Mountain
Game
2 documents in the library are about Mountain, from writers such as DiGRA. Each has a summary and key insights with the page they come from.
Connections
Each row is a game or company named alongside Mountain, each column a document, oldest first. A mark means that document names it. Select a row to see those documents.
Documents about Mountain
Whitepaper3 pages
Against Seamlessness and Hedonistic Loops: The Cases of Pause, Reflect, Resist, and Reform, from Interaction Design into Games
This paper challenges the dominant assumption in Interaction Design and game design that friction is a usability flaw to be minimised in pursuit of seamless, uninterrupted flow.
- The paper challenges the assumption in interaction and game design that friction is a usability flaw to be minimised, arguing instead that deliberate friction can be treated as a generative design resource.
- The authors contend that seamlessness can conceal structural inequalities and reproduce power asymmetries, while intentional friction can generate reflective, political, sensory, and transformative forms of play.
- Based on a qualitative analysis with purposeful sampling across commercial, artistic, speculative, and infrastructural cases, the authors derive four behavioural modalities: pause, reflect, resist, and reform.
DiGRAJun 2026
Whitepaper3 pages
Shan-shui Game: Worldbuilding for a Pluriverse Through Relational Game Assets
This paper argues that shan-shui games, a genre inspired by Chinese mountain-water painting, should be analyzed and created through Chinese and Daoist frameworks rather than primarily through Western theory.
- The paper argues that shan-shui games should be analyzed and created through Chinese and Daoist frameworks, such as Alenda Chang's Mountain-Water game concept and Yuk Hui's cosmotechnics, rather than primarily through Western theory like cybernetics and anthropocentric game analysis.
- Shan-shui is framed as a worlding process that generates multiple temporalities grounded in non-Western imaginaries, using a comparative, non-binary approach.
- Drawing on the Song-Yuan period (960-1368), the paper notes that shan-shui painting was understood as a cosmic body unified in rhythm with the human body, not as a mere scenic backdrop.
DiGRAJun 2026