Life is like a drama and a video game is a place where we can apply our life principles and role-playing habits to it. Therefore, it is easy to understand author's standpoint in this chapter: the close correspondences between theater and video games.
Theoretically, this chapter offers us a series of explanations and examples to argue the theory of game performance but I thought the most instrumental significant is that opening a door for me to interpret and think everything from a performance perspective. Every event combining with human's action could be viewed as a time-based activity, a book I read mentioned that a game that normally just made players spend several hours on addiction but left nothing, it inquired the meaning of making games.
However, I thought the glamour between life and game, reality and virtual reality or tangibleness and intangibleness is not how the boundary set for them but the relationship how to consider them as a whole. We perform ourselves in lives, we also perform ourselves in games. Just like our life, we couldn't say that sitting in a place without doing nothing is no meaning so we are never ought to do that. We need meaningless stuff to construct our meaningful life. In addition, human's thoughts always could give a thing a significance as long as he wants. Besides, as a performance, we also could appreciate and analyse a game from beginning to end, or from participants to spectators' perspective, through this process, which helps us to be more familiar with not only games or performances but also ourselves. All in all, the exploration of games and their significant aesthetic, cultural, psychological, and social implications is never going to stop, and the key to exploring everything is where we stand, from a human's angle.
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