The updated second edition examines the emergence of new platforms as well as changing patterns of production and consumption in its analysis of Wii, Xbox 360, PS3 and mobile gaming. The new final chapter explores recent developments in games scholarship with particular focus falling on the study of gameplay as socially situated, ‘lived experience’, and on strategies for game history, heritage and preservation. In drawing attention to the fragility and ephemerality of hardware, software and gameplay, this new edition encourages readers and players not only to consider how games might be studied but also what can, will and should be left behind for the next generation of games researchers.
Looking at a wide variety of video games—including mobile games, indie games, art games, and games that have been traditionally neglected by academia—Anable expands our understanding of the ways in which these games and game studies can participate in feminist and queer interventions in digital media culture. She gives a new account of the touchscreen and intimacy with our mobile devices, asking what it means to touch and be touched by a game. She also examines how games played casually throughout the day create meaningful interludes that give us new ways of relating to work in our lives. And Anable reflects on how games allow us to feel differently about what it means to fail.
Playing with Feelings offers provocative arguments for why video games should be seen as the most significant art form of the twenty-first century and gives the humanities passionate, incisive, and daring arguments for why games matter.
Metagaming uncovers these alternative histories of play by exploring the strange experiences and unexpected effects that emerge in, on, around, and through videogames. Players puzzle through the problems of perspectival rendering in Portal, perform clandestine acts of electronic espionage in EVE Online, compete and commentate in Korean StarCraft, and speedrun The Legend of Zelda in record times (with or without the use of vision). Companies like Valve attempt to capture the metagame through international e-sports and online marketplaces while the corporate history of Super Mario Bros. is undermined by the endless levels of Infinite Mario, the frustrating pranks of Asshole Mario, and even Super Mario Clouds, a ROM hack exhibited at the Whitney Museum of American Art.
One of the only books to include original software alongside each chapter, Metagaming transforms videogames from packaged products into instruments, equipment, tools, and toys for intervening in the sensory and political economies of everyday life. And although videogames conflate the creativity, criticality, and craft of play with the act of consumption, we don’t simply play videogames—we make metagames.
After suffering a brain injury, Jane McGonigal came up with a game to help aid her recovery and battle the ensuing depression she experienced. Half a million people have now played this game to astonishing results: depression gone in 6 weeks in some cases and even terminal cancer patients reporting that playing the game gives them a sense of control over their own health. The book shows readers how to use these techniques to find strength and create positivity: readers can look to their own ‘power-ups’ which are little things they can do to feel better and tackle the hurdles in their own lives.
This book provides simple step-by-step ideas that can be carried out in day-to-day life, helping you transform your life with a new flexible and reenergised mindset. In this book McGonigal uses her own story and those of others to expertly demonstrate how simple changes can result in dramatic life-affirming effects. And what’s more, she tells you how you yourself can lead a more “gameful” life.
Welcome to the world of the digital revolution.
Yet what if, by devaluing individuals, we are deadening creativity, endlessly rehashing past culture, risking weaker design in engineering and science, losing democracy, and reducing development - in every sphere? In You Are Not A Gadget, Jaron Lanier, digital guru, and inventor of Virtual Reality, delivers a searing manifesto in support of the human and reflects on the good and bad developments in design and thought twenty years after the invention of the web. Controversial and fascinating, You Are Not a Gadget is a deeply felt defence of the individual from an author uniquely qualified to comment on the way technology interacts with our culture.
Since the postwar boom, we've had a surfeit of intellect, energy, and time - a "cognitive surplus." Shirky argues persuasively that this cognitive surplus - rather than being some strange new departure from normal behavior - actually returns our society to forms of collaboration that were natural to us up to and through the early 20th Century. He also charts the vast effects that our cognitive surplus - aided by new technologies - will have on 21st Century society, and how we can best exploit those effects, and how the choices we make are not only economically motivated but driven by the desire for autonomy, competence, and community.
In the third edition of this textbook, students will:
Learn the major theories and schools of thought used to study games, including ludology and narratology;
Understand the commercial and organizational aspects of the game industry;
Trace the history of games, from the board games of ancient Egypt to the rise of mobile gaming;
Explore the aesthetics of game design, including rules, graphics, audio, and time;
Analyze the narrative strategies and genre approaches used in video games;
Consider the debate surrounding the effects of violent video games and the impact of "serious games."
Featuring discussion questions, recommended games, a glossary of key terms, and an interactive online video game history timeline, Understanding Video Games provides a valuable resource for anyone interested in examining the ways video games are reshaping entertainment and society.