John Eglin talks with Jana Byars about The Gambling Century: Commercial Gaming in Britain from Restoration to Regency (Oxford UP, 2023). Gambling captures as nothing else the drama of the "long eighteenth century" between the age of religious wars and the age of revolutions. The society that was confronted with games of chance pursued as commercial ventures also came to grips with unprecedented social mobility, floated by new wealth from new sources created fortunes from trade in sugar, cotton, ivory, silk, tea, or enslaved human beings. Likewise, play for money was prominent in the public imagination as money itself, deployed through an ever expanding and ever more sophisticated range of mechanisms, increasingly invaded public awareness, as when prospective spouses in period fiction were rated in terms of annual income as if they were municipal bonds. Similarly, the archetypal figure of the gambler captured the imagination of the public in fiction, media, and politics. At the same time, new interest in science, technology, engineering, and mathematics - encouraged and bankrolled by those in power - fostered a new and unprecedented appreciation for mathematical probability and its applications, opening the possibility that games of chance might be pursued as a profitable commercial venture.  The Gambling Century focuses like no previous work on those who enabled, facilitated, and profited from gambling, as well as on efforts to regulate or outlaw it. Using extensive archival material as well as printed sources, it follows its subjects from the Court to the coffeehouse, to private clubs and "at homes" in townhouses, all of which prefigure that quintessentially modern gambling space, the casino. Learn more about your ad choices. Visit megaphone.fm/adchoices

A guide to the fascinating legal history of the videogame industry, written for nonlawyers.  Why did a judge recall FIFA 15, a nonviolent soccer game, from French shelves in 2014? Why was Vodka Drunkenski, a character in Nintendo-Japan’s Punch-Out!, renamed Soda Popinski in the US and then in Western Europe, where the pun made no sense? Why was a Dutch-American company barred by US courts from distributing a clone of Pac-Man?  Julien Mailland answers all these questions and more in The Game That Never Ends: How Lawyers Shape the Videogame Industry (MIT Press, 2024), an inside look at the legal history that undergirds our favorite videogames. Drawing on a series of case studies as vignettes of the human comedy, Mailland sheds light on why and how the role of lawyers is key for understanding the videogame industry. Each chapter in The Game That Never Ends is a mini-puzzle that pieces together how an important legal issue arose, was resolved, and impacted the industry and the experience of gamers in real time. These chapters are interspersed with shorter chapters called “The Lawyer’s Corner,” opportunities to dive deeper into individual cases. Lightly footnoted, these interludes connect the previous chapters together by providing a conceptual meta-analysis. Offering a comprehensive overview of the global legal history of videogames, The Game That Never Ends will leave readers with a nuanced, in-depth, and more global understanding of the videogame industry. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design at the IU International University for Applied Science, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices

“You’re in our world now.” This bold tagline led Sony’s 1999 ad blitz for EverQuest (Boss Fight Books, 2024), the year’s most anticipated massively multiplayer game. Though just five words long, it challenged players to live in a virtual world beyond anything they’d experienced before—and delivered. The game that proved the MMORPG’s potential, EverQuest outsold all prior entries in the genre and was the most popular subscription game in North America for five years until Blizzard’s World of Warcraft overthrew it. Yet EverQuest lives on, with tens of thousands of players logging in every day. Based on new interviews with EverQuest developers and veteran MMORPG developers, journalist Matthew S. Smith explores EverQuest's unlikely creation at a studio built to develop sports games, a rocky release which overwhelmed the game’s ill-prepared datacenter, the enticing game loops that placed EverQuest in a media firestorm around gaming addiction, and the real-money black market for EverQuest items that foretold the future of digital goods. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Titel kulturmagazin, radio host of “Replay Value”, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

The engaging story of Intellivision, an overlooked videogame system from the late 1970s and early 1980s whose fate was shaped by Mattel, Atari, and countless others who invented the gaming industry. Astrosmash, Snafu, Star Strike, Utopia—do these names sound familiar to you? No? Maybe? They were all videogames created for the Intellivision videogame system, sold by Mattel Electronics between 1979 and 1984. This system was Atari’s main rival during a key period when videogames were moving from the arcades into the home. In Intellivision: How a Videogame System Battled Atari and Almost Bankrupted Barbie® (MIT Press, 2024), Tom Boellstorff and Braxton Soderman tell the fascinating inside story of this overlooked gaming system. Along the way, they also analyze Intellivision’s chips and code, games, marketing and business strategies, organizational and social history, and the cultural and economic context of the early US games industry from the mid-1970s to the great videogame industry crash of 1983. While many remember Atari, Intellivision has largely been forgotten. As such, Intellivision fills a crucial gap in videogame scholarship, telling the story of a console that sold millions and competed aggressively against Atari. Drawing on a wealth of data from both institutional and personal archives and over 150 interviews with programmers, engineers, executives, marketers, and designers, Boellstorff and Soderman examine the relationship between videogames and toys—an under-analyzed aspect of videogame history—and discuss the impact of home computing on the rise of videogames, the gendered implications of play and videogame design at Mattel, and the blurring of work and play in the early games industry. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design at the IU International University for Applied Science, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the beginning, a small unlicensed game development company was hit with divine inspiration: They could make a lot of money (and escape the wrath of Nintendo) by creating games for Christians. With the release of the 1990 NES platformer Bible Adventures, the developers saw what they had made, and it was good. Or, at least, good enough. Based on extensive research and original interviews with Wisdom Tree staff, Gabe Durham's book Bible Adventures (Boss Fight Books, 2015) investigates the rise and fall of the little company that almost could, the tension between faith and commerce in the Christian retail industry, culture's retro/ironic obsession with "bad games," and the simple recipe for transforming a regular game into a Christian game: throw a Bible in it and pray nobody notices. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design at the IU International University for Applied Science, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Routledge Handbook of Esports (Routledge, 2024) offers the first fully comprehensive, interdisciplinary study of esports, one of the fastest growing sectors of the contemporary sports and entertainment industries. Global in coverage, the book emphasizes the multifaceted nature of esports and explores the most pressing issues defining the competitive video gaming landscape today. Featuring the work of 93 leading esports academics and industry specialists from around the world, and rigorously peer-reviewed, the book is structured around ten key themes: 1) Introduction to Esports, 2) Esports Research, 3) Esports Players, 4) Esports Business and Management, 5) Esports Media and Communication, 6) Esports Education, 7) Critical Concerns in Esports, 8) Global Esports Cultures, 9) Esports Future Directions, and 10) Key Terms Definitions. Examining the current state of esports, emerging areas of interest and the ongoing debates shaping the esports industry, each of the 62 chapters offers key highlights, an assessment of the latest research, practical esports examples and recommendations, and is complemented by enlightening case studies or industry interviews. For further academic and professional depth, chapters also include a guide to recommended additional resources. Explaining technical terms and gaming jargon in a user-friendly manner, and maintaining a balanced tone throughout, this handbook is essential reading for any student or researcher with an interest in esports, gaming, or sport studies, and for any practitioner or policy-maker working in the esports industry. Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design at the IU International University for Applied Science, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist. Learn more about your ad choices. Visit megaphone.fm/adchoices

