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Book
xiii, 274 pages : illustrations ; 24 cm
  • 1. The Whys and Wherefores of Game Analysis 2. Preparing for the Analysis 3. Areas of Analysis - Context 4. Area 2 - Game Overview 5. Area 3 - Formal Elements 6. Writing the Analysis 7. Wrapping Things Up Appendix I: Sample Analyses Appendix II: List of Other Published Analyses.
  • (source: Nielsen Book Data)
Game analysis allows us to understand games better, providing insight into the player-game relationship, the construction of the game, and its sociocultural relevance. As the field of game studies grows, videogame writing is evolving from the mere evaluation of gameplay, graphics, sound, and replayablity, to more reflective writing that manages to convey the complexity of a game and the way it is played in a cultural context. Introduction to Game Analysis serves as an accessible guide to analyzing games using strategies borrowed from textual analysis. Clara Fernandez-Vara's concise primer provides instruction on the basic building blocks of game analysis-examination of context, content and reception, and formal qualities-as well as the vocabulary necessary for talking about videogames' distinguishing characteristics. Examples are drawn from a range of games, both digital and non-digital-from Bioshock and World of Warcraft to Monopoly-and the book provides a variety of exercises and sample analyses, as well as a comprehensive ludography and glossary.
(source: Nielsen Book Data)
  • 1. The Whys and Wherefores of Game Analysis 2. Preparing for the Analysis 3. Areas of Analysis - Context 4. Area 2 - Game Overview 5. Area 3 - Formal Elements 6. Writing the Analysis 7. Wrapping Things Up Appendix I: Sample Analyses Appendix II: List of Other Published Analyses.
  • (source: Nielsen Book Data)
Game analysis allows us to understand games better, providing insight into the player-game relationship, the construction of the game, and its sociocultural relevance. As the field of game studies grows, videogame writing is evolving from the mere evaluation of gameplay, graphics, sound, and replayablity, to more reflective writing that manages to convey the complexity of a game and the way it is played in a cultural context. Introduction to Game Analysis serves as an accessible guide to analyzing games using strategies borrowed from textual analysis. Clara Fernandez-Vara's concise primer provides instruction on the basic building blocks of game analysis-examination of context, content and reception, and formal qualities-as well as the vocabulary necessary for talking about videogames' distinguishing characteristics. Examples are drawn from a range of games, both digital and non-digital-from Bioshock and World of Warcraft to Monopoly-and the book provides a variety of exercises and sample analyses, as well as a comprehensive ludography and glossary.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GV1469.15 .F46 2015 Unknown
Book
251 pages ; 24 cm.
  • Playing to Win: An introduction. / Thomas P. Oates and Robert Alan Brookey Part I: Gender Play 1. The Name of the Game is Jocktronics: Sport and Masculinity in Early Video Games / Michael Z. Newman 2. Selling Madden: EA Sports, ESPN, and the NFL / Thomas Patrick Oates 3. Neoliberal Masculinity: The Government of Play and Masculinity in E-Sports / Gerald Voorhees 4. The Social and Gender in Fantasy Sports Leagues / Luke Howie and Perri Campbell 5. Domesticating Sports: The Wii, the Mii and Nintendo's Postfeminist Subject / Rene Powers and Robert Alan Brookey Part II. The Uses of Simulation 6. Avastars: The Encoding of Fame within Sport Digital Games / Steve Conway 7. Keeping it Real: Sports Video Game Advertising and the Fan-Consumer / Cory Hillman and Michael Butterworth 8. Exploiting Nationalism and Banal Cosmopolitanism: EA's FIFA World Cup 2010 / Andrew Baerg 9. Ideology, It's In The Game: Selective Simulation in EA Sports' NCAA Football / Meredith M. Bagley and Ian Summers 10. Yes Wii Can or Can Wii: Theorizing the Possibilities of Video Games as Health Disparity Intervention / David J. Leonard, Sarah Ullrich-French, and Thomas G. Power Contributors Index.
  • (source: Nielsen Book Data)
In this era of big media franchises, sports branding has crossed platforms, so that the sport, its television broadcast, and its replication in an electronic game are packaged and promoted as part of the same fan experience. Editors Robert Alan Brookey and Thomas P. Oates trace this development back to the unexpected success of Atari's Pong in the 1970s, which provoked a flood of sport simulation games that have had an impact on every sector of the electronic game market. From golf to football, basketball to step aerobics, electronic sports games are as familiar in the American household as the televised sporting events they simulate. This book explores the points of convergence at which gaming and sports culture merge.
(source: Nielsen Book Data)
  • Playing to Win: An introduction. / Thomas P. Oates and Robert Alan Brookey Part I: Gender Play 1. The Name of the Game is Jocktronics: Sport and Masculinity in Early Video Games / Michael Z. Newman 2. Selling Madden: EA Sports, ESPN, and the NFL / Thomas Patrick Oates 3. Neoliberal Masculinity: The Government of Play and Masculinity in E-Sports / Gerald Voorhees 4. The Social and Gender in Fantasy Sports Leagues / Luke Howie and Perri Campbell 5. Domesticating Sports: The Wii, the Mii and Nintendo's Postfeminist Subject / Rene Powers and Robert Alan Brookey Part II. The Uses of Simulation 6. Avastars: The Encoding of Fame within Sport Digital Games / Steve Conway 7. Keeping it Real: Sports Video Game Advertising and the Fan-Consumer / Cory Hillman and Michael Butterworth 8. Exploiting Nationalism and Banal Cosmopolitanism: EA's FIFA World Cup 2010 / Andrew Baerg 9. Ideology, It's In The Game: Selective Simulation in EA Sports' NCAA Football / Meredith M. Bagley and Ian Summers 10. Yes Wii Can or Can Wii: Theorizing the Possibilities of Video Games as Health Disparity Intervention / David J. Leonard, Sarah Ullrich-French, and Thomas G. Power Contributors Index.
  • (source: Nielsen Book Data)
In this era of big media franchises, sports branding has crossed platforms, so that the sport, its television broadcast, and its replication in an electronic game are packaged and promoted as part of the same fan experience. Editors Robert Alan Brookey and Thomas P. Oates trace this development back to the unexpected success of Atari's Pong in the 1970s, which provoked a flood of sport simulation games that have had an impact on every sector of the electronic game market. From golf to football, basketball to step aerobics, electronic sports games are as familiar in the American household as the televised sporting events they simulate. This book explores the points of convergence at which gaming and sports culture merge.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GV1469.34 .S52 P53 2015 Unknown
Book
1 online resource (260 pages).
  • Agency Interdisciplinary
  • Interactivity and Play
  • From Media Use to Doing Media
  • Agency as a Mode of Involvement
  • Levels and Points of Agency
  • Textuality and Agency
  • Exemplary Analyses
  • The Quality of Agency in the Media.
