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"World of Warcraft is the most popular ever MMORPG (massively multiplayer online role playing game), with over twelve million subscribers and growing every day." "WoW is everywhere - from episodes of South Park and The Simpsons, to online series like Watch the Guild, accolades and awards from game critics, prime-time commercials with William Shatner and Mr. T., and even criminal and civil courts in the real world. People marry and divorce individuals they have met in the game, realworld financial markets thrive in virtual WoW property, parents have their kids 'treated' for Warcraft addiction, and real-world lawsuits, vendettas, and murders have been provoked by the game." "Since identities are known to be assumed, is it okay to totally misrepresent yourself in the game? Does the Corrupted Blood epidemic warn us of future public health catastrophes? How can it be wrong to steal something which doesn't exist or torture characters who don't feel pain? Is warfare really essential to the world of Warcraft? What can our own world learn from Azeroth's blend of primitivism and high-tech?" "A specially commissioned guild of philosophers tackle these and other hard questions in World of Warcraft and Philosophy." -- Book Cover.
World of Warcraft is the most popular ever MMORPG (massively multiplayer online role playing game), with over twelve million subscribers and growing every day. WoW is everywhere - from episodes of South Park and The Simpsons, to online series like Watch the Guild, accolades and awards from game critics, prime-time commercials with William Shatner and Mr. T., and even criminal and civil courts in the real world. People marry and divorce individuals they have met in the game, realworld financial markets thrive in virtual WoW property, parents have their kids treated' for Warcraft addiction, and real-world lawsuits, vendettas, and murders have been provoked by the game. Since identities are known to be assumed, is it okay to totally misrepresent yourself in the game? Does the Corrupted Blood epidemic warn us of future public health catastrophes? How can it be wrong to steal something which doesn't exist or torture characters who don't feel pain? Is warfare really essential to the world of Warcraft? What can our own world learn from Azeroth's blend of primitivism and high-tech? A specially commissioned guild of philosophers tackle these and other hard questions in World of Warcraft and Philosophy. ''Finally, something Horde and Alliance alike can enjoy! Log off and curl up with World of Warcraft and Philosophy: you'll level up your Intellect for better boasting at your next guild party and cocktail party alike. ''
The WoW (World of Warcraft) Diary offers a rare, unfiltered look inside the gaming industry written by the game's first level designer, John Staats. The World of Warcraft Diary offers a rare, unfiltered look inside the gaming industry. It was written by the game's first level designer, John Staats, from notes he took during WoW's creation. The WoW Diary explains why developers do things and debunks popular myths about the games industry. In great detail he covers the what it took to finish the project; the surprises, the arguments, the mistakes, and Blizzard's formula for success. The author includes anecdotes about the industry, the company, the dev team; how they worked together, and the philosophy behind their decisions. The WoW Diary is a story made from notes taken during the dev team’s four-year journey. It is a timeline of Vanilla WoW’s development cycle, a time-capsule with an exhausting amount of details that also looks at the anatomy of computer game studio. In order to illustrate how all the parts of computer game company work together, he interviewed everyone from the company’s founders to his former teammates; and the supporting departments who helped make WoW a reality.
How can Wii Sports teach us about metaphysics? Can playing World of Warcraft lead to greater self-consciousness? How can we learn about aesthetics, ethics and divine attributes from Zork, Grand Theft Auto, and Civilization? A variety of increasingly sophisticated video games are rapidly overtaking books, films, and television as America's most popular form of media entertainment. It is estimated that by 2011 over 30 percent of US households will own a Wii console - about the same percentage that owned a television in 1953. In Philosophy Through Video Games, Jon Cogburn and Mark Silcox - philosophers with game industry experience - investigate the aesthetic appeal of video games, their effect on our morals, the insights they give us into our understanding of perceptual knowledge, personal identity, artificial intelligence, and the very meaning of life itself, arguing that video games are popular precisely because they engage with longstanding philosophical problems. Topics covered include: * The Problem of the External World * Dualism and Personal Identity * Artificial and Human Intelligence in the Philosophy of Mind * The Idea of Interactive Art * The Moral Effects of Video Games * Games and God's Goodness Games discussed include: Madden Football, Wii Sports, Guitar Hero, World of Warcraft, Sims Online, Second Life, Baldur's Gate, Knights of the Old Republic, Elder Scrolls, Zork, EverQuest Doom, Halo 2, Grand Theft Auto, Civilization, Mortal Kombat, Rome: Total War, Black and White, Aidyn Chronicles
Traces the aftermath of Cataclysm-induced disasters through Azeroth, where an all-out war erupts between the Horde and Alliance and threatens to consume both factions.
Games are a unique art form. They do not just tell stories, nor are they simply conceptual art. They are the art form that works in the medium of agency. Game designers tell us who to be in games and what to care about; they designate the player's in-game abilities and motivations. In other words, designers create alternate agencies, and players submerge themselves in those agencies. Games let us explore alternate forms of agency. The fact that we play games demonstrates something remarkable about the nature of our own agency: we are capable of incredible fluidity with our own motivations and rationality. This volume presents a new theory of games which insists on games' unique value in human life. C. Thi Nguyen argues that games are an integral part of how we become mature, free people. Bridging aesthetics and practical reasoning, he gives an account of the special motivational structure involved in playing games. We can pursue goals, not for their own value, but for the sake of the struggle. Playing games involves a motivational inversion from normal life, and the fact that we can engage in this motivational inversion lets us use games to experience forms of agency we might never have developed on our own. Games, then, are a special medium for communication. They are the technology that allows us to write down and transmit forms of agency. Thus, the body of games forms a "library of agency" which we can use to help develop our freedom and autonomy. Nguyen also presents a new theory of the aesthetics of games. Games sculpt our practical activities, allowing us to experience the beauty of our own actions and reasoning. They are unlike traditional artworks in that they are designed to sculpt activities - and to promote their players' aesthetic appreciation of their own activity.
