table-Top Role Playing games (TTRPG) – and specifically, the most popular and enduring table-top role-playing games, Dungeons & Dragons (D&D) – as a primary example of such play. Our conception of “pretensive shared reality” links the widespread existence and forms of adult imaginative play to childhood pretense, places it within a developmental and evolutionary context, and argues that pretensive shared realities – which underpin many forms of imaginative culture – are an important topic of study unto themselves, and may be utilized to provide methodological insight into a variety of psychological domains. (shrink)

The fundamental conflict underlying the worlds of Dungeons Dragons is that between good and evil. Many philosophers have denied that there is any incompatibility between having free will and our actions being determined. Thorin Axebeard is nothing but a puppet controlled by Dwarven Culture and Psychology tables, dancing along to the dice. What makes the evil monsters of DD philosophically interesting is how obvious the connection often is between their evil behavior and factors entirely outside of their control.

What can Dungeons & Dragons teach us about the being of beings? This article argues that Dungeons & Dragons introduces us to a world composed of objects or entities, where the being of objects is defined not by their qualities, but rather by their powers, capacities or affects. Drawing on the thought of Spinoza, Deleuze and Molnar, objects are seen to be defined by what they can do or their capacities to act, such that qualities are (...) effects of these acts. Dungeons & Dragons is particularly suited to showing us this insofar as it focuses on the action of entities. (shrink)

The idea of role‐playing makes some people nervous – even some people who play role‐playing games (RPGs). So the idea of immersion is central to understanding how Dungeons Dragons and other aspects of participatory culture work. Phenomenology is a kind of “philosophy of mind” associated with the works of twentieth‐century philosophers Edmund Husserl, Martin Heidegger, Jean‐Paul Sartre, and Maurice Merleau‐Ponty, among others. The domain of phenomenology encompasses the entire range of experiences in the world, paying attention to what (...) Husserl called “intentionality,” or how our consciousness is directed toward particular objects in the world. The fact that this is presented as an atypical approach to play, or at least one that requires some effort, invites us to ask about typical modes of play if visualization of in‐game events is not that mode. This chapter concluded by scratch the surface of a complete phenomenological description of role‐playing. (shrink)

This chapter examines traditionalists’ arguments why Dungeons Dragons (DD) is good for us first, and then discusses the cases where it could be bad for us. The irony for Christian critics of DD, such as Schnoebelen, is that the philosophical and theological arguments of Christian traditionalists, such as Thomas Aquinas and J.R.R. Tolkien, provide some of the strongest arguments in favor of DD role‐playing. However, to be fair, these same arguments can be used to argue that a particular (...) DD game, under certain circumstances, can be bad. “Postmodernists” refers loosely to a group of philosophers and thinkers who question, if not outright reject, the core tenets of the traditionalists. If the traditionalists have the correct metaphysics about the real world, then it follows that DD is good, but that care must be taken to make sure the game does not become morally objectionable. (shrink)

This chapter talks about to my other self reflection and existentialism in dungeons dragons. The 3.5 Dungeon Master's Guide II sourcebook discusses player motivations such as these, recognizing that, for many, they are one of the main reasons to play DD. The actor plays a character that someone else has envisioned and written: a figment of someone else's imagination. The author's task looks at the other side of this coin: an author conceives of a world and characters, and (...) then sees how those characters will react to their circumstances. The very chapter owes its existence to one from whom the author learned that he had the capacity for courage and faith, to Lady Yui – to my other self. (shrink)

