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To have such boundaries means that the date, place, and membership of each finite game are externally defined. When we say of a particular contest that it began on September 1, 1939, we are speaking from the perspective of world time; that is, from the perspective of what happened before the beginning of the conflict and what would happen after its conclusion. So also with place and membership. A game is played in that place, with those persons. The world is elaborately marked by boundaries of contest, its people finely classified as to their eligibilities.
Otherwise, infinite and finite play stand in the sharpest possible contrast. Infinite players cannot say when their game began, nor do they care. They do not care for the reason that their game is not bounded by time. Indeed, the only purpose of the game is to prevent it from coming to an end, to keep everyone in play. There are no spatial or numerical boundaries to an infinite game. No world is marked with the barriers of infinite play, and there is no question of eligibility since anyone who wishes may play an infinite game. While finite games are externally defined, infinite games are
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It is on this point that we find the most critical distinction between finite and infinite play: The rules of an infinite game must change in the course of play. The rules are changed when the players of an infinite game agree that the play is imperiled by a finite outcome—that is, by the victory of some players and the defeat of others. The rules of an infinite game are changed to prevent anyone from winning the game and to bring as many persons as possible into the play. If the rules of a finite game are the contractual terms by which the players can agree who has won, the rules of an
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From the outset of finite play each part or position must be taken up with a certain seriousness; players must see themselves as teacher, as light-heavyweight, as mother. In the proper exercise of such roles we positively believe we are the persons those roles portray. Even more: we make those roles believable to others. It is in the nature of acting, Shaw said, that we are not to see this woman as Ophelia, but Ophelia as this woman.
By relating to others as they move out of their own freedom and not out of the abstract requirements of a role, infinite players are concrete persons engaged with concrete persons. For that reason an infinite game cannot be abstracted, for it is not a part of the whole presenting itself as the whole, but the whole that knows it is the whole.
A finite game must always be won with a terminal move, a final act within the boundaries of the game that establishes the winner beyond any possibility of challenge. A terminal move results, in other words, in the death of the opposing player as player. The winner kills the opponent. The loser is dead in the sense of being incapable of further play.
Life in death concerns those who are titled and whose titles, since they are timeless, may not be extinguished by death. Immortality, in this case, is not a reward but the condition necessary to the possession of rewards. Victors live forever not because their souls are unaffected by death but because their titles must not be forgotten.