In Gaming Utopia: Ludic Worlds in Art, Design, and Media, Claudia Costa Pederson analyzes modernist avant-garde and contemporary video games to challenge the idea that gaming is an exclusively white, heterosexual, male, corporatized leisure activity and reenvisions it as a catalyst for social change. By looking at over fifty projects that together span a century and the world, Pederson explores the capacity for sociopolitical commentary in virtual and digital realms and highlights contributions to the history of gaming by women, queer, and transnational artists. The result is a critical tool for understanding video games as imaginative forms of living that offer alternatives to our current reality. With an interdisciplinary approach, Gaming Utopia emphasizes how game design, creation, and play can become political forms of social protest and examines the ways that games as art open doors to a more just and peaceful world.
Media narratives inform our ideas of the future - and Games are currently making a significant contribution to this medial reservoir. On the one hand, Games demonstrate a particular propensity for fantastic and futuristic scenarios. On the other hand, they often serve as an experimental field for the latest media technologies. However, while dystopias are part of the standard gaming repertoire, Games feature utopias much less frequently. Why? This anthology examines playful utopias from two perspectives. It investigates utopias in digital Games as well as utopias of the digital game; that is, the role of ludic elements in scenarios of the future.
This book covers the state-of-the-art in digital games research and development for anyone working with or studying digital games and those who are considering entering into this rapidly growing industry. Many books have been published that sufficiently describe popular topics in digital games; however, until now there has not been a comprehensive book that draws the traditional and emerging facets of gaming together across multiple disciplines within a single volume.
Video games permeate our everyday existence. They immerse players in fascinating gameworlds and exciting experiences, often inviting them in various ways to reflect on the enacted events. Gerald Farca explores the genre of dystopian video games and the player's aesthetic response to their nightmarish gameworlds. Players, he argues, will gradually come to see similarities between the virtual dystopia and their own ›offline‹ environment, thus learning to stay wary of social and political developments. In his analysis, Farca draws from a variety of research fields, such as literary theory and game studies, combining them into a coherent theory of aesthetic response to dystopian games.
The Video Games Guide is the world's most comprehensive reference book on computer and video games. Presented in an A to Z format, this greatly expanded new edition spans fifty years of game design--from the very earliest (1962's Spacewar) through the present day releases on the PlayStation 3, Xbox 360, Wii and PC. Each game entry includes the year of release, the hardware it was released on, the name of the developer/publisher, a one to five star quality rating, and a descriptive review which offers fascinating nuggets of trivia, historical notes, cross-referencing with other titles, information on each game's sequels and of course the author's views and insights into the game. In addition to the main entries and reviews, a full-color gallery provides a visual timeline of gaming through the decades, and several appendices help to place nearly 3,000 games in context. Appendices include: a chronology of gaming software and hardware, a list of game designers showing their main titles, results of annual video game awards, notes on sourcing video games, and a glossary of gaming terms.
Der Sammelband ist Retrospektive und reflektierte Mutmaßung über die Zukunft der Planspiele (Gaming). Das Buch basiert auf Richard Dukes Standardwerk "Gaming: The Future's Language" von 1974 und betrachtet Vergangenheit, Gegenwart und speziell die Zukunft von Gaming, bezogen auf die Leitgedanken in Dukes Werk. In ihrem Band dokumentieren die beiden Herausgeber Duke und Kriz die Geschichte, das Erfahrungswissen und den derzeitigen Stand der Technik der Planspiele und liefern Inspiration für aktuelle und zukünftige Entwicklungen. Der Band wendet sich an alle, die sich mit dem Thema Gaming in Politik, Strategie, Bildung, Management und anderen Bereichen beschäftigen.