This chapter begins with narration of episode 31 of Dungeons Dragons Part 2, where the player Chris Lovasz, or Sips, decides he is going to passive‐aggressively grief the rest of his party. In frustration, they methodically kill, threaten, and chase away any quest‐givers that approach them. The chapter looks at early adventure games based on DD, asking why they avoid many aspects of the game, especially those that involve role‐playing and moral decisions by players. It then discusses how (...) gamers now discover DD, and why this is important in changing their understanding of the game. The chapter addresses the question: why Pierre Levy's ideas about the digital age, virtual communities, and collective intelligence are so important for understanding how, and why this has happened. It concludes with discussion of the effects that this has on DD players. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Work of Alterity: Bataille and LacanJean Dragon (bio)The topic of alterity may appear at first to be beyond the scope of Bataille’s work, but it is from such questioning that his practice of writing takes its full contours and questions the renewal of literary textuality.Strangely, Bataille fights against writing, an attitude that shows a will to disappear in order to reach sovereignty. Writing, in such a context, supports (...) not only certain useful figures for his particularly heterogeneous works but also the presence of alterity. Feminine imagos, set as the literary equivalent of the eradication of meaning and words, act as levers from which a character produces itself or rather disarticulates and vanishes.Bataille’s fight against writing shows strong similarities to some Lacanian notions: the subject, pleasure (“jouissance”), and, of course, woman. Before trying to map out this perilous comparison—there is no possible perfect transition between the two—we must first extract the significant elements that make it possible. To this end, we propose some reflections on Bataille’s concepts of Oedipus and castration. In so doing, we will be in a better situation to link Lacan and Bataille’s works but also to understand where Lacan has been inspired by Bataille and how Lacan distinguishes himself in his interpretation of the imaginary, the symbolic, the Law, and feminine imagos—especially in the way Lacan, contrary to Bataille, “eradicates” alterity.These questions are necessary steps in opening up a reflection inspired by the work of Bataille and in our desire to actualize purposes yet also extend unresolved polemic effects which this paper can only partially address. To present the necessity of such polemical reflections fits Bataille’s thought as well, which refuses to conclude and takes its meaning from throwing away all possible speech.Feminine imagos are an essential leitmotif in Bataille’s narratives and, more importantly, a cohesion factor for his thought that transcends all domains of writing to give a foundation to the works. 1 With themes such as transgression, subversion, and the [End Page 31] renewal of the Law, we reach an aporia not only of Bataille’s text but also, as Susan Rubin-Suleiman puts it, of literary modernity:What does appear to me certain is that there will be no genuine renewal, either in a theory of the avant-garde or in its practices, as long as every drama, whether textual or sexual, continues to be envisaged—as in Bataille’s pornography and in Harold Bloom’s theory of poetry—in terms of a confrontation between an all-powerful father and a traumatized son, a confrontation staged across and over the body of the mother.[86–87] 2Indeed, if we look at the autofictional purposes and the literary production of Bataille, we must underline an “aporia” in the subversive nature of his texts. This challenge to Bataille generally focuses on his literary works without considering his theoretical works beyond some “canonical” titles. Nevertheless, the lesser-known texts may offer another reading of Bataille’s eroticism and defuse criticism strictly centered on the supposedly pornographic and phallocentric content of novels like L’histoire de l’oeil and Madame Edwarda.Before branding the works of Bataille as “sexist,” we must consider that he was one of the first male authors of his generation to denounce the “castration” dominating society and individuals. Mario Perniola, discussing a text of Georges Bataille, 3 emphasizes his condemnation of imperialism behind the use of many terms: “the imperialist image of the eagle, even when it presents itself with the attributes of revolution, unsuccessfully hides its Promethean and Icarian pretensions.” 4 This interpretation finds an echo in another text of Bataille, “L’oeil pinéal,” where Bataille directly links the castration to the myth of Prometheus: “the legend of Prometheus is linked to the castration complex,” 5 says Bataille. Perniola’s words point directly to the patriarchal order upon which this imperialism lies, disguising itself as revolution; they show Bataille’s profound disagreement with such a social and individual foundation.It is also difficult to affirm the predominance of a phallocentric stance in Bataille. The oedipal figures, for example, are much too paradoxical in their modes... (shrink)

This chapter clarifies important component of alignment in character creation and development. It demonstrates an application of moral philosophy and introduces ethical dilemmas that allow players to make meaningful moral choices leads to a more rewarding gaming experience. The chapter highlights philosophy's most enduring and frustrating questions. According to Dungeons Dragons (DD), the alignment is an element of the player's character sheet that clarifies their worldview and moral outlook. It is also a category that can limit character class (...) and an aura that allows spells or abilities to detect a character's moral outlook – and if necessary “smite” that evil (or good) into oblivion. The DD attracts imaginative players. A party is likely be filled with virtuous paragons, nefarious knaves, and pragmatists. (shrink)

