The Man and the Monster - 4ormat … · backbone of the analysis. This unison of three different areas of research will help me provide a well rounded and ... (Fig 5) Cinematic cutscene

Connor Carter 1300340 BA Games Art & Design

The Man and the MonsterExploration into Games Moral Dualism Concepts

and the Creation of Meaningful Play

“The spirit of playful competition is, as a social impulse, older than culture itself and pervades alllife like a veritable ferment. Ritual grew up in sacred play; poetry was born in play and nourished

on play; music and dancing were pure play....We have to conclude, therefore, that civilization is, inits earliest phases, played. It does not come from play...it arises in and as play, and never leaves

it.”

(Huizinga, 1938, p.173)

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- ABSTRACT -

This research report will inherit the structure characteristics of an extended essay format, utilizing this analytical approach that will be most complimentary to the investigation of the initial reports proposal with regard to the concept of 'The Man and the Monster' and the periods of change, evolution depicted within historical literature and contemporary games design practices.

Chapters within the body of the report will be categorised in order of historical sources and literature that has been chosen to represent the investigation. Literary sources have been paired with video games that convey a complimenting cross source analytical comparative which in turn will generate an in depth evaluative approach to the research report. Developing on this the inclusion of Moral Theologists and Theories; Immanuel Kant's 'Theory of Moral Universality' being a key concept in this approach, to rationalise and ground the theories presented within this investigation which strengthens the backbone of the analysis.

This unison of three different areas of research will help me provide a well rounded and throughly researched argument from which I will be able to come to a academic conclusion of the importance of my research report in a cohesive manner.

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– CONTENTS PAGE -

Table of Illustrations 4-5

Introduction 6

Chapter 1: A Allegory of Divine Morality 7-10

Chapter 2: The Self Preservation Conflict 11-13

Chapter 3: Dualism, Interior & Exterior 14-17

Chapter 4: 'The Man and the Monster', Meaningful Play 18-20

Conclusion 21

Bibliography 22

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- TABLE OF ILLUSTRATIONS -

(Fig 1) In game screenshot in Rust

(Fig 2) In game screenshot in The Walking

Dead scene 'Around Every Corner'


Dead scene 'Around Every Corner'


Dead

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(Fig 5) Cinematic cutscene within Halo 3

(Fig 6) Cinematic cutscene within Halo 2

(Fig 7) Image depicting the process of

Huizinga's 'Magic Circle'

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- INTRODUCITON -The reports proposal addresses my motivation within the games industry and what I wish to see progress. Its evident that Games Design as an art form is becoming more acceptedand recognised, however there is a very real stigma to do with the medium that is undeserved. Almost lacking the 'pedigree' of other established art forms, a key element to this problem is the lack of understanding in particular to do with the approach of 'depth and meaning' within video games. This investigation will demonstrate the power, emotional depth and metaphorical representation of real world contextual issues to individuals who don’t envision video games in the same 'calibre' as other art forms.

The concept initially presented addresses moral duality specifically adhering to the players internal view of their own actions. 'The Man and the Monster' is a concept which explicitly link the socio-cultural evolution of morality, as this advances so does the 'norm' of what is deemed 'good or evil'. Forming the premise of what is generically accepted as 'good or evil' is continually altering, so is the concept of 'The Man and the Monster'. It's an entity that dynamically adapts to remain relevant to society and in turn relevant to games design and the player, this conflict the player faces with the concept is a essential element in the formation of 'Meaningful Play'.

To aid in the creation of a well rounded investigation which enables the justification of thethesis the utilisation of historical resources, in particular literature will be prevalent. This provides a basis of 'standardisation' that shows with evidence the formation and evolutionof the concept throughout historical cultures, enabling me to analyse and evaluate its importance within games design being able to refer back to the standardisation the resources have produced. This will be supported by specific examples of video games that I feel compliment aspects and themes conveyed within the sources to provide a basisof analytical comparison to again strengthen what will be discussed. Finally, I intend on using moral philosophy theories established by philosophisers such as Kant, Locke and older historic figures such as Aristophanes to give moral context and understanding to the concept and its relation to gaming.

Individuals who share a similar view to mine previously mentioned would like to see evidence to help promote the acceptance of video games as an art form, however I also believe that the investigation would be of value to people who share the opposite opinion to hopefully educate them in aspects they do not necessarily comprehend the medium. Essentially I feel that it will benefit people who are interested in games as a whole and the design aspect as well as people who are linked to the acceptance of the medium, as it will provide justification and context that will help the case.