Focusing on games that examine a range of national histories and heritages from across Central and Eastern Europe, Central and Eastern European Histories and Heritages in Video Games (Routledge, 2024) looks beyond the diversity of the local histories depicted in games, and the audience reception of these histories, to show a diversity of approaches which can be used in examining historical games – from postcolonialism to identity politics to heritage studies. The book includes chapters on Serbia, Poland, Ukraine, Russia, Belarus, Hungary, Estonia, Slovakia, Czechia, Finland, and (a Western guest with regional connections) Luxembourg. Through the lens of video games, the authors address how nations struggle with the legacies of war, colonialism, and religious strife that have been a part of nation-building - but also how victimized cultures can survive, resist, and sometimes prevail. Appealing primarily to scholars in the fields of game studies, heritage studies, postcolonial criticism, and media studies, this book will be particularly useful for the subfields of historical game studies and postcolonial game studies. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Titel kulturmagazin, radio host of “Replay Value”, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Painstakingly researched and written by football-obsessed writer and experienced game journalist, historian, and documentarian Richard Moss – author of Bitmap's own The Secret History of Mac Gaming – A Tale of Two Halves: The History Of Football Video Games stays keenly on the ball as it shares the rich and influential history of video game football – or 'soccer', for our American readers – striving to understand the very best the genre has to offer; and those releases that go a little wide of their target. A Tale of Two Halves takes you on a fascinating journey from the very first examples of the form all the way through to the genre's 2000s' heyday. It hits the back of the net with expert analysis of over 400 football games, including Sensible Soccer, Kick Off, Match Day, FIFA, Pro Evolution Soccer, This Is Football, Championship Manager, Premier Manager, and both old-school and new-school Football Manager. Gathered together in a single volume, that remarkable spread of releases presents a surprising variety of interpretations of the beautiful game, showcasing one of the medium's most creative, beguiling realms. A Tale of Two Halves primarily focuses on footy gaming's formative years – meaning from around 1980 to 2010 – and carefully divides the genre into two distinct halves, taking a considered look at each. As such, the first half is dominated by the fast and simple 2D action of icons like Kick Off, International Soccer, and Nintendo’s Soccer. Then, following the half-time whistle, it turns its attention to the increasingly realistic 3D outings defined by icons like FIFA, Pro Evo, and Virtua Striker. Across its 628 pages, A Tale of Two Halves also features a foreword by legendary commentator Clive Tyldesley, hundreds of meticulously realised screenshots, and 13 interviews with pioneering football game developers. Inside you'll also find a series of illustrations from James Reynolds' 'Unlicensed FC' project – which celebrates Pro Evo's unusual takes on players' real names – as well as perfectly pitched pixel art from the team at 8-Bit Football. Numerous gaming platforms are covered, from the Atari 2600 and C64 to the Collecovison, via the Amiga line, PlayStation 1, Xbox 360, Arcades, and many more. Rudolf Thomas Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Titel kulturmagazin, radio host of “Replay Value”, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

People have played games forever, but it’s only in the past few decades that people really started thinking about what games are, how they work, and how to make them better. Anatomy of Game Design (CRC Press, 2024) takes some of the most popular and beloved games of all time and dissects them to see what makes them tick. By breaking down the systems and content of each game, the underlying systems of game design are laid bare. Eight games are analyzed – including Settlers of Catan; Centipede; Candy Crush Saga; Papers, Please; Magic: The Gathering; and more – each representing a different genre or era of game design. Each game is discussed in detail, using the same methods for each game. What are the verbs of the game that give the player agency? How do those verbs fit together to form a core loop that makes the game engaging? What are the systems that power the gameplay? What is the larger flow that makes the game interesting over and over again? Each game is then used as an example to tie back to one or more larger topics in game design, such as systems design, randomness, monetization, game theory, and iterative approaches to game development. Key Features: Uses well-known games to provide specific, discrete examples of broader game design theory Discusses eight popular games using the same methodology to allow comparison of different types of games Includes both high-level theory and academic perspective and practical, real-world guidance from a working game designer who has created these games for commercial release Provides clear direction for deeper inquiry into game design or related fields such as psychology, anthropology, game development, or systems thinking Rudolf Thomas Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at culture magazine Titel kulturmagazin, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

James Dunnigan’s memorable phrase serves as the first part of a title for this book, where it seeks to be applicable not just to analog wargames, but also to board games exploring non-expressly military history, that is, to political, diplomatic, social, economic, or other forms of history. Don’t board games about history, made predominantly out of (layered) paper, permit a kind of time travel powered by our imagination?  Paper Time Machines: Critical Game Design and Historical Board Games (Routledge, 2024) is for those who consider this a largely rhetorical question; primarily for designers of historical board games, directed in its more practice-focused sections (Parts Two, Three, and Four) toward those just commencing their journeys through time and space and engaged in learning how to deconstruct and to construct paper time machines. More experienced designers may find something here for them, too, perhaps to refresh themselves or as an aid to instruction to mentees in whatever capacity. But it is also intended for practitioners of all levels of experience to find value in the surrounding historical contexts and theoretical debates pertinent to the creation of and the thinking around the making of historical board games (Parts One and Five). In addition, it is intended that the book might redirect some of the attention of the field of game studies, so preoccupied with digital games, toward this hitherto generally much neglected area of research. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at culture magazine Titel kulturmagazin, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pong. The Legend of Zelda. Final Fantasy VII. Rock Band. Fortnite. Animal Crossing: New Horizons. For each of the 40 years of video game history, there is a defining game, a game that captured the zeitgeist and left a legacy for all games that followed. Through a series of entertaining, informative, and opinionated critical essays, author and tech journalist Jordan Minor investigates, in chronological order, the most innovative, genre-bending, and earth-shattering games from 1977 through 2022. Exploring development stories, critical reception, and legacy, Minor also looks at how gaming intersects with and eventually influences society at large while reveling in how uniquely and delightfully bizarre even the most famous games tend to be.  From portly plumbers to armor-clad space marines and the speedy rodents in between, Video Game of the Year: A Year-By-Year Guide to the Best, Boldest, and Most Bizarre Games from Every Year Since 1977 (Abrams, 2023) paints individual portraits that, as a whole, give readers a stronger appreciation for the vibrant variety and long-lasting impact of this fresh, exciting, and massively popular art form. Illustrated throughout with retro-inspired imagery and featuring contributions from dozens of leading industry voices, including New York Times bestselling author Jason Schreier, Max Scoville, Rebekah Valentine, Blessing Adeoye Jr., and Devindra Hardawar, this year-by-year anthology is a loving reflection on the world’s most popular art form. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

