The Nintendo Wii functions as an imploded identity stage, where the player interacts with the screen, the wand, and with the other players as a kind of virtual puppet for the self. This differentiates Wii games from other videogames in that the moving, acting body becomes the center of the play, where four modes of production define the parameters and norms of play: technique, discipline, improvisation, and defiance. The player acts with and through these four modes in order to view themselves as a more enhanced part of the game and the screen. Thus, the body becomes the central site of game play, instead of the avatar, the gamespace, or the gaze of the player on both.
Behrenshausen, Bryan G.2007. Toward a (kin)aesthetic of video games: The case of Dance Dance Revolution. Games and Culture2: 335-354.
2.
Bishop, Ryan.2008. The tele-technics of agency, the Net, the urban and sex tourism. Social Identities14 (3): 349-362.
3.
Burrill, Derek A.2005. Out of the box: Performance, drama, and interactive software . Modern Drama48 (3): 492-512.
4.
Caillois, Roger.1962. Man, play and games (trans. M. Barash). London: Thames & Hudson.
5.
Carlson, Marvin.1996. Performance: A critical introduction. London: Routledge.
6.
Crawford, G., and J. Rutter.2007. Playing the game: Performance in digital game audiences. In Fandom: Identities and communities in a mediated world, J. Gray, C. Sandvoss, and C. L. Harrington , eds. New York: New York University .
7.
Eskelinen, Markku, and Tronstad Ragnhild .2003. Video games as configurative performances. In The video game theory reader, M. J. P. Wolf and B. Perron, eds. London: Routledge.
8.
Gamasutra.2007. Breaking: Nintendo announces new revolution name-Wii. Accessed February 1, 2007, from www.gamasutra.com/php-bin/news_index.php?story=9075
9.
Huizinga, Johan.1949. Homo ludens: A study of the play-element in culture. London: Routledge.
10.
Laurel, Brenda.1991. The computer as theater. Reading, MA : Addison-Wesley.
11.
Reinelt, Janelle G., and Joseph R. Roach .1992. Critical theory and performance . Ann Arbor, MI: Michigan University Press.
12.
Rodriguez, Hector.2006. The playful and the serious: An approximation to Huizinga’s homo ludens. Game Studies6 (1). Available at http://gamestudies.org/0601/articles/rodriguez
13.
Russell, Stuart J., and Peter Norvig.2003. Artificial intelligence: A modern approach , 2nd ed. Upper Saddle River, NJ: Prentice Hall.
14.
Schechner, Richard.1977. Essays on performance theory: 1970-1976. New York: Drama Book Specialists.
15.
Schott, Gareth and Maria Kambouri.2006. Social play and learning. In Computer games: Text, narrative and play, D. Carr, D. Buckingham, A. Burn , and G. Schott, eds. Cambridge, UK: Polity.
16.
Turner, Victor.1982. From ritual to theatre: The human seriousness of play . New York: PAJ.