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- CHAPTER 1- An Allegory of Divine Morality

Historical Literature: • Dante's “The Divine Comedy”

Game Comparative: • Horror-Survival: 'Silent Hill 2'

Philosophical Theory:• Divine Command Theory• Plato's 'Euthyphro' • Ideal Observer Theory

The epic saga constructed by Dante Alighieri, although an allegory in its own right can be viewed as a critique of reason and thought. Provoking analysis on ones morality and the inner mechanics of the direct impact on the subsequent actions of human beings. The questions it addresses within the texts, in particular 'Inferno' portrays clear connotations that emulate the framing devices and moral mechanics utilised within games design to provide atmosphere, immersion and eventual meaningful play.

'Inferno' initially begins with Dante's sensation of abandonment and isolation, initially conceived as a physical representation of Dante being 'lost' within the woods; its evident there are metaphorical aspects that depict connections to Dante the Poet utilising the poem as a framing device for the wavering of his struggle of inner faith and morality. “When half way through the journey of our life I found that I was in a gloomy wood, because the path which led aright was lost. And ah, how hard it is to say just what this wild and rough and stubborn woodland was, the very thought of which renews my fear! So bitter ’t is, that death is little worse” (Alighieri, 2015, p1). The opening verse of Inferno establishes the world for the rest of the poem, the references of phrases “gloomy wood....wild and rough...stubborn woodland” convey to the reader the severity of Dante's bewilderment that is being spiritually faced about the morality and strength of his faith. 'The absence of justice and injustice' as a concept is a prominent theme throughout the rest of inferno, 'because the right path that lead aright was lost' in this world space is the path of god. The quote illustrates the sense of abandonment and inner conflict Dante is struggling to cope with, his wavering of faith and the premonition of sin is at the centre of

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his internal conflict reflecting a players inner moral conflicts within immersive gameplay experiences. Establishing that in this unique instance of Dante's writing the prevailing moral justice is that of god, “The point which I should first wish to understand is whether the pious or holy is beloved by the gods because it is holy, or holy because it is beloved ofthe gods.” (Plato and Jowett, 2004). This dialogue between Socrates and Euthyphro in Plato's 'Euthyphro' dialogue really captures the key question of analysis that will be an essential element in chapter one's investigative approach into morality and its implementation into games design concepts. The quote exemplifies the justification of actions based on whether a action is holy and just purely because Dante's governing moral law (God) deems it to be or, as an action in itself it is just and morally right.

The duality at the epicentre of Dante functions as a framing device emulating the inner conflict in a physical manifestation. The town of Silent Hill inherits these facets that are used as a framing device for the individuals of Dante and James aiding in the experience and moral journey encountered in each environment. Illustrating how games as a medium can invoke meaningful thought as much as classic historical literature. This dualism of Dante himself is represented through two entities throughout the saga, Dante the 'Poet' and Dante the 'Pilgrim'.'Dante the Poet' a stern, moralistic individual acts as the governingstandard of morality to who resides in Hell. Similarly Minos the monster judge, decides which circle of Hell each sinner belongs in. Unwavering in moral judgment, sinners are punished without empathy. “I did not open them—for to be rude To such a one as him was courtesy.” (Alighieri, 2015, p 146–147). Referencing Dante's promise to open Fra Alberigo’s eyes lying supine in Cocytus, tears frozen over his eyes. Initially agreeing yet after he realises the extent of the man’s evil, he changes his mind on his promise, taking pleasure in Alberigo’s suffering an important milestone to Dante’s overall development in the poem, indicating the extent to which he learns not to pity but to despise sin in absolute. Alternatively, 'Dante the Pilgrim' sympathetic to others who strayed from the right path, himself lost in a dark wood terribly frightened. The appearance of Vigil displays Dante the Pilgrim is initially cautious, and submissive until he's reassured of Virgil's noble intentions. “. . . One day, for pleasure, We read of Lancelot, by love constrained: Alone, suspecting nothing, at our leisure.. . .And so was he who wrote it; that day we read. . .No further. . . .” (Alighieri, 2015, p.80) Offering a sympathetic story explaining the suffering of souls placed in Hell, allows the reader to appropriate Dante’s compassion. Progression shows stories told by the damned grow less sympathetic, compelling the reader to share Dante’s growing abhorrence of sin and the poem’s theme that sin isn't to be pitied. Evident in the deception of Francesca da Rimini, promised to one yet given to another resulting in her subsequent adultery. The Poet places her in Hell, The Pilgrim swoons and faints when he hears her story.