How and Why We Make Games (CRC Press, 2024) delves into the intricate realms of games and their creation, examining them through cultural, systemic, and, most notably, human lenses. It explores diverse themes such as authorship, creative responsibility, the tension between games as a product and games as a form of cultural expression, and the myth of a universal audience. The book analyzes why we should put politics in our games and how hyperrealism may be a trap. It also proposes a new framework for thinking about game narrative and a different paradigm for the production altogether. Topics tackled are approached from a multidisciplinary perspective, so be prepared to read both about Peter Paul Rubens and John Carmack. There are also graphs, system rhetorics discussions, and the market reality—stakeholders, return on investments, and the gaming bubble bursting. This book is written for readers passionate about the craft of making games, including journalists and industry professionals. It offers a more humanistic perspective on games, presented by experienced writers who know the intricacies of game development. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Titel kulturmagazin, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, we’re playing with voice assistants and thinking about the role of voices in gaming with our guest, game designer and NYU professor Frank Lantz.  Over the past nightmare year of the coronavirus, many of us have been hunkered down, trying to figure out how to pass the time with our families. Board game sales on Amazon were up 4,000% percent in March, when Americans began sheltering in place. And, of course, we’ve also spent way more time interacting with digital technology. These two things have come together in a weird and delightful way in Lantz’s game Hey Robot.  Created by Lantz’s family-owned company Everybody House Games, Hey Robot is a guessing game you play with a group of friends—including your voice assistant or smart speaker. The premise is simple: Make Google Home or Alexa utter the words written in a deck of cards. The questions it raises are complex: What are these digital entities that many of us interact with daily? How have web searches and voice-based computing changed the way we talk? And what does this reveal about language itself?  Hey Robot is available in a free online Quarantine Edition that you can play remotely with your friends. The board game edition is available on Amazon. Today’s show was written and edited by Mack Hagood. Fake Cumbia music by Mack Hagood.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Scholars, critics, and creators describe certain videogames as being “poetic,” yet what that means or why it matters is rarely discussed. In Game Poems: Videogame Design as Lyric Practice (Amherst College Press, 2023), independent game designer Jordan Magnuson explores the convergences between game making and lyric poetry and makes the surprising proposition that videogames can operate as a kind of poetry apart from any reliance on linguistic signs or symbols. This rigorous and accessible short book first examines characteristics of lyric poetry and explores how certain videogames can be appreciated more fully when read in light of the lyric tradition—that is, when read as “game poems.” Magnuson then lays groundwork for those wishing to make game poems in practice, providing practical tips and pointers along with tools and resources. Rather than propose a monolithic framework or draw a sharp line between videogame poems and poets and their nonpoetic counterparts, Game Poems brings to light new insights for videogames and for poetry by promoting creative dialogue between disparate fields. The result is a lively account of poetic game-making praxis. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

If you enjoy video games as a pastime, you are certainly not alone—billions of people worldwide now play video games. However, you may still find yourself reluctant to tell others this fact about yourself. After all, we are routinely warned that video games have the potential to cause addiction and violence. And when we aren’t being warned of their outright harms, we are told we should be doing something better with our time, like going outside, socializing with others, or reading a book. Playing video games is thus often seen at best as a waste of time, and at worst a source of violent tragedy. Why It's Ok to Be a Gamer (Routledge, 2024) takes on the pervasive assumption that playing video games is a childish and time-wasting hobby, and a potentially addictive and dangerous one at that. It argues instead that there are many ways in which gaming can help us flourish, for example by: developing genuine friendships and other meaningful relationships with others, helping us cultivate a virtuous personal character, giving us a unique aesthetic experience, providing us with psychological benefits, and just plain helping us relax and enjoy ourselves. Video games are not just for those with no life; on the contrary, they can help contribute to a rich and meaningful life. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Made in Asia/America: Why Video Games Were Never (Really) about Us (Duke UP, 2024) explores the key role video games play within the race makings of Asia/America. Its fourteen critical essays on games, ranging from Death Stranding to Animal Crossing, and five roundtables with twenty Asian/American game makers examine the historical entanglements of games, Asia, and America, and reveal the ways games offer new modes of imagining imperial violence, racial difference, and coalition. Shifting away from Eurocentric, white, masculinist takes on gaming, the contributors focus on minority and queer experiences, practices, and innovative scholarly methods to better account for the imperial circulation of games. Encouraging ambiguous and contextual ways of understanding games, the editors offer an “interactive” editorial method, a genre-expanding approach that encourages hybrid works of autotheory, queer of color theory, and conversation among game makers and scholars to generate divergent meanings of games, play, and “Asian America.” Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Titel kulturmagazin, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Red Dead Redemption and Red Dead Redemption II, set in 1911 and 1899, are the most-played American history video games since The Oregon Trail. Beloved by millions, they’ve been widely acclaimed for their realism and attention to detail. But how do they fare as re-creations of history? In Red Dead's History: A Video Game, an Obsession, and America's Violent Past (St Martin's Press, 2024), award-winning American history professor Dr. Tore Olsson takes up that question and more. Weaving the games’ plots and characters into an exploration of American violence between 1870 and 1920, Dr. Olsson shows that it was more often disputes over capitalism and race, not just poker games and bank robberies, that fueled the bloodshed of these turbulent years. As such, this era has much to teach us today. From the West to the Deep South to Appalachia, Olsson reveals the gritty and brutal world that inspired the games, but sometimes lacks context and complexity on the digital screen. Colourful, fast-paced, and dramatic, Red Dead’s History sheds light on dark corners of the American past for gamers and history buffs alike. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Videogames have always depicted representations of American culture, but how exactly they feed back into this culture is less obvious. Advocating an action-based understanding of both videogames and culture, this book delineates how aspects of American culture are reproduced transnationally through popular open-world videogames.  Playing American: Open-World Videogames and the Reproduction of American Culture (De Gruyter, 2023) proposes an analytic focus on open-world videogames' "ambient operations" and traces practices of "playing American" through the stages of videogame development, gameplay, and reception. Three case studies - concentrating on the Grand Theft Auto, Watch Dogs, and Red Dead Redemption franchises, respectively - highlight different figurations of "playing American." Thematic foci range from public discourses on systemic racism and neoliberal capitalism to the justification of real-world surveillance practices and to the reconfiguration of the Western in the digital age. Playing American provides those interested in either videogames or American culture with a fresh angle and new concepts regarding its subject matters. It demonstrates that videogames are agents of cultural reproduction that do distinct cultural work for American culture in the twenty-first century. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