The deeply imaginative structure of Dungeons Dragons (DD) can allow for players to explore the intricacies of gender and sexuality in creative and potentially radical ways. One would be hard pressed to argue that cartoonishly large breasts and skin‐tight leather skirts really allow for dexterous swordplay or quick getaways. DD liberates us from the limitations of our sex by making male and female characters equal in terms of abilities. The shyest of men can be the most outspoken of (...) wizards, the most honest girl can play the most unscrupulous rogue, and the pacifist woman can don full armor and fly into a berserker rage on a group of bugbears ambushing her adventuring party because, after all, bugbears are her species enemy and she just can't help herself when they are around. (shrink)

The aim of this research was to examine the impact of two specific negative emotions of anger and fear on intergroup attitudes. In Study 1 we measured emotions of anger and fear and in Study 2 we evoked these emotions incidentally, that is independently of any intergroup context. In both studies we measured attitudes towards the ingroup and the outgroup.We expected that fear would lead to more positive ingroup attitudes and anger to more negative outgroup attitudes. The results of the (...) correlational study confirmed the predictions regarding anger and decreased outgroup evaluations, and the experimental study revealed that fear enhanced positivity towards the ingroup, but anger increased negativity towards the outgroup. The impact of fear and anger on social attitudes in the specific context of a negatively self-stereotyped ingroup is discussed. (shrink)

The skill of calling animals to fight brings up unique ethical questions. Mages usually interact with animals in two ways: First, the author can summon animals by using animal‐summoning or monster‐summoning spells. Second, a mage can summon animals to be familiar. A familiar was once a normal animal that has been transformed into magical beast with unique powers and abilities. Bats, cats, hawks, and rats are examples of common familiar companions. The rights ethicist Tom Regan argues that animals have particular (...) rights because they are subjects of a life, meaning that they seek to satisfy specific preferences and interests. As Lord Acton wrote, “Power tends to corrupt, and absolute power corrupts absolutely.” It appears that this also holds in Dungeons Dragons (DD). Thus, when playing a character who can summon nonhuman animals, it may be wise to take the ethics into account when deciding what actions are best. (shrink)

Resumo: Este ensaio tem por objetivo contribuir para análises sobre as implicações da privatização da educação (BEIFIELD; LEVIN, 2002) para a garantia do direito humano à educação, na perspectiva dos indicadores propostos por Tomasevski (2004) (modelo dos 4 A´s). Tais indicadores, compostos por aspectos quantitativos e qualitativos, abarcam quatro características fundamentais da educação: disponibilidade, acessibilidade, aceitabilidade e adaptabilidade, além do controle social (DE BECO, 2009). O texto traz uma discussão teórica sobre as formas e dimensões da privatização da educação no (...) Brasil (ADRIÃO, 2018) analisadas a partir de indicadores que buscam captar seus efeitos sobre a educação enquanto um direito humano. Palavras-chave: privatização da educação; direito à educação; educação como direito humano. The characteristics of education as a human right as analytic lenses to study the privatization of basic education Abstract: This essay aims to contribute to analyses of the implications of privatizing education (BEIFIELD; LEVIN, 2002) in the enforcement of education as a human right, using the indicators in Tomasevski’s (2004) approach (4-A scheme). Such indicators, comprised of quantitative and qualitative aspects, include four fundamental features of education: availability, accessibility, acceptability, and adaptability—along with social control (DE BECO; 2009). This article theoretically discusses the forms and dimensions of educational privatization in Brazil (ADRIÃO, 2018), analyzed through indicators that seek to capture their effects on education understood as a human right. Keywords: privatization of education; right to education; education as a human right. Las características del derecho humano a la educación como matriz analítica para estudios sobre las consecuencias de la privatización de la educación básica Resumen: Este ensayo pretende contribuir al análisis de las implicaciones de la privatización de la educación (BEIFIELD; LEVIN, 2002) para la garantía del derecho humano a la educación, desde la perspectiva de los indicadores propuestos por Tomasevski (2004) (modelo de las 4 A). Dichos indicadores, compuestos por aspectos cuantitativos y cualitativos, abarcan cuatro características fundamentales de la educación: disponibilidad, accesibilidad, aceptabilidad y adaptabilidad—además del control social (DE BECO, 2009). Este texto trae una discusión teórica sobre las formas y dimensiones de la privatización de la educación en Brasil (ADRIÃO, 2018), analizadas a partir de indicadores que buscan captar sus efectos sobre la educación como derecho humano. Palabras clave: privatización de la educación; derecho a la educación; derecho humano a la educación. Data de registro: 27/04/2022 Data de aceite: 26/10/2022. (shrink)

