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In the first decade of the twenty-first century, video games are an integral part of global media culture, rivaling Hollywood in revenue and influence. No longer confined to a subculture of adolescent males, video games today are played by adults around the world. At the same time, video games have become major sites of corporate exploitation and military recruitment. In Games of Empire, Nick Dyer-Witheford and Greig de Peuter offer a radical political critique of such video games and virtual environments as Second Life, World of Warcraft, and Grand Theft Auto, analyzing them as the exemplary media of Empire, the twenty-first-century hypercapitalist complex theorized by Michael Hardt and Antonio Negri. The authors trace the ascent of virtual gaming, assess its impact on creators and players alike, and delineate the relationships between games and reality, body and avatar, screen and street. Games of Empire forcefully connects video games to real-world concerns about globalization, militarism, and exploitation, from the horrors of African mines and Indian e-waste sites that underlie the entire industry, the role of labor in commercial game development, and the synergy between military simulation software and the battlefields of Iraq and Afghanistan exemplified by Full Spectrum Warrior to the substantial virtual economies surrounding World of Warcraft, the urban neoliberalism made playable in Grand Theft Auto, and the emergence of an alternative game culture through activist games and open-source game development. Rejecting both moral panic and glib enthusiasm, Games of Empire demonstrates how virtual games crystallize the cultural, political, and economic forces of global capital, while also providing a means of resisting them.
Introduction : Games in the age of empire -- Game engine : labor, capital, machine -- Immaterial labor : a workers' history of videogaming -- Cognitive capitalism : electronic arts -- Machinic subjects : the XBOX and its rivals -- Gameplay : virtual/actual -- Banal war : full spectrum warrior -- Biopower play : world of warcraft -- Imperial city : grand theft auto -- New game? -- Games of multitude -- Exodus : the metaverse and the mines.
Over a century before Monopoly invited child players to bankrupt one another with merry ruthlessness, a lively and profitable board game industry thrived in Britain from the 1750s onward, thanks to publishers like John Wallis, John Betts, and William Spooner. As part of the new wave of materials catering to the developing mass market of child consumers, the games steadily acquainted future upper- and middle-class empire builders (even the royal family themselves) with the strategies of imperial rule: cultivating, trading, engaging in conflict, displaying, and competing. In their parlors, these players learned the techniques of successful colonial management by playing games such as Spooner’s A Voyage of Discovery, or Betts’ A Tour of the British Colonies and Foreign Possessions. These games shaped ideologies about nation, race, and imperial duty, challenging the portrait of Britons as "absent-minded imperialists." Considered on a continuum with children’s geography primers and adventure tales, these games offer a new way to historicize the Victorians, Britain, and Empire itself. The archival research conducted here illustrates the changing disciplinary landscape of children’s literature/culture studies, as well as nineteenth-century imperial studies, by situating the games at the intersection of material and literary culture.
John Perkins’ controversial and bestselling exposé, Confessions of an Economic Hit Man, revealed for the first time the secret world of economic hit men (EHMs). But Perkins’ Confessions contained only a small piece of this sinister puzzle. The full story is far bigger, deeper, and darker than Perkins’ personal account revealed. Here other EHMs, journalists, and investigators join Perkins to tell their own stories, providing the first probing and expansive look into this pervasive web of systematic corruption. With chapters spotlighting how specific countries around the globe have been subverted, A Game As Old As Empire uncovers the inner workings of the institutions behind these economic manipulations. The contributors detail concrete examples of how the “economic hit man game” is still being played: an officer of an offshore bank hiding hundreds of millions of dollars in stolen money, IMF advisers slashing Ghana’s education and health programs, a mercenary defending a European oil company in Nigeria, a consultant rewriting Iraqi oil law, and executives financing warlords to secure supplies of coltan ore in Congo. Together they show how this system of corruption and plunder operates in real life, and reveal the price that the rest of the world must pay as a result. Most important, A Game As Old As Empire connects the dots, showing how the various pieces of this system come together to create the world’s first truly global empire.
The life story of Gary Gygax, godfather of all fantasy adventure games, has been told only in bits and pieces. Michael Witwer has written a dynamic, dramatized biography of Gygax from his childhood in Lake Geneva, Wisconsin to his untimely death in 2008. Gygax's magnum opus, Dungeons & Dragons, would explode in popularity throughout the 1970s and '80s and irreversibly alter the world of gaming. D&D is the best-known, best-selling role-playing game of all time, and it boasts an elite class of alumni--Stephen Colbert, Robin Williams, and Junot Diaz all have spoken openly about their experience with the game as teenagers, and some credit it as the workshop where their nascent imaginations were fostered. Gygax's involvement in the industry lasted long after his dramatic and involuntary departure from D&D's parent company, TSR, and his footprint can be seen in the genre he is largely responsible for creating. But as Witwer shows, perhaps the most compelling facet of his life and work was his unwavering commitment to the power of creativity in the face of myriad sources of adversity, whether cultural, economic, or personal. Through his creation of the role-playing genre, Gygax gave two generations of gamers the tools to invent characters and entire worlds in their minds. Told in narrative-driven and dramatic fashion, Witwer has written an engaging chronicle of the life and legacy of this emperor of the imagination.
