“Games are serious, more serious than life.” (The game is serious, more serious than life.) )
Baudrillard, 1979, p.133[1]
“The world is a game.” (The world is a game.) ）
Baudrillard, 1993a, p. 46[2]
Many of the questions that video games face revolve around a set of contradictions: as a "private" field of leisure, entertainment, and even indulgence and revelry, and as a "public" new media with potential enlightenment and educational functions for teenagers, how should video games balance the idea of fairness and justice with its for-profit purpose?
It can be argued that serious games were invented in order to balance the above contradictions. In 1970, Clark Abt [3] proposed the concept of serious game, he believed that serious game is a game that does not have the main purpose of pleasure, it explicitly attaches educational purposes to the game mechanism and narrative, while ensuring the player's willingness to participate in the game and the freedom of game behavior, but also makes the design concept and content of the game a serious turn. In this way, serious games break the single entertainment nature of the game, with educational, persuasion and other functions. Originally, serious games were mostly used in limited fields such as education and military, but now the scope of serious games has gradually expanded to health, military, education, politics, ecological protection and many other fields (lvarez J & Djaouti D, 2011 [4]), and many scholars have examined the medical (Sliney A & Murphy D, 2008 [5]) and urban planning (Poplin A, 2014 [6]) The role of serious games in the field of practice, and some scholars have discussed the government The Relationship Between Business Management and Serious Games (Whitson J R, 2014[7]; Schrape N, 2014[8]; Steffen P. Walz, 2014[9]）。
The dialectical connotations of design concepts, goals, and frameworks involved in serious games (Mitgutsch K & Alvarado N[10]) actually involve the ultimate question: What does games mean to contemporary society? Can the game have features other than entertainment?
The Ultimate Ambiguity of the Game: The Philosophical Speculation That Baudrillard Began
The French philosopher Jean Baudrillard offers his own insights on this subject. Baudrillard is committed to reflecting on postmodern society from a cultural and phonetic perspective, especially with regard to the signifier and the signified relationship between the material basis of reality. Baudrillard proposed the concept of simulacra, pointing to the fact that postmodern culture is full of imitations, which are some kind of magnificent projection of reality, which can cover up the truth and alien its origin, so that the reality becomes nothing; the result of the development of the image society is that the society is full of copies without the origin, and there is no exact correspondence with the so-called truth, and the imitation is a pure imitation of itself. [11] Beginning in the 1970s, Baudrillard has pondered digitalization, the post-industrial economy, immaterial labor, mediatization, and mimesis, and has used video games as objects of analysis in numerous articles. [12]
In Baudrillard's day, many critics saw video games as a flood beast and were wary of them. Baudrillard's attitude towards games is much more positive, and in response to the question of what games mean to contemporary society, Baudrillard at least thinks that games are a somewhat pleasurable addictive substance. Baudrillard said: When we are in the game, we are also protected from the cruelty of rational society and conventional reality. [13] What makes games addictive is the virtuality that is at a distance from reality; what the game offers to modern people is an escapist beauty. Interestingly, Baudrillard's value judgment about the real and the virtual is this: the social reality is cruel and binding; the virtual (game) is happy, and people can be temporarily away from the social reality.
Baudrillard believes that another contribution of games to contemporary society is "passion". [14] Especially as young people's sexual, physical, work, and political enthusiasm for play declined (as Baudrillard put it, it burned to the point where the state had to issue laws restricting minors from playing games). Where does the appeal of games to young people come from? In addition to the playability, challenge, virtuality, and fun of emotional experiences that can bring light-hearted and enjoyable experiences to young people,[15] Baudrius J, 2014), Baudrillard believes that games also have a certain democratic nature. [16] Because in the face of the rules of the game, every player is equal–the last type of democracy we know.