What happens to our sense of agency, our general ability to perform actions in our lifeworlds, in the course of media reception and appropriation? Whilst considering media communication as a special form of social action, this work reconsiders the key concepts of social action theory, pragmatism, communication theory, as well as film, game, and television theory. It thus integrates agency as the key to understanding 'doing media' and at the same time conceptualizes agency as a specific mode of involvement across media boundaries. This approach amalgamates miscellaneous ideas and conceptions such as interactivity, participation, cognitive control, play or empowerment and applies the theoretical considerations on the basis of textual analyses of the films Inception and The Proposal, the TV shows Lost and I'm a Celebrity and the video games Grand Theft Auto IV, and The Walking Dead. Contents -Agency Interdisciplinary -Interactivity and Play -From Media Use to Doing Media -Agency as a Mode of Involvement -Levels and Points of Agency -Textuality and Agency - Exemplary Analyses -The Quality of Agency in the Media Target Groups -Researchers and students of Media Studies in general, game studies, film studies, and television studies The Author Dr. Susanne Eichner is lecturer at the Academy of Film and Television, Potsdam-Babelsberg (Hochschule für Film und Fernsehen 'Konrad Wolf') in the department of Media Studies.
  • Agency Interdisciplinary
  • Interactivity and Play
  • From Media Use to Doing Media
  • Agency as a Mode of Involvement
  • Levels and Points of Agency
  • Textuality and Agency
  • Exemplary Analyses
  • The Quality of Agency in the Media.
What happens to our sense of agency, our general ability to perform actions in our lifeworlds, in the course of media reception and appropriation? Whilst considering media communication as a special form of social action, this work reconsiders the key concepts of social action theory, pragmatism, communication theory, as well as film, game, and television theory. It thus integrates agency as the key to understanding 'doing media' and at the same time conceptualizes agency as a specific mode of involvement across media boundaries. This approach amalgamates miscellaneous ideas and conceptions such as interactivity, participation, cognitive control, play or empowerment and applies the theoretical considerations on the basis of textual analyses of the films Inception and The Proposal, the TV shows Lost and I'm a Celebrity and the video games Grand Theft Auto IV, and The Walking Dead. Contents -Agency Interdisciplinary -Interactivity and Play -From Media Use to Doing Media -Agency as a Mode of Involvement -Levels and Points of Agency -Textuality and Agency - Exemplary Analyses -The Quality of Agency in the Media Target Groups -Researchers and students of Media Studies in general, game studies, film studies, and television studies The Author Dr. Susanne Eichner is lecturer at the Academy of Film and Television, Potsdam-Babelsberg (Hochschule für Film und Fernsehen 'Konrad Wolf') in the department of Media Studies.
Book
x, 217 pages : illustrations ; 24 cm
  • Videogames as avant-garde art
  • Radical formal
  • Radical political
  • Complicit formal
  • Complicit political
  • Narrative formal
  • Narrative political.
The avant-garde challenges or leads culture; it opens up or redefines art forms and our perception of the way the world works. In this book, Brian Schrank describes the ways that the avant-garde emerges through videogames. Just as impressionism or cubism created alternative ways of making and viewing paintings, Schrank argues, avant-garde videogames create alternate ways of making and playing games. A mainstream game channels players into a tightly closed circuit of play; an avant-garde game opens up that circuit, revealing (and reveling in) its own nature as a game. We can evaluate the avant-garde, Schrank argues, according to how it opens up the experience of games (formal art) or the experience of being in the world (political art). He shows that different artists use different strategies to achieve an avant-garde perspective. Some fixate on form, others on politics; some take radical positions, others more complicit ones. Schrank examines these strategies and the artists who deploy them, looking closely at four varieties of avant-garde games: radical formal, which breaks up the flow of the game so players can engage with its materiality, sensuality, and conventionality; radical political, which plays with art and politics as well as fictions and everyday life; complicit formal, which treats videogames as a resource (like any other art medium) for contemporary art; and complicit political, which uses populist methods to blend life, art, play, and reality -- as in alternate reality games, which adapt Situationist strategies for a mass audience.
(source: Nielsen Book Data)
  • Videogames as avant-garde art
  • Radical formal
  • Radical political
  • Complicit formal
  • Complicit political
  • Narrative formal
  • Narrative political.
The avant-garde challenges or leads culture; it opens up or redefines art forms and our perception of the way the world works. In this book, Brian Schrank describes the ways that the avant-garde emerges through videogames. Just as impressionism or cubism created alternative ways of making and viewing paintings, Schrank argues, avant-garde videogames create alternate ways of making and playing games. A mainstream game channels players into a tightly closed circuit of play; an avant-garde game opens up that circuit, revealing (and reveling in) its own nature as a game. We can evaluate the avant-garde, Schrank argues, according to how it opens up the experience of games (formal art) or the experience of being in the world (political art). He shows that different artists use different strategies to achieve an avant-garde perspective. Some fixate on form, others on politics; some take radical positions, others more complicit ones. Schrank examines these strategies and the artists who deploy them, looking closely at four varieties of avant-garde games: radical formal, which breaks up the flow of the game so players can engage with its materiality, sensuality, and conventionality; radical political, which plays with art and politics as well as fictions and everyday life; complicit formal, which treats videogames as a resource (like any other art medium) for contemporary art; and complicit political, which uses populist methods to blend life, art, play, and reality -- as in alternate reality games, which adapt Situationist strategies for a mass audience.
(source: Nielsen Book Data)
SAL1&2 (on-campus shelving)
Status of items at SAL1&2 (on-campus shelving)
SAL1&2 (on-campus shelving) Status
Stacks Request
QA76.76 .C672 S35 2014 Unknown
Book
1 online resource (370 pages) : illustrations
We purchase video games to play them, not to save them. What happens to video games when they are out of date, broken, nonfunctional, or obsolete? Should a game be considered an "ex-game" if it exists only as emulation, as an artifact in museum displays, in an archival box, or at the bottom of a landfill? In Game After, Raiford Guins focuses on video games not as hermetically sealed within time capsules of the past but on their material remains: how and where video games persist in the present. Guins meticulously investigates the complex life cycles of video games, to show how their meanings, uses, and values shift in an afterlife of disposal, ruins and remains, museums, archives, and private collections. Guins looks closely at video games as museum objects, discussing the recontextualization of the Pong and Brown Box prototypes and engaging with curatorial and archival practices across a range of cultural institutions; aging coin-op arcade cabinets; the documentation role of game cartridge artwork and packaging; the journey of a game from flawed product to trash to memorialized relic, as seen in the history of Atari's infamous E.T. The Extra-Terrestrial; and conservation, restoration, and re-creation stories told by experts including Van Burnham, Gene Lewin, and Peter Takacs. The afterlife of video games -- whether behind glass in display cases or recreated as an iPad app -- offers a new way to explore the diverse topography of game history.
