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A new analytical framework for understanding literary videogames, the literary-ludic spectrum, illustrated by close readings of selected works. In this book, Astrid Ensslin examines literary videogames—hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on a digital medium (unlike, for example, conventional books read on e-readers). They employ narrative, dramatic, and poetic techniques in order to explore the affordances and limitations of ludic structures and processes, and they are designed to make players reflect on conventional game characteristics. Ensslin approaches these hybrid works as a new form of experimental literary art that requires novel ways of playing and reading. She proposes a systematic method for analyzing literary-ludic (L-L) texts that takes into account the analytic concerns of both literary stylistics and ludology. After establishing the theoretical underpinnings of her proposal, Ensslin introduces the L-L spectrum as an analytical framework for literary games. Based on the phenomenological distinction between deep and hyper attention, the L-L spectrum charts a work's relative emphases on reading and gameplay. Ensslin applies this analytical toolkit to close readings of selected works, moving from the predominantly literary to the primarily ludic, from online hypermedia fiction to Flash fiction to interactive fiction to poetry games to a highly designed literary “auteur” game. Finally, she considers her innovative analytical methodology in the context of contemporary ludology, media studies, and literary discourse analysis.
A new analytical framework for understanding literary videogames, the literary-ludic spectrum, illustrated by close readings of selected works. In this book, Astrid Ensslin examines literary videogames—hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on a digital medium (unlike, for example, conventional books read on e-readers). They employ narrative, dramatic, and poetic techniques in order to explore the affordances and limitations of ludic structures and processes, and they are designed to make players reflect on conventional game characteristics. Ensslin approaches these hybrid works as a new form of experimental literary art that requires novel ways of playing and reading. She proposes a systematic method for analyzing literary-ludic (L-L) texts that takes into account the analytic concerns of both literary stylistics and ludology. After establishing the theoretical underpinnings of her proposal, Ensslin introduces the L-L spectrum as an analytical framework for literary games. Based on the phenomenological distinction between deep and hyper attention, the L-L spectrum charts a work's relative emphases on reading and gameplay. Ensslin applies this analytical toolkit to close readings of selected works, moving from the predominantly literary to the primarily ludic, from online hypermedia fiction to Flash fiction to interactive fiction to poetry games to a highly designed literary “auteur” game. Finally, she considers her innovative analytical methodology in the context of contemporary ludology, media studies, and literary discourse analysis.
Illuminates the fascinating, intertwined histories of games and the Early Modern theater
This innovative text examines videogames and gaming from the point of view of discourse analysis. In particular, it studies two major aspects of videogame-related communication: the ways in which videogames and their makers convey meanings to their audiences, and the ways in which gamers, industry professionals, journalists and other stakeholders talk about games. In doing so, the book offers systematic analyses of games as artefacts and activities, and the discourses surrounding them. Focal areas explored in this book include: - Aspects of videogame textuality and how games relate to other texts - the formation of lexical terms and use of metaphor in the language of gaming - Gamer slang and 'buddylects' - The construction of game worlds and their rules, of gamer identities and communities - Dominant discourse patterns among gamers and how they relate to the nature of gaming - The multimodal language of games and gaming - The ways in which ideologies of race, gender, media effects and language are constructed Informed by the very latest scholarship and illustrated with topical examples throughout, The Language of Gaming is ideal for students of applied linguistics, videogame studies and media studies who are seeking a wide-ranging introduction to the field.
Librarians are beginning to see the importance of game based learning and the incorporation of games into library services. This book is written for them--so they can use games to improve people's understanding and enjoyment of the library. Full of practical suggestions, the essays discuss not only innovative uses of games in libraries but also the game making process. The contributors are all well versed in games and game-based learning and a variety of different types of libraries are considered. The essays will inspire librarians and educators to get into this exciting new area of patron and student services.