It should be noted that Baudrillard is neither a game lover (or his favorite "game" is his writing work) nor a game researcher. Baudrillard mentions games many times because they represent the future of an imaginary society more than other cultural forms. Baudrillard didn't really live in the age of video games, or rather, the influence of video games on the political and economic context was less powerful when Baudrillard was actively writing. In today's society, games have become a form of cultural production comparable to television, movies, and popular music, and it is pushing back the production of other classic media texts in a visible situation: for example, in movies such as Ready Player One and Free Guy, gamification narrative has completely revolutionized the film's arrangement of time and space, and the game's barrier mechanism breaks the one-dimensionality and irreversibility of traditional narrative time and space, in the repeatedly loaded turn-based game narrative, The audience felt as if they were in a game. At the same time, the encounter and love between the male protagonist and the female protagonist in the real world in the game program dissolves the spatial separation between the game and reality, writing a game romance that transcends dimensions for the audience; in the cyber world created by the TV series "Love, Death & Robots", a dancer pursues endlessly to avoid the killer's pursuit. In this chase, the identities of the murderer and the victim are constantly changing, and the absurd circular narrative breaks the logic of the film and television narrative, quite a sense of random switching of player identity, repetitive loading of game plot, and only video game players can appreciate the magic!
The concept of game design has also changed profoundly, especially in the game's relationship with the real world: from the escape observed by Baudrillard to active and deep involvement. The most direct embodiment of this intervening relationship is the full rise of serious games as a sub-genre of games. As scientific research continues to break through, more and more scientists are noticing that the positive functions of games for players, such as the cognitive, social and public welfare stimuli provided by games, are also beneficial to vulnerable groups such as children, the elderly, the disabled and pregnant women. In recent years, various game companies have also launched public welfare games and social responsibility projects, providing people with beneficial, interesting and connotative game products. The medical games that this article focuses on are typical serious games, which simulate medical places, medical appliances, public health emergencies, etc., and carry out health communication activities with "play" as the carrier.
Admittedly, Baudrillard believes that the democratic nature of games is being eroded. Due to the intrusion of commercial mechanisms, the symbol commodity fetishism controls the game world that brings freedom, liberation and happiness to players, and the addition of native kryptonite mechanisms alienates the rules of the game that Baudrillard sees as equality for everyone: "advanced RMB players" with more complete equipment and characters become the "dominant class" in the game. At the same time, when this thrill brought by "krypton gold" is consumed, the game company forces players to submit to boring and trivial gameplay through high-density, time-limited game activities. Under the discipline of pleasure and consumption, people devote time and energy to the game day and night. As a result, the "law of pleasure" of the game is erased by the "law of consumption",[17] the "law of freedom" is diverted by the "law of desire", and the democratic nature of the game is broken in this forced pleasure.
However, Baudrillard did not really live in the era of games, and the mystery of the game was not fully lifted in his time. Therefore, his research on games is still rather superficial, and his attitude towards games is also vague. Yet his thoughts can still help us parse serious games. Especially in the two years of the national "war epidemic", some medical video games came into being. The seriousness and educational nature of these medical video games (hereinafter referred to as "medical games") make them a kind of serious game, open the core of playability and fun in previous games, introduce a melancholy and dead color into the game narrative, and enrich the educational, political, military, ecological protection, and economic categories of serious games. Based on an examination of medical games, this article dialogues Baudrillard's philosophical reflections and continues his unfinished philosophical speculations, examining how games reproduce real-world medical problems in a gamified way, and how to promote players to re-examine real-world problems in this immersive experience. And in a broader sense, what nutrition can medical games provide for the mental development of contemporary people? Where are the limits of medical gaming?
Second, put pleasure, enthusiasm and playability into serious issues
There are three main types of medical games that this article focuses on. The first is medical education games that are increasingly widely used in public health education — perhaps more of a playful medical education application than games — that simulate the human body, medical instruments, medical places, in which players (usually medical students) enter virtual medical places, assess the various conditions that may occur in real medical places, and improve their ability to communicate, teamwork, and surgical operations in medical simulators (Sliney A & Murphy D, 2008）[18]。 A typical example comes from SimPHARM, developed by Education Management Solutions, which provides medical students with a cross-functional medical training center or distance learning location based on a web-based virtual patient care training platform, creating a real clinical consultation experience. The Pharmacist Of Simulation builds medical and biological models based on medical theories such as pharmacokinetics and pharmacodynamic principles, as well as information on the latest drug lists, categories, formulations, and side effects. Accurate models provide a conduit for medical students to understand how different patients respond to diseases and drugs in real life, while also providing a highly fault-tolerant virtual space for medical students' medical practice.
