Worlds in Play, a map of the «state of play» in digital games research today, illustrates the great variety and extreme contrasts in the landscape cleft by contemporary digital games research. The chapters in this volume are the work of an international review board of seventy game-study specialists from fields spanning social sciences, arts, and humanities to the physical and applied sciences and technologies. A wellspring of inspiring concepts, models, protocols, data, methods, tools, critical perspectives, and directions for future work, Worlds in Play will support and assist in reading not only within, but across fields of play - disciplinary, temporal, and geographical - and encourage all of us to widen our focus to encompass the omni-dimensional phenomenon of «worlds in play.»
A study of Everquest that provides a snapshot of multiplayer gaming culture, questions the truism that computer games are isolating and alienating, and offers insights into broader issues of work and play, gender identity, technology, and commercial culture. In Play Between Worlds, T. L. Taylor examines multiplayer gaming life as it is lived on the borders, in the gaps—as players slip in and out of complex social networks that cross online and offline space. Taylor questions the common assumption that playing computer games is an isolating and alienating activity indulged in by solitary teenage boys. Massively multiplayer online games (MMOGs), in which thousands of players participate in a virtual game world in real time, are in fact actively designed for sociability. Games like the popular Everquest, she argues, are fundamentally social spaces. Taylor's detailed look at Everquest offers a snapshot of multiplayer culture. Drawing on her own experience as an Everquest player (as a female Gnome Necromancer)—including her attendance at an Everquest Fan Faire, with its blurring of online—and offline life—and extensive research, Taylor not only shows us something about games but raises broader cultural issues. She considers "power gamers," who play in ways that seem closer to work, and examines our underlying notions of what constitutes play—and why play sometimes feels like work and may even be painful, repetitive, and boring. She looks at the women who play Everquest and finds they don't fit the narrow stereotype of women gamers, which may cast into doubt our standardized and preconceived ideas of femininity. And she explores the questions of who owns game space—what happens when emergent player culture confronts the major corporation behind the game.
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
How can parents, educators, business leaders and policy makers nurture creativity, prepare for inventiveness and stimulate innovation? One compelling answer, this book argues, lies in fostering the invention of imaginary worlds, a.k.a. worldplay. First emerging in middle childhood, this complex form of make-believe draws lifelong energy from the fruitful combustions of play, imagination and creativity. Unfortunately, trends in modern life conspire to break down the synergies of creative play with imaginary worlds. Unstructured playtime in childhood has all but disappeared. Invent-it-yourself make-believe places have all but succumbed in adolescence to ready-made computer games. Adults are discouraged from playing as a waste of time with no relevance to the workplace. Narrow notions of creativity exile the fictive imagination to fantasy arts. And yet, as Michele Root-Bernstein demonstrates by means of historical inquiry, quantitative study and contemporary interview, spontaneous worldplay in childhood develops creative potential, and strategic worldplay in adulthood inspires innovations in the sciences and social sciences as well as the arts and literature. Inventing imaginary worlds develops the skills society needs for inventing the future. For more on Inventing Imaginary Worlds, check out: www.inventingimaginaryworlds.com
The odyssey of a group of “refugees” from a closed-down online game and an exploration of emergent fan cultures in virtual worlds. Play communities existed long before massively multiplayer online games; they have ranged from bridge clubs to sports leagues, from tabletop role-playing games to Civil War reenactments. With the emergence of digital networks, however, new varieties of adult play communities have appeared, most notably within online games and virtual worlds. Players in these networked worlds sometimes develop a sense of community that transcends the game itself. In Communities of Play, game researcher and designer Celia Pearce explores emergent fan cultures in networked digital worlds—actions by players that do not coincide with the intentions of the game’s designers. Pearce looks in particular at the Uru Diaspora—a group of players whose game, Uru: Ages Beyond Myst, closed. These players (primarily baby boomers) immigrated into other worlds, self-identifying as “refugees”; relocated in There.com, they created a hybrid culture integrating aspects of their old world. Ostracized at first, they became community leaders. Pearce analyzes the properties of virtual worlds and looks at the ways design affects emergent behavior. She discusses the methodologies for studying online games, including a personal account of the sometimes messy process of ethnography. Pearce considers the “play turn” in culture and the advent of a participatory global playground enabled by networked digital games every bit as communal as the global village Marshall McLuhan saw united by television. Countering the ludological definition of play as unproductive and pointing to the long history of pre-digital play practices, Pearce argues that play can be a prelude to creativity.
