Stefano Gualeni

Game Credits

Design

Gua-Le-Ni, or: The Horrendous Parade (2011)   (Game Design)
Hærfest (2009)   (Ludologic Research)
Tony Tough 2: A Rake's Progress (2006)   (Game Design)
PaperBoy / Rampage (2005)   (Reverse Design)
Prezzemolo in una Giornata da Incubo (2003)   (Game Designer)
Tony Tough and the Night of Roasted Moths (1997)   (Designer)
 

Writers

Prezzemolo in una Giornata da Incubo (2003)   (Writer)
Tony Tough and the Night of Roasted Moths (1997)   (Storyboard)
Mikro Mortal Tennis (1996)   (Storyboard by)
 

Video/Cinematics

Tony Tough and the Night of Roasted Moths (1997)   (Screenplay)
 

Quality Assurance

The Unfinished Swan (2012)   (Playtesters)
Marble Madness / Klax (2005)   (Reverse Design & Testing)
PaperBoy / Rampage (2005)   (Testing)
 

Thanks

MirrorMoon EP (2013)   (Special Thanks to)
HUEBRIX (2012)   (Special Thanks for their Time, Feedback, Guidance and Support)
Fairytale Fights (2009)   (Special Thanks)
 


Developer Biography

Trained as an architect, Dr. Stefano Gualeni is a philosopher and game designer who is best known for creating the videogames 'Tony Tough and the Night of Roasted Moths' (1997) and 'Gua-Le-Ni; or, The Horrendous Parade' (2012). His work takes place at the intersections between continental philosophy and the design of virtual worlds. Given the practical and interdisciplinary focus of his research - and depending on the topics and the resources at hand - his output takes the form of academic texts and/or of interactive digital experiences. Being both a philosopher who designs videogames and a game designer who is passionate about philosophy, Dr. Gualeni studies virtual worlds in their role as mediators of thought: as interactive, artificial environments where philosophical ideas, world-views, and thought-experiments can be explored, manipulated, and communicated objectively. His book, 'Virtual Worlds as Philosophical Tools' (Palgrave, 2015), recognizes computers as instruments to (re)design ourselves and our worlds, as gateways to experience alternative possibilities of being. Put somewhat more simply, he recognizes virtual worlds as the contexts where a new, projectual humanism has already begun to arise.

Last updated: Feb 09, 2016