While there has been considerable research on digital cultures in the Indian Subcontinent, video games have received scant attention so far. Yet, they are hugely influential. Globally, India is perceived as a ‘sleeping giant’ of the video game industry with immense untapped potential, and Bangladesh, Pakistan, Sri Lanka, Nepal and Bhutan also have developed significant gaming cultures. With the already immense and constantly burgeoning smartphone access, the Subcontinent potentially has the largest reach for video games across the world. But how have video games become a part of the culture of the region, keeping in mind its huge diversity and plurality? In this conversation, Xenia Zeiler, professor of South Asian Studies at the University of Helsinki, discusses with Souvik Mukherjee on his book Videogames in the Indian Subcontinent (Bloomsbury, 2023). Mukherjee is assistant professor of Cultural Studies at the Centre for Studies in Social Sciences, Calcutta. He is a pioneering researcher on videogames from South Asia and his key interests are videogames as storytelling media, videogames and postcolonialism and gaming cultures in South Asia. He is the author of three monographs on videogames including Videogames in the Indian Subcontinent (Bloomsbury Academic) and is currently researching boardgames in South Asia. Xenia Zeiler is professor of South Asian Studies at the University of Helsinki. Her research and teaching are situated at the intersection of digital media, culture, and society, specifically as related to India and global Indian communities. Her focus within this wider field of digital culture is video games and gaming research, in India and beyond. She also researches and teaches digital religion, popular culture, cultural heritage, and mediatization processes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Game worlds differ from traditional fictional worlds. While literary and cinematic worlds are written to host character arcs and plots, game worlds need to be designed to host game mechanics. While Princess Leia, Mad Max and Daenerys Targaryen may leave their marks on their fictional worlds, it is YOU, the player, who will carve your personal experience into the digital firmament of every game world you inhabit. In Narrative Worldbuilding: A Player Centric Approach to Designing Story Rich Game Worlds (Narrative, 2024), games industry veteran Edwin McRae will guide you through the evergreen principles of player-centric game world design. How do you create game-based environments and cultures that resonate with reality? This senior narrative designer will share a range of field-tested techniques that will help you design instead of derive. How do you organise all that lore? This is a common pain point for world builders and Edwin will offer tools and tactics that keep game bibles scoped, searchable and sensible. How do you make your game world fun? Through the player-centric perspective, you’ll see how storytelling can be used to support and enrich game play and achieve that Shangri-La of gaming experience... ludo-narrative harmony! Play is what we do. Story is why we do it. And the game world is where it all happens. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

During the Qing dynasty in China, a wide variety of people participated in a lottery game named weixing (“surname guessing”), which had participants placing bets on the surnames of civil service examination candidates. A fiercely competitive process, those who passed the various levels of the civil service and military examinations could climb the social ladder and obtain status in their communities and be considered for important positions in the government and military. The results of these examinations were not only highly anticipated by the exam takers themselves but also–with the introduction of weixing–by an enthusiastic community of players who bet on the success of candidates with less common surnames. In this episode, En Li, assistant professor of modern East Asian history at the University of Texas at Dallas and author of Betting on the Civil Service Exmaninations: The Lottery in Late Qing China (Harvard University Asia Center, 2023), explores the fascinating history of this lottery game–from the longer history of games and betting in China and the origin of weixing to its regulation by the government to raise revenue and the spread of the game beyond China’s borders through Chinese diasporic communities to Southeast Asia and North America. The book considers the game from multiple perspectives–government officials, players, and lottery game runners. En Li thoughtfully reflects on the book and the process of producing it and points to the larger significance of both weixing and the civil service examinations in Chinese society and life and the risk, reward, and loss involved. Laurie Dickmeyer is an Assistant Professor of History at Angelo State University, where she teaches courses in Asian and US history. Her research concerns nineteenth century US-China relations. She can be reached at [email protected]. Learn more about your ad choices. Visit megaphone.fm/adchoices

How do games represent history, and how do we make sense of the history of games? The industry regularly uses history to sell products, while processes of creation and of promotion leave behind markers of a game’s history. The access to this history is often granted by so-called paratexts, which are accompanying elements orbiting texts. Exploring this fully, case studies in (Not) In the Game: History, Paratexts, and Games (de Gruyter, 2023) move the focus of debate from the games themselves to wider, ancillary materials and ask how history is used in, and how we can use history to study games. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

How games are built on the foundations of rules, and how rules—of which there are only five kinds—really work. Board games to sports, digital games to party games, gambling to role-playing games. They all share one thing in common: rules. Indeed, rules are the one and only thing game scholars agree is central to games. But what, in fact, are rules? In The Rule Book: The Building Blocks of Games (MIT Press, 2024), Jaakko Stenros and Markus Montola explore how different kinds of rules work as building blocks of games. Rules are constraints placed on us while we play, carving a limited possibility space for us. They also inject meaning into our play: without rules there is no queen in chess, no ball in Pong, and no hole in one in golf. Stenros and Montola discuss how rules constitute games through five foundational types: the explicit statements listed in the official rules, the private limitations and goals players place on themselves, the social and cultural norms that guide gameplay, the external regulation the surrounding society places on playing, and the material embodiments of rules. Depending on the game, rules can be formal, internal, social, external, or material. By considering the similarities and differences of wildly different games and rules within a shared theoretical framework, The Rule Book renders all games more legible. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Graphic User Interface, or GUI, is the adhesive centre of today’s screen entertainment web. From films and television to apps and videogames, it holds together a multitude of media and shapes the way they are accessed, organised, created, consumed, and manipulated. However, it does not do so without leaving viscous traces, and Gooey Media: Screen Entertainment and the Graphic User Interface (Edinburgh University Press, 2023) by Dr. Nick Jones examines this residue and its consequences, revealing how the GUI exerts a powerful influence on contemporary media. Focusing on aesthetics and adopting a media agnostic approach, Dr. Jones explores cinema, streaming platforms, television, user-generated content, videogames, apps, virtual reality, VFX, design software, and more in order to show how they cross-pollinate with one another and with our desktop interfaces. The result is a new approach for analysing convergent media in the digital era. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

How abstract design decisions in 2D platform games create rich worlds of meaning for players. Since the 1980s, 2D platform games have captivated their audiences. Whether the player scrambles up the ladders in Donkey Kong or leaps atop an impossibly tall pipe in Super Mario Bros., this deceptively simple visual language has persisted in our cultural imagination of video games. In Run and Jump: The Meaning of the 2D Platformer (MIT Press, 2024), Peter McDonald surveys the legacy of 2D platform games and examines how abstract and formal design choices have kept players playing. McDonald argues that there is a rich layer of meaning underneath, say, the quality of an avatar’s movement, the pacing and rhythm of level design, the personalities expressed by different enemies, and the emotion elicited by collecting a coin. To understand these games, McDonald draws on technical discussions by game designers as well as theoretical work about the nature of signs from structuralist semiotics. Interspersed throughout are design exercises that show how critical interpretation can become a tool for game designers to communicate with their players. With examples drawn from over forty years of game history, and from games made by artists, hobbyists, iconic designers, and industry studios, Run and Jump presents a comprehensive—and engaging—vision of this slice of game history.  Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Posthuman Gaming: Avatars, Gamers, and Entangled Subjectivities (Routledge, 2023) explores the relationship between avatar and gamer in the massively multiplayer online roleplaying game World of Warcraft, to examine notions of entangled subjectivity, affects, and embodiments – what it means and how it feels to be posthuman. With a focus on posthuman subjectivity, Wilde considers how we can begin to articulate ourselves when the boundary between self and other is unclear. Drawing on fieldnotes of her own gameplay experiences, the author analyses how subjectivity is formed in ways that defy a single individual notion of “self”, and explores how different practices, feelings, and societal understandings can disrupt strict binaries and emphasise our posthumanism. She interrogates if one can speak of an “I” in the face of posthuman multiplicity, before exploring different analytical themes, beginning with how acting theories might be posthumanised and articulate the relationship between avatar and gamer. She then defines posthuman empathy and explains how this is experienced in gaming, before addressing the need to account for boredom, the complexity of nostalgia, and ways death and loss are experienced through gaming. This volume will appeal to a broad audience and is particularly relevant to scholars and students of cultural studies, media studies, humanities, and game studies. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

