The first point of departure for this presentation is a kind of paradox or contradiction. Outside academic theory people are usually excellent at making distinctions between narrative, drama and games. If I'll throw a ball at you I don't expect you to drop it and wait until it starts telling stories. On the other hand, if and when games and especially computer games are studied and theorized they are almost without exception colonised from the fields of literary, theatre, drama and film studies. Games are seen as narratives, procedural stories or remediated cinema. On top of everything else, such definitions, despite being successful in terms of influence or funding, are conceptually weak and ill grounded, as they are usually derived from a very limited knowledge of mere mainstream drama or outdated literary theory, or both. Consequently, the seriously and hilariously untenable presuppositions of Aristotelian drama, commedia dell'arte, Victorian novels, and Proppian folklore continue to dominate the scene. To put it less nicely, it's an attempt to skip the 20th century altogether and avoid any intellectual contact with it, a consumerist double assassination of both avant-garde and advanced theory. The final irony is of course that in the long run such a practice may turn out to be even commercially incorrect choice. 

In any case, in what follows during my 20 minutes I'll try to make some sense of what I'll call the gaming situation by trying to pinpoint or at least locate the most crucial and elementary qualities that set it apart from dramatic and narrative situations, both of the latter being rather well-studied constellations by now, and existing slightly beyond the necessary formalistic phase that computer game studies have to enter in order to gain independence, or at least relative independence. So historically speaking, this is a bit like the 1910's in film studies: there were attractions, conventions and very little understanding of what was going on, not to mention lots of money to be made or lost. 

As we are discussing computer games, we need to have some idea of digital media as well as of games in general. For that purpose this paper uses Espen Aarseth, Roger Caillois and Jacques Ehrmann in particular. Their theories form a filter through which the possibly heuristic findings and borrowings from various neighbouring disciplines (and predatory theory formations) are viewed, tested, modified and transformed. After discussing articulation (Ehrmann through Motte), materiality and functionality (Aarseth), and typology and orientation (Caillois), we are ready to move into the bare essentials of the gaming situation: the manipulation of temporal, spatial, causal, and functional relations in different registers.