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Dante and Virgil's arrival in Limbo at the 'Circle of the Poets' is a key scene that contrives the elements of fractured duality. The Pilgrim is overwhelmed by an invitation to join the most exalted poets of the world, feeling unworthy to join this group. Yet Dante the poet who created the situation that lay before us, The Poet's invited to join these revered individuals perceiving himself as an equal. Appropriation of Dante's Dualistic themes into the design of Silent Hill 2 underlying themes of duality is a comparative example of the involvements of 'The Man and the Monster'. Emulated via each protagonists to invoke meaning and emotion.

"I told you that I wanted to die, James. I wanted the pain to end.""That's why I did it, honey. I just couldn't watch you suffer. No! That's not true... You also said that you didn't want to die. The truth is I hated you. I wanted you out of the way. I wanted my life back...""James... if that were true, then why do you look so sad?"

(Konami, 2001)

Exemplifying the dual nature of James' murdering of Mary in the scene 'Leaving', where James does atone for his sin. The importance of James' emotional dualism regarding Mary and her illness, the scenarios untouched by Aristotle virtue ethics (If an action can be both virtuous and vicious in the same breath how would we distinguish ourselves as moral agents). This is a core meaningful thought the game presents to the player whereby right and wrong are perspective-based. In playing the game you do inherit the sense that James cared deeply for Mary;

"I think you'd better stay away. This uh... this town... there's something... 'wrong' with it. It's kind of hard to explain, but...""Is it dangerous?""Maybe.”

(Konami, 2001)

The town as an entity draws guilty moral agents to it yet the process is left ambiguous, either through some extension of its own will or by chance, morally guilty people end up inSilent Hill. The unique quality of the town in Silent Hill 2 is that the town manifests the guiltof the moral agents physically in the world around them. Hinted and suggested throughout the game that all is not as it seems with James and Mary, the final twist of the game is a video that James and Mary left at the Lakeview Hotel on Toluca Lake in Silent Hill. "Don't get all holy on me, James. This town called you, too. You and me are the same. We're not like other people. Don't you know that?!" (Konami, 2001). Introduced in the way the video tape they did starts, quickly evolving into a horrific scene wherein James

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suffocated his terminally ill wife in bed. The origin of James' guilt which he has subconsciously blocked up until that point, Silent Hill forces him to remember it. This action has a duality to it that shows his desire to end her suffering and also to end the suffering she caused him. An aspect replicated within Dante, the town of Silent Hill and Dante's hell both act as an illusion to address and contextualise experiences crucial to the moral development of each character and in turn us as the player.

Individual choices and impacts directly affected by each personal 'morality' and code of 'ethics' aid in establishing a universality of morality, unique to Dante's world. His interactions and experiences represent a moral interview between the two fractures, dialogue ensued between Dante and the secondary figure representing a narrational vice interpreting the journey of the soul in the eyes of God. ”Taken by the sorry souls...who lived without disgrace and without praise...now commingle with the coward angels...nor faithful to their God...nor will deep Hell receive them.” (Konami, 2001). Multiple religious references in the passage initiate the formation of a unique spectrum of moral comparative, referencing the allegories influence to 'divine command theory'. Stating that the morality of individuals belief's is entirely subjugated to a foreign entities judgement, rendering individual thought process' as tainted. Its an absolute oppressed onto us, basing judgement not of sentient thought but dictated as just or unjust. This conflict between 'Divine Command' (morals based off a predetermined absolute, X is right purely due to it being states so) and 'Ideal Observer' (standards of rationalised individual thinkingwhich result in the same moral output Y is right because moral variables lead to this conclusion) theories is a dynamically applicable mechanic in which the collision of the two generates a scenario where an emotional connection between medium and the individual intertwine.

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- CHAPTER 2 -The Self Preservation Conflict

Historical Literary Source: • The Odyssey

Game Comparative: • 'Rust'

Philosophical Theory:• Cognitive Self-Preservation Theory

Standardisation of moral rationality is a unique approach within Rust. Moral judgements are achieved by replacing a binary decision making system with a concept allowing player-bases to pass judgement upon others, creating a limitless possibilities of actions and reactions. Encouraging the natural growth of empathy, pre-emptive thought with regard to action and reaction is the stage at which meaningful play and the threshold of Huizinga's 'Magic Circle' is entered. “A huge reason why your decisions in Rust matter so much is that there are repercussions...If you're known for killing on sight, forget about being able to trade...If your nerves get the best of you and you take out another player who just happens to live in that massive base next to you, your base will be very likely be raided in retribution...if you give a starting player some chicken, you may have an ally next time you're in need of one.” (Rust Game Morality, 2014).

