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Although Grant Tavinor concludes that computer games are art by virtue of their forming a subcategory of fiction, and Berys Gaut similarly places them within the realm of cinema, neither approach adequately captures a central aspect of playing these games: when the player no longer attends to the narrative and is instead simply absorbed in the instrumentalities of gameplay. This is among the reasons philosopher C. Thi Nguyen contends that the work of computer-game designers is in what he calls the medium of player agency, which the designer prescribes through rules and goals, and which elicits positive aesthetic experiences in the player who agrees to adopt it. Therefore, Nguyen's position is that Tavinor's and Gaut's frameworks ______