(source: Nielsen Book Data)
We purchase video games to play them, not to save them. What happens to video games when they are out of date, broken, nonfunctional, or obsolete? Should a game be considered an "ex-game" if it exists only as emulation, as an artifact in museum displays, in an archival box, or at the bottom of a landfill? In Game After, Raiford Guins focuses on video games not as hermetically sealed within time capsules of the past but on their material remains: how and where video games persist in the present. Guins meticulously investigates the complex life cycles of video games, to show how their meanings, uses, and values shift in an afterlife of disposal, ruins and remains, museums, archives, and private collections. Guins looks closely at video games as museum objects, discussing the recontextualization of the Pong and Brown Box prototypes and engaging with curatorial and archival practices across a range of cultural institutions; aging coin-op arcade cabinets; the documentation role of game cartridge artwork and packaging; the journey of a game from flawed product to trash to memorialized relic, as seen in the history of Atari's infamous E.T. The Extra-Terrestrial; and conservation, restoration, and re-creation stories told by experts including Van Burnham, Gene Lewin, and Peter Takacs. The afterlife of video games -- whether behind glass in display cases or recreated as an iPad app -- offers a new way to explore the diverse topography of game history.
(source: Nielsen Book Data)
Video
1 online resource (1 video file, 41 min.) Sound: digital. Digital: video file; MPEG-4; Flash.
Given the wild popularity of violent video games, it has never been more urgent to encourage dialogue about how virtual killing might shape attitudes about real-life violence. Game Over examines the nature and consequences of simulated violence, and encourages high school and college students to think critically about how gender and race are depicted in the video and computer games they play. It is sure to spark lively debate about the complex and controversial topic of violent entertainment's impact on society.
Given the wild popularity of violent video games, it has never been more urgent to encourage dialogue about how virtual killing might shape attitudes about real-life violence. Game Over examines the nature and consequences of simulated violence, and encourages high school and college students to think critically about how gender and race are depicted in the video and computer games they play. It is sure to spark lively debate about the complex and controversial topic of violent entertainment's impact on society.
Book
184 pages : illustrations ; 24 cm
  • 1. Acknowledgements 2. List of illustrations 3. Introduction: gameworlds 4. Chapter 1: Virtual and Actual Worlds 5. Chapter 2: Virtual Media & Children's Everyday Play 6. Chapter 3: Microethology: methods for studying gameworlds 7. Chapter 4: Media Worlds 8. Chapter 5: Soft Worlds: play with computers 9. Chapter 6: Playgrounds: the material and immaterial in play 10. Chapter 7: Real Worlds: realities, virtualities, and the protopolitics of play 11. Bibliography.
  • (source: Nielsen Book Data)
Game studies is a rapidly developing field across the world, with a growing number of dedicated courses addressing video games and digital play as significant phenomena in contemporary everyday life and media cultures. Seth Giddings looks to fill a gap by focusing on the relationship between the actual and virtual worlds of play in everyday life. He addresses both the continuities and differences between digital play and longer-established modes of play. The 'gameworlds' title indicates both the virtual world designed into the videogame and the wider environments in which play is manifested: social relationships between players; hardware and software; between the virtual worlds of the game and the media universes they extend (e.g. Pok mon, Harry Potter, Lego, Star Wars); and the gameworlds generated by children's imaginations and creativity (through talk and role-play, drawings and outdoor play). The gameworld raises questions about who, and what, is in play. Drawing on recent theoretical work in science and technology studies, games studies and new media studies, a key theme is the material and embodied character of these gameworlds and their components (players' bodies, computer hardware, toys, virtual physics, and the physical environment). Building on detailed small-scale ethnographic case studies, Gameworlds is the first book to explore the nature of play in the virtual worlds of video games and how this play relates to, and crosses over into, everyday play in the actual world.
(source: Nielsen Book Data)
  • 1. Acknowledgements 2. List of illustrations 3. Introduction: gameworlds 4. Chapter 1: Virtual and Actual Worlds 5. Chapter 2: Virtual Media & Children's Everyday Play 6. Chapter 3: Microethology: methods for studying gameworlds 7. Chapter 4: Media Worlds 8. Chapter 5: Soft Worlds: play with computers 9. Chapter 6: Playgrounds: the material and immaterial in play 10. Chapter 7: Real Worlds: realities, virtualities, and the protopolitics of play 11. Bibliography.
  • (source: Nielsen Book Data)
Game studies is a rapidly developing field across the world, with a growing number of dedicated courses addressing video games and digital play as significant phenomena in contemporary everyday life and media cultures. Seth Giddings looks to fill a gap by focusing on the relationship between the actual and virtual worlds of play in everyday life. He addresses both the continuities and differences between digital play and longer-established modes of play. The 'gameworlds' title indicates both the virtual world designed into the videogame and the wider environments in which play is manifested: social relationships between players; hardware and software; between the virtual worlds of the game and the media universes they extend (e.g. Pok mon, Harry Potter, Lego, Star Wars); and the gameworlds generated by children's imaginations and creativity (through talk and role-play, drawings and outdoor play). The gameworld raises questions about who, and what, is in play. Drawing on recent theoretical work in science and technology studies, games studies and new media studies, a key theme is the material and embodied character of these gameworlds and their components (players' bodies, computer hardware, toys, virtual physics, and the physical environment). Building on detailed small-scale ethnographic case studies, Gameworlds is the first book to explore the nature of play in the virtual worlds of video games and how this play relates to, and crosses over into, everyday play in the actual world.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GV1469.34 .S52 G53 2014 Unknown
Book
x, 317 pages : illustrations ; 22 cm
" Video games have long been seen as the exclusive territory of young, heterosexual white males. In a media landscape dominated by such gamers, players who do not fit this mold, including women, people of color, and LGBT people, are often brutalized in forums and in public channels in online play. Discussion of representation of such groups in games has frequently been limited and cursory. In contrast, Gaming at the Edge builds on feminist, queer, and postcolonial theories of identity and draws on qualitative audience research methods to make sense of how representation comes to matter. In Gaming at the Edge, Adrienne Shaw argues that video game players experience race, gender, and sexuality concurrently. She asks: How do players identify with characters? How do they separate identification and interactivity? What is the role of fantasy in representation? What is the importance of understanding market logic? In addressing these questions Shaw reveals how representation comes to matter to participants and offers a perceptive consideration of the high stakes in politics of representation debates. Putting forth a framework for talking about representation, difference, and diversity in an era in which user-generated content, individualized media consumption, and the blurring of producer/consumer roles has lessened the utility of traditional models of media representation analysis, Shaw finds new insight on the edge of media consumption with the invisible, marginalized gamers who are surprising in both their numbers and their influence in mainstream gamer culture. "-- Provided by publisher.
" Video games have long been seen as the exclusive territory of young, heterosexual white males. In a media landscape dominated by such gamers, players who do not fit this mold, including women, people of color, and LGBT people, are often brutalized in forums and in public channels in online play. Discussion of representation of such groups in games has frequently been limited and cursory. In contrast, Gaming at the Edge builds on feminist, queer, and postcolonial theories of identity and draws on qualitative audience research methods to make sense of how representation comes to matter. In Gaming at the Edge, Adrienne Shaw argues that video game players experience race, gender, and sexuality concurrently. She asks: How do players identify with characters? How do they separate identification and interactivity? What is the role of fantasy in representation? What is the importance of understanding market logic? In addressing these questions Shaw reveals how representation comes to matter to participants and offers a perceptive consideration of the high stakes in politics of representation debates. Putting forth a framework for talking about representation, difference, and diversity in an era in which user-generated content, individualized media consumption, and the blurring of producer/consumer roles has lessened the utility of traditional models of media representation analysis, Shaw finds new insight on the edge of media consumption with the invisible, marginalized gamers who are surprising in both their numbers and their influence in mainstream gamer culture. "-- Provided by publisher.
