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Regular troopers just require a shot to the head to get downed, no worries there.To illustrate this perspective, we conclude by defining three ways to analyze video games in terms of “realism,” proposing three types of video game realism: representational, simulative, and inverse.Another concept is understanding what works against certain enemies and choosing skills or loadouts that’d be effective: Arriving at this point by first theorizing the video game apparatus, however, highlights matters of video game design more so than issues of audience or textual analysis. In the end, we come around to the other space of Huizinga’s theory-the connections with the non-game world-to show that the value of video game play is also found beyond the apparatus, that the experience and enjoyment of video games are affected in part by social reality and, in turn, social reality is being affected by the experience and enjoyment of video games. To better understand the situation of homo ludens in these more mediated play spaces, we turn to Jacques Lacan’s account of “split” subjectivity and retread it by explaining how it may well explain the operation of a magic circle spanning three dimensions of screen-play: rules (Symbolic dimension), representations (Imaginary dimension), and wares (Real dimension). This is not to deny the importance of players’ agency or the meanings of texts in video gaming rather it is to reconsider these with regard to the screening of player from played inherent in the gaming apparatus. 'In highlighting the apparatus as the keystone for the magic circle of video gaming, we displace players-the subject of ludology-and “text”-the subject of narratology. In place of the usual command/output logic of human–machine interaction, these games map a more intimate alternative, in which players’ relationship to their avatars and in-game actions is built from a foundation of trust, shared truth, and consent between human bodies and software operations.

Chief among these examples are Asphyx (Droqen, circa 2012) and With Those We Love Alive (Porpentine, 2014), two games that incorporate player breathing into their mechanics, while forgoing any technical means of monitoring players’ respiration. This article examines several digital games that stand in opposition to these trends, by opting out of monitoring certain aspects of player behavior, and opening social dynamics of trust and cheating that digital games have historically avoided or shut down. Meanwhile, the incorporation of new types of human behavior into digital games’ rulesets has placed games on the cutting edge of machine surveillance technologies.

The maintenance of rules within the ‘black box’ of code, away from human eyes, constitutes a major difference between digital games and the social history of their analog counterparts.

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