They Create Worlds: The Story of the People and Companies That Shaped the Video Game Industry, Vol. 1 is the first in a three-volume set that provides an in-depth analysis of the creation and evolution of the video game industry. Beginning with the advent of computers in the mid-20th century, Alexander Smith’s text comprehensively highlights and examines individuals, companies, and market forces that have shaped the development of the video game industry around the world. Volume one, places an emphasis on the emerging ideas, concepts, and games developed from the commencement of the budding video game art form in the 1950s and 1960s through the first commercial activity in the 1970s and early 1980s. They Create Worlds aims to build a new foundation upon which future scholars and the video game industry itself can chart new paths. Key Features: The most in-depth examination of the video game industry ever written, They Create Worlds charts the technological breakthroughs, design decisions, and market forces in the United States, Europe, and East Asia that birthed a $100 billion industry. The books derive their information from rare primary sources such as little-studied trade publications, personal papers collections, and oral history interviews with designers and executives, many of whom have never told their stories before. Spread over three volumes, They Create Worlds focuses on the creative designers, shrewd marketers, and innovative companies that have shaped video games from their earliest days as a novelty attraction to their current status as the most important entertainment medium of the 21st Century. The books examine the formation of the video game industry in a clear narrative style that will make them useful as teaching aids in classes on the history of game design and economics, but they are not being written specifically as instructional books and can be enjoyed by anyone with a passion for video game history.
An exploration of how we see, use, and make sense of modern video game worlds. The move to 3D graphics represents a dramatic artistic and technical development in the history of video games that suggests an overall transformation of games as media. The experience of space has become a key element of how we understand games and how we play them. In Video Game Spaces, Michael Nitsche investigates what this shift means for video game design and analysis. Navigable 3D spaces allow us to crawl, jump, fly, or even teleport through fictional worlds that come to life in our imagination. We encounter these spaces through a combination of perception and interaction. Drawing on concepts from literary studies, architecture, and cinema, Nitsche argues that game spaces can evoke narratives because the player is interpreting them in order to engage with them. Consequently, Nitsche approaches game spaces not as pure visual spectacles but as meaningful virtual locations. His argument investigates what structures are at work in these locations, proceeds to an in-depth analysis of the audiovisual presentation of gameworlds, and ultimately explores how we use and comprehend their functionality. Nitsche introduces five analytical layers—rule-based space, mediated space, fictional space, play space, and social space—and uses them in the analyses of games that range from early classics to recent titles. He revisits current topics in game research, including narrative, rules, and play, from this new perspective. Video Game Spaces provides a range of necessary arguments and tools for media scholars, designers, and game researchers with an interest in 3D game worlds and the new challenges they pose.
This book explores how after 20 years of existence, virtual world games have evolved: the social landscapes within digital worlds have become rigid and commodified, and "play" and "fun" have become rational and mechanical products. Twenty million people worldwide play Massively Multi-Player Online Role Playing Games (MMORPGs). Online role-playing gaming is no longer an activity of a tiny niche community. World of Warcraft—the most popular game within the genre—is more than a decade old. As technology has advanced and MMORPGs became exponentially more popular, gaming culture has evolved dramatically over the last 20 years. Game Worlds Get Real: How Who We Are Online Became Who We Are Offline presents a compelling insider's examination of how adventuring through virtual worlds has transformed the meaning of play for millions of gamers. The book provides a historical review of earlier incarnations of virtual world games and culture in the late 1990s, covering the early years of popular games like EverQuest, to the soaring popularity of World of Warcraft, to the current era of the genre and its more general gaming climate. Author Zek Valkyrie—a researcher in the areas of gaming culture, digital communities, gender, sexualities, and visual sociology as well as an avid gamer himself—explores the evolution of the meaning of "play" in the virtual game world, explains how changes in game design have reduced opportunities for social experimentation, and identifies how player types such as the gender switcher, the cybersexual, the explorer, and the trial-and-error player have been left behind in the interest of social and informational transparency.
Often dismissed as "not serious", the notion of play has nevertheless been at the centre of classical theories of religion and ritual (Huizinga, Caillois, Turner, Staal, etc.). What can be retained of those theories for the contemporary study of religions? Can a study of "play" or "game" bring new perspectives for the study of religions? The book deals with the history of games and their relation to religions, the links between divination and games, the relations between sport and ritual, the pedagogical functions of games in religious education, and the interaction between games, media and religions. Richly illustrated, the book contributes to the study of religions, to ritual, game and media studies, and addresses an academic as well as a general public. Philippe Bornet, Dr. Phil., born in 1977, is Lecturer in the Study of Religion at the Faculty of Lettres of the University of Lausanne, with focus on the history of interrelations between India and Europe. Maya Burger is Professor of Indian Studies and History of Religions at the Faculty of Arts of the University of Lausanne, Department of South Asian Languages and Civilizations.
Children's Virtual Play Worlds: Culture, Learning, and Participation provides a more reasoned account of children's play engagements in virtual worlds through a number of scholarly perspectives, exploring key concerns and issues which have come to the forefront.