Green Library
Status of items at Green Library
Green Library Status
HAS New Books (Lane Room) Find it
GV1469.17 .S63 S53 2014 Unknown
Video
1 online resource (1 video file, 60 min.) Sound: digital. Digital: video file; MPEG-4; Flash.
For years, there has been widespread speculation, but very little consensus, about the relationship between violent video games and violence in the real world. Joystick Warriors provides the clearest account yet of the latest research on this issue. Drawing on the insights of media scholars, military analysts, combat veterans, and gamers themselves, the film trains its sights on the wildly popular genre of first-person shooter games, exploring how the immersive experience they offer links up with the larger stories we tell ourselves as a culture about violence, militarism, guns, and manhood. Along the way, it examines the game industrýs longstanding working relationship with the US military and the American gun industry, and offers a riveting examination of the games themselves ́ showing how they work to sanitize, glamorize, and normalize violence while cultivating dangerously regressive attitudes and ideas about masculinity and militarism.
For years, there has been widespread speculation, but very little consensus, about the relationship between violent video games and violence in the real world. Joystick Warriors provides the clearest account yet of the latest research on this issue. Drawing on the insights of media scholars, military analysts, combat veterans, and gamers themselves, the film trains its sights on the wildly popular genre of first-person shooter games, exploring how the immersive experience they offer links up with the larger stories we tell ourselves as a culture about violence, militarism, guns, and manhood. Along the way, it examines the game industrýs longstanding working relationship with the US military and the American gun industry, and offers a riveting examination of the games themselves ́ showing how they work to sanitize, glamorize, and normalize violence while cultivating dangerously regressive attitudes and ideas about masculinity and militarism.
Book
xvii, 229 pages : illustrations ; 24 cm.
  • 1 Setting the Stage: The Emergence of Playful Organizations 2 Unfolding the Concept and Its Potential: The Playful Organization Ideal-type 3 Previous Studies Re-examined: Have Playful Organizations Already Emerged? 4 An Online Gamer Speaks Out: Playful Organizations in EVE Online 5 Let's Ask Our Panel: Dutch Online Gamers on Their Communities 6 Building an Un-/Comfortable Bridge: Dutch Online Gamers on Their Work Organizations 7 Food for Thought: The Emergence of Playful Organizations Uncovered and Critiqued.
  • (source: Nielsen Book Data)
Online Gaming and Playful Organization explores the cultural impact of gaming on organizations. While gaming is typically a form of entertainment, this book argues that gaming communities can function as a useful analogue for work organizations because both are comprised of diverse members who must communicate and collaborate to solve complex problems. By examining the impact of gaming beyond its own context, this book argues that one can apply numerous lessons from the virtual world of online games to the "real" world of businesses, schools, and other professional communities. Most notably, it articulates the concept of playful organizations, defined as organizations in which the ability to play has become so institutionalized that it is spontaneous, creative, and enjoyable. Based on original research, Online Gaming and Playful Organization establishes an interdisciplinary framework for further conceptual and empirical investigation into this topic, with the dual goals of a better understanding of the role of online games and virtual worlds, and of the possible structural and cultural transformation of public and private organizations.
(source: Nielsen Book Data)
  • 1 Setting the Stage: The Emergence of Playful Organizations 2 Unfolding the Concept and Its Potential: The Playful Organization Ideal-type 3 Previous Studies Re-examined: Have Playful Organizations Already Emerged? 4 An Online Gamer Speaks Out: Playful Organizations in EVE Online 5 Let's Ask Our Panel: Dutch Online Gamers on Their Communities 6 Building an Un-/Comfortable Bridge: Dutch Online Gamers on Their Work Organizations 7 Food for Thought: The Emergence of Playful Organizations Uncovered and Critiqued.
  • (source: Nielsen Book Data)
Online Gaming and Playful Organization explores the cultural impact of gaming on organizations. While gaming is typically a form of entertainment, this book argues that gaming communities can function as a useful analogue for work organizations because both are comprised of diverse members who must communicate and collaborate to solve complex problems. By examining the impact of gaming beyond its own context, this book argues that one can apply numerous lessons from the virtual world of online games to the "real" world of businesses, schools, and other professional communities. Most notably, it articulates the concept of playful organizations, defined as organizations in which the ability to play has become so institutionalized that it is spontaneous, creative, and enjoyable. Based on original research, Online Gaming and Playful Organization establishes an interdisciplinary framework for further conceptual and empirical investigation into this topic, with the dual goals of a better understanding of the role of online games and virtual worlds, and of the possible structural and cultural transformation of public and private organizations.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GV1469.15 .W37 2014 Unknown
Book
158 p., [16] p. of plates : ill. (some col.) ; 18 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
GV1469.3 .P68 2014 Available
Book
1 online resource (114 pages)
  • Front Cover; Race, Gender, and Deviance in Xbox Live; Copyright Page; Contents; Acknowledgments; Author Biography; Foreword: Dismantling the Master's (Virtual) House: One Avatar at a Time; Works Cited; Introduction; I.1 Xbox as a Mediated Console Multiplayer Environment; I.1.1 Features of Xbox/Xbox Live; I.2 Communication and Conflict in Xbox Live; I.3 The Marginalized as Gamer; I.3.1 "Girl Gamers"; I.3.2 Gamers of Color; I: The Games; 1 Video Games as Ideological Projects; 1.1 Race and Gender as Ideology; 1.2 Video Game Narrative; 1.2.1 Ideology and Hegemony
  • 1.2.2 Examining Hegemonic Whiteness1.2.3 "Othering" Whiteness; 1.2.4 Hegemonic Masculinity; 1.2.5 Marginalized Masculinities; 1.3 Conclusion; 2 Racing and Gendering the Game; 2.1 The White Messiah in the Shooter; 2.2 Racialized Representations Within Other Genres; 2.3 Hegemonic Imagery in Fighting Genres; 2.4 Gendered Depictions Within Video Games; 2.5 Conclusion; II: The Gaming Space; 3 Deviant Acts: Racism and Sexism in Virtual Gaming Communities; 3.1 Deviant Behavior in Virtual Communities; 3.1.1 Types of Gamers in Virtual Communities; 3.1.2 Griefing; 3.1.3 Flaming
  • 3.2 Online Disinhibition3.2.1 Dissociative Anonymity; 3.2.2 Asynchronicity; 3.2.3 Solipsistic Introjection; 3.2.4 Dissociative Imagination; 3.2.5 Minimization of Status and Authority; 3.3 Linguistic Profiling: The Origin of Deviance in Xbox Live; 3.4 The Process Leading to Racism; 4 Deviant Bodies: Racism, Sexism, and Intersecting Oppressions; 4.1 Deviant Bodies, Racism, and Xbox Live; 4.2 Punishing Blackness in Popular Media; 4.2.1 The Resistant Masculinity Paradigm; 4.2.2 The Self-Made Masculinity Paradigm; 4.2.3 The Black Rage Paradigm; 4.2.4 The Plantation Patriarchy Paradigm
  • 4.3 Intersecting Identities and Intersecting Oppressions4.3.1 Black Women and Intersectionality; 4.3.2 Latina and Chicana Identity Development and Oppression; III: The Solutions; 5 Deviant Bodies Resisting Deviant Acts; 5.1 Information Communication Technology and Women Organizing Online; 5.2 Examining the Organized Efforts of Women in Xbox Live; 5.2.1 Resource Mobilization Theory; 5.2.2 Applying Habitus to Marginalized Gamers in Xbox; 5.3 Conclusion; 6 Virtual Tools in the Virtual House?; 6.1 Black Feminist Thought in the Digital Era; 6.2 Effecting Change in Xbox Live; Bibliography
Race, Gender, and Deviance in Xbox Live: Theoretical Criminology from the Virtual Margins provides a much-needed theoretical framework for examining deviant behavior and deviant bodies within one of the largest virtual gaming communities-Xbox Live. Previous research on video games has focused mostly on violence and examining violent behavior resulting from consuming this medium. This limited scope has skewed criminologists' understanding of video games and video game culture. Xbox Live has proven to be more than just a gaming platform for users. It has evolved into a multimedi.