An amazing journey through the thriving worlds of fantasy and gaming What could one man find if he embarked on a journey through fantasy world after fantasy world? In an enthralling blend of travelogue, pop culture analysis, and memoir, forty-year-old former D&D addict Ethan Gilsdorf crisscrosses America, the world, and other worlds—from Boston to New Zealand, and Planet Earth to the realm of Aggramar. “For anyone who has ever spent time within imaginary realms, the book will speak volumes. For those who have not, it will educate and enlighten.” —Wired.com “Gandalf’s got nothing on Ethan Gilsdorf, except for maybe the monster white beard. In his new book, Fantasy Freaks and Gaming Geeks, Gilsdorf . . . offers an epic quest for reality within a realm of magic.” —Boston Globe “Imagine this: Lord of the Rings meets Jack Kerouac’s On the Road.” —National Public Radio’s “Around and About” “What does it mean to be a geek? . . . Fantasy Freaks andGaming Geeks tackles that question with strength and dexterity. . . . part personal odyssey, part medieval mid-life crisis, and part wide-ranging survey of all things freaky and geeky . . . playful . . . funny and poignant. . . . It’s a fun ride and it poses a question that goes to the very heart of fantasy, namely: What does the urge to become someone else tell us about ourselves?” —Huffington Post
An important new voice provides a riveting look at why video games need feminism and why all of us should make space for more play in our lives. "You play like a girl": it's meant to be an insult, accusing a player of subpar, un-fun playing. If you're a girl, and you grow up, do you "play like a woman"--whatever that means? In this provocative and enlightening book, Shira Chess urges us to play like feminists. Furthermore, she urges us to play video games like feminists. Playing like a feminist is empowering and disruptive; it exceeds the boundaries of gender yet still advocates for gender equality. Feminism need video games as much as video games need feminism.
A general introduction to archeogaming describing the intersection of archaeology and video games and applying archaeological method and theory into understanding game-spaces. “[T]he author’s clarity of style makes it accessible to all readers, with or without an archaeological background. Moreover, his personal anecdotes and gameplay experiences with different game titles, from which his ideas often develop, make it very enjoyable reading.”—Antiquity Video games exemplify contemporary material objects, resources, and spaces that people use to define their culture. Video games also serve as archaeological sites in the traditional sense as a place, in which evidence of past activity is preserved and has been, or may be, investigated using the discipline of archaeology, and which represents a part of the archaeological record. From the introduction: Archaeogaming, broadly defined, is the archaeology both in and of digital games... As will be described in the following chapters, digital games are archaeological sites, landscapes, and artifacts, and the game-spaces held within those media can also be understood archaeologically as digital built environments containing their own material culture... Archaeogaming does not limit its study to those video games that are set in the past or that are treated as “historical games,” nor does it focus solely on the exploration and analysis of ruins or of other built environments that appear in the world of the game. Any video game—from Pac-Man to Super Meat Boy—can be studied archaeologically.
The first-of-its-kind, Games and Gaming in Medieval Literature explores the depth and breadth of games in medieval literature and culture. Chapters span from the twelfth to the sixteenth centuries, and cover England, France, Denmark, Poland, and Spain, re-examining medieval games in diverse social settings such as the church, court, and household.
This innovative book explores links between literature and videogames, and how designing and playing games can transform our understanding of literature. It shows how studying literature through the lens of videogames can provide new insights into narrative and creative engagement with the text. The book sets out theories of narrative aesthetics and multimodality in literature and videogames, alongside models of literacy needed for such cultural and creative engagement. It goes on to examine game adaptations of children’s literature; and a series of videogames made by students based on Beowulf and Macbeth. In each case, the book considers ways in which the original text has been transformed by the process of game design, and what fresh light this casts on the literary narrative. It also considers what kind of learning, creative production, and cultural engagement is apparent in the game designs and emphasises the importance of treating games as a narrative medium in their own right. With a unique approach to the aesthetics of narrative in literature and videogames, the book will be of great interest to researchers, academics, and post-graduate students in the fields of literature, pedagogy, and game studies.