From mobile phones to consoles, tablets and PCs, we are now a generation of gamers. The PlayStation Dreamworld is – to borrow a phrase from Slavoj Zizek – the pervert's guide to videogames. It argues that we can only understand the world of videogames via Lacanian dream analysis. It also argues that the Left needs to work inside this dreamspace – a powerful arena for constructing our desires – or else the dreamworld will fall entirely into the hands of dominant and reactionary forces. While cyberspace is increasingly dominated by corporate organization, gaming, at its most subversive, can nevertheless produce radical forms of enjoyment which threaten the capitalist norms that are created and endlessly repeated in our daily relationships with mobile phones, videogames, computers and other forms of technological entertainment. Far from being a book solely for dedicated gamers, this book dissects the structure of our relationships to all technological entertainment at a time when entertainment has become ubiquitous. We can no longer escape our fantasies but rather live inside their digital reality.
This textbook explores the use of simulation within the context of education and internationalization. Simulation is broken down into its phases and these elements are discussed by experts, most of whom have long tradition in the application of simulation. Simulation is treated with references to the specific needs of practitioners, educators and researchers in initiating and developing simulation in different fields of study, with specific reference to teacher education. This volume focuses on presenting simulation as a means to facilitating students’ openness to complexity and development of intercultural skills through virtual exchange. Thus, it provides educators and researchers with a conceptual and practical resource that tackles the critical role of cognitive and metacognitive complexity in the education of future global professionals through intercultural pedagogy. By tracing the roots of simulation and outlining a framework to support professional learning through experiential-based research, this textbook will prove invaluable for teacher trainers, practitioners and researchers interested in simulation.
Gaming the System takes philosophical traditions out of the ivory tower and into the virtual worlds of video games. In this book, author David J. Gunkel explores how philosophical traditions—put forth by noted thinkers such as Plato, Descartes, Kant, Heidegger, and Žižek—can help us explore and conceptualize recent developments in video games, game studies, and virtual worlds. Furthermore, Gunkel interprets computer games as doing philosophy, arguing that the game world is a medium that provides opportunities to model and explore fundamental questions about the nature of reality, personal identity, social organization, and moral conduct. By using games to investigate and innovate in the area of philosophical thinking, Gunkel shows how areas such as game governance and manufacturers' terms of service agreements actually grapple with the social contract and produce new postmodern forms of social organization that challenge existing modernist notions of politics and the nation state. In this critically engaging study, Gunkel considers virtual worlds and video games as more than just "fun and games," presenting them as sites for new and original thinking about some of the deepest questions concerning the human experience.
Finalist, 2021 John Hope Franklin Prize, given by the American Studies Association Seeking ways to understand video games beyond their imperial logics, Patterson turns to erotics to re-invigorate the potential passions and pleasures of play Video games vastly outpace all other mediums of entertainment in revenue and in global reach. On the surface, games do not appear ideological, nor are they categorized as national products. Instead, they seem to reflect the open and uncontaminated reputation of information technology. Video games are undeniably imperial products. Their very existence has been conditioned upon the spread of militarized technology, the exploitation of already-existing labor and racial hierarchies in their manufacture, and the utopian promises of digital technology. Like literature and film before it, video games have become the main artistic expression of empire today: the open world empire, formed through the routes of information technology and the violences of drone combat, unending war, and overseas massacres that occur with little scandal or protest. Though often presented as purely technological feats, video games are also artistic projects, and as such, they allow us an understanding of how war and imperial violence proceed under signs of openness, transparency, and digital utopia. But the video game, as Christopher B. Patterson argues, is also an inherently Asian commodity: its hardware is assembled in Asia; its most talented e-sports players are of Asian origin; Nintendo, Sony, and Sega have defined and dominated the genre. Games draw on established discourses of Asia to provide an “Asiatic” space, a playful sphere of racial otherness that straddles notions of the queer, the exotic, the bizarre, and the erotic. Thinking through games like Overwatch, Call of Duty 4: Modern Warfare, Shenmue II, and Alien: Isolation, Patterson reads against empire by playing games erotically, as players do—seeing games as Asiatic playthings that afford new passions, pleasures, desires, and attachments.
