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Videogames are a unique artistic form, and to analyse and understand them an equally unique language is required. Cremin turns to Deleuze and Guattari’s non-representational philosophy to develop a conceptual toolkit for thinking anew about videogames and our relationship to them. Rather than approach videogames through a language suited to other media forms, Cremin invites us to think in terms of a videogame plane and the compositions of developers and players who bring them to life. According to Cremin, we are not simply playing videogames, we are creating them. We exceed our own bodily limitations by assembling forces with the elements they are made up of. The book develops a critical methodology that can explain what every videogame, irrespective of genre or technology, has in common and proceeds on this basis to analyse their differences. Drawing from a wide range of examples spanning the history of the medium, Cremin discerns the qualities inherent to those regarded as classics and what those qualities enable the player to do. Exploring Videogames with Deleuze and Guattari analyses different aspects of the medium, including the social and cultural context in which videogames are played, to develop a nuanced perspective on gendered narratives, caricatures and glorifications of war. It considers the processes and relationships that have given rise to industrial giants, the spiralling costs of making videogames and the pressure this places developers under to produce standard variations of winning formulas. The book invites the reader to embark on a molecular journey through worlds neither ‘virtual’ nor ‘real’ exceeding image, analogy and metaphor. With clear explanations and detailed analysis, Cremin demonstrates the value of a Deleuzian approach to the study of videogames, making it an accessible and valuable resource for students, scholars, developers and enthusiasts.
Videogames are a unique artistic form, and to analyse and understand them an equally unique language is required. Cremin turns to Deleuze and Guattari’s non-representational philosophy to develop a conceptual toolkit for thinking anew about videogames and our relationship to them. Rather than approach videogames through a language suited to other media forms, Cremin invites us to think in terms of a videogame plane and the compositions of developers and players who bring them to life. According to Cremin, we are not simply playing videogames, we are creating them. We exceed our own bodily limitations by assembling forces with the elements they are made up of. The book develops a critical methodology that can explain what every videogame, irrespective of genre or technology, has in common and proceeds on this basis to analyse their differences. Drawing from a wide range of examples spanning the history of the medium, Cremin discerns the qualities inherent to those regarded as classics and what those qualities enable the player to do. Exploring Videogames with Deleuze and Guattari analyses different aspects of the medium, including the social and cultural context in which videogames are played, to develop a nuanced perspective on gendered narratives, caricatures and glorifications of war. It considers the processes and relationships that have given rise to industrial giants, the spiralling costs of making videogames and the pressure this places developers under to produce standard variations of winning formulas. The book invites the reader to embark on a molecular journey through worlds neither ‘virtual’ nor ‘real’ exceeding image, analogy and metaphor. With clear explanations and detailed analysis, Cremin demonstrates the value of a Deleuzian approach to the study of videogames, making it an accessible and valuable resource for students, scholars, developers and enthusiasts.
Videogames are a unique artistic form, and to analyse and understand them an equally unique language is required. Cremin turns to Deleuze and Guattari's non-representational philosophy to develop a conceptual toolkit for thinking anew about videogames and our relationship to them. Rather than approach videogames through a language suited to other media forms, Cremin invites us to think in terms of a videogame plane and the compositions of developers and players who bring them to life. According to Cremin, we are not simply playing videogames, we are creating them. We exceed our own bodily limitations by assembling forces with the elements they are made up of. The book develops a critical methodology that can explain what every videogame, irrespective of genre or technology, has in common and proceeds on this basis to analyse their differences. Drawing from a wide range of examples spanning the history of the medium, Cremin discerns the qualities inherent to those regarded as classics and what those qualities enable the player to do. Exploring Videogames with Deleuze and Guattari analyses different aspects of the medium, including the social and cultural context in which videogames are played, to develop a nuanced perspective on gendered narratives, caricatures and glorifications of war. It considers the processes and relationships that have given rise to industrial giants, the spiralling costs of making videogames and the pressure this places developers under to produce standard variations of winning formulas. The book invites the reader to embark on a molecular journey through worlds neither 'virtual' nor 'real' exceeding image, analogy and metaphor. With clear explanations and detailed analysis, Cremin demonstrates the value of a Deleuzian approach to the study of videogames, making it an accessible and valuable resource for students, scholars, developers and enthusiasts.
The Unpredictability of Gameplay explores the many forms of unpredictability in games and proposes a comprehensive theoretical framework for understanding and categorizing non-deterministic game mechanics. Rather than viewing all game mechanics with unpredictable outcomes as a single concept, Mark R. Johnson develops a three-part typology for such mechanics, distinguishing between randomness, chance, and luck in gameplay, assessing games that range from grand strategy and MMORPGs to slot machines and card games. He also explores forms of unanticipated unpredictability, where elements of games fail to function as intended and create new forms of gameplay in the process. Covering a range of game concepts using these frameworks, The Unpredictability of Gameplay then explores three illustrative case studies: 1) procedural generation, 2) replay value and grinding, and 3) player-made practices designed to reduce the level of luck in non-deterministic games. Throughout, Johnson demonstrates the importance of looking more deeply at unpredictability in games and game design and the various ways in which unpredictability manifests while offering an invaluable tool for game scholars and game designers seeking to integrate unpredictability into their work.