There are many commonalities between the framework of roleplaying games such as Dungeons & Dragons and the way in which we design classes and assignments. The professor (the dungeon master) selects a number of readings with some end goal in mind (the campaign). Along the way the students are expected to be active participants (roleplay) and the professor designs progressively harder assignments (quests) in order to test the students’ abilities and to promote learning and growth (leveling up). This (...) structural analogy prompted me to investigate how such a framework could be implemented more explicitly in a class, and in this chapter I describe how I did so. (shrink)

How do we prepare engineering students to make ethical and responsible decisions in their professional work? This paper presents an approach that enhances engineering students’ engagement with ethical reasoning by simulating decision-making in a complex scenario. The approach has two principal inspirations. The first is Anthony Weston’s scenario-based teaching. Weston’s concept of a scenario is a situation that changes in response to choices made by participants, according to an inner logic. Scenarios can dynamically explore open-ended complex problems without imposing predetermined (...) results, allowing students to apply their ethical reasoning in a more realistic fashion. The second inspiration is Thi Nguyen’s theory of games. According to Nguyen, games are the “art of agency,” meaning that they provide a structure under which some result is agreed to be valuable, along with prescribed ways of achieving that result, in a relatively low-stakes and temporary social arrangement. By playing many games, Nguyen argues, we can develop a “library of agency,” that is to say, a set of values and means to achieving them that can inform how we make high-stakes decisions in real life. Engaging with carefully designed game scenarios, then, can enable students to practice making ethical decisions within a structured framework, which unfolds in response to their choices, while their decisions are driven by some defined goal. This roleplaying game–based approach thus allows students to build their own ethical libraries of agency, in preparation for professional decision-making. The approach is illustrated using a specific example recently deployed in a seminar on engineered living materials (building materials that incorporate living tissues). The scenario uses techniques from tabletop roleplaying games (e.g. Dungeons & Dragons) for outcome resolution, adventure design, and character creation. Through the game, students practice making difficult decisions in a humanitarian context. (shrink)

