From their inception, video games quickly became a major new arena of popular entertainment. Beginning with very primitive games, they quickly evolved into interactive animated works, many of which now approach film in terms of their visual excitement. But there are important differences, as Arthur Asa Berger makes clear in this important new work. Films are purely to be viewed, but video involves the player, moving from empathy to immersion, from being spectators to being actively involved in texts. Berger, a renowned scholar of popular culture, explores the cultural significance of the expanding popularity and sophistication of video games and considers the biological and psychoanalytic aspects of this phenomenon.Berger begins by tracing the evolution of video games from simple games like Pong to new, powerfully involving and complex ones like Myst and Half-Life. He notes how this evolution has built the video industry, which includes the hardware (game-playing consoles) and the software (the games themselves), to revenues comparable to the American film industry. Building on this comparison, Berger focuses on action-adventure games which, like film and fiction, tell stories but which also involve culturally important departures in the conventions of narrative. After defining a set of bipolar oppositions between print and electronic narratives, Berger considers the question of whether video games are truly interactive or only superficially so, and whether they have the potential to replace print narratives in the culture at large.A unique dimension of the book is its bio-psycho-social analysis of the video game phenomenon. Berger considers the impact of these games on their players, from physical changes (everything from neurological problems to obesity) to psychological consequences, with reference to violence and sexual attitudes. He takes these questions further by examining three enormously popular games-Myst/Riven, Tomb Raider, and Half-Life-for their attitudes toward power, gender, violence, and guilt. In his conclusion, Berger concentrates on the role of violence in video games and whether they generate a sense of alienation in certain addicted players who become estranged from family and friends. Accessibly written and broad-ranging in approach, Video Games offers a way to interpret a major popular phenomenon.

The definitive behind-the-scenes history of the dawn of video games and their rise into a multibillion-dollar business "For industry insiders and game players alike, this book is a must-have."-Mark Turmell, designer for Midway Games and creator of NBA Jam, NFL Blitz, and WrestleMania With all the whiz, bang, pop, and shimmer of a glowing arcade, volume 1 of The Ultimate History of Video Games reveals everything you ever wanted to know and more about the unforgettable games that changed the world, the visionaries who made them, and the fanatics who played them. Starting in arcades then moving to televisions and handheld devices, the video game invasion has entranced kids and the young at heart for nearly fifty years. And gaming historian Steven L. Kent has been there to record the craze from the very beginning. The Ultimate History- Volume 1 tells the incredible tale of how this backroom novelty transformed into a cultural phenomenon. Through meticulous research and personal interviews with hundreds of industry luminaries, Kent chronicles firsthand accounts of how yesterday's games like Space Invaders, Centipede, and Pac-Man helped create an arcade culture that defined a generation, and how today's empires like Sony, Nintendo, and Electronic Arts have galvanized a multibillion-dollar industry and a new generation of games. Inside, you'll discover . the video game that saved Nintendo from bankruptcy . the serendipitous story of Pac-Man's design . the misstep that helped topple Atari's $2-billion-a-year empire . the coin shortage caused by Space Invaders . the fascinating reasons behind the rise, fall, and rebirth of Sega . and much more! Entertaining, addictive, and as mesmerizing as the games it chronicles, this book is a must-have for anyone who's ever touched a joystick.

The definitive behind-the-scenes history of video games' explosion into the twenty-first century and the war for industry power "A zippy read through a truly deep research job. You won't want to put this one down."-Eddie Adlum, publisher, RePlay Magazine As video games evolve, only the fittest companies survive. Making a blockbuster once cost millions of dollars; now it can cost hundreds of millions, but with a $160 billion market worldwide, the biggest players are willing to bet the bank. Steven L. Kent has been playing video games since Pong and writing about the industry since the Nintendo Entertainment System. In volume 1 of The Ultimate History of Video Games, he chronicled the industry's first thirty years. In volume 2, he narrates gaming's entrance into the twenty-first century, as Nintendo, Sega, Sony, and Microsoft battle to capture the global market. The home console boom of the '90s turned hobby companies like Nintendo and Sega into Hollywood-studio-sized business titans. But by the end of the decade, they would face new, more powerful competitors. In boardrooms on both sides of the Pacific, engineers and executives began, with enormous budgets and total secrecy, to plan the next evolution of home consoles. The PlayStation 2, Nintendo GameCube, and Sega Dreamcast all made radically different bets on what gamers would want. And then, to the shock of the world, Bill Gates announced the development of the one console to beat them all-even if Microsoft had to burn a few billion dollars to do it. In this book, you will learn about . the cutthroat environment at Microsoft as rival teams created console systems . the day the head of Sega of America told the creator of Sonic the Hedgehog to "f**k off" . how "lateral thinking with withered technology" put Nintendo back on top . and much more! Gripping and comprehensive, The Ultimate History of Video Games- Volume 2 explores the origins of modern consoles and of the franchises-from Grand Theft Auto and Halo to Call of Duty and Guitar Hero-that would define gaming in the new millennium.

