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The analysis of such closely related components of modern social mythology as ritual and game is carried out. The game is considered as one of the mythocontent phenomena of the ritual. One of the key changes of the game in the digital space is the change of its essential basis – aesthetic content, which grows in a certain way, primarily due to the emergence of new formats of communication.
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Homo Ludens 2.0 Play/Media/Identity
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De Mul writes that playfulness has become a life-long attitude and the entire world a playground in our post modern culture. The question this article proposes concerns the downsides of this development in the information society. The analysis of young children’s learning while they are engaged in digital games in informal contexts furthers the understanding of the potential of game-based learning in formal early childhood education settings.
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Huizinga promoted play as an expression of human freedom , an ability to socially connect to others, and the fact that play seems to be ‘fun’. According to Huizinga, culture is played, in play, and as play. However, writes De Mul, Homo Ludens 2.0 does not only play with, via, and through the computer, but is also played by the computer through its highly addictive elements. To reflect on the meaning of ludic technologies in contemporary culture. Next, we will discuss some problematic aspects of Huizinga's theory, which are connected with the fundamental ambiguities that characterize play phenomena, and reformulate some of the basic ideas of Huizinga.
Many of the characteristics which accompany the games of social reality are being transformed in the digital space, but at the same time new opportunities are opening up. A spectre is haunting the world – the spectre of playfulness. We are witnessing a global “ludification of culture”. Since the 1960s, in which the word “ludic” became popular in Europe and the United States to designate playful behaviour and artefacts, playfulness has increasingly become a mainstream characteristic of our culture.
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Perhaps the first thing that comes to mind in this context is the immense popularity of computer games, which, as far as global sales are concerned, have already outstripped Hollywood. According to a recent study in the United States, 8 to 18 year olds play computer games on average for one hour and a half each day on their consoles, computers and handheld gaming devices . In South Korea, for example, about two-thirds of the country's total population frequently plays online games, turning computer gaming into one of the fastestgrowing industries and “a key driver for the Korean economy”. According to De Mul, examples such as propaganda through games, serious gaming, gambling, war games, or sensational and superficial media forms that include game elements show that we can neither encourage nor reject this ludification of society. Play is an expression of freedom, but at the same time overpowers us with its content. Playing is both pretending something as well as serious business.
The article considers the processes of mythologization in the game space. The author, noting that current mythological processes in fact occur simultaneously with mythmaking, compares the specifics of mythological activities in public life and in the digital space. The systematic approach is used to study the contemporary myth.