The compulsion to survive and that of 'The survivor' portrayed in the odyssey are inherited within the design mechanics of games like 'Rust' presenting purposeful, contextually relevant scenarios to the player. Initial craving for survival and the subsequent decisions made under this influence which don't necessarily agree with the players morality leads to a self-evaluative opinion they are a 'monster' if it doesn't agree with the 'socio-cultural' conventions that is current in the players context. “there are no instructions or prompts...just the tools. When you trap someone inside your house and force them to draw 50 bags of their own blood...you’re really choosing to be a monster.” (Rust Game Morality, 2014). Promotion of individual thought is beginning to be presented within game design, pushing the medium as a whole into a more definitive direction where the ability to persuade, question and evoke emotion is accepted and recognised.

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The conflict between survival and the morally correct is a concept often employed within games design as a way of intriguing the player further into the spatio-temporal illusion of the game world. “We're now in a era where multiplayer is moving away from these highly controlled spaces and attempting to revive the feeling of old MMO’s...where the worlds were unforgiving and the player base was encouraged to both help and hurt each other...alack of clarity often resulted in pride and gratefulness when you had a breakthrough.” (Rust Game Morality, 2014). Using in game mechanics such as dynamics events, the freedom of sandbox games and choices made by the player in dialogues to give a sense of emotional attachment and empathy within the player toward the game. The tether between the two is what builds the foundations of a deeper level of play in morality and ethics in a game, the way the player has acted and the choices made are critically self assessed either intentionally or sub consciously at the conclusion of the game of throughout.

Utilization of player choice is an intrinsic facet that’s constantly attempted with games design. The ideal of ownership and individuality in an interactive medium is something which is strived for when thinking in terms of meaningful play experiences.

(Fig 1)

The attributes displayed throughout The Odyssey which contribute to the survival of Odysseus are key aspects that a player experiences within their gameplay of Rust. It's evident that these key elements placed in well designed game worlds immersively convey to the player a greater sense of meaningful play, a feeling that the decisions you make within the game world actually are impactful, not just a means to an already pre determined ending.

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A passage from a players review of Rust entirely encapsulating the raw sense of moral freedom and emotion Video Games can instil:

“I call out to a man in a few pieces of tattered cloth clothing...he ignores me I let off awarning shot over his head. The man now speaks up...he knew I was just going to kill himso why would he bother chatting. He is a sad and pessimistic player beaten down by theunforgiving brutality that characterizes so many of the human interactions in the world ofRust...swearing to serve as his protector. I want to restore his faith...I watch his back as he

collects resources...he finds a sleeping man. He, without hesitation, runs to the personand begins to hack at him with a hatchet. I call out for him to stop and point out the

hypocrisy in his frustration with the player base and his treatment of this sleeping player.He continues and I put a few rounds of 5.56 ammo into the back of his head...I see myselfas having done was saving a sleeping man. I believe that I have done good, but damn if

it’s not a blurred line.” (Rust Game Morality, 2014).

One of the key reasons for Rust's reception within the gaming community is the lack of a governing authority to provide a moral code present with the 'Divine Command Theory'. The lack of a 'God' within the games mechanics and play creates a sense of freedom that to an extent is daunting. A moral void to judge actions and reactions against your own setof codes. A set of ethics that grow and evolve just as your gameplay and experience doeswithin Rust, meaningful play situated neither with right or wrong, but truly in the unknownof the divide.