From the Introduction: "The chapters in this volume reflect the discussions that occurred during the 5th Global Conference on Videogame Cultures and the Future of Interactive Entertainment, held as part of Cyber Hub activity within the Inter-Disciplinary.Net Critical Issues research hub at Mansfield College, Oxford, United Kingdom in July 2013. This edited collection of chapters provides a snapshot of the inquiries, discussions, and conclusions drawn at this conference."

From Pong to virtual reality, Understanding Video Games, 4th Edition, takes video game studies into the next decade of the twenty-first century, highlighting changes in the area, including mobile, social, and casual gaming. In this new edition of the pioneering text, students learn to assess the major theories used to analyze games, such as ludology and narratology, and gain familiarity with the commercial and organizational aspects of the game industry. Drawing from historical and contemporary examples, the student-friendly text also explores the aesthetics of games, evaluates the cultural position of video games, and considers the potential effects of both violent and "serious" games. Extensively illustrated and featuring discussion questions, a glossary of key terms, and a detailed video game history timeline, this new edition is an indispensable resource for students, scholars, and teachers interested in examining the ways video games continue to reshape entertainment and society.

This entry in the BEA Electronic Media Research Series, born out of the April 2017 BEA Research Symposium, takes a look at video games, outlining the characteristics of them as cognitive, emotional, physical, and social demanding technologies, and introduces readers to current research on video games. The diverse array of contributors in this volume offer bleeding-edge perspectives on both current and emerging scholarship. The chapters here contain radical approaches that add to the literature on electronic media studies generally and video game studies specifically. By taking such a forward-looking approach, this volume aims to collect foundational writings for the future of gaming studies.

An edited collection whose contributors analyze the relationship between writing, learning, and video games/videogaming, these essays consist of academic essays from writing and rhetoric teacher-scholars, who theorize, and contextualize how computer/video games enrich writing practices within and beyond the classroom and the teaching of writing.

Stories are told today through many formats and young interpreters bring multimedia experience to bear on every narrative format they encounter. In this book, twelve young people read a novel, watch a film and play a video game from beginning to end. Their responses inform a new framework of contemporary themes of narrative comprehension.

This book argues that games offer a means of coming to terms with a world that is being transformed by digital technologies. As blends of software and fiction, videogames are uniquely capable of representing and exploring the effects of digitization on day-to-day life. By modeling and incorporating new technologies (from artificial intelligence routines and data mining techniques to augmented reality interfaces), and by dramatizing the implications of these technologies for understandings of identity, nationality, sexuality, health and work, games encourage us to playfully engage with these issues in ways that traditional media cannot.　

Featuring interviews with the creators of 36 popular video games--including Deus Ex, Night Trap, Mortal Kombat, Wasteland and NBA Jam--this book gives a behind-the-scenes look at the creation of some of the most influential and iconic (and sometimes forgotten) games of all time. Recounting endless hours of painstaking development, the challenges of working with mega publishers and the uncertainties of public reception, the interviewees reveal the creative processes that produced some of gaming's classic titles.

This volume examines fifty of the most important video games that have contributed significantly to the history, development, or culture of the medium, providing an overview of video games from their beginning to the present day. This volume covers a variety of historical periods and platforms, genres, commercial impact, artistic choices, contexts of play, typical and atypical representations, uses of games for specific purposes, uses of materials or techniques, specific subcultures, repurposing, transgressive aesthetics, interfaces, moral or ethical impact, and more. Key video games featured include Animal Crossing, Call of Duty, Grand Theft Auto, The Legend of Zelda, Minecraft, PONG, Super Mario Bros., Tetris, and World of Warcraft. Each game is closely analyzed in order to properly contextualize it, to emphasize its prominent features, to show how it creates a unique experience of gameplay, and to outline the ways it might speak about society and culture. The book also acts as a highly accessible showcase to a range of disciplinary perspectives that are found and practiced in the field of game studies. With each entry supplemented by references and suggestions for further reading, Fifty Key Video Games is an indispensable reference for anyone interested in video games.

How to Play Video Games brings together forty original essays from today’s leading scholars on video game culture, writing about the games they know best and what they mean in broader social and cultural contexts. Read about avatars in Grand Theft Auto V, or music in The Legend of Zelda: Ocarina of Time. See how Age of Empires taught a generation about postcolonialism, and how Borderlands exposes the seedy underbelly of capitalism. These essays suggest that understanding video games in a critical context provides a new way to engage in contemporary culture. They are a must read for fans and students of the medium.

