From countless mobile gadgets with wireless and fast track connection to the Internet, or using more traditional modes of access, people are increasingly blurring the lines between near and far, public and private, work and leisure, online and offline. The impressive rates in social appropriation of communication and information technologies entail changes in the way we live, get together, do business and – of course – have fun.
Stephansplatz, Vienna (June, 2016). Photo by @vincevader
Having fun, in this scenario, is closely linked to the large number of entertainment languages that pervade our daily experience. The languages of entertainment are crisscrossing boundaries in the quotidian landscape and games become media and a relevant tool of marketing for many companies. We can find games and languages of entertainment in our mobile devices, Facebook site, television shows, videogame consoles, mobile applications and lots of other platforms. Everything indicates that, more than never, individuals are searching for ludic/entertainment/gaming experiences to disconnect for some moments from the chaotic quotidian, the pressure of working hours or the accelerated routine of big urban centers; in certain way, people are trying to reach places of catharsis, dreaming and fiction to escape from this. Based on the Huizinga’s (1995) thoughts, they are searching for different “magic circles”.
Johan Huizinga (1872 – 1945) was a Dutch historian and one of the founders of modern cultural history. In his book Homo Ludens, from 1938, he discusses the possibility that playing is the primary formative element in human culture. In this book, the author (HUIZINGA, 1995) presents the idea of the "magic circle". As described by Adams and Rollings (2009), Huizinga did not use the term as a generic name for the concept: his text refers to the actual playground, or a physical space for playing. Inside the magic circle, real-world events have special meanings; in the real world someone kicks a ball into a net, but in the magic circle someone scores a goal leading the crowd to celebrate this act. (ADAMS; ROLLINGS, 2009).
The magic circle is a place of dreams and fantasy. It's an escape from everyday problems and chores. Most importantly: everything inside the magic circle is, in some way, transformative. Each time a person leaves the magic circle, they bring meaning and experience to the real world. The arena, the card-table, the stage, the screen, the tennis court, the court of justice, etc., are examples of the magic circle idea. It is important to mention that authors like Bogost (2016) discuss that “magic circle” is too dramatic a name for this kind of processes and embraces the term “playgrounds” as an alternative.
Regardless of the categorization – whether “magic circle” or “playgrounds” – it is important to understand that the contemporary stage is full of platforms that we can access entertainment/games and there are lots of individuals attached to these ludic experiences. We can suppose that companies/brands/products/services will try to connect its selves to the audiences immersed in these experiences, platforms and languages. Based on this assumption, we understand more clearly how games also become communication and marketing tools.
#GoGamers
References:
ADAMS, Ernest; ROLLINGS, Andrew. Fundamentals of Game Design. New Jersey: Pearson Prentice Hall, 2009
BOGOST, Ian. Play anything: the pleasure of limits, the uses of boredom, & the secret of games. New York: Basic Books, 2016.
HUIZINGA, Johan. Homo Ludens: A Study of the Play-Element in Culture. Boston: The Beacon Press, 1955.
Stephansplatz, Vienna (June, 2016). Photo by @vincevader
Having fun, in this scenario, is closely linked to the large number of entertainment languages that pervade our daily experience. The languages of entertainment are crisscrossing boundaries in the quotidian landscape and games become media and a relevant tool of marketing for many companies. We can find games and languages of entertainment in our mobile devices, Facebook site, television shows, videogame consoles, mobile applications and lots of other platforms. Everything indicates that, more than never, individuals are searching for ludic/entertainment/gaming experiences to disconnect for some moments from the chaotic quotidian, the pressure of working hours or the accelerated routine of big urban centers; in certain way, people are trying to reach places of catharsis, dreaming and fiction to escape from this. Based on the Huizinga’s (1995) thoughts, they are searching for different “magic circles”.
Johan Huizinga (1872 – 1945) was a Dutch historian and one of the founders of modern cultural history. In his book Homo Ludens, from 1938, he discusses the possibility that playing is the primary formative element in human culture. In this book, the author (HUIZINGA, 1995) presents the idea of the "magic circle". As described by Adams and Rollings (2009), Huizinga did not use the term as a generic name for the concept: his text refers to the actual playground, or a physical space for playing. Inside the magic circle, real-world events have special meanings; in the real world someone kicks a ball into a net, but in the magic circle someone scores a goal leading the crowd to celebrate this act. (ADAMS; ROLLINGS, 2009).
The magic circle is a place of dreams and fantasy. It's an escape from everyday problems and chores. Most importantly: everything inside the magic circle is, in some way, transformative. Each time a person leaves the magic circle, they bring meaning and experience to the real world. The arena, the card-table, the stage, the screen, the tennis court, the court of justice, etc., are examples of the magic circle idea. It is important to mention that authors like Bogost (2016) discuss that “magic circle” is too dramatic a name for this kind of processes and embraces the term “playgrounds” as an alternative.
Regardless of the categorization – whether “magic circle” or “playgrounds” – it is important to understand that the contemporary stage is full of platforms that we can access entertainment/games and there are lots of individuals attached to these ludic experiences. We can suppose that companies/brands/products/services will try to connect its selves to the audiences immersed in these experiences, platforms and languages. Based on this assumption, we understand more clearly how games also become communication and marketing tools.
#GoGamers
References:
ADAMS, Ernest; ROLLINGS, Andrew. Fundamentals of Game Design. New Jersey: Pearson Prentice Hall, 2009
BOGOST, Ian. Play anything: the pleasure of limits, the uses of boredom, & the secret of games. New York: Basic Books, 2016.
HUIZINGA, Johan. Homo Ludens: A Study of the Play-Element in Culture. Boston: The Beacon Press, 1955.
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