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DiGRA
Arjoranta's paper argues that games, as procedural and interactive systems, create and transmit meaning in ways that set them apart from film, literature, and other media, and that interpretation of games must therefore account for their internal logic and the player's participation. The work engages interdisciplinary definitions of interaction drawn from sociology, communication studies, and informatics, and it deliberately separates the term's analytical use from its ideological baggage. The author adopts a media-centered conception of interactivity, understood as a medium's capacity to let users influence content and form through reciprocal, referential exchange.
A central finding is that players' interpretations of games directly shape their actions and outcomes, producing a form of "real-time hermeneutics" with no real equivalent in other media. The paper also challenges the simple real-time versus turn-based binary, drawing on several frameworks for game temporality, including Aarseth's, Zagal and Mateas's four temporal frames, and Juul's distinction between play time and event time. These analyses show that "real-time" itself covers a wide range of speeds and structures. Together, these points lead to the conclusion that games are procedural, interactive, and temporally complex objects whose meaning remains inherently incomplete, since changing contexts and ongoing procedural interaction can alter their properties over time.
Drawing on Gadamer, the concluding argument holds that temporal distance allows interpretations of games to mature, a benefit that matters for preserving games as objects of future scholarship. This accumulated understanding, however, offers little to players navigating a game in the moment. Instead, real-time interpretation relies on cultural meanings and on the feedback games supply about whether a player's reading of the system leads to success. The scope of the work is primarily theoretical, situated within digital game studies and the DiGRA 2011 scholarly context.
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