On a slow autumn afternoon, an atmospheric physicist working at the Malta Weather Station receives a surprising email from a colleague working in the United Kingdom: something troubling has apparently been detected during one of their research flights. The ensuing meteorological mystery is the starting point for the science fiction novella The Clouds (Routledge, 2023). Alongside the novella, this book features three essays written by the same author that discuss in a more explicit and conventional way three philosophical ideas showcased in The Clouds: the expressive use of fictional games within fictional worlds; the possibility for existential meaning within simulated universes; and the unnatural narratological trope of "unhappening." With its unique format, this book is a fresh reflection on the mediatic form of philosophy and a compelling argument for the philosophical value of fiction. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1998 the phrase “internet addiction” was first used to describe problematic prolonged internet use, and encompassed a wide range of online activities including reading news, connecting in chat rooms, viewing pornography, and gambling. Since then, particular focus has been placed on internet gaming, and in 2022 the World Health Organization’s International Classification of Diseases (11th edition) classified Gaming Disorder as a "mental disorder due to addictive behaviors." But as Dr. Veli-Matti Karhulahti and Dr. Yaewon Jin explain, there is far from universal consensus on what “gaming disorder” exactly is. They share their insights as researchers of the ORE (Ontological Reconstruction of Gaming Disorder), a five-year interdisciplinary project funded by the European Research Council, and discuss the difficulties not only in identifying “gaming disorder” but in categorizing the various kinds of games that are considered. They share their own experiences with computer gaming, from early 1990s Finnish schools to South Korea’s PC bangs (internet cafés). They leave us to contemplate culturally and historically dependent perspectives not only on what constitutes a so-called disorder, but why individuals play games. This episode is supported by the Otto A. Malm Foundation. Dr. Veli-Matti Karhulahti is the ORE project’s principle investigator and is an interdisciplinary senior researcher of play, games, and the philosophy of science at the University of Jyväskylä. Dr. Yaewon Jin is a post-doctoral researcher at Jyvaskyla, and focuses on South Korea as part of the project. She is also currently a visiting professor at Yonsei University and principal researcher at the Game-n-Science institute. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the following academic partners: Asia Centre, University of Tartu (Estonia), Asian studies, University of Helsinki (Finland), Centre for Asian Studies, Vytautas Magnus University (Lithuania), Centre for East Asian Studies, University of Turku (Finland) and Centre for East and South-East Asian Studies, Lund University (Sweden) and Norwegian Network for Asian Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

This remarkably clearly written and timely critical evaluation of core issues in the study and application of interactive digital narrative (IDN) untangles the range of theories and arguments that have developed around IDN over the past three decades. Looking back over the past 30 years of theorizing around interactivity, storytelling, and the digital across the fields of game design/game studies, media studies, and narratology, as well as interactive documentary and other emerging forms, Hartmut Koenitz's book  Understanding Interactive Digital Narrative: Immersive Expressions for a Complex Time  (Routledge, 2023) offers important and insightful correctives to common misunderstandings that pervade the field. This book also changes the perspective on IDN by introducing a comprehensive conceptual framework influenced by cybernetics and cognitive narratology, addressing limitations of perspectives originally developed for legacy media forms. Applying its framework, the book analyzes successful works and lays out concrete design advice, providing instructors, students, and practitioners with a more precise and specific understanding of IDN. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Why games are still niche and not mainstream, and how journalism can help them gain cultural credibility. Mainstreaming and Game Journalism (MIT Press, 2023) addresses both the history and current practice of game journalism, along with the roles writers and industry play in conveying that the medium is a “mainstream” form of entertainment. Through interviews with reporters, David B. Nieborg and Maxwell Foxman retrace how the game industry and journalists started a subcultural spiral in the 1980s that continues to this day. Digital play became increasingly exclusionary by appealing to niche audiences, relying on hardcore fans and favoring the male gamer stereotype. At the same time, this culture pushed journalists to the margins, leaving them toiling to find freelance gigs and deeply ambivalent about their profession. Mainstreaming and Game Journalism also examines the bumpy process of what we think of as “mainstreaming.” The authors argue that it encompasses three overlapping factors. First, for games to become mainstream, they need to become more ubiquitous through broader media coverage. Second, an increase in ludic literacy, or how-to play games, determines whether that greater visibility translates into accessibility. Third, the mainstreaming of games must gain cultural legitimacy. The fact that games are more visible does little if only a few people take them seriously or deem them worthy of attention. Ultimately, Mainstreaming and Game Journalism provocatively questions whether games ever will—or even should—gain widespread cultural acceptance. This book is available open access here.  Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Drawing across Games Studies, Childhood Studies, and Children’s Literature Studies, Emma Reay's book The Child in Videogames: From the Meek, to the Mighty, to the Monstrous (Palgrave Macmillan, 2023) redirects critical conversations away from questions of whether videogames are ‘good’ or ‘bad’ for child-players and towards questions of how videogames produce childhood as a set of social roles and rules in contemporary Western contexts.  It does so by cataloguing and critiquing representations of childhood across a corpus of over 500 contemporary videogames. While child-players are frequently the topic of academic debate – particularly within the fields of psychology, behavioural science, and education research - child-characters in videogames are all but invisible. This book's aim is to make these child-characters not only visible, but legible, and to demonstrate that coded kids in virtual worlds can shed light on how and why the boundaries between adults and children are shifting. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Middle Ages have provided rich source material for physical and digital games from Dungeons and Dragons to Assassin's Creed. Playing the Middle Ages: Pitfalls and Potential in Modern Games (Bloomsbury, 2023) addresses the many ways in which different formats and genre of games represent the period. It considers the restrictions placed on these representations by the mechanical and gameplay requirements of the medium and by audience expectations of these products and the period., highlighting innovative attempts to overcome these limitations through game design and play.  Playing the Middle Ages considers a number of important and timely issues within the field including: one, the connection between medieval games and political nationalistic rhetoric; two, trends in the presentation of religion, warfare and other aspects of medieval society and their connection to modern culture; three, the problematic representations of race; and four, the place of gender and sexuality within these games and the broader gaming community.  The book draws on the experience of a wide-ranging and international group of academics across disciplines and from games designers. Through this combination of expertise, it provides a unique perspective on the representation of the Middle Ages in modern games and drives key discussions in the fields of history and game design. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