The State of Play is a call to consider the high stakes of video game culture and how our digital and real lives collide. Here, video games are not hobbies or pure recreation; they are vehicles for art, sex, and race and class politics. The sixteen contributors are entrenched-they are the video game creators themselves, media critics, and Internet celebrities. They share one thing- they are all players at heart, handpicked to form a superstar roster by Daniel Goldberg and Linus Larsson, the authors of the bestsellingMinecraft- The Unlikely Tale of Markus "Notch" Persson and the Game that Changed Everything. The State of Playis essential reading for anyone interested in what may well be the defining form of cultural expression of our time. "If you want to explain to anyone why videogames are worth caring about, this is a single volume primer on where we are, how we got here and where we're going next. In every way, this is the state of play." -Kieron Gillen, author ofThe Wicked + the Divine, co-founder of Rock Paper Shotgun

The 14 essays in Game on, Hollywood! take on several points of game and film intersection. They look at storylines, aesthetics, mechanics, and production. The book is about adaptation (video game to film, film to video game), but it is even more about narrative. The essays draw attention to the ways and possibilities of telling a story. They consider differences and similarities across modes of storytelling (showing, telling, interacting), explore the consequences of time, place and ideology, and propose critical approaches to the vastness of narrative in the age of multimedia storytelling. The video games and film texts discussed include The Warriors (1979 film; 2005 video game), GoldenEye (1995 film), GoldenEye 007 (1997 and 2011 video games), Buffy the Vampire Slayer (2000-2004, television show), Buffy the Vampire Slayer: Chaos Bleeds (2003 video game), Prince of Persia: The Sands of Time (2003 video game; 2010 film), the Star Wars franchise empire (1977 on), Afro Samurai (2009 video game), and Disney's Epic Mickey (2010 video game).

The World is Born From Zero is an investigation into the relationship between video games and science fiction through the philosophy of speculation. Cameron Kunzelman argues that the video game medium is centered on the evaluation and production of possible futures by following video game studies, media philosophy, and science fiction studies to their furthest reaches. Claiming that the best way to understand games is through rigorous formal analysis of their aesthetic strategies and the cultural context those strategies emerge from, Kunzelman investigates a diverse array of games like The Last of Us, VA-11 Hall-A, and Civilization VI in order to explore what science fiction video games can tell us about their genres, their ways of speculating, and how the medium of the video game does (or does not) direct us down experiential pathways that are both oppressive and liberatory. Taking a multidisciplinary look at these games, The World is Born From Zero offers a unique theorization of science fiction games that provides both science fiction studies and video game studies with new tools for thinking how this medium and mode inform each other.

Gaming no longer only takes place as a »closed interactive experience« in front of TV screens, but also as broadcast on streaming platforms or as cultural events in exhibition centers and e-sport arenas. The popularization of new technologies, forms of expression, and online services has had a considerable influence on the academic and journalistic discourse about games. This anthology examines which paratexts gaming cultures have produced - i.e., in which forms and formats and through which channels we talk (and write) about games - as well as the way in which paratexts influence the development of games. How is knowledge about games generated and shaped today and how do boundaries between (popular) criticism, journalism, and scholarship have started to blur? In short: How does the paratext change the text?

How game designers can use the psychological phenomenon of loss aversion to shape player experience.Getting something makes you feel good, and losing something makes you feel bad. But losing something makes you feel worse than getting the same thing makes you feel good. So finding $10 is a thrill; losing $10 is a tragedy. On an "intensity of feeling" scale, loss is more intense than gain. This is the core psychological concept of loss aversion, and in this book game creator Geoffrey Engelstein explains, with examples from both tabletop and video games, how it can be a tool in game design. Loss aversion is a profound aspect of human psychology, and directly relevant to game design; it is a tool the game designer can use to elicit particular emotions in players. Engelstein connects the psychology of loss aversion to a range of phenomena related to games, exploring, for example, the endowment effect-why, when an object is ours, it gains value over an equivalent object that is not ours-as seen in the Weighted Companion Cube in the game Portal; the framing of gains and losses to manipulate player emotions; Deal or No Deal's use of the utility theory; and regret and competence as motivations, seen in the context of legacy games. Finally, Engelstein examines the approach to Loss Aversion in three games by Uwe Rosenberg, charting the designer's increasing mastery.

Videogames now rival Hollywood cinema in popularity and profits and there are huge followings for titles such as Tomb Raider or The Sims. Exactly what games offer, however, as a distinct form of entertainment, has received scant attention. This book is a valuable contribution to this new field. Its main focus is on key formal aspects of games and the experiences and pleasures offered by the activities they require of the player. A wide range of games are considered, from first-person shooters to third-person action-adventures, strategy, sports-related and role-playing games. Issues examined in detail include the characteristics of gameplay and its relationship with narrative, genre, virtual landscapes, realism, spectacle and sensation. Lively and accessible in style, this book is written for both an academic readership and the wider audience of gamers and those interested in popular culture._x000D_ _x000D_ 'This book will leave you convinced that video games are as much about immersion in strange, often beautiful worlds as about problem-solving, and as much about stimulating the imagination as about the adrenaline rush of competition.' - Marie-Laure Ryan