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One of the most fundamental challenges in the academic study of games lies in the very feature that defines them, their rule-bound interactivity, which not only both limits and enables players to do things but always also entails a certain positioning on their part toward these rules. Every game comes with its own metagame, and players’ experiences differ not just within the more or less fuzzy limits of their game but across them as well. Since interactivity offers not only a set of limitations and affordances but also a perspective on the set itself, it opens up a vast multiplicity of possible ways of playing that make it hard to analyze ‘the’ gameplay or ‘the’ gaming experience, and even harder to construct ‘the player’ than to posit ‘the reader’ or ‘the audience’ in other forms of cultural expression. Instead of avoiding this fundamental element of uncertainty, video game studies in particular has been facing and even embracing it almost from the start, and its explorations of the many different ways of playing have yielded fascinating results whose implications are relevant far beyond the immediate context of video games. Alan F. Meades’s Understanding Counterplay in Video Games is part of this research tradition, whose cornerstones are the work of Mia Consalvo and Julian Kücklich on cheating and Espen Aarseth on the transgressive player, and which Kritikon Litterarum 2019; 46(3–4): 306–311

Alan F. Meades. Understanding Counterplay in Video Games. London: Routledge, 2015 (= Routledge Advances in Game Studies 5). 204 pp.