It is widely agreed that play and games contribute to the good life. One might naturally wonder how games in particular so contribute? Granted, games can be very good, what exactly is so good about them when they are good? Although a natural starting point, this question is perhaps naive. Games come in all shapes and sizes, and different games are often good in very different ways. Chess, Bridge, Bingo, Chutes and Ladders, Football, Spin the Bottle, Dungeons & (...) class='Hi'>Dragons, Pac-Man, Minecraft and Charades are all games, and can all contribute to a good life, but each will characteristically enrich someone’s life in its own distinctive way. Some games facilitate socializing and sociability, other games improve physical fitness, some develop a sense of fair play and reciprocity, while others enhance concentration and analytic skills. Asking ‘what is good about games?’ and assuming a simple answer is as naïve as asking ‘what is good about fiction?’ or ‘what is good about sex?’ However, a less naïve question and philosophically interesting question is not hard to formulate. Plausibly, much of the heterogeneity of the value of games stems from the different kinds of instrumental value of different games. Perhaps we should therefore ask in what ways the activity of playing games is characteristically good for its own sake. Unfortunately, the philosophical literature on the non-instrumental value of playing games is sparse. One of the few sustained treatments of the topic can be found in an underappreciated exchange between Thomas Hurka and John Tasioulas. Interestingly, despite taking different views of what it is to play a game, they both make room for the non-instrumental value of play and achievement in game play and they both argue that these two goods stand in important an important explanatory relation. However, they take diametrically opposed views as to which of these good is more basic. Roughly, on Hurka’s view, the good of achievement is more basic, and it is because of the non-instrumental value of achievement that what Hurka calls “playing in a game,” which involves playing, is itself non-instrumentally good because of the non-instrumental value of achievement. The idea is that if something is non-instrumentally good then loving that thing is also non-instrumentally good, and that playing in a game involves loving the activity for its own sake. In this way, the value of achievement in a game grounds the value of playing in a game. Tasioulas takes exactly the opposite approach. He argues that there must be something independently good about playing a game which grounds the value of achievement in that game. On his view, the typical grounding good or “framing value” of games is play itself – what I am here calling “playing.” In this essay, I raise some objections to both Hurka’s view and Tasioulas’s view and develop a positive alternative conception of the non-instrumental value of games. I argue that while each view is insightful in its own way, neither gets things exactly right. For a start, the way in which they characterize the key concepts is problematic. Hurka’s definition of ‘play a game’, which he lifts from Suits, is problematic, while both of their characterizations of play are problematic for reasons I rehearse here. They also take an unduly narrow view of the possible role of achievement in game play, both effectively conflating achievement with “excellence.” I argue, by contrast, that there is an important sense in which even someone who is not very good at the game by any objective standard can still reap the goods of achievements in games. At the same time, those who play games typically do not do so for the sake of achievements as such, though they may do something which is in a sense tantamount to this, or so I shall argue. Finally, I argue that neither Hurka’s “achievement first” order of explanation nor Tasioulas’s “play first” order of explanation is fully correct. I argue for what I call a “variable priority” view. On this view, the value of play sometimes grounds the value of achievement in a game, while in other cases the independently grounded value of achievement in a game provides a further ground for the value of play, though even in that case play is independently good for its own sake. I begin by laying out Hurka’s and Tasioulas’s views. (shrink)