  • Front Cover; Race, Gender, and Deviance in Xbox Live; Copyright Page; Contents; Acknowledgments; Author Biography; Foreword: Dismantling the Master's (Virtual) House: One Avatar at a Time; Works Cited; Introduction; I.1 Xbox as a Mediated Console Multiplayer Environment; I.1.1 Features of Xbox/Xbox Live; I.2 Communication and Conflict in Xbox Live; I.3 The Marginalized as Gamer; I.3.1 "Girl Gamers"; I.3.2 Gamers of Color; I: The Games; 1 Video Games as Ideological Projects; 1.1 Race and Gender as Ideology; 1.2 Video Game Narrative; 1.2.1 Ideology and Hegemony
  • 1.2.2 Examining Hegemonic Whiteness1.2.3 "Othering" Whiteness; 1.2.4 Hegemonic Masculinity; 1.2.5 Marginalized Masculinities; 1.3 Conclusion; 2 Racing and Gendering the Game; 2.1 The White Messiah in the Shooter; 2.2 Racialized Representations Within Other Genres; 2.3 Hegemonic Imagery in Fighting Genres; 2.4 Gendered Depictions Within Video Games; 2.5 Conclusion; II: The Gaming Space; 3 Deviant Acts: Racism and Sexism in Virtual Gaming Communities; 3.1 Deviant Behavior in Virtual Communities; 3.1.1 Types of Gamers in Virtual Communities; 3.1.2 Griefing; 3.1.3 Flaming
  • 3.2 Online Disinhibition3.2.1 Dissociative Anonymity; 3.2.2 Asynchronicity; 3.2.3 Solipsistic Introjection; 3.2.4 Dissociative Imagination; 3.2.5 Minimization of Status and Authority; 3.3 Linguistic Profiling: The Origin of Deviance in Xbox Live; 3.4 The Process Leading to Racism; 4 Deviant Bodies: Racism, Sexism, and Intersecting Oppressions; 4.1 Deviant Bodies, Racism, and Xbox Live; 4.2 Punishing Blackness in Popular Media; 4.2.1 The Resistant Masculinity Paradigm; 4.2.2 The Self-Made Masculinity Paradigm; 4.2.3 The Black Rage Paradigm; 4.2.4 The Plantation Patriarchy Paradigm
  • 4.3 Intersecting Identities and Intersecting Oppressions4.3.1 Black Women and Intersectionality; 4.3.2 Latina and Chicana Identity Development and Oppression; III: The Solutions; 5 Deviant Bodies Resisting Deviant Acts; 5.1 Information Communication Technology and Women Organizing Online; 5.2 Examining the Organized Efforts of Women in Xbox Live; 5.2.1 Resource Mobilization Theory; 5.2.2 Applying Habitus to Marginalized Gamers in Xbox; 5.3 Conclusion; 6 Virtual Tools in the Virtual House?; 6.1 Black Feminist Thought in the Digital Era; 6.2 Effecting Change in Xbox Live; Bibliography
Race, Gender, and Deviance in Xbox Live: Theoretical Criminology from the Virtual Margins provides a much-needed theoretical framework for examining deviant behavior and deviant bodies within one of the largest virtual gaming communities-Xbox Live. Previous research on video games has focused mostly on violence and examining violent behavior resulting from consuming this medium. This limited scope has skewed criminologists' understanding of video games and video game culture. Xbox Live has proven to be more than just a gaming platform for users. It has evolved into a multimedi.
Book
xxiv, 88 pages ; 23 cm.
  • Part I: The Games Chapter 1: Video Games as Ideological Projects Chapter 2: Racing and Gendering the Game Part II: The Gaming Space Chapter 3: Deviant Acts: Racism and Sexism in Virtual Gaming Communities Chapter 4: Deviant Bodies: Racism, Sexism, and Intersecting Oppressions Part III: The Solutions Chapter 5: Deviant Bodies Resisting Deviant Acts Chapter 6: Virtual Tools in the Virtual House?
  • (source: Nielsen Book Data)
Race, Gender, and Deviance in Xbox Live provides a much-needed theoretical framework for examining deviant behavior and deviant bodies within one of the largest virtual gaming communities-Xbox Live. Previous research on video games has focused mostly on violence and examining violent behavior resulting from consuming this medium. This limited scope has skewed criminologists' understanding of video games and video game culture. Xbox Live has proven to be more than just a gaming platform for users. It has evolved into a multimedia entertainment outlet for more than 20 million users. This book examines the nature of social interactions within Xbox Live, which are often riddled with deviant behavior, including but not limited to racism and sexism. The text situates video games within a hegemonic framework deploying whiteness and masculinity as the norm. The experiences of the marginalized bodies are situated within the framework of deviance as they fail to conform to the hegemonic norm and become victims of racism, sexism, and other types of harassment.
(source: Nielsen Book Data)
  • Part I: The Games Chapter 1: Video Games as Ideological Projects Chapter 2: Racing and Gendering the Game Part II: The Gaming Space Chapter 3: Deviant Acts: Racism and Sexism in Virtual Gaming Communities Chapter 4: Deviant Bodies: Racism, Sexism, and Intersecting Oppressions Part III: The Solutions Chapter 5: Deviant Bodies Resisting Deviant Acts Chapter 6: Virtual Tools in the Virtual House?
