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Videogames! Aren’t they the medium of the twenty-first century? The new cinema? The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk? The final victory of interaction over passivity? No, probably not. Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this paradox more thoroughly than any other author to date. Delving into popular, familiar games like Flappy Bird, Mirror’s Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL, and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don’t watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn’t. Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the “rivers and fields” that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: “God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study.”
“An insider’s view of the good things that can emerge from being glued to a screen. . . . A solid piece of pop-culture/business journalism.” —Kirkus Reviews The phenomenal growth of gaming has inspired plenty of hand-wringing since its inception—from the press, politicians, parents, and everyone else concerned with its effect on our brains, bodies, and hearts. But what if games could be good, not only for individuals but for the world? In Power Play, Asi Burak and Laura Parker explore how video games are now pioneering innovative social change around the world. As the former executive director and now chairman of Games for Change, Asi Burak has spent the last ten years supporting and promoting the use of video games for social good, in collaboration with leading organizations like the White House, NASA, World Bank, and The United Nations. The games for change movement has introduced millions of players to meaningful experiences around everything from the Israeli-Palestinian conflict to the US Constitution. Power Play looks to the future of games as a global movement. Asi Burak and Laura Parker profile the luminaries behind some of the movement’s most iconic games, including former Supreme Court judge Sandra Day O’Connor and Pulitzer Prize–winning authors Nicholas Kristof and Sheryl WuDunn. They also explore the promise of virtual reality to address social and political issues with unprecedented immersion, and see what the next generation of game makers have in store for the future.
What impact can video games have on us as players? How does psychology influence video game creation? Why do some games become cultural phenomena? The Psychology of Video Games introduces the curious reader to the relationship between psychology and video games from the perspective of both game makers and players. Assuming no specialist knowledge, this concise, approachable guide is a starter book for anyone intrigued by what makes video games engaging and what is their psychological impact on gamers. It digests the research exploring the benefits gaming can have on players in relation to education and healthcare, considers the concerns over potential negative impacts such as pathological gaming, and concludes with some ethics considerations. With gaming being one of the most popular forms of entertainment today, The Psychology of Video Games shows the importance of understanding the human brain and its mental processes to foster ethical and inclusive video games.
Playing with Videogames documents the richly productive, playful and social cultures of videogaming that support, surround and sustain this most important of digital media forms and yet which remain largely invisible within existing studies. James Newman details the rich array of activities that surround game-playing, charting the vibrant and productive practices of the vast number of videogame players and the extensive 'shadow' economy of walkthroughs, FAQs, art, narratives, online discussion boards and fan games, as well as the cultures of cheating, copying and piracy that have emerged. Playing with Videogames offers the reader a comprehensive understanding of the meanings of videogames and videogaming within the contemporary media environment.
The first significant collection of research in videogame linguistics, Approaches to Videogame Discourse features an international array of scholars in linguistics and communication studies exploring lexis, interaction and textuality in digital games. In the first section, “Lexicology, Localisation and Variation,” chapters cover productive processes surrounding gamer slang (ludolects), creativity and borrowing across languages, as well as industry-, genre-, game- and player-specific issues relating to localization, legal jargon and slang. “Player Interactions” moves on to examine communicative patterns between videogame players, focusing in particular on (un)collaborative language, functions and negotiations of impoliteness and issues of power in player discourse. In the final section, “Beyond the 'Text',” scholars grapple with issues of multimodality, paratextuality and transmediality in videogames in order to develop and enrich multimodal theory, drawing on key concepts from ludonarratology, language ideology, immersion and transmedia studies. With implications for meaningful game design and communication theory, Approaches to Videogame Discourse examines in detail how video games function as means and objects of communication; how they give rise to new vocabularies, textual genres and discourse practices; and how they serve as rich vehicles of ideological signification and social engagement.
Video games is a lucrative new market for scriptwriters but writing for video games is complex and very different to traditional media (tv or film). This practical guide shows how you can adapt your writing skills to this exciting medium. Written by an award-winning games writer, the book gives you a realistic picture of how games companies work, how the writer fits into the development process, and the skills required: from storytelling, to developing interactive narrative, characters and viewpoints, dialogue comedy and professional practice. Illustrated with examples from games and quotes from developers, writers and agents, this is a cutting edge professional writing guide at a very accessible price.
Cognitive Development in a Digital Age James Paul Gee begins his classic book with "I want to talk about video games–yes, even violent video games–and say some positive things about them." With this simple but explosive statement, one of America's most well-respected educators looks seriously at the good that can come from playing video games. This revised edition expands beyond mere gaming, introducing readers to fresh perspectives based on games like World of Warcraft and Half-Life 2. It delves deeper into cognitive development, discussing how video games can shape our understanding of the world. An undisputed must-read for those interested in the intersection of education, technology, and pop culture, What Video Games Have to Teach Us About Learning and Literacy challenges traditional norms, examines the educational potential of video games, and opens up a discussion on the far-reaching impacts of this ubiquitous aspect of modern life.
Video Games in Psychotherapy provides the reader with a practical session-by-session framework for using video games, interactive media, and gaming metaphors to help make the process of psychotherapy more engaging for today’s youth. Using concepts from narrative, collaborative, cognitive behavioral, and other evidenced-based approaches to psychotherapy, the book gives examples of possible therapist questions, responses, and activities involving language and concepts that are appealing to young gamers. Addressing issues with psychophysiological self-regulation, anxiety disorders, and autism spectrum disorders, among others, this book uses multiple case examples to demonstrate each idea and is written in a way that is understandable for all mental health providers, regardless of their own familiarity with gaming. A review of over 40 popular video games with specific ideas for their use in psychotherapy is provided, allowing mental health providers to easily individualize therapy based on client goals and gaming preferences. Concepts for individual and group psychotherapy using games and interactive media, ranging from Pac Man to virtual reality, are also covered. Providing the reader with useful templates, worksheets, and other therapy resources, this book is a must-have for mental health providers working with children, adolescents, and transition-age youth.
What is video game culture? This volume avoids easy answers and deceitful single definitions. Instead, the collected essays included here navigate the messy and exciting waters of video games, of culture, and of the meeting of video games and culture.
Placing gender at the centre of the debate about young children and multimedia, particularly video games, the book develops a relational approach to game play using an account of affect. The book explores central issues of violence and parental regulation and argues that economic relations are not remote from the micro relations of playing.