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"Postdigital Play and the Aesthetics of Recruitment" argues that hybrid play is not a novel development but a return to videogames' long-standing hybrid nature, now intensified by distributed computing. The authors contend that earlier device-focused models, which classify hybrid play by synchrony and dependency, cannot account for contexts in which the devices, spaces, and bodies involved cannot be specified in advance. Instead, they propose an analytical framework centred on interface effects and an "aesthetic of recruitment," in which diverse spatial, social, and material domains are enrolled into play.
The paper's central claim is that the magic circle has been permeated by networks, domestic spaces, and public environments, so that play is distributed across assemblages of bodies, objects, and devices. Its illustrative cases range from cheating, paratexts, and livestreaming to connected toys such as Osmo, MaKey MaKey, and Sphero, and location-based games including Ingress and Destiny. Alongside these examples, the authors raise ethical concerns about privacy, consent, and public safety as play moves into children's homes and urban space, noting that some location-based designs actively manage these recruitment dynamics.
Theoretically, the work draws on interface theory, treating interfaces as dynamic, asymmetrical, and performative relations rather than transparent windows. Building on Weiser's childhood metaphor for ubiquitous computing and Farman's phenomenological mobile interface theory, the authors show how embodied, sensory-inscribed bodies cohere and recede within contingent play situations. Their conclusion is that postdigital play spaces cannot have predetermined boundaries, and that analysis should trace asymmetrical powers, contingent hybridities, and synchronisation patterns rather than fixed product categories. The paper is primarily theoretical, supported by case examples across mobile, console, and virtual reality platforms, and offers conceptual argument rather than quantitative findings.
Naavik · 2025