  • (source: Nielsen Book Data)
Race, Gender, and Deviance in Xbox Live provides a much-needed theoretical framework for examining deviant behavior and deviant bodies within one of the largest virtual gaming communities-Xbox Live. Previous research on video games has focused mostly on violence and examining violent behavior resulting from consuming this medium. This limited scope has skewed criminologists' understanding of video games and video game culture. Xbox Live has proven to be more than just a gaming platform for users. It has evolved into a multimedia entertainment outlet for more than 20 million users. This book examines the nature of social interactions within Xbox Live, which are often riddled with deviant behavior, including but not limited to racism and sexism. The text situates video games within a hegemonic framework deploying whiteness and masculinity as the norm. The experiences of the marginalized bodies are situated within the framework of deviance as they fail to conform to the hegemonic norm and become victims of racism, sexism, and other types of harassment.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GV1469.34 .V56 G73 2014 Unknown
Book
xxiv, 518 pages : illustrations ; 25 cm.
  • TECHNOLOGICAL ASPECTS 1. Artifact (Olli Sotamaa) 2. Artificial Intelligence (Robin Johnson) 3. Controllers (Sheila C. Murphy) 4. Emulation (Simon Dor) 5. Interface (Vincent Mauger) 6. Platforms (Bobby Schweizer) 7. Resolution (Mark J. P. Wolf) FORMAL ASPECTS 8. Art and Aesthetics (Grant Tavinor) 9. Color (Simon Niedenthal) 10. Conventions (Bernard Perron) 11. Design (Richard Rouse III) 12. Dimensionality (John Sharp) 13. Levels (Martin Picard) 14. Perspective (John Sharp) 15. Sound (Mark Grimshaw) 16. Worlds (Mark J. P. Wolf) PLAYFULNESS ASPECTS 17. Casualness (Julia Raz) 18. Challenge (Robert Furze) 19. Cheating (Mia Consalvo) 20. Competition / Co-operation (Emma Witkowski) 21. Conflict (Marko Siitonen) 22. Interactivity (Lori Landay) 23. Ludology (Espen Aarseth) 24. Objectives (Louis-Martin Guay) 25. Players / Gamers (Frederic Clement) 26. Repetition (Christopher Hanson) 27. Single-player / Multiplayer (Daniel Joseph & Lee Knuttila) GENERIC ASPECTS 28. Action (Dominic Arsenault) 29. Adventure (Clara Fernandez-Vara) 30. Role-playing (Andrew Burn) 31. Shooting (Gerald Voorhees) 32. Simulation (Seth Giddings) 33. Sports Games (Andrew Baerg) 34. Strategy (Simon Dor) CULTURAL ASPECTS 35. Convergence (Robert Alan Brookey) 36. Culture (Frans Mayra) 37. Cut-scenes (Rune Klevjer) 38. Death (Karin Wenz) 39. Education (Rick Ferdig) 40. Media Ecology (Kevin Schut) 41. Research (David Myers) 42. Retrogaming (Michael Thomasson) 43. Violence (Peter Krapp) SOCIOLOGICAL ASPECTS 44. Characters (Jessica Aldred) 45. Community (Carly Kocurek) 46. Femininity (Carrie Heeter) 47. Masculinity (Michael Z. Newman & John Vanderhoef) 48. Performance (Michael Nitsche) 49. Race (Anna Everett) 50. Sociology (Andras Lukacs) PHILOSOPHICAL ASPECTS 51. Cognition (Andreas Gregerson) 52. Emergence (Joris Dormans) 53. Fiction (Grant Tavinor) 54. Ideology (Mark Hayse) 55. Immersion (Carl Therrien) 56. Meaning (Christopher A. Paul) 57. Ethics (Mark Hayse) 58. Narratology (Dominic Arsenault) 59. Ontology (Espen Aarseth) 60. Transcendence (Mark Hayse).
  • (source: Nielsen Book Data)
The number of publications dealing with video game studies has exploded over the course of the last decade, but the field has produced few comprehensive reference works. The Routledge Companion to Video Game Studies, compiled by well-known video game scholars Mark J. P. Wolf and Bernard Perron, aims to address the ongoing theoretical and methodological development of game studies, providing students, scholars, and game designers with a definitive look at contemporary video game studies. Features include: comprehensive and interdisciplinary models and approaches for analyzing video games; new perspectives on video games both as art form and cultural phenomenon; explorations of the technical and creative dimensions of video games; accounts of the political, social, and cultural dynamics of video games. Each essay provides a lively and succinct summary of its target area, quickly bringing the reader up-to-date on the pertinent issues surrounding each aspect of the field, including references for further reading. Together, they provide an overview of the present state of game studies that will undoubtedly prove invaluable to student, scholar, and designer alike.
(source: Nielsen Book Data)
  • TECHNOLOGICAL ASPECTS 1. Artifact (Olli Sotamaa) 2. Artificial Intelligence (Robin Johnson) 3. Controllers (Sheila C. Murphy) 4. Emulation (Simon Dor) 5. Interface (Vincent Mauger) 6. Platforms (Bobby Schweizer) 7. Resolution (Mark J. P. Wolf) FORMAL ASPECTS 8. Art and Aesthetics (Grant Tavinor) 9. Color (Simon Niedenthal) 10. Conventions (Bernard Perron) 11. Design (Richard Rouse III) 12. Dimensionality (John Sharp) 13. Levels (Martin Picard) 14. Perspective (John Sharp) 15. Sound (Mark Grimshaw) 16. Worlds (Mark J. P. Wolf) PLAYFULNESS ASPECTS 17. Casualness (Julia Raz) 18. Challenge (Robert Furze) 19. Cheating (Mia Consalvo) 20. Competition / Co-operation (Emma Witkowski) 21. Conflict (Marko Siitonen) 22. Interactivity (Lori Landay) 23. Ludology (Espen Aarseth) 24. Objectives (Louis-Martin Guay) 25. Players / Gamers (Frederic Clement) 26. Repetition (Christopher Hanson) 27. Single-player / Multiplayer (Daniel Joseph & Lee Knuttila) GENERIC ASPECTS 28. Action (Dominic Arsenault) 29. Adventure (Clara Fernandez-Vara) 30. Role-playing (Andrew Burn) 31. Shooting (Gerald Voorhees) 32. Simulation (Seth Giddings) 33. Sports Games (Andrew Baerg) 34. Strategy (Simon Dor) CULTURAL ASPECTS 35. Convergence (Robert Alan Brookey) 36. Culture (Frans Mayra) 37. Cut-scenes (Rune Klevjer) 38. Death (Karin Wenz) 39. Education (Rick Ferdig) 40. Media Ecology (Kevin Schut) 41. Research (David Myers) 42. Retrogaming (Michael Thomasson) 43. Violence (Peter Krapp) SOCIOLOGICAL ASPECTS 44. Characters (Jessica Aldred) 45. Community (Carly Kocurek) 46. Femininity (Carrie Heeter) 47. Masculinity (Michael Z. Newman & John Vanderhoef) 48. Performance (Michael Nitsche) 49. Race (Anna Everett) 50. Sociology (Andras Lukacs) PHILOSOPHICAL ASPECTS 51. Cognition (Andreas Gregerson) 52. Emergence (Joris Dormans) 53. Fiction (Grant Tavinor) 54. Ideology (Mark Hayse) 55. Immersion (Carl Therrien) 56. Meaning (Christopher A. Paul) 57. Ethics (Mark Hayse) 58. Narratology (Dominic Arsenault) 59. Ontology (Espen Aarseth) 60. Transcendence (Mark Hayse).