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- CHAPTER 3 -Dualism, Interior and Exterior

Historical Literary Source: • Robert Stevenson's 'Strange Case of Dr Jekyll and Mr Hyde'

Game Comparative: • Telltale's 'Walking Dead'

Philosophical Theory:• John Rawls 'Veil of Ignorance'• The distortion of 'Ideal Observer Theory' • 'Moral Realism'

John Rawls 'Veil of Ignorance' Is a concept which opposes the forces of immersion in meaningful gameplay, a theory that when individuals don't share emotional empathy is an individual who can determine a 'true' morally just decision. The goal of 'Meaningful Play' isto create a spatio-temporal illusion where players are immersed in the gameplay, art and narrative. As a result the veil of ignorance dissipates allocating players into a state of ethical oblivion, where raw emotion distorts decision making. A key element of achieving meaningful play is by establishing convincing illusions within the world space, ensuing the warping of 'Moral Realism' into a creators ideology. Robert Stevenson's “The Strange Case of Dr Jekyll and Mr Hyde (DJ&MH) and Telltale's “The Walking Dead” (TWD) use aspects of 'Ideal Observer Theory' to enable the viewer to experience and immerse themselves within the events of each subsequent medium. Both case studies channel instances of when the 'Ideal Observer' is deconstructed with the intent of disorientating the moral compass of the reader. Themes of 'Dualism' as a manifestation of 'The Man and the Monster' aiding in creating dynamic emotionally involving events in narrative. This opens the player up to a raw sense of gameplay where their decisions are important, difficult and often unclear. The essence and experience of having emotional conflict weaved within the decision making of a games narrative ties events and characters at a core fundamentals of 'meaningful play'.

'Moral Realism' aids in the formation of a 'standardisation of morality' as a reference for games designers in creating the 'world space'. Robert Stevenson's novel metaphorically addresses issues that a contextually relevant to society during the novels writing, used as a

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framing device to portray these issues that are inherent in Telltale's TWD. Exploiting games mediums interactiveness to promote contextual issues of dystopian isolation and socio-cultural breakdown, using the pre existing world of TWD franchise as foundations.Stevenson's novel develops upon a already pre designed standard of morality depicted within our society. Achieved by basing his fictional narrative upon historical real world locations, giving the reader a sense immediate contextual moral references. “With every day and from both sides of my intelligence, the moral and intellectual, I thus drew steadily to that truth by whose partial discovery I have been doomed to such a dreadful shipwreck: that man is not truly one, but truly two.” (Stevenson, 1995, p. 74). However, Telltale whilst accepting the traditional codes and conventions of 'Moral Realism' and the 'Ideal Observer' theory, are deliberately distorted within their fictional world space creating a unique evolving moral comparative . Their dystopian world is a vital element in deep, meaningful play achieved in the stories gameplay and the narrative which lead to such a successful reception.

(Fig 2, 3) Screenshots from 'Episode 4: Around Every Corner'

One of the first things we do (as the player) is unearth a deceased dog. Later burying a boy in the same grave who died of starvation, the imagery of the animal next to his master emphasizes the world of TWD. This creation of imaginative mediums of games and novellaexhibit unique elements to being such successful creative communicative platforms, the creation of a 'World Space'. Designers Robert Stevenson and Telltale quite literally engineer a fabricated universe dependant on its own unique set of morals and ethics. Stevenson's novel is an example of moral realism where every action has an absolute and is deemed good or evil, the books a literal embodiment each character (Hyde and Jekyll) pertained to their respective traits,“All human beings, as we meet them, are commingled

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out of good and evil: and Edward Hyde, alone, in the ranks of mankind, was pure evil.” (Stevenson, 1995, p. 78). Comparatively Telltale completely disregard this in favour of the creation of a 'living moral entity' which evolves and develops as the player does within the games illusionary narrative.

The fact that DJ&MH is a work of fiction set in historical locations directs the reader to contextually appropriate the social norms of morality into the text. Devising a pre-existing moral compass pre-dictated by socio-cultural codes and conventions, employs moral universality theology as an frame during the read. ”… that I learned to recognize the thorough and primitive duality of man… if I could rightly be said to be either, it was only because I was radically both”...he further adds....“a second form and countenance substituted, none the less natural to me because they were the expression, and bore the stamp, of lower elements in my soul” (Stevenson, 1995, p. 74). In comparison Telltale's TWD places you in a world space were the environments narrative of a dystopian zombie apocalypse. A world ripped apart destroying socially and culturally accepted norms, players are forced to moral develop and adapt to understand the experiences of gameplay presented.

DJ&MH is contrived as a piece of writing ahead of its time, addressing the concept of good and evil ('The Man and the Monster') and its existence within every individual. Analysis at a deeper level reveals its critique on the hypocrisy and dual standards of society, themes of conflict evident in this can also be seen with TWD. Multiple decisions encountered by players forging self-evaluation upon impacts choices have both interior and exterior.

(Fig 4) In-game screenshot exemplifying a vital question presented to the player of Clementine's future.