The other is a medical disaster game. It simulates the outbreak and epidemic of the epidemic in society, introducing real-world infectious disease worries into the game world. In this type of medical disaster game, the player plays a role from the real "virus victim" to the "virus infector", which is the opposite of reality, which shows the cruelty of the plague while ensuring the playability and challenge of the game through complex game mechanics. In Plague Inc, for example, players experience how a pathogen can wreak havoc around the globe. Players' strategies for spreading the virus, the choice of location, and the epidemic prevention policies of various governments can all affect the spread of the virus (Mitchell S & Hamilton S N, 2018)[19] it is from this reverse identity setting that they face the fear of death from the infectious disease.
The last one is a medical documentary game. Different from the fictional and cruel nature of medical disaster games, such games generally set the game plot from an individual's point of view, and simulate daily chores such as temperature measurement, rumor dispelling, and doctor-patient communication during the plague. The two miniature public welfare games "Retrograde" (2020) and "Truth War Chronicle" (2020) are the epitome of medical documentary games. They take the whole process of the spread of the new crown pneumonia epidemic since 2019 as the timeline, and choose the more microscopic perspectives such as doctors and patients, families, and rumors as the main elements of the game, thus laying the game plot. The warm game narrative techniques such as family concerns and mutual assistance in society shift the player's pursuit of the fun and challenge of the game to the attention to the humanity behind the real plague.
From the preliminary analysis of these medical games, it can be seen that such games represent the tenacious resistance of human nature to the "imitation of the image" in the sense of Baudrillard. Baudrillard has pointed out that postmodern cultural production is characterized by the detachment of the image from the true source and the manipulation of the multiple senses and cultural values of contemporary people. [20] In this sense, medical games are warriors who rise against the flow of imagery—fearless of real cruelty and committed to incorporating pleasure, enthusiasm, and playability into serious issues.
First of all, the medical game gamified the reproduction of the real world, dedicated to dismantling the high wall between the real and the virtual, by reproducing the cruelty of real events such as hospital consultations and outbreaks, awakening players' attention and sympathy for those who are suffering. In Simulated Pharmacists, for example, dynamic learning algorithms empower this type of healthcare simulation technique to simulate the consequences of each learner's diagnosis. Compared with the cruel medical practices involving life and death in reality, this kind of medical game provides learners with opportunities for trial and error, reducing the psychological pressure of learners on medical practices while fully exercising their medical practical skills. Another typical medical game is Vital Signs: ED, developed by BreakAway Games. As emergency department physicians, players not only need to constantly learn how to handle trauma cases, but also have to deal with patients in the examination room who need to be triaged. At the same time, phone calls, paperwork, etc. will also interfere with the player's clinical judgment, and the pressure in the emergency room is vividly expressed. Plague Inc. presents players with the virus's contagion process and government intervention in the outbreak. In the game, players adjust the type of pathogen, country of origin, spreading vector, transmission environment, infection performance, so that they can experience how the virus can sweep the world at a faster rate. Governments fighting the virus by closing borders, eliminating wildlife, and even sacrificing the sick can hinder its spread. The dynamic presentation of data such as the number of confirmed and cured deaths in various countries, and the progress of vaccine development in the game greatly enhances the authenticity of the game's simulated real-world plague (Mitchell S & Hamilton S N, 2018).