An essay collection exploring the board game's relationship to the built environment, revealing the unexpected ways that play reflects perceptions of space. Board games harness the creation of entirely new worlds. From the medieval warlord to the modern urban planner, players are permitted to inhabit a staggering variety of roles and are prompted to incorporate preexisting notions of placemaking into their decisions. To what extent do board games represent the social context of their production? How might they reinforce or subvert normative ideas of community and fulfillment? In Playing Place: Board Games, Popular Culture, Space (MIT Press, 2023), Chad Randl and D. Medina Lasansky have curated a collection of thirty-seven fascinating essays, supplemented by a rich trove of photo illustrations, that unpack these questions with breadth and care. Although board games are often recreational objects, their mythologies and infrastructure do not exist in a vacuum—rather, they echo and reproduce prevalent cultural landscapes. This thesis forms the throughline of pieces reflecting on subjects as diverse as the rigidly gendered fantasies of classic mass-market games; the imperial convictions embedded in games that position player-protagonists as conquerors establishing dominion over their “discoveries”; and even the uncanny prescience of games that have players responding to a global pandemic. Representing a thrilling convergence of historiography, architectural history, and media studies scholarship, Playing Place suggests not only that tabletop games should be taken seriously but also that the medium itself is uniquely capable of facilitating our critical consideration of structures that are often taken for granted. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Swiss culture magazine Nahaufnahmen.ch, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Peter Nelson's book Computer Games As Landscape Art (Palgrave Macmillan, 2023) proposes that computer games are the paradigmatic form of contemporary landscape and offers a synthesis of art history, geography, game studies and play. Like paint on canvas, the game engine is taken as the underlying medium, and using the Valve Source Engine as the primary case study, it analyses landscapes according to the technical, economic and cultural features this medium affords. It presents the single-player first-person shooter (Half-Life 2) as a Promethean safari, examines how the economics of gambling and product placement shaped the eSports landscapes of Counter-Strike and reveals how sandboxes such as Garry’s Mod visualise the radical landscape of Web 2.0. This book explores how our relationship to the environment is changing, how we express this through computer games and how we can move beyond examining artistic influences on games to examining how historical connections flow through games and the history of landscape images. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, editor of “Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

For the third anniversary of the Asian Review of Books podcast, I wanted to do something a little different today—and talk about another one of my hobbies, video games. For video game players of—let’s call them the elder millennial set and older—there’s something special about the final dozen or so years of the 20th century. The Super Nintendo, the Sega Genesis, the Nintendo 64 and the Sony PlayStation: it was a period of technical advancement and creative experimentation that led to classics still beloved today. Exploring many of these classics—big and small, Japanese and Western, console and PC—are the entries of the Boss Fight Books series, compiled by writer Gabe Durham. Over the past several years, Gabe has invited his fellow writers to put together short works on the classic games that stand out in the medium’s history. As of this interview, the 33 entries in the series span from 1976’s Breakout to 2010’s Red Dead Redemption. For today’s anniversary panel, I invited Gabe along with three of his fellow writers—Alyse Knorr, Sebastien Deken, and Mike Sholars—to talk about their choice of games, what makes the 1989-2000 period so special, and why, perhaps, Japanese companies feature so prominently in the history of games. Gabe Durham is the founding editor & publisher of Boss Fight Books. He is the author of a previous Boss Fight entry, Bible Adventures, and a novel, Fun Camp. (Books mentioned in this interview: The Legend of Zelda: Majora’s Mask [2000, Nintendo 64]) Alyse Knorr is an associate professor of English at Regis University and the co-editor of Switchback Books. She is also the author of the poetry collections Mega-City Redux, Copper Mother, and Annotated Glass. (Books mentioned in this interview: Super Mario Bros. 3 [1989, Nintendo Entertainment System]; Goldeneye 007 [1997, Nintendo 64]) Sebastian Deken is a writer and musician born in St. Louis, Missouri. He studied music and French literature at Washington University in St. Louis, then went on to receive his MFA in nonfiction writing from Columbia University School of the Arts. (Books mentioned in this interview: Final Fantasy VI [1994, Super Nintendo Entertainment System]) Mike Sholars is a writer, editor, podcast host, Creative Director, and former full-time journalist. His work can be found in HuffPost, Kotaku, Polygon, and VICE. (Books mentioned in this interview: PaRappa the Rapper [1996, Sony PlayStation])  You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books,. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ben Whaley’s Toward a Gameic World: New Rules of Engagement from Japanese Video Games (U Michigan Press 2023) examines the pathbreaking engagement strategies of four Japanese video games produced between 2002 and 2015. Each of these “persuasive games” deploys a distinct strategy of engagement to push players to engage with real-world social issues and traumas: Disaster Report (2002) takes on natural disasters, Catherine (2011) addresses Japan’s declining birthrate and aging population, Metal Gear Solid V (2015, after the March 2011 Fukushima triple disaster) takes on nuclear proliferation, and The World Ends with You (2007) faces the issue of social withdrawal. These games differ in genre, platform, and mechanics, but as Whaley shows, they share an interest in using the immersive, multimedia, boundary-crossing experience of gaming to create an emotive, “persuasive” experience that prods gamers to engage with these “IRL” issues in new ways. Nathan Hopson is an associate professor of Japanese language and history in the University of Bergen's Department of Foreign Languages. Learn more about your ad choices. Visit megaphone.fm/adchoices

Video games are temporal artifacts: They change with time as players interact with them in accordance with rules. In Time and Space in Video Games: A Cognitive-Formalist Approach (Transcript, 2020), Federico Alvarez Igarzábal investigates the formal aspects of video games that determine how these changes are produced and sequenced. Theories of time perception drawn from the cognitive sciences lay the groundwork for an in-depth analysis of these features, making for a comprehensive account of time in this novel medium. This book-length study dedicated to time perception and video games is an indispensable resource for game scholars and game developers alike. Its reader-friendly style makes it readily accessible to the interested layperson. Federico Alvarez is a scholar of games and play working at the intersection of aesthetics and cognitive science. He specializes in time in video games, both concerning the formal analysis of the medium and the psychology of time perception. This combination of fields has allowed him to work on national and international projects both in the humanities (game studies, media studies) and the natural sciences (psychology, neuroscience), combining theoretical and experimental approaches. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, editor of “Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

What role do algorithms play in the construction of images and the representation of the world and weather in computer games? How does the design of rooms, levels and topographies influence the decisions and behavior of the players? Is Brutalism the first genuine architectural style of computer games? What is the importance of landscape gardens and national parks in structuring game worlds? How is nature represented in times of climate change? Particularly in the last 20 years, digital game worlds are adapting features of the physical real world more meticulously than ever before. Through elaborate production processes and complex visualization strategies, the adaptation to the rest of our everyday world is always created in dependence on game mechanics and worldliness. As can be seen at the latest in the example of open-world games, the adoption of certain worldviews and visual traditions leads to ideological implications that go far beyond the narrative conventions transferred from other media formats that have been the focus of research so far. With his theory of architecture as a medial hinge, Marc Bonner reveals that digital game worlds exhibit media-specific properties that were previously out of reach and awaited exploration. By interweaving concepts from media studies, game studies, philosophy, architectural theory, human geography, landscape theory, and art history, among others, Bonner develops a transdisciplinary theoretical model and, using the analytical methods developed from it, makes it possible for the first time to understand and name the complex structure of today's computer games - from indie games to AAA open worlds. Open World Structures (Offene-Welt-Strukturen (Büchner-Verlag, 2023)) makes the architectonics of digital game worlds comprehensively accessible. Rudolf Inderst is a professor of Game Design at the IU International University of Applied Science. Learn more about your ad choices. Visit megaphone.fm/adchoices