The players at the epicentre to the care of clementine and the offer Vernon proposes to the player. Initially the neutral logic behind the offer is convincing to the player, in terms ofassessment variables core to the game world. Vernon's group is well hidden and well supplied, two factors which greatly increase survival. Deeper thought critique reveals to

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the player that the group consists of elderly, frail members (one of which requires constantmedical care). An archetype of intuitive games design presents a scenario where the gameis asking the player to give up someone who has in essence been adopted by the player. The proposition wont inherently lead to Clementine having a better life, yet it makes us evaluate our decision and actions throughout the game. Have they always had Clementinebest interests at heart? An illustration of moral duality in well thought out gameplay encountered by the player, analysing decision and impacts that affect characters and narrative forming a unique interaction. Similar to the morality in Stevenson's writings where the reader questions and analysis's the actions of Hyde and Jekyll.Developing on standards of morality being situationally and environmentally unique dependant of variables within fictional worlds, the description and definition characterising an individual as 'evil' isn't feasible. “He is not easy to describe. There is something wrong with his appearance; something displeasing...He must be deformed somewhere...although I couldn’t specify the point...an extraordinary-looking man...yet I really can name nothing out of the way.”(Stevenson, 1995, p. 10). Occurring in Chapter 1“Story of the Door” when Enfield relates to Utterson how he watched Hyde trample a little girl underfoot. Asks his friend to describe Hyde’s appearance Enfield as the quote indicates proves unable to formulate a clear portrait. He asserts that Hyde is “wrong...deformed...displeasing” inspiring an immediate revulsion, yet he cannot state why. Enfield’s lack of eloquence sets a theme throughout the novel, as no one (from Utterson himself) can come up with an exact description of the man. Most people merely conclude that he appears ugly and “deformed” in some indefinable way. The inability to accurately describe Mr Hyde is that as previous stated, “Edward Hyde, alone, in the ranks of mankind, was pure evil.” (Stevenson, 1995, p. 78). Referencing the concept of the 'Man and the Monster', good and evil and co-eternally and co-dependently evolving in correlation with socio-cultural norms. Impossible to place a definitive guise on 'evil' as its ever changing, Stevenson constantly references Hyde and his obscured 'deformities'; “something wrong with his appearance; something displeasing, something downright detestable” (Stevenson, 1995, p. 10). Attributing to a rippled, warped entity thats constantly moving and evolving, a key element as to why no one is able to describe the man. As how does someone depict with clarity, pure evil.

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- CHAPTER 4 -'The Man and the Monster', Meaningful Play

Games are framing devices for socio-cultural issues that we, in our nature, tend to physically avoid, emulated within the medium in a way which we can connect to. “Why is it that we feel need to create a game which takes place in the cold depths of space millions of miles away in a fiction universe to address serious conflicts and issues that are right herein the centre of our society?” (Sage, 2015). The creation of 'safe spaces' that game worlds provide allows such communications between controversial subjects and the recipient. Reaching a stage at which we, as the player, are able to experience and relate to deep-seated emotional connections within a games narrative, themes of isolation, violence, grief, acceptance, good vs evil and how a process of relation to issues in a gameplay experience is appropriacies into the lives outside of the game world.

Establishing 'Immanuel Kants' theory of the 'Categorical Imperative' whereby morality is judged on a pre established universal 'standard of rationality'. The aforementioned standard or morality has a direct connection to socio-cultural evolution, as society changesso does the social and cultural codes and conventions of 'universal acceptance' of what is to be established as right and wrong. Directly linking with the concept of 'The Man and the Monster' it is evident that they are both constantly evolving in equilibrium with one another, as what is deemed 'good' alters the categorisation of 'evil' adapts in unison.

As this concept evolves so do the elements used to create meaningful play, as to immerse one in an illusionary world the illusion must be convincing which, to do so, must convey relevant aspects in context of current social and cultural trends. Ultimatums are defining techniques utilized in game design, revolving around the premise of placing the player at the epicentre of meaningful scenarios whereby they feel integrated into the fate of the narrative.

Games are a unique medium as they have the opportunity to establish their own 'standardof relativity' to base their game worlds morality off of, which in turn generates a unique version of what is 'good' and what is 'evil' that is individual to that game world. “The deathof dogma is the birth of morality”(Infidels). An illustrative example of this is within the initial Halo games where the narrative of the campaign conveys the elites as an 'evil' race which you feel a moral obligation as the player to fight. In the first instalment players fight with hatred assimilated from the continual demise of companions witnessed in the campaigns narrative. The justification of the act as an 'us or them' factor.

