View source for Simulation in Games

This site is going to introduce selected key aspects of simulation in the context of computer games. 

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==Introduction==
Following the key assumptions established by the scientists Espen Aarseth, Gonzalo Frasca, Seth Giddings and Michael Shapiro, the short articles in the main part are going to summarize and emphasize general aspects of simulation in computer games. Due to the complexity and wide range of the topic, only a brief overview about how the task „simulation“ can be understood, especially when adopted to the topic area of computer games, will be given. The ensuing sections in the main part are meant to give an short overview as well and do not raise a claim on completeness, therefore it‘s recommended to consult the linked the references for further reading.    
==Main Part==
===What is a (Computer Game-) Simulation?===
When speaking of simulation there is the fact that it has traditionally been used to explain and predict the reaction of systems. Simulation means to “model“ an origin system by the use of another system, which is similar to the original. The simulation concludes traits of the original system and a model of its reactions. This modelled system responds to particular excitations (by input information). In contrast to a simple video (which remains uncontrollable and firm) a simulation is based on the players interaction. Thereby the systems behavior will change. So video games structure simulations. It might seem that the concept of videos and simulations is identical because they show a sequence of pictures. That is not the case since simulations can’t be decoded just by their output. Due to the fact that a simulation isn’t a chronological narrative. Furthermore they (video games) mean a cultural “paradigm shift“ because they are constructed for the masses the very first time. Simulation games have diverse genres for instance to exemplify urban vitality (''SimCity''), living life as a human or supernatural being (''The Sims''). <ref> Frasca, Gonzalo: „Simulation versus Narrative. Introduction to Ludology“, in: Wolf, Mark J.P & Bernard Perron (editors): ''The video game theory reader'', New York, NY 2003, p. 221-224. </ref>

=== Key aspects of simulation in computer games ===

====The "Sandbox"-System====
According to [[Seth Giddings]], simulation-games often follow a “sandbox” – system, therefore one can state that an open-ended structure can be seen as a characteristic aspect of this generic form of computer-games. So when compared to other generic forms of computer games, simulation games games often differ from them in terms of rarely having a clear ending or winning state. This leads to the conclusion that, on the player’s part, testing the system within an arranged setting of variables is one of the key features of simulation games. Games make players conscious of the fact that they can start afresh: The player is able to  repeat his session over and over again. A plain game could be played only once but simulations explicitly involve repetition. On the basis of the implied iterative usage and their character as a "structured space of possibilities", Simulation Games can be seen as closely related to scientific or other non-entertainment computer simulation applications including [[Serious Games|serious games]].<ref> Giddings, Seth: Simulation, in Wolf, Mark J.P & Perron, Bernard (editors): ''The Routledge Companion to video game studies'', New York/London 2016, p. 759-765. </ref>

====Realism in games====
Simulations can be put as a mimic of actual occurrences. In conjunction with video games and a vast increased technology it is possible to convey far more realistic experiences. For this reason, game developers focus on sensory experience which can be expressed as ‘more lifelike’. In case of ''[[The Sims 4|The Sims]]'', the game developers tried to offer human-like avatars.
The way story elements look, sound and feel increases their perception. The 3-D space images of video games are for instance based on models of real cities or persons which pushes the game into a more-likely direction. Moves and sounds of characters are adapted to the decided steps players choose their avatars to make. Birds twittering between treetops or whims chirping during sundown make the whole game-experience more life-like. The reason therefore could be evolution. That means our brain leads us to believe we are at a certain place or feel a person beside us. 
<ref> Shapiro, Michael A. & Pena-Herborn, Jorge & Hancock, Jeffrey T.: “Realism, Imagination, and Narrative Video Games“, in: Vorderer, Peter & Jennings Bryant (editors): ''Playing Video Games. Motives, Responses, and Consequences'', New York, NY 2006, p. 277-279. </ref>

====Actual world versus virtual world====
According to Giddings, the "simulation" is not only a term to define a generic form of computer games but a description of what "computer games and video games are and the ways in which they articulate ideas, processes, and phenomena between their virtual worlds and the actual world." In order to specify his assumption, the scientist refers to Espen Aarseth, who clearly differentiates the procedures of simulation from the "long dominant cultural modes of mimesis and narrative." That fact leads to the question what simulation actually simulates: Regarding the computer game [[Gran Turismo: Sport]], the raised question would be if the game is actually representing real-life racing. Following Frasca, this question can clearly be answered with "no", because for him, simulation consists of "modeling a source system ("real life racing") through a different system which maintains to somebody some of the behaviors of the original system."      <br />

==Conclusions==

==Related Links/Research==
[[Category:Frasca, Gonzalo]]
[[Category: Giddings, Seth]]
[[Category:Research Approaches]]
[[Category:The Sims 4]]
[[Category:Gran Turismo: Sport]]
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