Figure 1 Vital Signs: ED game interface
Second, medical games need to balance seriousness with playability, i.e., maintaining what Baudrillard calls the player's "passion." In order to balance for-profit and humanity, game designers ensure the playability of the game through a series of complex gameplay, win-lose and strategy game mechanisms, and the complicated gameplay improves the emotional feedback obtained by players in the game behavior. Touch Surgery is a clinical smartphone program that provides doctors and medical students with virtual clinical practice opportunities by simulating common surgical procedures such as laparoscopy, femoral bone marrow nailing, and tendon repair. The game's realistic approach to real surgery makes the game infinitely more difficult than real surgery, and its low game cost also reduces the cost of medical training in less developed regions (Kowalewski K F & Hendrie J D & Schmidt M W.et al, 2017). In Plague Company, the natural environment, social development, level of medical assistance, and government prevention and control of the birthplace of the virus will have a great impact on the outcome of the game, which requires the player to have a certain knowledge of the situation in various countries. At the same time, the symptoms of the virus, the way of transmission and other characteristics will have an impact on the government's epidemic prevention policy, so players also need to understand medical knowledge and human body structure. The complex gameplay makes this type of medical game issue a stronger "hedonism" and "winning" law to the player, and under this "law of desire for success", the player constantly adjusts the game strategy, even "Krypton" with "liver".
Third, medical games also assume the function of narrative therapy in the psychological sense, which has the power to soothe people's hearts. Narrative therapy is a form of psychotherapy in which people are invited to tell the life story of themselves and others,[23] allowing people to see that the problems they face have a deep socially constructed dimension. Through the "externalization of problems," people realize that they are not just led by the nose by the problem, but they also have the ability to find ways to solve it. In this sense, the serious medical game uses the plague in reality as the narrative background of the game, and the player participates in the game as a doctor, government, rumor debunker, scientist and other characters, and in the diversified game story line, the player's different game operations will lead to different game outcomes. As a result, players move from hedonists in the game to builders who are safe and dangerous, from spectators to active participants.
For example, during the COVID-19 pandemic, a series of medical games have jumped out of the framework of playability and told players a true story with a very restrained game narrative. The interactive game "Retrograde" describes the encounters of different individuals in the epidemic through the three perspectives of patients, doctors and doctors' families; "Truth War" anthropomorphizes the rumors in the epidemic, and the different strategies adopted by players in the game can determine the form of rumors. The most important contribution of this type of game is to point out that players (in other words, each of us) are not powerless in the face of a devastating disaster: maybe we are not scientists who develop vaccines, we are not doctors on the front lines, we are not "superpowers" who can eliminate the plague overnight, but we are not the cursors and modeling that are helpless in the game world. In the world of medical games, each player can look at the plague with their own unique perspective, fight the plague with their personal abilities, and embrace the humanity and warmth of the real society in the restrained epidemic narrative.
In fact, the outbreak narrative, as a key part of the pandemic culture, is an important perspective for the academic community to analyze the cultural phenomenon behind the epidemic. As a constructed discourse, it is generally accompanied by stigmatization of individuals, groups, and races, and to some extent shapes societal attitudes toward infectious diseases (Mitchell S & Hamilton S N, 2018) [24]. This kind of epidemic narrative is particularly important in medical games involving the theme of plague, whether it is to simulate the cruelty of the epidemic through a straightforward, ruthless or even exaggerated narrative, or to present the human warmth under the cruelty of the epidemic by narrating the individual stories behind the epidemic, which constitutes two different narrative strategies of such games. Different from the narrative strategy of "Plague Company", "Retrograde" and "Truth War Chronicle" comb the game plot according to the timeline of the outbreak of the new crown epidemic, and integrate the stories and pictures that appeared during the epidemic into the game narrative, so as to tell the epidemic situation more restrained, warm and realistic in the game. The game designers designed three parallel story lines in Retrograde: the unfortunate infected patient, the doctor who "fights" on the front line, and the family behind the doctor. It is through these three perspectives that the game tells the story behind the epidemic. The doctor painted a smile on the epidemic prevention suit before entering the consultation room, the wife who was alone at home looked at the photo with her husband who was on the front line at this time, the suspected patients were waiting for examination and treatment in the middle of the night, the doctors did their best to rescue the patients who fainted due to illness, and the grandfather said after learning that he could be discharged from the hospital, "Finally I can see my wife"... A plot based on a realistic story makes the game have a "diary" color, the humanistic dimension and individual perspective of the game narrative method greatly enhances the player's sense of substitution in the game process, players will be personal experience and consciousness into the game process, and personalized interpretation of the game plot. At the same time, the full emotion of the game content reduces the player's requirements for the gameplay of the game, and also shifts the cruel narrative of the previous serious game to a warm narrative, so that the player can feel the cruelty of the epidemic while also getting spiritual healing from it.