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(Fig 5)

In the second instalment of the Halo series sees the revelations and deception of the elites subsequently leading them to ally themselves with your cause. Resulting in the standard of relativity shift in the game and so do the morals intertwined with them

(Fig 6)

The player now finds themselves situated in a dynamic which witnesses the elites (previousthe antagonists) have re-aligned themselves with the player and fight alongside their faction. This shift of morality is a key study of where, morals develop within a game series narrative to keep the emotional interest and vulnerability of the ethics the player in integrated within a dynamic meaningful environment. The scenario presents the player with questions that they themselves must come to terms with, how the actions against the elite race in previous games and the moral ethics viewed in those circumstance resonate into the newly formed allegiance and in turn the level of play experienced. The concept proposed by Johan Huizinga's known as the 'Magic Circle' is a connotation of this interaction.

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(Fig 7)

“refers to actions and outcomes within a magic circle that add to the emotional andpsychological experience of playing the game: when the actions that the game system

affords the player seem enticing and make sense in pursuing the goal(s) of the game, thefirst threshold of meaningful play is crossed.” (Jarvinen, 2004).

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- CONCLUSION -

It is evident from the evolution of games in terms of historical context that 'meaningful play' has been a concept that is intertwined with games design ethos. Referencing the vital importance that meaningful play fulfils within video games is evidently seen within Salen & Zimmerman's 'Rules of Play'. Another more exemplary depiction of how meaningful play can affect games not just of the video games medium is John Hunters 'World Peace Game'. The concept of 'The Man and the Monster' is a element that is entwined with both the depth and functionality meaningful play achieves for gaming. Immanuel Kant states,“The death of dogma is the birth of morality” (Infidels). The use of this concept as a story telling and framing device to help us discern ideals of human nature that we might not be able to perceive. Yet placed within a game environment it enables us to comprehend concepts which can sometimes be altogether alien.

'The Man and the Monster' a concept deriving from moral dualism prevalent within creative mediums, in particular historical literature and video game design. Displayed within the discussed texts of Stevenson and Dante and evidently recreated within the game worlds present in Rust, Silent Hill and The Walking Dead. They are clear representation of Immanuel Kant's Categorical Imperative and the formation of a standard of morality being a key epicentre within the formation of game worlds and sub-sequential meaningful experiences derived from them.

The unique instances within games world, that witness the player develop an inter-personal version of the categorical imperative to use as a standard of morality that is usedas an immersive comparative to the player and the game world and the meaningful play experienced. “Morality is not the doctrine of how we make ourselves happy, but how we may make ourselves worthy of happiness”(Kant, 2009, pp. 244). Salen and Zimmerman's adaption of the magic circle concept Huizinga originally created is to give meaning to thecraving of emotionally involving play within games design. It's a living entity that is co-dependant on social cultural evolution to give context and meaning as it adapts with it. The moral dualism are instances unique to games, they are a unique instance because, as with any morals, they are drawn from acceptance of generalised codes and conventions adapted from the current environment. As each new game is designed and utilized that SAME concept, the concept itself ALTHOUGH physically the same (man v monster, good v evil) the equilibrium of good and bad (forces share equal and opposite reactions) the VARIABLES that DETERMINE the unique variation of the concept that will apply solely to that game can be described as the concept can be described as eternally opposed they are co-eternal, co-existent, and equipotent

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- BIBLIOGRAPHY -

1. Alighieri, D. (2015) The Divine Comedy. United States: Sterling.

2. Austin, M. (no date) Divine command theory | Internet encyclopedia of philosophy. Available at: http://www.iep.utm.edu/divine-c/ (Accessed: 18 November 2015).

3. Bungie (2001-2007) Halo 1, 2 & 3.

4. Facepunch Studios (2013)Rust.

5. Gray, J. (2009) What is moral realism?. Available at: https://ethicalrealism.wordpress.com/2009/09/16/what-is-moral-realism/ (Accessed: 18 November 2015).

6. Homer (2003)The odyssey. New York: Barnes & Noble World Digital Library.

7. Huizinga, J. (1938) Homo Ludens. .

8. InfidelsAvailable at: http://www.theinfidels.org/zunb-emmanuelkant.htm (Accessed: 24 November 2015).

9. Johnson, R. (2004)

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