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Are games worthy of academic attention? Can they be used effectively in the classroom, in the research laboratory, as an innovative design tool, as a persuasive political weapon? Game Mods: Design Theory and Criticism aims to answer these and more questions. It features chapters by authors chosen from around the world, representing fields as diverse as architecture, ethnography, puppetry, cultural studies, music education, interaction design and industrial design. How can we design, play with and reflect on the contribution of game mods, related tools and techniques, to both game studies and to society as a whole?
In this comprehensive and highly interdisciplinary companion, contributors reflect on remix across the broad spectrum of media and culture, with each chapter offering in-depth reflections on the relationship between remix studies and the digital humanities. The anthology is organized into sections that explore remix studies and digital humanities in relation to topics such as archives, artificial intelligence, cinema, epistemology, gaming, generative art, hacking, pedagogy, sound, and VR, among other subjects of study. Selected chapters focus on practice-based projects produced by artists, designers, remix studies scholars, and digital humanists. With this mix of practical and theoretical chapters, editors Navas, Gallagher, and burrough offer a tapestry of critical reflection on the contemporary cultural and political implications of remix studies and the digital humanities, functioning as an ideal reference manual to these evolving areas of study across the arts, humanities, and social sciences. This book will be of particular interest to students and scholars of digital humanities, remix studies, media arts, information studies, interactive arts and technology, and digital media studies.
The overlooked history of an early appropriation of digital technology: the creation of games though coding and hardware hacking by microcomputer users. From the late 1970s through the mid-1980s, low-end microcomputers offered many users their first taste of computing. A major use of these inexpensive 8-bit machines--including the TRS System 80s and the Sinclair, Atari, Microbee, and Commodore ranges--was the development of homebrew games. Users with often self-taught programming skills devised the graphics, sound, and coding for their self-created games. In this book, Melanie Swalwell offers a history of this era of homebrew game development, arguing that it constitutes a significant instance of the early appropriation of digital computing technology. Drawing on interviews and extensive archival research on homebrew creators in 1980s Australia and New Zealand, Swalwell explores the creation of games on microcomputers as a particular mode of everyday engagement with new technology. She discusses the public discourses surrounding microcomputers and programming by home coders; user practices; the development of game creators' ideas, with the game Donut Dilemma as a case study; the widely practiced art of hardware hacking; and the influence of 8-bit aesthetics and gameplay on the contemporary game industry. With Homebrew Gaming and the Beginnings of Vernacular Digitality, Swalwell reclaims a lost chapter in video game history, connecting it to the rich cultural and media theory around everyday life and to critical perspectives on user-generated content.
This book explains how designing, playing and modifying computer games, and understanding the theory behind them, can strengthen the area of digital humanities. This book aims to help digital humanities scholars understand both the issues and also advantages of game design, as well as encouraging them to extend the field of computer game studies, particularly in their teaching and research in the field of virtual heritage. By looking at re-occurring issues in the design, playtesting and interface of serious games and game-based learning for cultural heritage and interactive history, this book highlights the importance of visualisation and self-learning in game studies and how this can intersect with digital humanities. It also asks whether such theoretical concepts can be applied to practical learning situations. It will be of particular interest to those who wish to investigate how games and virtual environments can be used in teaching and research to critique issues and topics in the humanities, particularly in virtual heritage and interactive history.
This accessible textbook gives students the tools they need to analyze games using strategies borrowed from textual analysis. As the field of game studies grows, videogame writing is evolving from the mere evaluation of gameplay, graphics, sound, and replayablity, to more reflective writing that manages to convey the complexity of a game and the way it is played in a cultural context. Clara Fernández-Vara’s concise primer provides readers with instruction on the basic building blocks of game analysis—examination of context, content and reception, and formal qualities—as well as the vocabulary necessary for talking about videogames' distinguishing characteristics. Examples are drawn from a range of games, both digital and non-digital—from Portal and World of Warcraft to Monopoly—and the book provides a variety of exercises and sample analyses, as well as a comprehensive ludography and glossary. In this second edition of the popular textbook, Fernández-Vara brings the book firmly up-to-date, pulling in fresh examples from ground-breaking new works in this dynamic field. Introduction to Game Analysis remains a unique practical tool for students who want to become more fluent writers and critics not only of videogames, but also of digital media overall.