Finally, when analyzing medical games, we cannot ignore the visual and auditory symbol dimensions of game design - in Baudrillard's words, in the consumption of goods, there is a rupture between symbols (words, images) and references (objects, functions), and it is not the use value of the goods that determines how the relationship between the two parties is reconstructed, but the desire. So in serious games, how to maintain the player's desire in the process of the game designer's desire to reconstruct the game's symbol system with reality?
The medical games we focus on in this article give a positive answer, they symbolize and visualize the viruses, rumors, important people and other elements that exist in the epidemic, so as to skillfully stitch the elements of the real world with the game world and create a more immersive game experience for players. In "Truth War Chronicle", the rumors in the epidemic are anthropomorphized into beautiful men", and whenever the "qi" appears, the main color of the game interface will become black and red representing danger (Figure 2), and the strong contrast tone brings the player a sense of oppression, and the impact of rumors on social order during the epidemic is vividly expressed in this visual symbol. In the game, the form of "诓" will change due to the spread and influence of rumors in society, when the whole society is shrouded in the haze of rumors, "诓" will become a huge black shadow hidden behind everyone, which is also a metaphor for the situation of rumors during the epidemic.
Figure 2 Anthropomorphic image of rumors
In Retrograde, many of the symbols that were important during the pandemic were used as important elements of the game's narrative. For example, the smiling face behind the protective clothing is a sign that the doctors who are fighting in the front line encourage each other and recognize each other. In reality, the events that are deeply rooted in people's hearts are designed to become important visual symbols in the game, jointly writing the vivid life story behind the game and calling on players to pay attention to the real world.
Hedonistic Paradigm and Beyond: The Limits of Medical Games
In summary, video games have always been more than just entertainment, and serious games represented by medical games reflect people's new imagination of video games. The educational, persuasion, and warning purposes of several medical games mentioned in this article have subverted the entertainment paradigm of previous video games to a certain extent, and people no longer simply focus on the pleasant emotional experience obtained from the playability of the game, but begin to embrace the real world in the game narrative. This trend of gradually merging the game world with the real world is not unrelated to the development of mobile devices. The mobility of mobile games has broken the strict association between the location of the console game and the game world (Stenros J, 2015), and digitization and mobility have changed the connection between the real world and the game world, and we have entered the final stage of what Baudrillard called "imitation" (Baudrillard J, 2005). With the development of virtual reality technology today, Baudrillard believes that the game world is "one step away" from the real world (Coulter G, 2007) [26]. The fluidity of gaming activities allows every corner of society to become a player's play space, with game practice stitched together with the player's daily life, social interaction, and cultural context (Richardson I, 2011). As a result, the boundary between reality and virtual imploded, the gap between the game world and the real world was broken, people shuttled between the game space and the urban space, and looked at the real world in the ambiguous boundary between virtual and reality, becoming the "social people" in the game world and the "game people" in the real world.
Before concluding the argument in this article, it is necessary to talk about the limits of medical games.
