Based on the award-winning The Elder Scrolls, The Infernal City is the first of two exhilarating novels following events that continue the story from The Elder Scrolls IV: Oblivion, named 2006 Game of the Year. Four decades after the Oblivion Crisis, Tamriel is threatened anew by an ancient and all-consuming evil. It is Umbriel, a floating city that casts a terrifying shadow—for wherever it falls, people die and rise again. And it is in Umbriel’s shadow that a great adventure begins, and a group of unlikely heroes meet. A legendary prince with a secret. A spy on the trail of a vast conspiracy. A mage obsessed with his desire for revenge. And Annaig, a young girl in whose hands the fate of Tamriel may rest . . . .
Forty years after the Oblivion crisis, the empire of Tamriel is threatened by a mysterious floating city, Umbriel, whose shadow spawns a terrifying undead army. Reeling from a devastating discovery, Prince Attrebus continues on his seemingly doomed quest to obtain a magic sword that holds the key to destroying the deadly invaders. Meanwhile, in the Imperial City, the spy Colin finds evidence of betrayal at the heart of the empire—if his own heart doesn’t betray him first. And Annaïg, trapped in Umbriel itself, has become a slave to its dark lord and his insatiable hunger for souls. How can these three unlikely heroes save Tamriel when they cannot even save themselves? Based on the award-winning Elder Scrolls® series, Lord of Souls is the second of two exhilarating novels that continue the story from The Elder Scrolls IV: Oblivion, named 2006 Game of the Year by numerous outlets, including Spike TV, the Golden Joystick Awards, and the Associated Press.
For the first time, the collected texts from the critically and commercially acclaimed fantasy video game The Elder Scrolls V: Skyrim are bound together in three exciting volumes. Lavishly illustrated and produced, these titles are straight out of the world of Skyrim - and a must for any wandering adventurer.
Offers the most comprehensive analysis and discussion of medievalist computer games to date. Games with a medieval setting are commercially lucrative and reach a truly massive audience. Moreover, they can engage their players in a manner that is not only different, but in certain aspects, more profound than traditional literary or cinematic forms of medievalism. However, although it is important to understand the versions of the Middle Ages presented by these games, how players engage with these medievalist worlds, and why particular representational trends emerge in this most modern medium, there has hitherto been little scholarship devoted to them. This book explores the distinct nature of medievalism in digital games across a range of themes, from the portrayal of grotesque yet romantic conflict to conflicting depictions of the Church and religion. It likewise considers the distinctions between medievalist games and those of other periods, underlining their emphasis on fantasy, roleplay and hardcore elements, and their consequences for depictions of morality, race, gender and sexuality. Ultimately the book argues that while medievalist games are thoroughly influenced by medievalist and ludic tropes, they are nonetheless representative of a distinct new form of medievalism. It engages with the vast literature surrounding historical game studies, game design, and medievalism, and considers hundreds of games from across genres, from Assassin's Creed and Baldur's Gate to Crusader Kings and The Witcher series. In doing so, it provides a vital illustration of the state of the field and a cornerstone for future research and teaching.
Now in its second edition, the Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming is the definitive, go-to resource for anyone interested in the diverse and expanding video game industry. This three-volume encyclopedia covers all things video games, including the games themselves, the companies that make them, and the people who play them. Written by scholars who are exceptionally knowledgeable in the field of video game studies, it notes genres, institutions, important concepts, theoretical concerns, and more and is the most comprehensive encyclopedia of video games of its kind, covering video games throughout all periods of their existence and geographically around the world. This is the second edition of Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, originally published in 2012. All of the entries have been revised to accommodate changes in the industry, and an additional volume has been added to address the recent developments, advances, and changes that have occurred in this ever-evolving field. This set is a vital resource for scholars and video game aficionados alike.
The newest addition to our Influential Video Game Designers series explores the work of Todd Howard, executive producer at Bethesda Studios, known for how he consistently pushes the boundaries of open-world gaming and player agency. Howard's games create worlds in which players can design their own characters and tell their own stories. While many games tell the story of the game's main character, Todd Howard's worldbuilding approach to game design focuses more on telling the story of the game's world, whether it be the high fantasy environments of the Elder Scrolls series or the post-apocalyptic wasteland of the Fallout series. This focus on sculpting the world allows for remarkable amounts of player freedom and choice in an expansive game environment by creating a landscape rich with open opportunity. Drawing on both academic discussions of narrative, world design, and game design, as well as on officially released interviews, speeches, and presentations given by Howard and other designers at Bethesda Games, Wendi Sierra highlights three core areas set Howard's design perspective apart from other designers: micronarratives, iterative design, and the sharing of design tools. Taken as a whole, these three elements demonstrate how Howard has used a worldbuilding perspective to shape his games. In doing so, he has impacted not only Bethesda Studios, but also the landscape of game design itself.
Do you make small leaps in your chair while attempting challenging jumps in Tomb Raider? Do you say "Ouch!" when a giant hits you with a club in Skyrim? Have you had dreams of being inside the underwater city of Rapture? Videogames cast the player as protagonist in an unfolding narrative. Like actors in front of a camera, gamers' proprioception, or body awareness, can extend to onscreen characters, thus placing them "physically" within the virtual world. Players may even identify with characters' ideological motivations. The author explores concepts central to the design and enjoyment of videogames--affect, immersion, liveness, presence, agency, narrative, ideology and the player's virtual surrogate: the avatar. Gamer and avatar are analyzed as a cybernetic coupling that suggests fulfillment of Atonin Artaud's vision of the "body without organs."