The rapid growth of the Korean online game industry, viewed in social, cultural, and economic contexts. In South Korea, online gaming is a cultural phenomenon. Games are broadcast on television, professional gamers are celebrities, and youth culture is often identified with online gaming. Uniquely in the online games market, Korea not only dominates the local market but has also made its mark globally. In Korea's Online Gaming Empire, Dal Yong Jin examines the rapid growth of this industry from a political economy perspective, discussing it in social, cultural, and economic terms. Korea has the largest percentage of broadband subscribers of any country in the world, and Koreans spend increasing amounts of time and money on Internet-based games. Online gaming has become a mode of socializing—a channel for human relationships. The Korean online game industry has been a pioneer in software development and eSports (electronic sports and leagues). Jin discusses the policies of the Korean government that encouraged the development of online gaming both as a cutting-edge business and as a cultural touchstone; the impact of economic globalization; the relationship between online games and Korean society; and the future of the industry. He examines the rise of Korean online games in the global marketplace, the emergence of eSport as a youth culture phenomenon, the working conditions of professional gamers, the role of game fans as consumers, how Korea's local online game industry has become global, and whether these emerging firms have challenged the West's dominance in global markets.
Far from the battlefields of Europe and North Africa, Allied forces fought a very different war against another foe, from the jungles of Burma to the islands of the Pacific and the shores of Australia. This new Theatre Book for Bolt Action allows players to command the spearhead of the lightning Japanese conquests in the East or to fight tooth and nail as Chindits, US Marines and other Allied troops to halt the advance and drive them back. Scenarios, special rules and new units give players everything they need to recreate the ferocious battles and campaigns of the Far East, from Guadalcanal to Okinawa, Singapore, the Philippines, Iwo Jima and beyond.
Video games have been a central feature of the cultural landscape for over twenty years and now rival older media like movies, television, and music in popularity and cultural influence. Yet there have been relatively few attempts to understand the video game as an independent medium. Most such efforts focus on the earliest generation of text-based adventures (Zork, for example) and have little to say about such visually and conceptually sophisticated games as Final Fantasy X, Shenmue, Grand Theft Auto, Halo, and The Sims, in which players inhabit elaborately detailed worlds and manipulate digital avatars with a vast—and in some cases, almost unlimited—array of actions and choices. In Gaming, Alexander Galloway instead considers the video game as a distinct cultural form that demands a new and unique interpretive framework. Drawing on a wide range of disciplines, particularly critical theory and media studies, he analyzes video games as something to be played rather than as texts to be read, and traces in five concise chapters how the “algorithmic culture” created by video games intersects with theories of visuality, realism, allegory, and the avant-garde. If photographs are images and films are moving images, then, Galloway asserts, video games are best defined as actions. Using examples from more than fifty video games, Galloway constructs a classification system of action in video games, incorporating standard elements of gameplay as well as software crashes, network lags, and the use of cheats and game hacks. In subsequent chapters, he explores the overlap between the conventions of film and video games, the political and cultural implications of gaming practices, the visual environment of video games, and the status of games as an emerging cultural form. Together, these essays offer a new conception of gaming and, more broadly, of electronic culture as a whole, one that celebrates and does not lament the qualities of the digital age. Alexander R. Galloway is assistant professor of culture and communication at New York University and author of Protocol: How Control Exists after Decentralization.
How did England go from a position of inferiority to the powerful Spanish empire to achieve global pre-eminence? In this important second book, Alison Games, a colonial American historian, explores the period from 1560 to 1660, when England challenged dominion over the American continents, established new long-distance trade routes in the eastern Mediterranean and the East Indies, and emerged in the 17th century as an empire to reckon with. Games discusses such topics as the men and women who built the colonial enterprise, the political and fiscal factors that made such growth possible, and domestic politics that fueled commercial expansion. Her cast of characters includes soldiers and diplomats, merchants and mariners, ministers and colonists, governors and tourists, revealing the surprising breath of foreign experiences ordinary English people had in this period. This book is also unusual in stretching outside Europe to include Africa, Asia, and the Middle East. A comparative imperial study and expansive world history, this book makes a lasting argument about the formative years of the English empire.
This book focuses on the almost entirely neglected treatment of empire and colonialism in videogames. From its inception in the nineties, Game Studies has kept away from these issues despite the early popularity of videogame franchises such as Civilization and Age of Empire. This book examines the complex ways in which some videogames construct conceptions of spatiality, political systems, ethics and society that are often deeply imbued with colonialism. Moving beyond questions pertaining to European and American gaming cultures, this book addresses issues that relate to a global audience – including, especially, the millions who play videogames in the formerly colonised countries, seeking to make a timely intervention by creating a larger awareness of global cultural issues in videogame research. Addressing a major gap in Game Studies research, this book will connect to discourses of post-colonial theory at large and thereby, provide another entry-point for this new medium of digital communication into larger Humanities discourses.