Massively multiplayer online games are not merely electronic communication systems based on computational databases, but also include artificial intelligence that possesses complex, dynamic structure. Each visible action taken by a component of the multi-agent system appears simple, but is supported by vastly more sophisticated invisible processes. A rough outline of the typical hierarchy has four levels: interaction between two individuals, each either human or artificial, conflict between teams of agents who cooperate with fellow team members, enduring social-cultural groups that seek (...) to accomplish shared goals, and large-scale cultural traditions, often separated into virtual geographic regions. In many MMOs, both magic and religion are represented, in ways that harmonize with a social-scientific theory that defines them in terms of specific versus general psychological compensators. This article draws empirical examples from five diverse MMOs: Dark Age of Camelot, Dungeons and Dragons Online, World of Warcraft, A Tale in the Desert and Gods and Heroes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What is Fantasy?Brian Laetz and Joshua J. JohnstonWizards, elves, dragons, and trolls—this is certainly the stuff of fantasy, populating the fictions of such giants as Tolkien, no less than the juvenilia of many aspiring writers. However, it is much easier to identify typical elements of fantasy, than it is to understand the category of fantasy itself. There can be little doubt that, in practice, the genre is pretty (...) well defined, concretely manifesting itself in the shelves reserved for it in video shops and bookstores. But stating why a work belongs on these shelves, rather than those in the near vicinity, such as horror and science fiction, or those more remote, like plain old fiction, presents a real challenge. Certainly, a mere few feet could separate fantasy from the other shelves, but the conceptual distance those feet represent appears great indeed. What, if anything, distinguishes this genre from other categories of mass art. In other words, what is fantasy?To begin, fantasy is a transmedia genre, since there are fantasy novels and movies, for instance, as is illustrated by J. R. R. Tolkien's Lord of the Rings saga and its recent cinematic adaptation. It is interesting to note that fantasy includes works from other media as well, such as paintings, which often accompany fantasy narratives, like Frank Frazetta's recognizable illustrations for Robert E. Howard's Conan the Barbarian stories. Forms of entertainment are also affiliated with the genre, such as role-playing games, like Dungeons and Dragons, though one might balk at considering such things even forms of mass art? Nonetheless, despite the variety of media and entertainments associated with fantasy, [End Page 161] narratives occupy a fundamental place within the genre. For paintings, drawings, and the like are only recognizably fantastic given some narrative background that tells us what wizards, trolls, and dragons look like.1 Plausibly, it is what allows us to see that a drawing depicts an elf, for example, rather than a child with odd pointy ears. Thus, even if some works of fantasy are, strictly speaking, non-narrative, fantastic narratives remain fundamental, since these other works would not be classified as fantasy without them. This warrants initially setting aside things like fantasy games and paintings to focus on narratives. What, precisely, makes a narrative fantastic?First, fantastic narratives are essentially fictional. For regardless of how one ultimately understands the nature of fiction, the notion of true fantasy seems patently incoherent, quite unlike, say, true crime. And it must be stressed that this point should be compatible with any theory of fiction. Second, the sort of things that can make a work fantastic, like wizards and dragons, must be prominent in the work—they cannot be minor details. For example, had there been a two-minute scene in Spartacus in which someone cast a spell, the scene would have been fantastic, but ultimately the movie would not be classified any differently; you would still find it on the drama shelf. Moreover, this condition is not peculiar to fantasy.2 For instance, no one who has suffered through a Steven Seagal film would seriously classify it as romance or even action-romance, simply because it has a minor romantic subplot. Fantasy is no different from any other genre in this regard: whatever features define a genre must be prominent in a work in order for it to belong to the relevant genre. Third, the sort of content that can make a work fantastic must not solely be viewed as symbols for things that are not fantastic. In other words, these elements cannot just be taken as allegorical.3 This alone would seem to disqualify George Orwell's Animal Farm from the genre, since most read the intelligent animals as merely symbols portraying various factions in communist Russia. It should be noted that the actual intentions of the author probably matter little here. For example, even if scholars discovered that Tolkien merely intended the Middle Earth saga as an elaborate allegory, it would remain fantasy; few would be tempted to move the books to another shelf. Fourth, the relevant content must not solely be mocked or lampooned within the work.4 This is necessary... (shrink)

Theology, Fantasy, and the Imagination analyzes theological, religious, and philosophical themes in classical Christian fantasy, contemporary “post-Christian” fantasy, and fantasy at play in table top games such as Dungeons and Dragons and Magic: the Gathering.

The aim of this chapter is to analyse the concept of love —understood in the broad and Christian-inspired sense of love as agape-charis love— in relation to the animes Dragon Ball and Dragon Ball Z. I first comment on the character of Piccolo —and how his friendship with Son Gohan— leads to him losing all his original villainous traits. I argue that the evolution of the character of Piccolo through his friendship with Son Gohan illustrates the philosophical claim that a (...) loving and giving of oneself to the other —far from being a sign of weakness— is a courageous and self-affirming exercise. The result may move the individual to an inner transformative experience that leads to the enjoyment of a renewed and authentic life that is worth living. I then argue that Son Goku’s respectful attitude towards his opponents is ultimately a loving attitude. Last, I argue that it is the inspiring and loving example of Son Goku that ultimately explains why characters such as Vegeta —who are at first presented as villains— end up losing their villainous traits after fighting against Son Goku. (shrink)