Leet Noobs documents, for over 10 months, a group of players in the online game World of Warcraft engaged in a 40-person joint activity known as raiding. Initially, the group was informal, a «family» that wanted to «hang out and have fun.» Before joining, each player had been recognized as expert in the game; within the group they had to adapt their expertise for the new joint task and align themselves to new group goals. Through their shared activity, members successfully established communication and material practices that changed as they had to renegotiate roles and responsibilities with new situations and as the larger gaming community evolved. Players learned to reconfigure their play spaces, enrolling third-party game mods and other resources into their activity. Once-expert players became novices or «noobs» to relearn expert or «leet» gameplay. They became «leet noobs» who needed to reconfigure their expertise for new norms of material practice. Ultimately, these norms also changed what it meant to play World of Warcraft; some group members no longer wanted to just hang out and have fun, and eventually the group died in an online fiery meltdown.
From EverQuest to World of Warcraft, online games have evolved from the exclusive domain of computer geeks into an extraordinarily lucrative staple of the entertainment industry. People of all ages and from all walks of life now spend thousands of hours—and dollars—partaking in this popular new brand of escapism. But the line between fantasy and reality is starting to blur. Players have created virtual societies with governments and economies of their own whose currencies now trade against the dollar on eBay at rates higher than the yen. And the players who inhabit these synthetic worlds are starting to spend more time online than at their day jobs. In Synthetic Worlds, Edward Castronova offers the first comprehensive look at the online game industry, exploring its implications for business and culture alike. He starts with the players, giving us a revealing look into the everyday lives of the gamers—outlining what they do in their synthetic worlds and why. He then describes the economies inside these worlds to show how they might dramatically affect real world financial systems, from potential disruptions of markets to new business horizons. Ultimately, he explores the long-term social consequences of online games: If players can inhabit worlds that are more alluring and gratifying than reality, then how can the real world ever compete? Will a day ever come when we spend more time in these synthetic worlds than in our own? Or even more startling, will a day ever come when such questions no longer sound alarmist but instead seem obsolete? With more than ten million active players worldwide—and with Microsoft and Sony pouring hundreds of millions of dollars into video game development—online games have become too big to ignore. Synthetic Worlds spearheads our efforts to come to terms with this virtual reality and its concrete effects. “Illuminating. . . . Castronova’s analysis of the economics of fun is intriguing. Virtual-world economies are designed to make the resulting game interesting and enjoyable for their inhabitants. Many games follow a rags-to-riches storyline, for example. But how can all the players end up in the top 10%? Simple: the upwardly mobile human players need only be a subset of the world's population. An underclass of computer-controlled 'bot' citizens, meanwhile, stays poor forever. Mr. Castronova explains all this with clarity, wit, and a merciful lack of academic jargon.”—The Economist “Synthetic Worlds is a surprisingly profound book about the social, political, and economic issues arising from the emergence of vast multiplayer games on the Internet. What Castronova has realized is that these games, where players contribute considerable labor in exchange for things they value, are not merely like real economies, they are real economies, displaying inflation, fraud, Chinese sweatshops, and some surprising in-game innovations.”—Tim Harford, Chronicle of Higher Education
NATIONAL BESTSELLER • The epic, definitive story of Sylvanas Windrunner, one of World of Warcraft’s most enduring and iconic characters, as chronicled by bestselling author Christie Golden. Ranger-General. Banshee Queen. Warchief. Sylvanas Windrunner has borne many titles. To some, she is a hero—to others, a villain. But whether in pursuit of justice, vengeance, or something more, Sylvanas has always sought to control her own destiny. The power to achieve her goals has never been closer, as Sylvanas works alongside the Jailer to liberate all Azeroth from the prison of fate. Her final task? Secure the fealty of their prisoner—King Anduin Wrynn. To succeed, Sylvanas will be forced to reflect on the harrowing path that brought her to the Jailer’s side and to reveal her truest self to her greatest rival. Here, Sylvanas’s complete story is laid bare: the breaking of the Windrunner family and her rise to Ranger- General; her own death at the hands of Arthas and her renewed purpose in founding the Forsaken; the moment she first beheld the Maw and understood the true consequences of what lay beyond the veil of death. But as her moment of victory draws near, Sylvanas Windrunner will make a choice that may ultimately come to define her. A choice that’s hers to make.
Considered a sign of the ‘coming of age’ of video games as an artistic medium, the award-winning BioShock franchise covers vast philosophical ground. BioShock and Philosophy: Irrational Game, Rational Book presents expert reflections by philosophers (and Bioshock connoisseurs) on this critically acclaimed and immersive fan-favorite. Reveals the philosophical questions raised through the artistic complexity, compelling characters and absorbing plots of this ground-breaking first-person shooter (FPS) Explores what BioShock teaches the gamer about gaming, and the aesthetics of video game storytelling Addresses a wide array of topics including Marxism, propaganda, human enhancement technologies, political decision-making, free will, morality, feminism, transworld individuality, and vending machines in the dystopian society of Rapture Considers visionary game developer Ken Levine’s depiction of Ayn Rand’s philosophy, as well as the theories of Aristotle, de Beauvoir, Dewey, Leibniz, Marx, Plato, and others from the Hall of Philosophical Heroes