  • (source: Nielsen Book Data)
The number of publications dealing with video game studies has exploded over the course of the last decade, but the field has produced few comprehensive reference works. The Routledge Companion to Video Game Studies, compiled by well-known video game scholars Mark J. P. Wolf and Bernard Perron, aims to address the ongoing theoretical and methodological development of game studies, providing students, scholars, and game designers with a definitive look at contemporary video game studies. Features include: comprehensive and interdisciplinary models and approaches for analyzing video games; new perspectives on video games both as art form and cultural phenomenon; explorations of the technical and creative dimensions of video games; accounts of the political, social, and cultural dynamics of video games. Each essay provides a lively and succinct summary of its target area, quickly bringing the reader up-to-date on the pertinent issues surrounding each aspect of the field, including references for further reading. Together, they provide an overview of the present state of game studies that will undoubtedly prove invaluable to student, scholar, and designer alike.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GV1469.3 .R67 2014 Unknown
Book
viii, 219 pages ; 21 cm.
  • Contents Acknowledgements Introduction Chapter one: Computer games in social theory 1. Gaming and the social imaginary 2. The gamer as a streamlined self 3. Social theory and critique Chapter two: Lineages of the computer game 1. The revival of play 2. Technology and the dialectic of invention 3. Artistic critique and the transformation of computing Chapter three: The formation of gaming culture 1. From games as technology to the discovery of gameplay 2. The authentic gamer 3. Gaming s constitutive ambivalence Chapter four: Technology and power 1. Organising an industry 2. Globalisation and cultures of production 3. Technology, power and resistance Chapter five: The phenakisticon 1. MMPGs in recognition-theoretic perspective 2. The limitations of engineered sociability 3. Gamification and the diminution of gameplay Chapter six: Aesthetics and politics 1. The aesthetic dimension 2. Art, play and critique 3. Critical gaming? Notes References Index.
  • (source: Nielsen Book Data)
In this compelling book, Graeme Kirkpatrick argues that computer games have fundamentally altered the relation of self and society in the digital age. Tracing the origins of gaming to the revival of play in the 1960s counter culture, Computer Games and the Social Imaginary describes how the energies of that movement transformed computer technology from something ugly and machine-like into a world of colour and 'fun'. In the process, play with computers became computer gaming -- a new cultural practice with its own values. From the late 1980s gaming became a resource for people to draw upon as they faced the challenges of life in a new, globalizing digital economy. Gamer identity furnishes a revivified capitalism with compliant and 'streamlined' workers, but at times gaming culture also challenges the corporations that control game production. Analysing topics such as the links between technology and power, the formation of gaming culture and the subjective impact of play with computer games, this insightful text will be of great interest to students and scholars of digital media, games studies and the information society.
(source: Nielsen Book Data)
  • Contents Acknowledgements Introduction Chapter one: Computer games in social theory 1. Gaming and the social imaginary 2. The gamer as a streamlined self 3. Social theory and critique Chapter two: Lineages of the computer game 1. The revival of play 2. Technology and the dialectic of invention 3. Artistic critique and the transformation of computing Chapter three: The formation of gaming culture 1. From games as technology to the discovery of gameplay 2. The authentic gamer 3. Gaming s constitutive ambivalence Chapter four: Technology and power 1. Organising an industry 2. Globalisation and cultures of production 3. Technology, power and resistance Chapter five: The phenakisticon 1. MMPGs in recognition-theoretic perspective 2. The limitations of engineered sociability 3. Gamification and the diminution of gameplay Chapter six: Aesthetics and politics 1. The aesthetic dimension 2. Art, play and critique 3. Critical gaming? Notes References Index.
  • (source: Nielsen Book Data)
In this compelling book, Graeme Kirkpatrick argues that computer games have fundamentally altered the relation of self and society in the digital age. Tracing the origins of gaming to the revival of play in the 1960s counter culture, Computer Games and the Social Imaginary describes how the energies of that movement transformed computer technology from something ugly and machine-like into a world of colour and 'fun'. In the process, play with computers became computer gaming -- a new cultural practice with its own values. From the late 1980s gaming became a resource for people to draw upon as they faced the challenges of life in a new, globalizing digital economy. Gamer identity furnishes a revivified capitalism with compliant and 'streamlined' workers, but at times gaming culture also challenges the corporations that control game production. Analysing topics such as the links between technology and power, the formation of gaming culture and the subjective impact of play with computer games, this insightful text will be of great interest to students and scholars of digital media, games studies and the information society.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GV1469.34 .S52 K57 2013 Unknown
Book
121 p. ; 20 cm.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GV1469.35 .G738 M38 2013 Unknown
Book
xxxii, 274 pages ; 23 cm.
  • Foreword-- Henry Jenkins 1. Learning and Video Games 2. Entertainment and Education Platforms 3. Intelligent Objects 4. Interpreting Their Messages 5. Arguments in Virtual and Real Worlds 6. Learning to Create 7. Art and Video Games 8. Story Telling 9. Virtual Spaces and Avatars 10. New Heroes and Heroines.
  • (source: Nielsen Book Data)
Packed with critical analysis and real-life examples, this book explores how video games can cultivate learning. Lacasa takes several commercial video games and shows how they can be used both in and out of the classroom to teach initiative and problem-solving, encourage creativity, promote literacy, and develop reasoning skills. The result of almost ten years spent discovering video games, learning to play, conversing with their designers and distributors, and working in the classroom with young people and teachers, Lacasa's work uncovers the educational value already present in commercial video games and shows how to integrate games for learning purposes into the curriculum. It is invaluable for anyone wishing to discover the cultural and educational value of this new form of entertainment in an interdisciplinary environment in which psychology, sociology, art, literature, graphic design, and computer programming are all present.
(source: Nielsen Book Data)
  • Foreword-- Henry Jenkins 1. Learning and Video Games 2. Entertainment and Education Platforms 3. Intelligent Objects 4. Interpreting Their Messages 5. Arguments in Virtual and Real Worlds 6. Learning to Create 7. Art and Video Games 8. Story Telling 9. Virtual Spaces and Avatars 10. New Heroes and Heroines.
  • (source: Nielsen Book Data)
Packed with critical analysis and real-life examples, this book explores how video games can cultivate learning. Lacasa takes several commercial video games and shows how they can be used both in and out of the classroom to teach initiative and problem-solving, encourage creativity, promote literacy, and develop reasoning skills. The result of almost ten years spent discovering video games, learning to play, conversing with their designers and distributors, and working in the classroom with young people and teachers, Lacasa's work uncovers the educational value already present in commercial video games and shows how to integrate games for learning purposes into the curriculum. It is invaluable for anyone wishing to discover the cultural and educational value of this new form of entertainment in an interdisciplinary environment in which psychology, sociology, art, literature, graphic design, and computer programming are all present.