Games can act as invaluable tools for the teaching of the Middle Ages. The learning potential of physical and digital games is increasingly undeniable at every level of historical study. These games can provide a foundation of information through their stories and worlds. They can foster understanding of complex systems through their mechanics and rules. Their very nature requires the player to learn to progress. The educational power of games is particularly potent within the study of the Middle Ages. These games act as the first or most substantial introduction to the period for many students and can strongly influence their understanding of the era. Within the classroom, they can be deployed to introduce new and alien themes to students typically unfamiliar with the subject matter swiftly and effectively. They can foster an interest in and understanding of the medieval world through various innovative means and hence act as a key educational tool. This volume presents a series of essays addressing the practical use of games of all varieties as teaching tools within Medieval Studies and related fields. In doing so it provides examples of the use of games at pre-university, undergraduate, and postgraduate levels of study, and considers the application of commercial games, development of bespoke historical games, use of game design as a learning process, and use of games outside the classroom. As such, the book is a flexible and diverse pedagogical resource and its methods may be readily adapted to the teaching of different medieval themes or other periods of history.
The volume addresses the matter of participatory media practices as playful appropriations within current digital media culture and artistic research. The aim is to explore and trace the shifting boundaries between media production and media use, and to develop concepts and methodologies that work within participatory media cultures. Therefore the articles explore and establish nuanced approaches to the oftentimes playful practices associated with the appropriation of technology.
Despite the pervasive rhetorics of immersion and embodiment found in industrial and social discourses, playing a video game is an exercise in non-linearity. The pervasiveness of trial and error mechanics, unforgiving game over screens, loading times, minute tweakings of options and settings, should lead us to consider video games as a medium that cannot eschew fragmentation. Every Game is an Island is an analysis and a critique of grey areas, dead ends and extremities found in digital games, an exploration of border zones where play and non-play coexist or compete. Riccardo Fassone describes the complexity of the experience of video game play and brings integral but often overlooked components of the gameplay experience to the fore, in an attempt to problematize a reading of video games as grandiosely immersive, all-encompassing narrative experiences. Through the analysis of closures and endings, limits and borders, and liminal states, this field-advancing study looks at the heart of a medium starting from its periphery.
Media narratives inform our ideas of the future - and Games are currently making a significant contribution to this medial reservoir. On the one hand, Games demonstrate a particular propensity for fantastic and futuristic scenarios. On the other hand, they often serve as an experimental field for the latest media technologies. However, while dystopias are part of the standard gaming repertoire, Games feature utopias much less frequently. Why? This anthology examines playful utopias from two perspectives. It investigates utopias in digital Games as well as utopias of the digital game; that is, the role of ludic elements in scenarios of the future.
With its unique focus on video game engines, the data-driven architectures of game development and play, this innovative textbook examines the impact of software on everyday life and explores the rise of engine-driven culture. Through a series of case studies, Eric Freedman lays out a clear methodology for studying the game development pipeline, and uses the video game engine as a pathway for media scholars and practitioners to navigate the complex terrain of software practice. Examining several distinct software ecosystems that include the proprietary efforts of Amazon, Apple, Capcom, Epic Games and Unity Technologies, and the unique ways that game engines are used in non-game industries, Freedman illustrates why engines matter. The studies bind together designers and players, speak to the labors of the game industry, value the work of both global and regional developers, and establish critical connection points between software and society. Freedman has crafted a much-needed entry point for students new to code, and a research resource for scholars and teachers working in media industries, game development and new media.