Ergodic musicking, however, is not just a mixture of previous forms: it is instead a unique musicking, only available to digital games. Ergodic musicking is identified as a modern form of musicking, capable of deconstructing established musical roles such as composing, improvising, or dancing. The intersection of ergodic effort and musicking practices manifested in digital games generates a new musicking form : ergodic musicking. Digital games are considered for their cybernetic qualities (Aarseth & Calleja, 2015) as objects that can be traversed and reconfigured by means of ergodic effort. If that is the case, in what capacity players of digital games take part in musical performances? This dissertation provides a detailed answer to this question, situating it within the discipline of Game Studies. According to Small, “to music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practising, by providing material for performance (composing) or by dancing” (Small, 1998, p. This dissertation applies the concept of ‘musicking’, introduced by musicologist Christopher Small, to the analysis of digital games. This supports the argument of a general de-metaphorization of alleged metaphoric computer games. It suggests furthermore that metaphoric interpretation of games is usually a sort of text interpretation. On the basis of a criticism of procedural rhetoric this thesis will suggest a distinction between a textual hermeneutic and an existential hermeneutic of games in which the latter is primary. Usually addressed from the perspective of (procedural) game rhetoric games are called metaphors for struggle, life, death, love. Thirdly, thesis deals with the observation that the concept of metaphor is referred to in game studies in particular when games are interpreted in terms of some existential topic. The two notions are reconciled through the notion of the model and a case study will demonstrate that it is possible to think of simulations as based on metaphorically structured models. Secondly, this thesis deals with what is termed the metaphor-simulation dilemma which accounts for the observation that in game studies the notion of metaphor is very often used in close conceptual proximity with the concept of simulation to the extent that they become conceptually indistinguishable. It therefore accounts for observations such that all three notions are present in non-computer game and play theory, theory of representation and art which all influenced game studies and argues for an equiprimordial relation between these three concepts. Firstly, this thesis investigates is the conceptual relationship between the notions of metaphor, representation, and play.
The main part of this thesis is devoted to three particular problems which have been derived from observations in the overview of the current use of the notion of metaphor in game studies. The thesis departs from the observation that the notion of metaphor has been present in the discourse of game studies since it emerged as an academic field and focuses on questions such as: What are the motivations and effects of calling games metaphors in the game studies discourse? Which problems arise from that with regard to other established concepts in game studies such as simulation and procedural rhetoric? How do concepts and insights of contemporary metaphor theory affect the applicability of the notion of metaphor with regard to games? Drawing on concepts from metaphor theory (in particular the cognitive linguistic view on metaphor), play and game theory, cultural theory, semiotics, linguistics, philosophy, and game studies it investigates the metaphor discourse of game studies in the fashion of a meta-study. The goal is to provide the field with a self-understanding of its metaphor discourse which has not been researched so far. This doctoral dissertation critically investigates how the concept of metaphor is used with regard to games in game studies.
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