As symbols of adaptability and transformation, together with qualities of vigilance and intelligence, we argue the relevance of dragons for spatial planning in China. We develop a metaphorical concept – the green dragon – for grasping the condition of contemporary Chinese societies and for facilitating the development of theories and practices of spatial planning which are able to face the challenges of rapid change. We ask Chinese scholars and spatial planners to liberate Deleuzian potential for strategic spatial planning in (...) a ‘becoming-between, coming-together’ of concepts which can effectively make a difference in the world. Having outlined what we regard as key transversals or diagonals between our reading of Gilles Deleuze and aspects of Chinese philosophy, we then offer the metaphor of strategic spatial planning as Chinese literati landscape painting. This is a form of painting which rejects the idea of the world being supremely organised from a particular point of view, preferring to paint immanence and transformation. Chinese literati landscape paintings, like philosophy and strategic spatial planning, ‘look only at the movements’. We conclude that connections between what concepts of Chinese philosophy and those of Gilles Deleuze can do, suggest that in China, a conception of strategic spatial planning as metaphorical green dragon may offer academics and planning practitioners a transverse way to relate the legacies of past philosophies and current thinking. (shrink)

J. K. Rowling's dragons follow in the lineage of legendary creatures as they have been remembered in the medieval novels: they are large reptiles with wings that breathe fire. In addition, they often keep a treasure. These dragons are often aggressive with humans. However, even though they are aggressive, they are not evil in Harry Potter. Besides, Voldemort and his Death Eaters are only indirectly associated with a dragon. They are aggressive because they are wild animals. Man should (...) not try to tame them. We must understand them and protect them by adopting an ecological approach to the preservation of dragons. (shrink)

An activity called Purple Dragons and Yellow Toadstools, originally reported in 1987 as a training activity for jurors, was adapted as a priming exercise for a unit on teaching research ethics with undergraduate students. In this activity, learners develop skills for building negotiated consensus. The procedure involves individuals’ ranking 10–15 moral transgressions and/or legal violations followed by a small group discussion in order to arrive at an agreed-upon ranking by the team. The framework has proved to be quite flexible, (...) adaptable to different subject areas and with different populations of students. (shrink)

This article intends to show the topicality of the dragon theme among children in Quebec, first of all from a study of cultural productions (books and films) intended for them, but also from an analysis of anthropological tests (AT.9s) completed by 194 children aged 6 to 12 years between 2009 and 2019. This analysis of the AT.9s, contextualized by that of the children’s surrounding culture, allows us to conclude that the theme of the dragon persists, that there is a plurality (...) of interpretations of this figure, and that the theory of anthropological structures of the imaginary (G. Durand) is relevant to our time, including with children. From all of this emerges an observation: from the age of 6, children already possess the anthropological structures but also certain cultural figures that are found in adults and the great cultures of humanity. (shrink)

Dragon days: introduction to the new edition -- Enter the dragon: on the vernacular of beauty 1 -- Nothing like the son: on Robert Mapplethorpe's X portfolio -- Prom night in flatland: on the gender of works of art -- After the great tsunami: on beauty and the therapeutic institution -- American beauty.

Angela Potochnik’s Idealization and the Aims of Science defends an ambitious and systematic account of scientific knowledge: ultimately science pursues human understanding rather than truth. Potochnik argues that idealization is rampant and unchecked in science. Further, given that idealizations involve departures from truth, this suggests science is not primarily about truth. I explore the relationship between truths about causal patterns and scientific understanding in light of this, and suggest that Potochnik underestimates the importance and power of highly particular narrative explanations.

DRACO.WOLFANDDOTCOM.INFO is an interactive proto-videogame installation that immerses users, personified as abstract dragons in a cathartic, stochastic, full-body immersive videogame experience, in cyberspace. The work attempts to playfully shift user consciousness towards non-human embodiment, by real-time 3D meshing the data from the human body into a mirrored abstract, ill-defined dragonic 3D shape. It gifts humans with special virtual powers, such as flying and cusping fireballs, as they fight for their progression in the game-space and facing annihilation, through invisible, interactional (...) camera-based technologies which will be exposed in this paper. Inside the piece’s virtual world, users play as endangered dragons in the XXIst century populated by companies, websites and humanoids eager to stop the mythological beasts. The dragons progress in the game-space by inflicting damage upon the city’s landscape. The stochastic game-space ascends in difficulty as the levels progress, slowly changing the joystick’s response into faster speeds and generating larger city-scapes, inducing the game’s ultimate goal of a cathartic ilinxian state of disruption and otherness in human perception. (shrink)