First, when simulating the rules of the real world, Baudrillard believes that games are more equal and serious than the real world, that is, the aforementioned "Games are serious, more serious than life" quoted above. Here, economic ability, race, class and other factors are not the yardstick for dividing the player's level, advantages and disadvantages, each player can "upgrade" and "pass", and will also fail due to "card levels". The rules and mechanics of the game have become the only "legal provisions" in the game world. However, this article points out that the game space is a kind of "heterotopia" existence in reality, and the players in the game can subvert the "rhythm" and "rhythm" of the daily life space convention, return to the starting point, can quickly upgrade, evolve, continuously improve the skills to complete the task, and arbitrarily use the "raiders" made by predecessors to win. But humanity is powerless in the face of the one-dimensionality and irreversibility of time (if so, how many medical professionals and politicians want to return to Wuhan in the early winter of 2019!). There are no strategies, no shortcuts, and no reloading in real life, and we can only move forward step by step in the rules of time composed of minutes, seconds, days, months, and years. That is, the mechanism by which Baudrillard speaks of gamers who can succeed by trial and error does not exist in reality. The upgrades and victory mechanics in medical games may immerse players in the imagination of "one step to the sky", ignoring the high cost of trial and error behind the plague.
Second, although medical games try to introduce melancholy colors into the game, the seriousness and cruelty of the game's theme may be overshadowed by the game's carnival. Especially when the reality distance between the player and the plague presented by the game is far away, they are prone to indulge in the emotional satisfaction brought about by the challenge of the game mechanics, and ignore the complex social symptoms behind the game. Only when the plague actually occurs, that is, when the game world coincides with the catastrophic events of the real world, will the player turn on the perception of the seriousness of the medical game, and the threat of infectious diseases and the fear of death will replace its playable mechanics to bring the player the pleasure of the game. In this sense, although the game presents the cruelty of humanity and death in the plague on the screen, this cruelty is limited.
Third, medical games are always subject to a reproach of their playfulness, and in Baudrillard's words, if it is too real, people lose enthusiasm. For example, compared to games in the strict sense, Retrograde and Truth Chronicles are more like a documentary that tells the story behind the epidemic. If judged by publicity, they are undoubtedly successful. In the course of the game, players can glimpse more "retrogrades" and "ordinary people" during the epidemic period, and they can also learn relevant epidemic prevention knowledge from them. For example, in Retrograde, when a seriously ill patient looks at a thermometer, the player needs to slide the game button left and right to adjust the clarity (Figure 4). This game screen, which gradually moves from blurry and overlapping to clear, simulates the symptoms of fever and dizziness of infected people in the epidemic, thereby increasing players' understanding of the symptoms of new crown pneumonia.
Figure 3: The game interface of Retrograde
However, if you consider the sustainability of the game and the criteria of for-profit, these two games are obviously inferior to the challenging and educational Plague Company. In Retrograde, simple interactive forms form the game's main game mechanics. Repetitive, trivial behaviors such as washing hands, measuring body temperature, wearing masks, and wiping photos are the main tasks of players in the game. The twenty-minute game playthrough time compresses the narrative space of the game, and the thin game plot, simple interaction mechanism, and slide-like game text reduce the playability of the game and reduce the player's desire to play again.
However, although the current medical games still have drawbacks, the discussion of seriousness, publicity, and professionalism in such games has indeed opened our imagination of the theory and practice of games. As Baudrillard said, our world is a game. Under the "hyper-reality" trend of games, the real world is regurgitated by the game world, and the cognition we gain in the game world gradually invades the real world and affects our perception of the real world. The knowledge, fear, or emotion that medical games bring to players is changing the framework of people's perception of the individual and society bit by bit. In this high correlation between pleasure and seriousness, playable and unplayable, the contradiction between the hedonistic and serious paradigms of games is weakened. The pleasure of the game can be both the fun of the game mechanics and the content of the game itself; the seriousness of the game can be both a cruel display of the symptoms of reality, or the resonance and emotion in the warm narrative. At this time, medical games have opened another door for people to open another door to the game world that is both real and illusory, and the thinking and imagination of the boundaries of video game applications has just begun.
exegesis:
[1] Baudrillard, J. Seduction. Montreal, Canada: New World Perspectives. 1979.
[2] Baudrillard, J. Baudrillard live: Selected interviews (M. Gane, Ed.). London: Routledge. 1993a.
[3] Abt C: Serious Games, New York: Viking Press, 1970.
