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作为一个相对年轻的艺术门类，游戏在很长时间内一直难以建立起属于自己的本体论。这是因为游戏自身既具备时空连续性，又具备创作者和玩家的双重主体性，一旦对其进行要素的共性分析，就会发现本体论之间的矛盾几乎难以调和。在学界的各种尝试之后，基于维特根斯坦思想的阿尔萨斯-卡莱亚游戏本体论崭露头角：它是通过描述性模型，而非定义性模型而对游戏的特性进行描绘。在这样的情境下，我们才有足够的切入点，尝试去回答一个元初的问题：到底什么是游戏？
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