In the book Homo Ludens published in 1938, Johan Huizinga delineates crucial characteristics for understanding the concept of play and its connections with human culture. The author postulates that play is an intrinsically free and voluntary activity (HUIZINGA, 2001, p. 3), presupposing the conscious acceptance and participation of the players. Furthermore, according to the Dutch historian, play is distinguished from everyday life, constituting a delimited temporal and spatial interval (HUIZINGA, 2001, p. 11). In this environment of fantasy and catharsis, players assume diverse roles, immersed in a universe distinct from the everyday (HUIZINGA, 2001, p. 15).
Play is also structured by rules that establish limits and define who wins and who loses or what are the actions allowed to achieve the objective of the game (HUIZINGA, 2001, p. 12-13). For, for the author, the function of the game, in its highest form, resides in the struggle for something or in the representation of something (HUIZINGA, 2001, p. 16).
Huizinga (2001, p. 65) also introduces the concept of the "magic circle" in Homo Ludens, a space of entertainment where participants transcend everyday concerns to surrender to a separate universe. Within this circle, the laws and customs of ordinary life lose their validity (HUIZINGA, 2001, p. 15-16). The author Ernest Adams (2009, p. 8), even, offers an elucidative representation of the magic circle: in the real world, people kick a ball into a net, but, in the magic circle, someone scores a goal that can enchant the fans of a certain football team.
Complementing Huizinga's thought, we bring to this post the text of Jacques Ehrmann, Homo Ludens Revisited (1968) which retakes and expands the reflections of Johan Huizinga on the nature of the game, offering a rich theoretical framework for the understanding of the ludic phenomenon. Ehrmann (1968, p. 55) argues that the game cannot be defined in isolation, but rather in relation to the culture and reality that surround it. This perspective resonates with the growing importance of narrative in digital games, where the player's experience is shaped by a set of meanings and cultural references.
The centrality of the player as "subject and object of the game" (EHRMANN, 1968, p. 56) highlights the interactive and participatory nature of digital games. The ludic experience in games transcends the mere manipulation of rules and elements, encompassing immersion in fictional worlds, decision-making and the construction of personal narratives.
By observing the thinking of these authors, we conclude that - to understand games in contemporary times - it is fundamental also to look to the past and, above all, to learn to connect the social with the ludic.
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References:
ADAMS, Ernest. Fundamentals of Game Design. New Riders, 2009.
EHRMANN, Jacques, et al. Homo Ludens Revisited. Yale French Studies, 41, p. 31-57, 1968. Available at: https://doi.org/10.2307/2929664.
HUIZINGA, Johan. Homo ludens. São Paulo: Perspectiva, 2001.
