Game World Phenomenology

 So I'm doing a lot of teaching this time of the year, and there is Christmas t enjoy. And I need to produce a few new lectures. But I have also set myself a deadline for a seminar at the beginning of February and I need to write a good part of my chapters on experiencing gameworlds. On small problem here is that I need a lot of writing on the materiality/production of games tjat leads up to this - but for reasons I have decided to have a seminar on that part of my text in May.  I really need to test ut my most important ideas about phenomenology and games from the start. If that part is understandable and good then I can work out the rest from there. Christmas is (almost) over, or at least it's Monday, and i was going to start writing and I had nothing to say. So I sat down to read Sokolowskis Introduction to phenomenology some more and I was back in the flow of thinking about games. There are som many ways of disseminating the experience of being in another world ta get from

After Reading a lot of Harden, who is great at writing about games and gameworld from a player and developer point of view, I decided to read some basic phenomenology. And In Hardens introduction he recommended Robert Sokolowskis Introduction to Phenomenology. So I've been reading that too and it is a great tool; I'm starting to get a grasp of what I can and can't do with phenomenology and it's clear to me that as a method it is what I need but at the same time it's just the beginning of an interpretive process.  It has given me a clear perspective on one aspect of my two chosen games right from the start; Zelda BotW is an open world and the gameworld seems limitless, it spreads out en embraces me as a player inviting me to walk or ride long distances. In Mario Odyssey each little part of the world is clearly limited like a small intricate construction (a building, a cabinet, a piece of jewelry?). Mario Odyssey is a large world too - but in a very different way. I&#