In the provided context, “post-player” is not defined as a standalone term. However, the surrounding material suggests a concept in which the player is no longer a passive receiver of an author’s intended meaning, but an active agent who alters the game’s meaning through modification, repurposing, reinterpretation, or intervention in its internal protocols. This aligns with the idea of ludic mutation, where practices such as modding, spray interventions, online disruption, or refusal of combat are understood as forms of transformation initiated from the player side.
In this sense, a post-player is not merely someone who plays to win. The term points toward a participant who engages with a game’s rules, inputs, network, and display systems as materials for critique or reconfiguration. Works such as Anne-Marie Schleiner, Joan Leandre, and Brody Condon’s Velvet-Strike demonstrate this shift by turning a game’s graffiti function into an anti-war intervention, while Joseph DeLappe’s dead-in-iraq uses in-game chat as a site of political inscription. The player becomes both user and maker, and gameplay becomes a mode of rewriting the work itself.
That said, the source passages do not provide a precise, authoritative definition of the term, so this entry can only infer its meaning from the broader discourse on game-based art.