The relationship between madness and video games has been notoriously tense. In an abundance of titles, stereotypes and stigmatisations can be found—not only regarding the mentally ill, but also psychiatry as a discipline. Sequences of electroshock therapy come to mind, mutated patients, and homicidal maniacs. But where do we go from here? And what lies beyond the criticism of how mental illnesses are portrayed in video games? In Pixelated Madness: The Construction of Mental Illnesses and Psychiatric Institutions in Video Games (Hülsbusch, 2023), game studies scholar Stefan Heinrich Simond focuses on a small selection of contemporary video games to present detailed qualitative analyses and ultimately develop a typology of madness in video games that can serve as an instructive basis for further study. The primary goal is thereby not to criticise or evaluate but to describe, understand, and disambiguate. From common tropes such as the horror asylum and the animalised inmate to the sanity meter and subversive means of subjectification, a broad angle on madness in video games is presented. Aside from the concrete analyses, this dissertation also presents a constructivist understanding of madness. Instead of comparing video game characters to diagnostic manuals or therapeutic means to their actual application, video games are taken for what they are: creative expressions that aim to inspire and entertain. Madness in video games is then not considered a mirror to mental illnesses in real life, but a construction in its own right. Based on the presented observations, a new angle on the status of madness in the media might be well warranted. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, editor of “Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Games are the most engaging medium of all time: they harness storytelling and heuristics, drive emotion and push the evolution of technology in a way that no other platform has or can. It's no surprise, then, that games and gamification are revolutionizing the market research industry, offering opportunities to reinvigorate the notoriously sluggish engagement levels seen in traditional surveying methods. This not only improves data quality, but offers untapped insights unattainable through traditional methods. Games and Gamification in Market Research: Increasing Consumer Engagement in Research for Business Success (Kogan Page, 2018) shows readers how to design ResearchGames and Gamified Surveys that will intrinsically engage participants and how best to use these methodologies to become, and stay, commercially competitive. In a world where brands and organizations are increasingly interested in the feelings and contexts that drive consumer choices, Games and Gamification in Market Research gives readers the skills to use the components in games to encourage play and observe consumer behaviours via simulations for predictive modelling. Written by Betty Adamou, the UK's leading research game designer and named as one of seven women shaping the future of market research, it explains the ways in which these methodologies will evolve with technologies such as virtual reality and artificial intelligence, and how it will shape research careers. Alongside a companion website, this book provides a fully immersive and fascinating overview of game-based research. Betty Adamou is the Inventor of ResearchGames (TM), and is a globally-recognized Gamification Expert and Designer, with appearances as a keynote address for conferences worldwide, and in several dozen media outlets including BBC Radio, East Anglian Daily Times, and GINX Esports TV. She is a multi-award winning innovator, entrepreneur and researcher, and is the Author of Games and Gamification in Market Research, published in 3 languages and audiobook. Betty also runs the not-for-profit initiative Not Sorry Club, aiming at supporting women in leading unapologetic lives. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, editor of “Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Nintendo Wii, introduced in 2006, helped usher in a moment of retro-reinvention in video game play. This hugely popular console system, codenamed Revolution during development, signaled a turn away from fully immersive, time-consuming MMORPGs or forty-hour FPS games and back toward family fun in the living room. Players using the wireless motion-sensitive controller (the Wii Remote, or “Wiimote”) play with their whole bodies, waving, swinging, swaying. The mimetic interface shifts attention from what's on the screen to what's happening in physical space. Codename Revolution describes the Wii's impact in technological, social, and cultural terms, examining the Wii as a system of interrelated hardware and software that was consciously designed to promote social play in physical space. Each chapter of Codename Revolution focuses on a major component of the Wii as a platform: the console itself, designed to be low-powered and nimble; the iconic Wii Remote; Wii Fit Plus, and its controller, the Wii Balance Board; the Wii Channels interface and Nintendo's distribution system; and the Wii as a social platform that not only affords multiplayer options but also encourages social interaction in shared physical space. Finally, the authors connect the Wii's revolution in mimetic interface gaming—which eventually led to the release of Sony's Move and Microsoft's Kinect—to some of the economic and technological conditions that influence the possibility of making something new in this arena of computing and culture. Steven E. Jones is Professor of English at Loyola University Chicago. George K. Thiruvathukal is Professor of Computer Science at Loyola University Chicago. Learn more about your ad choices. Visit megaphone.fm/adchoices

50 Years of Text Games: From Oregon Trail to A.I. Dungeon is an extensively researched book chronicling the first half-century of interactive fiction: video games made from words.  Covering one text game released in each year from 1971 to 2020, in-depth chapters dive into classics like Zork, Trade Wars, and Hitchhiker's Guide; beloved fan games like Galatea and Photopia; wild experiments from Dwarf Fortress to Howling Dogs; and breakout hits like 80 Days, Fallen London, and Lifeline. Over 600 pages of coverage and dozens of original maps and flowcharts help explain the structure and design of each game included. Aaron A. Reed has been creating and researching interactive stories for twenty years, focusing on understanding the many ways authors and players can tell stories together. He holds a PhD in interactive storytelling, and is currently based in California freelancing as a character and narrative consultant for games. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, editor of “Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

We may think of video games as being "fun," but in The Art of Failure, Jesper Juul claims that this is almost entirely mistaken. When we play video games, our facial expressions are rarely those of happiness or bliss. Instead, we frown, grimace, and shout in frustration as we lose, or die, or fail to advance to the next level. Humans may have a fundamental desire to succeed and feel competent, but game players choose to engage in an activity in which they are nearly certain to fail and feel incompetent. So why do we play video games even though they make us unhappy? Juul examines this paradox. In video games, as in tragic works of art, literature, theater, and cinema, it seems that we want to experience unpleasantness even if we also dislike it. Reader or audience reaction to tragedy is often explained as catharsis, as a purging of negative emotions. But, Juul points out, this doesn't seem to be the case for video game players. Games do not purge us of unpleasant emotions; they produce them in the first place. What, then, does failure in video game playing do? Juul argues that failure in a game is unique in that when you fail in a game, you (not a character) are in some way inadequate. Yet games also motivate us to play more, in order to escape that inadequacy, and the feeling of escaping failure (often by improving skills) is a central enjoyment of games. Games, writes Juul, are the art of failure: the singular art form that sets us up for failure and allows us to experience it and experiment with it. The Art of Failure is essential reading for anyone interested in video games, whether as entertainment, art, or education. Jesper Juul is Assistant Professor at the New York University Game Center. He is the author of Half-Real: Video Games between Real Rules and Fictional Worlds and A Casual Revolution: Reinventing Video Games and Their Players, both published by the MIT Press. Learn more about your ad choices. Visit megaphone.fm/adchoices