Media pervade and saturate the world around us. From the proliferation of social media, to crowdsourcing, big data, games, and more traditional media such as television, radio, and print, media provide the framework for our engagement with the world and each other. By recasting the traditional concerns of media studies through the lens of the work of Deleuze and Guattari this book provides an innovative new toolkit for understanding how media shape our world. Taking as their central question what it is that media do, Harper and Savat offer a new and insightful approach to this exciting area of study.
In the midst of the climate crisis and the threat of the sixth extinction, we can no longer claim to be the masters of nature. Rather, we need to unlearn our species’ arrogance for the sake of all animals, human and non-human. Rethinking our being-in-the-world as Homo sapiens, this monograph argues, starts precisely from the way we relate to our closer companion species. The authors gathered here endeavour to find multiple exit strategies from the anthropocentric paradigms that have bound the human and social sciences. Part I investigates the unexplored margins of human history by re-reading historical events, literary texts, and scientific findings from an animal’s perspective, rather than a human’s. Part II explores different forms of human-animal relationships, putting the emphasis on the institutions, spaces, and discourses that frame our interactions with animals. Part III engages with processes of "translation" that aim to render animals’ experience and perception into human words and visual language.
Video games are a global phenomenon, international in their scope and democratic in their appeal. This is the first volume dedicated to the subject of apocalyptic video games. Its two dozen papers engage the subject comprehensively, from game design to player experience, and from the perspectives of content, theme, sound, ludic textures, and social function. The volume offers scholars, students, and general readers a thorough overview of this unique expression of the apocalyptic imagination in popular culture, and novel insights into an important facet of contemporary digital society.
Throughout the 1990s, artists experimented with game engine technologies to disrupt our habitual relationships to video games. They hacked, glitched, and dismantled popular first-person shooters such as Doom (1993) and Quake (1996) to engage players in new kinds of embodied activity. In Unstable Aesthetics: Game Engines and the Strangeness of Art Modding, Eddie Lohmeyer investigates historical episodes of art modding practices-the alteration of a game system's existing code or hardware to generate abstract spaces-situated around a recent archaeology of the game engine: software for rendering two and three-dimensional gameworlds. The contemporary artists highlighted throughout this book-Cory Arcangel, JODI, Julian Oliver, Krista Hoefle, and Brent Watanabe, among others –- were attracted to the architectures of engines because they allowed them to explore vital relationships among abstraction, technology, and the body. Artists employed a range of modding techniques-hacking the ROM chips on Nintendo cartridges to produce experimental video, deconstructing source code to generate psychedelic glitch patterns, and collaging together surreal gameworlds-to intentionally dissect the engine's operations and unveil illusions of movement within algorithmic spaces. Through key moments in game engine history, Lohmeyer formulates a rich phenomenology of video games by focusing on the liminal spaces of interaction among system and body, or rather the strangeness of art modding.
Beasts of the Deep: Sea Creatures and Popular Culture offers its readers an in-depth and interdisciplinary engagement with the sea and its monstrous inhabitants; through critical readings of folklore, weird fiction, film, music, radio and digital games. Within the text there are a multitude of convergent critical perspectives used to engage and explore fictional and real monsters of the sea in media and folklore. The collection features chapters from a variety of academic perspectives; post- modernism, psychoanalysis, industrial-organisational analysis, fandom studies, sociology and philosophy are featured. Under examination are a wide range of narratives and media forms that represent, reimagine and create the Kraken, mermaids, giant sharks, sea draugrs and even the weird creatures of H.P. Lovecraft. Beasts of the Deep offers an expansive study of our sea-born fears and anxieties, that are crystallised in a variety of monstrous forms. Repeatedly the chapters in the collection encounter the contemporary relevance of our fears of the sea and its inhabitants – through the dehumanising media depictions of refugees in the Mediterranean to the encroaching ecological disasters of global warming, pollution and the threat of mass marine extinction.
Horror cinema is a genre that is undergoing constant evolution, from the sub-genre of 'found footage,' to post-cinematic new media forms such as Youtube horror, horror video games and cinematic virtual reality horror. By investigating how these new forms alter the dynamics of spectatorship, this book charts how cinema's affective capacities have shifted in relation to these modifications in the forms of cinematic horror. It applies a rich theoretical synthesis of phenomenological and Deleuzian approaches to a number of case studies, including films like The Blair Witch Project, Paranormal Activity and Creep as well as video games such as Alien: Isolation and new media forms such as Youtube horror and virtual reality horror.