In the many studies of games and young people's use of them, little has been written about an overall "ecology" of gaming, game design and play—mapping the ways that all the various elements, from coding to social practices to aesthetics, coexist in the game world. This volume looks at games as systems in which young users participate, as gamers, producers, and learners.
Videogames are an expressive medium, and a persuasive medium; they represent how real and imagined systems work, and they invite players to interact with those systems and form judgments about them. In this innovative analysis, Ian Bogost examines the way videogames mount arguments and influence players. Drawing on the 2,500-year history of rhetoric, the study of persuasive expression, Bogost analyzes rhetoric's unique function in software in general and videogames in particular.
The widely varying experiences of players of digital games challenge the notions that there is only one correct way to play a game. Some players routinely use cheat codes, consult strategy guides, or buy and sell in-game accounts, while others consider any or all of these practices off limits. Meanwhile, the game industry works to constrain certain readings or activities and promote certain ways of playing. In Cheating, Mia Consalvo investigates how players choose to play games and what happens when they can't always play the way they'd like.
Games and other playable forms, from interactive fictions to improvisational theater, involve role playing and story—something played and something told. In Second Person, game designers, authors, artists, and scholars examine the different ways in which these two elements work together in tabletop role-playing games (RPGs), computer games, board games, card games, electronic literature, political simulations, locative media, massively multiplayer games, and other forms that invite and structure play.
In Unit Operations, Ian Bogost argues that similar principles underlie both literary theory and computation, proposing a literary-technical theory that can be used to analyze particular videogames. Moreover, this approach can be applied beyond videogames: Bogost suggests that any medium--from videogames to poetry, literature, cinema, or art--can be read as a configurative system of discrete, interlocking units of meaning, and he illustrates this method of analysis with examples from all these fields.
Electronic games have established a huge international market, significantly outselling non-digital games; people spend more money on The Sims than on "Monopoly" or even on "Magic: the Gathering." Yet it is widely believed that the market for electronic literature—predicted by some to be the future of the written word—languishes. Even bestselling author Stephen King achieved disappointing results with his online publication of "Riding the Bullet" and "The Plant."
In Play Between Worlds, T. L. Taylor examines multiplayer gaming life as it is lived on the borders, in the gaps—as players slip in and out of complex social networks that cross online and offline space. Taylor questions the common assumption that playing computer games is an isolating and alienating activity indulged in by solitary teenage boys. Massively multiplayer online games (MMOGs), in which thousands of players participate in a virtual game world in real time, are in fact actively designed for sociability.
The Game Design Reader is a one-of-a-kind collection on game design and criticism, from classic scholarly essays to cutting-edge case studies. A companion work to Katie Salen and Eric Zimmerman's textbook Rules of Play: Game Design Fundamentals, The Game Design Reader is a classroom sourcebook, a reference for working game developers, and a great read for game fans and players.Thirty-two essays by game designers, game critics, game fans, philosophers, anthropologists, media theorists, and others consider fundamental questions: What are games and how are they designed?
It was a time when technology was king, status was determined by your high score, and videogames were blitzing the world...
From Pong to Pac-Man, Asteroids to Zaxxon—more than fifty million people around the world have come of age within the electronic flux of videogames, their subconscious forever etched with images projected from arcade and home videogame systems.