Anyone who has ever been to a public hearing or community meeting would agree that participatory democracy can be boring. Hours of repetitive presentations, alternatingly alarmist or complacent, for or against, accompanied by constant heckling, often with no clear outcome or decision. Is this the best democracy can offer? In Making Democracy Fun, Josh Lerner offers a novel solution for the sad state of our deliberative democracy: the power of good game design. What if public meetings featured competition and collaboration (such as team challenges), clear rules (presented and modeled in multiple ways), measurable progress (such as scores and levels), and engaging sounds and visuals? These game mechanics would make meetings more effective and more enjoyable—even fun. Lerner reports that institutions as diverse as the United Nations, the U.S. Army, and grassroots community groups are already using games and game-like processes to encourage participation. Drawing on more than a decade of practical experience and extensive research, he explains how games have been integrated into a variety of public programs in North and South America. He offers rich stories of game techniques in action, in children's councils, social service programs, and participatory budgeting and planning. With these real-world examples in mind, Lerner describes five kinds of games and twenty-six game mechanics that are especially relevant for democracy. He finds that when governments and organizations use games and design their programs to be more like games, public participation becomes more attractive, effective, and transparent. Game design can make democracy fun—and make it work. Josh Lerner is Executive Director of The Participatory Budgeting Project, a nonprofit organization in New York City that empowers communities to decide how to spend public money. Learn more about your ad choices. Visit megaphone.fm/adchoices

Behind the lectern stands the professor, deploying course management systems, online quizzes, wireless clickers, PowerPoint slides, podcasts, and plagiarism-detection software. In the seats are the students, armed with smartphones, laptops, tablets, music players, and social networking. Although these two forces seem poised to do battle with each other, they are really both taking part in a war on learning itself. In The War on Learning, Elizabeth Losh examines current efforts to “reform” higher education by applying technological solutions to problems in teaching and learning. She finds that many of these initiatives fail because they treat education as a product rather than a process. Highly touted schemes—video games for the classroom, for example, or the distribution of iPads—let students down because they promote consumption rather than intellectual development. Losh analyzes recent trends in postsecondary education and the rhetoric around them, often drawing on first-person accounts. In an effort to identify educational technologies that might actually work, she looks at strategies including MOOCs (massive open online courses), the gamification of subject matter, remix pedagogy, video lectures (from Randy Pausch to “the Baked Professor”), and educational virtual worlds. Finally, Losh outlines six basic principles of digital learning and describes several successful university-based initiatives. Her book will be essential reading for campus decision makers—and for anyone who cares about education and technology. Elizabeth Losh directs the Culture, Art, and Technology Program at Sixth College at the University of California, San Diego. She is the author of Virtualpolitik: An Electronic History of Government Media-Making in a Time of War, Scandal, Disaster, Miscommunication, and Mistakes (MIT Press) and the coauthor of Understanding Rhetoric: A Graphic Guide to Writing. Learn more about your ad choices. Visit megaphone.fm/adchoices

The host of this episode, Adina Zemanek, interviewed Chee-Hann Wu, who obtained her PhD in Drama and Theatre from the University of California, Irvine and UC San Diego. They talked about the following themes: horror videogames in Taiwan and historical trauma; the potential roles of such games for local and international audiences, and thus for Taiwan's cultural diplomacy; traditional puppetry and avatars; and recent state support for local game production. Learn more about your ad choices. Visit megaphone.fm/adchoices

Young people in the West are more likely to encounter religion in videogames than in places of worship like churches, mosques or temples. Lars de Wildt interviews developers and players of games such as Assassin’s Creed to find out how and why the Pop Theology of Videogames is so appealing to modern audiences. Based on extensive fieldwork, Lars de Wildt's book The Pop Theology of Videogames: Producing and Playing with Religion (Amsterdam UP, 2023) argues that developers of videogames and their players engage in a ‘Pop Theology’ through which laymen reconsider traditional questions of religion by playing with them. Games allow us to play with religious questions and identities in the same way that children play at being a soldier, or choose to ‘play house.’ This requires a radical rethinking of religious questions as no longer just questions of belief or disbelief; but as truths to be tried on, compared, and discarded at will. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, editor of “Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

Games and art have intersected at least since the early twentieth century, as can be seen in the Surrealists' use of Exquisite Corpse and other games, Duchamp's obsession with Chess, and Fluxus event scores and boxes--to name just a few examples. Over the past fifteen years, the synthesis of art and games has clouded for both artists and gamemakers. Contemporary art has drawn on the tool set of videogames, but has not considered them a cultural form with its own conceptual, formal, and experiential affordances. For their part, game developers and players focus on the innate properties of games and the experiences they provide, giving little attention to what it means to create and evaluate fine art. In Works of Game, John Sharp bridges this gap, offering a formal aesthetics of games that encompasses the commonalities and the differences between games and art. Sharp describes three communities of practice and offers case studies for each. "Game Art," which includes such artists as Julian Oliver, Cory Arcangel, and JODI (Joan Heemskerk and Dirk Paesmans) treats videogames as a form of popular culture from which can be borrowed subject matter, tools, and processes. "Artgames," created by gamemakers including Jason Rohrer, Brenda Romero, and Jonathan Blow, explore territory usually occupied by poetry, painting, literature, or film. Finally, "Artists' Games"--with artists including Blast Theory, Mary Flanagan, and the collaboration of Nathalie Pozzi and Eric Zimmerman--represents a more synthetic conception of games as an artistic medium. The work of these gamemakers, Sharp suggests, shows that it is possible to create game-based artworks that satisfy the aesthetic and critical values of both the contemporary art and game communities. John Sharp is Associate Professor of Games and Learning at Parsons the New School for Design and a member of the game design collective Local No. 12. Learn more about your ad choices. Visit megaphone.fm/adchoices

Competitive gaming, or esports - referring to competitive tournaments of video games among both casual gamers and professional players - began in the early 1970s with small competitions like the one held at Stanford University in October 1972, where some 20 researchers and students attended. By 2022, the estimated revenue of the global esports industry is in excess of $947 million, with over 200 million viewers worldwide. Regardless of views held about competitive gaming, esports have become a modern economic and cultural phenomenon. This book studies the full history of competitive gaming from the 1970s to the 2010s against the background of the arrival of the electronic and computer age. It investigates how competitive gaming has grown into a new form of entertainment, a sport-like competition, a lucrative business and a unique cultural sensation. It also explores the role of competitive gaming in the development of the video game industry, making a distinctive contribution to our knowledge and understanding of the history of video games. Zhouxiang Lu's A History of Competitive Gaming (Routledge, 2022) will appeal to all those interested in the business and culture of gaming, as well as those studying modern technological culture. Learn more about your ad choices. Visit megaphone.fm/adchoices