Tracy Fullerton and Matthew Farber's "The Well-Read Game" offers a new perspective on game experiences, shifting focus from winning to the emotional and personal engagement of players. The book draws on literary theory, play theory, and game design to explore how players co-create meaning through their interactions. It challenges traditional notions of objective meaning in games, emphasizing the subjective and interpretive nature of play. The authors introduce the concept of the 'well-read game,' highlighting the richness of personal experiences and interpretations. Ultimately, the book encourages a deeper appreciation for the multifaceted nature of game experiences and the importance of thoughtful engagement.
Ulysses is a groundbreaking and complex modernist novel that chronicles the experiences of three Dubliners over a single day. The novel is loosely based on Homer's epic poem 'The Odyssey', with Leopold Bloom paralleling Odysseus, Stephen Dedalus paralleling Telemachus, and Molly Bloom paralleling Penelope. It explores themes such as antisemitism, human sexuality, British rule in Ireland, Catholicism, and Irish nationalism. The novel is known for its innovative use of language and narrative techniques, including stream-of-consciousness and multiple literary styles. It captures the essence of early 20th-century Dublin, providing a detailed snapshot of the city's social, political, and cultural landscape[2][3][5].
How players evoke personal and subjective meanings through a new theory of player response.
In The Well-Read Game: On Playing Thoughtfully (MIT Press, 2025), Tracy Fullerton and Matthew Farber explore the experiences we have when we play games: not the outcomes of play or the aesthetics of formal game structures but the ephemeral and emotional experiences of being in play. These are the private stories we tell ourselves as we play, the questions we ask, and our reactions to the game’s intent. These experiences are called “readings” because they involve so many of the aspects of engaging with literary, cinematic, and other expressive texts. A game that is experienced in such a way can be called “well-read,” rather than, or as well as, “well-played,” because of the personal, interpretive nature of that experience and the way in which it relates to our reading of texts of all kinds. The concept of the “well-read game” exists at the convergence of literary, media, and play theories—specifically, the works of Louise Rosenblatt’s reader-response theory, Brian Upton’s situational game theory, Tracy Fullerton’s playcentric design theory, and Bernie DeKoven’s well-played game philosophy. Each of these theories, from their own perspective, challenges notions of a separate, objective, or authorial meaning in a text and underscores the richness that arises from the varied responses of readers, who coauthor the meaning of each text through their active engagement with it. When taken together, these theories point to a richer understanding of what a game is and how we might better value our experiences with games to become more thoughtful readers of their essential meanings.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the University of Applied Sciences Neu-Ulm, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist.
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