The book has an original and unorthodox format: between its two covers, the readers finds a substantial work of fiction (a philosophical sci-fi novella), three theoretical texts that reference and comment on that fiction (three academic essays), and a meta-reflexive afterword by the author. From a variety of angles and modes of presentation, the book reflects upon the rare and largely overlooked literary trope of ‘unhappening’ (an unnatural trope akin to that of time travel). The central narrative concern of the novella The Clouds is a special kind of simulated world – one that can be edited and rolled back along its timeline by its enigmatic creators. Questions concerning the mediatic form of philosophy and the philosophical value of fiction are of primary importance for this book. It is extremely rare for academic endeavors dealing with these themes to also include complete works of fiction that exemplify and criticize unusual ways of presenting philosophical contents. Offering ideas and perspectives in a variety of formats (a fiction, a reflexive piece, and three academic essays), this book demonstrates that there is a wider expressive horizon available to academic philosophy. It also makes those points more accessible and appealing for the readers, who can simply read a philosophical novella and stop there, or decide to complete and deepen their understanding of the themes in question through other and more conventional channels.

Who are we in simulated worlds? Will experiencing worlds that are not 'actual' change our ways of structuring thought? Can virtual worlds open up new possibilities to philosophize? Virtual Worlds as Philosophical Tools tries to answer these questions from a perspective that combines philosophy of technology with videogame design.

The history of European videogames has so far been overshadowed by the global impact of the Japanese and North American industries. However, European game development studios have played a major role in videogame history, and many prominent videogames in popular culture, such as Grand Theft Auto, Tomb Raider, Alone in the Dark, and The Witcher, were made in Europe. This book proposes an inquiry into European videogames, including both analyses of transnational aspects of European production and close readings of national specificities. It offers a kaleidoscope of European videogame culture, focusing on the analysis of European works and creators but also addressing contextual aspects and placing videogames within a wider sociocultural and philosophical ground. The aim of this collective work is to contribute to the creation of a, until now, almost non-existent yet necessary academic endeavour: a story and critical exploration of the works, authors, styles, and cultures of the European videogame.

This book explores what it means to exist in virtual worlds. Chiefly drawing on the philosophical traditions of existentialism, it articulates the idea that - by means of our technical equipment and coordinated practices - human beings disclose contexts or worlds in which they can perceive, feel, act, and think. More specifically, this book discusses how virtual worlds allow human beings to take new perspectives on their values and beliefs, and explore previously unexperienced ways of being. Virtual Existentialism will be useful for scholars working in the fields of philosophy, anthropology, media studies, and digital game studies.

This book explores what it means to exist in virtual worlds. Chiefly drawing on the philosophical traditions of existentialism, it articulates the idea that - by means of our technical equipment and coordinated practices - human beings disclose contexts or worlds in which they can perceive, feel, act, and think. More specifically, this book discusses how virtual worlds allow human beings to take new perspectives on their values and beliefs, and explore previously unexperienced ways of being. Virtual Existentialism will be useful for scholars working in the fields of philosophy, anthropology, media studies, and digital game studies.

What roles do imaginary games have in story-telling? Why do fiction authors outline the rules of a game that the audience will never play? Combining perspectives from philosophy, literary theory and game studies, this book provides the first in-depth investigation into the significance of fictional games within fictional worlds. Drawing from contemporary cinema and literature, from The Hunger Games to the science fiction of Iain M. Banks, Stefano Gualeni and Riccardo Fassone introduce five key functions that different types of imaginary games have in worldbuilding. First, fictional games can emphasize the dominant values and ideologies of the fictional society they belong to. Second, some imaginary games function in fictional worlds as critical, utopian tools, inspiring shifts in the thinking and political orientation of the fictional characters. Third, a few fictional games are conducive to the transcendence of a particular form of being, such as the overcoming of human corporeality. Fourth, imaginary games within works of fiction can deceptively blur the boundaries between the contingency of play and the irrevocable seriousness of "real life", either camouflaging life as a game or disguising a game as something with more permanent consequences. And fifth, they can function as meta-reflexive tools, suggesting critical and/or satirical perspectives on how actual games are designed, played, sold, manipulated, experienced, understood and utilized as part of our culture. With illustrations in every chapter bringing the imaginary games to life, Gualeni and Fassone creatively inspire us to consider fictional games anew: not as moments of playful reprieve in a storyline, but as significant and multi-layered expressive devices.