[4] Alvarez J, Djaouti D,“An introduction to Serious game Definitions and concepts.” Serious Games & Simulation for Risks Management, 2011, Vol.11, No.1, p.11-15.
[5] Sliney A, Murphy D. JDoc, “A serious game for medical learning//First International Conference on Advances in Computer-Human Interaction.” IEEE, 2008, p.131-136.
[6] Poplin A, “Digital serious game for urban planning:B3—Design your Marketplace!” , Environment and Planning B: Planning and Design, 2014, Vol.41, No.3, p. 493-511.
[7] Whitson J R. Foucault’s fitbit, “Governance and gamification.” The gameful world: Approaches, issues, applications, 2014, p.339-58.
[8] Schrape N, “Gamification and governmentality.” 2014.
[9] Steffen P. Walz; Sebastian Deterding, "Game State? Gamification and Governance," in The Gameful World: Approaches, Issues, Applications , MIT Press, 2014, p.501-512.
[10] Mitgutsch K, Alvarado N, “Purposeful by design? A serious game design assessment framework”, Proceedings of the International Conference on the foundations of digital games. 2012, p.121-128.
[11] Baudrillard, Jean. Simulacra and Simulation. Ann Arbor, MI: University of Michigan Press. 1994.
[12] Galloway, A. R. Radical Illusion (A Game Against). Games and Culture, Vol.2, No.4, 2007, p.376–391. https://doi.org/10.1177/1555412007309532
[13] Baudrillard, J. The transparency of evil. New York: Verso. 1993c, p,67；该诠释亦参考Coulter, G. Jean Baudrillard and the Definitive Ambivalence of Gaming. Games and Culture, Vol.2, No.4, 2007, p.358–365.
[14] Coulter, G. (2007). Jean Baudrillard and the Definitive Ambivalence of Gaming. Games and Culture, Vol.2, No.4, 2007, p.358–365.
[15] Stenros J, “Behind games: Playful mindsets and transformative practice.” The gameful world: Approaches, issues, applications, 2014, p.201-222.
[16] Baudrillard, J. The perfect crime. New York: Verso. 1996.
ZHOU Siyu. From "Krypton" to "Liver" - Watching Card Collection from "Yin and Yang Division" to Cultivate the Ideological Strategy of the Game. Cultural Studies, 2019(03), p.180-191.
[18] Sliney A, Murphy D. JDoc: A serious game for medical learning//First International Conference on Advances in Computer-Human Interaction. IEEE, 2008, p.131-136.
[19] Mitchell S, Hamilton S N. "Playing at apocalypse: Reading Plague Inc. in pandemic culture. " Convergence, Vol.24, No.6, 2018, p.587-606.
[20] Baudrillard, Jean. Simulacra and Simulation. Ann Arbor, MI: University of Michigan Press. 1994.
[21] Mitchell S, Hamilton S N. "Playing at apocalypse: Reading Plague Inc. in pandemic culture. " Convergence, Vol.24, No.6, 2018, p.587-606.
[22] Kowalewski K F, Hendrie J D, Schmidt M W, et al. Validation of the mobile serious game application Touch Surgery for cognitive training and assessment of laparoscopic cholecystectomy[J]. Surgical endoscopy, Vol.31, No.10, 2017, p.4058-4066.
[23] Gallant, P. Michael White: In Memoriam: Therapist, Teacher, Innovator. Journal of Marital and Family Therapy, Vol.34, No.4, 2008, p.427-428.
[24] Mitchell S, Hamilton S N. "Playing at apocalypse: Reading Plague Inc. in pandemic culture. " Convergence, Vol.24, No.6, 2018, p.587-606.
[25] Baudrillard, J.The intelligence of evil or the lucidity pact. London: Berg. 2005b.
[26] Coulter G. Jean Baudrillard and the definitive ambivalence of gaming[J]. Games and Culture, Vol.2, No.4, 2007, p.358-365.
[27] Richardson I, “The hybrid ontology of mobile gaming.” Convergence, 2011, Vol.17, No.4, p.419-430.