Glossary - Game Invaders: The Theory and Understanding of Computer Games - page 191

layout sign: a computer - based sign that has only permanence . Layout signs take
no part in gameplay. They are typically used as backdrops in platform and point-and-
click games to “set the scene.” Part of the semiotic theory of interaction, introduced in
Chapter 11 .
managers: people looking for strategic or tactical challenges. One of the four generic
player personality types as defi ned by International Hobo. Introduced in Chapter 6.
myth: meaning systems that we take for granted as being natural in some way, for
example, consumerism, capitalism. Part of semiotic theory, introduced in Chapter 10.
myth of interaction: semiotic myth that assumes we should be able to take part, to make
a difference, as opposed to being a passive recipient, a member of the audience. Part of
the semiotic theory of interaction, introduced in Chapter 12.
narrative potential: the pleasure of the coherent build-up of agency into meaningful
patterns or even stories, one of the aesthetic pleasures of games introduced in Chapter 4.
object sign: a computer - based sign that typically signifi es scores and other game statuses.
Object signs have permanence and transience only. Part of the semiotic theory of
interaction, introduced in Chapter 11 .
paradigm: the relationship between the signs we perceive in a text and those that could
have been chosen. Why is Pac-Man a pizza with a slice taken out instead of an apple pie
or a doughnut. Part of semiotic theory, introduced in Chapter 10.
participants: people who just like to participate in a game, to join in: very story-oriented.
One of the four generic player personality types as defi ned by International Hobo,
introduced in Chapter 6 .
participatory: the ability to affect change in a game, part of Janet Murray' s digital
environment characteristics, introduced in Chapter 4.
perceivable consequence: the pleasure of fi nding out what happens as a result of
interacting with a game. One of the aesthetic pleasures of games introduced in Chapter
4. See also agency .
perceptual mapping: combinations of perceptual opportunities that give rise to major
gameplay situations. Introduced in Chapter 7. See also choice points , challenge points ,
retainers , and routes .
perceptual opportunities: theory which deals with the game content and suggests
possibilities for interaction. Introduced in Chapter 7. See also sureties , surprises ,
shocks , and perceptual mapping .
permanence: property of a computer - based sign that it is always associated with the
same signifi er. Part of the semiotic theory of interaction, introduced in Chapter 11.
player types: generic personality profi les of the different types of game players as defi ned
by International Hobo, introduced in Chapter 6. See also conquerors , managers ,
participants, wanderers .
presence: the player 's sense of being part of, of being in, the game world to the exclusion
of the real world around them. One of the aesthetic pleasures of games introduced in
Chapter 4 .
procedural: the degree to which characters, objects, and so on are functionally
programmed into the game, part of Janet Murray's digital environment characteristics,
introduced in Chapter 4 .