(source: Nielsen Book Data)
Education Library (Cubberley)
Status of items at Education Library (Cubberley)
Education Library (Cubberley) Status
Stacks
GV1469.3 .L33 2013 Unknown
Book
79 pages : colored illustrations ; 27 cm
Law Library (Crown)
Status of items at Law Library (Crown)
Law Library (Crown) Status
Basement
HN90 .V5 V56 2013 Unknown
Book
xv, 217 pages ; 24 cm
  • Introduction 1: Down The Rabbit Hole I Am Therefore I Game 2: From The Coin-op To The Console: How Did We Get Here? Let The Games Begin 1972: A Pong Odyssey 3: Let The Games Begin: Competitive Videogaming And The Birth Of The Cyberathlete Cyberathletes And The Leagues Who Love Them 4: Alphabet Soup: MMOs, MUDs, And RPGs-D&D In The 21st Century 5: No Console Required: Casual Games (or, Gaming For The Rest Of Us) 6: Dressed For The Symphony: Videogames Take Center Stage 7: From The Flat Screen To The Big Screen: Videogames Invade Hollywood Star Wars 1313: The Empire Strikes Back 8: Virtual Life 9: And We Are Merely Players: Videogames And Society Good Enough For Government Work: CDC Gets Into The Game 10: Games For Health From Rehab to Wii-hab:Using Videogames to Heal 11: War Games: Combat Evolved 12: It's William Gibson's World, We're Just Living In It Bibliography.
  • (source: Nielsen Book Data)
From school lunchrooms to the White House press room, video games are an integral part of our popular culture, and the industry behind them touches all aspects of our lives, gamer and non-gamer alike. Business and entertainment, health and medicine, politics and war, social interaction and education, all fall under its influence. Virtual Ascendance tells the story of a formerly fringe enterprise that, when few were paying attention, exploded into a multi-billion dollar industry affecting the very way we live. Griffiths paints a thorough and vivid picture of the video game industry, illuminating the various, and often bizarre, ways it's changing how we work, play and live. He brings readers along on his own journey of discovery, from the back room of a small Irish pub where members of the second-largest industry enclave meet each month, to a university clinic where the Wii is being used to treat Parkinson's sufferers - and everywhere in between. Virtual Ascendance is more than just a story about video games, though. It's the story of an awakening, of a realization that a childhood pastime has exploded into a thriving enterprise - one rooted in entertainment but whose tendrils reach into virtually all aspects of life and society.
(source: Nielsen Book Data)
  • Introduction 1: Down The Rabbit Hole I Am Therefore I Game 2: From The Coin-op To The Console: How Did We Get Here? Let The Games Begin 1972: A Pong Odyssey 3: Let The Games Begin: Competitive Videogaming And The Birth Of The Cyberathlete Cyberathletes And The Leagues Who Love Them 4: Alphabet Soup: MMOs, MUDs, And RPGs-D&D In The 21st Century 5: No Console Required: Casual Games (or, Gaming For The Rest Of Us) 6: Dressed For The Symphony: Videogames Take Center Stage 7: From The Flat Screen To The Big Screen: Videogames Invade Hollywood Star Wars 1313: The Empire Strikes Back 8: Virtual Life 9: And We Are Merely Players: Videogames And Society Good Enough For Government Work: CDC Gets Into The Game 10: Games For Health From Rehab to Wii-hab:Using Videogames to Heal 11: War Games: Combat Evolved 12: It's William Gibson's World, We're Just Living In It Bibliography.
  • (source: Nielsen Book Data)
From school lunchrooms to the White House press room, video games are an integral part of our popular culture, and the industry behind them touches all aspects of our lives, gamer and non-gamer alike. Business and entertainment, health and medicine, politics and war, social interaction and education, all fall under its influence. Virtual Ascendance tells the story of a formerly fringe enterprise that, when few were paying attention, exploded into a multi-billion dollar industry affecting the very way we live. Griffiths paints a thorough and vivid picture of the video game industry, illuminating the various, and often bizarre, ways it's changing how we work, play and live. He brings readers along on his own journey of discovery, from the back room of a small Irish pub where members of the second-largest industry enclave meet each month, to a university clinic where the Wii is being used to treat Parkinson's sufferers - and everywhere in between. Virtual Ascendance is more than just a story about video games, though. It's the story of an awakening, of a realization that a childhood pastime has exploded into a thriving enterprise - one rooted in entertainment but whose tendrils reach into virtually all aspects of life and society.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GV1469.3 .G74 2013 Unknown
Book
xi, 255 p. : ill ; 23 cm.
Following the first appearance of arcade video games in 1971 and home video game systems in 1972, the commercial video game market was exuberant with fast-paced innovation and profit. New games, gaming systems, and technologies flooded into the market until around 1983, when sales of home game systems dropped, thousands of arcades closed, and major video game makers suffered steep losses or left the market altogether. In Before the Crash: Early Video Game History, editor Mark J. P. Wolf assembles essays that examine the fleeting golden age of video games, an era sometimes overlooked for older games' lack of availability or their perceived "primitiveness" when compared to contemporary video games. In twelve chapters, contributors consider much of what was going on during the pre-crash era: arcade games, home game consoles, home computer games, handheld games, and even early online games. The technologies of early video games are investigated, as well as the cultural context of the early period-from aesthetic, economic, industrial, and legal perspectives. Since the video game industry and culture got their start and found their form in this era, these years shaped much of what video games would come to be. This volume of early history, then, not only helps readers to understand the pre-crash era, but also reveals much about the present state of the industry. Before the Crash will give readers a thorough overview of the early days of video games along with a sense of the optimism, enthusiasm, and excitement of those times. Students and teachers of media studies will enjoy this compelling volume.
(source: Nielsen Book Data)
Following the first appearance of arcade video games in 1971 and home video game systems in 1972, the commercial video game market was exuberant with fast-paced innovation and profit. New games, gaming systems, and technologies flooded into the market until around 1983, when sales of home game systems dropped, thousands of arcades closed, and major video game makers suffered steep losses or left the market altogether. In Before the Crash: Early Video Game History, editor Mark J. P. Wolf assembles essays that examine the fleeting golden age of video games, an era sometimes overlooked for older games' lack of availability or their perceived "primitiveness" when compared to contemporary video games. In twelve chapters, contributors consider much of what was going on during the pre-crash era: arcade games, home game consoles, home computer games, handheld games, and even early online games. The technologies of early video games are investigated, as well as the cultural context of the early period-from aesthetic, economic, industrial, and legal perspectives. Since the video game industry and culture got their start and found their form in this era, these years shaped much of what video games would come to be. This volume of early history, then, not only helps readers to understand the pre-crash era, but also reveals much about the present state of the industry. Before the Crash will give readers a thorough overview of the early days of video games along with a sense of the optimism, enthusiasm, and excitement of those times. Students and teachers of media studies will enjoy this compelling volume.
(source: Nielsen Book Data)
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
GV1469.3 .B44 2012 Unknown

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