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"An unholy mixture of helpful guidebook and jabbing provocation, [THINGS WE THINK ABOUT GAMES] will earn its right to rattle around your brain. It is essential reading for designer, critic, and straight-up rank 'n' file gamer alike." ¿Robin D. Laws, creator of HeroQuest and Feng ShuiWill Hindmarch and Jeff Tidball think a lot about games. At their commentary website, Gameplaywright.net, they think out loud about what it means to play games, make games, sell games, and love games. They are gamers.Here, with fellow game designers and notable game players, they think out loud on paper in the first Gameplaywright book.THINGS WE THINK ABOUT GAMES collects dozens on dozens of bite-sized thoughts about games. From the absurd to the magnificent, the demonstrable to the dogmatic, this collection spans both the breadth of games¿board, card, roleplaying and more¿and the depth of gaming, offering insights about collecting, playing, critiquing, designing, and publishing.
From the Sunday Times bestselling author of The Science of Storytelling comes a bold and ambitious investigation of status that will redefine human culture for our times There's something humans desire even more than gold. It's a fundamental drive that's common to all humanity, cutting across race, gender, age and culture. Our need for it is such that exactly how much of it we possess dramatically effects not only our happiness and well-being but also our physical health. It'sstatus, argues Will Storr. You can't understand human behaviour without understanding The Status Game. This game, which we are all playing, is not only the secret of our success, but also of our most evil behaviour. Everything is subordinate to status, and humans aren't unique in our complicity with it. By reflecting on the various ways humans negotiate this game - through status hierarchies, values, myths and sacred markers, Storr gives readers a master class in this most malevolent of social mysteries.
In recent years, computer games have moved from the margins of popular culture to its center. Reviews of new games and profiles of game designers now regularly appear in the New York Times and the New Yorker, and sales figures for games are reported alongside those of books, music, and movies. They are increasingly used for purposes other than entertainment, yet debates about videogames still fork along one of two paths: accusations of debasement through violence and isolation or defensive paeans to their potential as serious cultural works. In How to Do Things with Videogames, Ian Bogost contends that such generalizations obscure the limitless possibilities offered by the medium’s ability to create complex simulated realities. Bogost, a leading scholar of videogames and an award-winning game designer, explores the many ways computer games are used today: documenting important historical and cultural events; educating both children and adults; promoting commercial products; and serving as platforms for art, pornography, exercise, relaxation, pranks, and politics. Examining these applications in a series of short, inviting, and provocative essays, he argues that together they make the medium broader, richer, and more relevant to a wider audience. Bogost concludes that as videogames become ever more enmeshed with contemporary life, the idea of gamers as social identities will become obsolete, giving rise to gaming by the masses. But until games are understood to have valid applications across the cultural spectrum, their true potential will remain unrealized. How to Do Things with Videogames offers a fresh starting point to more fully consider games’ progress today and promise for the future.
"Games are a unique art form. The game designer doesn't just create a world; they create who you will be in that world. They tell you what abilities to use and what goals to take on. In other words, they specify a form of agency. Games work in the medium of agency. And to play them, we take on alternate agencies and submerge ourselves in them. What can we learn about our own rationality and agency, from thinking about games? We learn that we have a considerable degree of fluidity with our agency. First, we have the capacity for a peculiar sort of motivational inversion. For some of us, winning is not the point. We take on an interest in winning temporarily, so that we can play the game. Thus, we are capable of taking on temporary and disposable ends. We can submerge ourselves in alternate agencies, letting them dominate our consciousness, and then dropping them the moment the game is over. Games are, then, a way of recording forms of agency, of encoding them in artifacts. Our games are a library of agencies. And exploring that library can help us develop our own agency and autonomy. But this technology can also be used for art. Games can sculpt our practical activity, for the sake of the beauty of our own actions. Games are part of a crucial, but overlooked category of art - the process arts. These are the arts which evoke an activity, and then ask you to appreciate your own activity. And games are a special place where we can foster beautiful experiences of our own activity. Because our struggles, in games, can be designed to fit our capacities. Games can present a harmonious world, where our abilities fit the task, and where we pursue obvious goals and act under clear values. Games are a kind of existential balm against the difficult and exhausting value clarity of the world. But this presents a special danger. Games can be a fantasy of value clarity. And when that fantasy leaks out into the world, we can be tempted to oversimplify our enduring values. Then, the pleasures of games can seduce us away from our autonomy, and reduce our agency."--
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.
We are the kids who grew up playing Space Invaders, Frogger, Q-bert, and Super Mario Brothers. Now, as adults, we're respectable contributors to a civilized society: professionals, parents, leaders, and policy makers. Still, the imagery of the games we played as children remains permanently seared into our personal and collective unconscious. The game world now shapes the way we think. It forms the way we perceive and interact with the world around us. The common view is that video games are an escape from the real world. But in FREEPLAY, author Jordan Shapiro shows us how the video games of our past (and present) function as interactive mythology. They are non-linear stories that help us derive meaning from the complicated paradoxes of everyday life. FREEPLAY is Zen and the Art of Motorcycle Maintenance for a new generation: part philosophy, part psychology, part spirituality, but ALL video games. Shapiro deftly blends Jungian and archetypal psychology in a way that is accessible and applicable to everyone. FREEPLAY is philosophy for the life world accessed through the user interface of the game world. Game on.
A collection of scholars and teachers of history unpack how computing technologies are transforming the ways that we learn, communicate, and teach.
WOULD YOU KILL ONE PERSON TO SAVE FIVE OTHERS? If you could upload all of your memories into a machine, would that machine be you? Is it possible we're all already artificial intelligences, living inside a simulation? These sound like questions from a philosophy class, but in fact they're from modern, popular video games. Philosophical discussion often uses thought experiments to consider ideas that we can't test in real life, and media like books, films, and games can make these thought experiments far more accessible to a non-academic audience. Thanks to their interactive nature, video games can be especially effective ways to explore these ideas. Each chapter of this book introduces a philosophical topic through discussion of relevant video games, with interviews with game creators and expert philosophers. In ten chapters, this book demonstrates how video games can help us to consider the following questions: 1. Why do video games make for good thought experiments? (From the ethical dilemmas of the Mass Effect series to 'philosophy games'.) 2. What can we actually know? (From why Phoenix Wright is right for the wrong reasons to whether No Man's Sky is a lie.) 3. Is virtual reality a kind of reality? (On whether VR headsets like the Oculus Rift, PlayStation VR, and HTC Vive deal in mass-market hallucination.) 4. What constitutes a mind? (From the souls of Beyond: Two Souls to the synths of Fallout 4.) 5. What can you lose before you're no longer yourself? (Identity crises in the likes of The Swapper and BioShock Infinite.) 6. Does it mean anything to say we have choice? (Determinism and free will in Bioshock, Portal 2 and Deus Ex.) 7. What does it mean to be a good or dutiful person? (Virtue ethics in the Ultima series and duty ethics in Planescape: Torment.) 8. Is there anything better in life than to be happy? (Utilitarianism in Bioshock 2 and Harvest Moon.) 10. How should we be governed, for whom and by who? (Government and rights in Eve Online, Crusader Kings, Democracy 3 and Fable 3.) 11. Is it ever right to take another life? And how do we cope with our own death? (The Harm Thesis and the good death in To The Moon and Lost Odyssey.)
Includes original and previously unseen material, behind-the-scenes features, creator commentary, and essays.