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The analysis challenges the long-standing academic assertion that digital games are inherently "themable"—the idea that a game’s rule system is independent of its representation and that themes can be swapped without altering the gameplay. By examining the intersection of game studies, design practice, and pedagogy, the research argues that this generalization is a strategic, yet flawed, attempt to establish disciplinary autonomy for game studies. The thesis posits that materiality is not merely a secondary concern but a foundational element that shapes both the design process and the resulting player experience.
Key findings indicate that the separation of rules and representation is analytically unsustainable. Evidence from contemporary game monetization, such as the "games as a service" model, demonstrates that cosmetic modifications significantly impact player behavior and community culture, thereby influencing gameplay. Furthermore, the study highlights that the early design phase of digital games relies heavily on analog "means of play"—such as paper, cardboard, and physical tokens—to test and iterate core mechanics. These physical prototypes act as essential media that influence the development process, proving that digital games are deeply rooted in material practices rather than existing as purely abstract, rule-based systems.
The scope of this inquiry spans the history of game studies discourse, specifically addressing the ludology-narratology debates of the early 2000s, while incorporating pedagogical theories of play from the 1970s. The methodology relies on a critical review of foundational game studies literature, design theory, and pedagogical frameworks. Ultimately, the analysis concludes that game studies must move beyond a narrow focus on hardware-based platform studies and instead embrace a broader understanding of materiality that includes the physical conditions, tools, and practices involved in the creation of digital games.
DiGRA · 2026