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

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

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

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

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

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

Essays on speculative/science fiction explore the futures that feed our most cherished fantasies and terrifying nightmares, while helping diverse communities devise new survival strategies for a tough millennium. The explosion in speculative/science fiction (SF) across different media from the late twentieth century to the present has compelled those in the field of SF studies to rethink the community’s identity, orientation, and stakes.  In Ida Yoshinaga, Sean Guynes, and Gerry Canavan's edited volume Uneven Futures: Strategies for Community Survival from Speculative Fiction (MIT Press, 2022), more than forty writers, critics, game designers, scholars, and activists explore core SF texts, with an eye toward a future in which corporations dominate both the means of production and the means of distribution and governments rely on powerful surveillance and carceral technologies. The essays, international in scope, demonstrate the diversity of SF through a balance of popular mass-market novels, comics, films, games, TV shows, creepypastas, and more niche works. SF works explored range from Riot Baby by Tochi Onyebuchi, 2084: The End of the World by Boualem Sansal, Terra Nullius by Claire Coleman, Watchmen and X-Men comics, and the Marvel film Captain America: The Winter Soldier, to the MaddAddam trilogy by Margaret Atwood, The Dispossessed by Ursula K. Le Guin, The Wandering Earth by Liu Cixin, and the Wormwood trilogy by Tade Thompson. In an era in which ecological disaster and global pandemics regularly expose and intensify deep political-economic inequalities, what futures has SF anticipated? What survival strategies has it provided us? Can it help us to deal with, and grow beyond, the inequalities and injustices of our times? Unlike other books of speculative/science fiction criticism, Uneven Futures uses a think piece format to make its critical insights engaging to a wide audience. The essays inspire visions of better possible futures—drawing on feminist, queer, and global speculative engagements with Indigenous, Latinx, and Afro- and African futurisms—while imparting important lessons for political organizing in the present. Learn more about your ad choices. Visit megaphone.fm/adchoices

The videogame industry, we're invariably told, is a multibillion-dollar, high-tech business conducted by large corporations in certain North American, European, and East Asian cities. But most videogames today, in fact, are made by small clusters of people working on shoestring budgets, relying on existing, freely available software platforms, and hoping, often in vain, to rise to stardom—in short, people working like artists.  Aiming squarely at this disconnect between perception and reality, Brendan Keogh's book The Videogame Industry Does Not Exist: Why We Should Think Beyond Commercial Game Production (MIT Press, 2023) presents a much more accurate and nuanced picture of how the vast majority of videogame-makers work—a picture that reveals the diverse and precarious communities, identities, and approaches that make videogame production a significant cultural practice.  Drawing on insights provided by over 400 game developers across Australia, North America, Europe, and Southeast Asia, Keogh develops a new framework for understanding videogame production as a cultural field in all its complexity. Part-time hobbyists, aspirational students, client-facing contractors, struggling independents, artist collectives, and tightly knit local scenes—all have a place within this model. But proponents of non-commercial game making don't exist in isolation; Keogh shows how they and their commercial counterparts are deeply interconnected and codependent in the field of videogame production.  A cultural intervention, The Videogame Industry Does Not Exist challenges core assumptions about videogame production—ideas about creativity, professionalism, labor, diversity, education, globalization, and community. Its in-depth, complex portrayal suggests new ways of seeing, and engaging in, the videogame industry that really does exist. 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

Ethics and civics have always mattered, but perhaps they matter now more than ever before. Recently, with the rise of online teaching and movements like #PlayApartTogether, games have become increasingly acknowledged as platforms for civic deliberation and value sharing. We the Gamers: How Games Teach Ethics and Civics (Oxford UP, 2021) explores these possibilities by examining how we connect, communicate, analyze, and discover when we play games. Combining research-based perspectives and current examples, this volume shows how games can be used in ethics, civics, and social studies education to inspire learning, critical thinking, and civic change. We the Gamers introduces and explores various educational frameworks through a range of games and interactive experiences including board and card games, online games, virtual reality and augmented reality games, and digital games like Minecraft,Executive Command, Keep Talking and Nobody Explodes, Fortnite, When Rivers Were Trails, Politicraft, Quandary, and Animal Crossing: New Horizons. The book systematically evaluates the types of skills, concepts, and knowledge needed for civic and ethical engagement, and details how games can foster these skills in classrooms, remote learning environments, and other educational settings. We the Gamers also explores the obstacles to learning with games and how to overcome those obstacles by encouraging equity and inclusion, care and compassion, and fairness and justice. Featuring helpful tips and case studies, We the Gamers shows teachers the strengths and limitations of games in helping students connect with civics and ethics, and imagines how we might repair and remake our world through gaming, together. 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

Final Fantasy VII altered the course of video game history when it was released in 1997 on Sony's PlayStation system. It converted the Japanese role-playing game into an international gaming standard with enhanced gameplay, spectacular cutscenes and a vast narrative involving an iconic cast. In the decades after its release, the Final Fantasy VII franchise has grown to encompass a number of video game sequels, prequels, a feature-length film, a novel and a multi-volume remake series.  Jason C. Cash and Craig T. Olsen's The World of Final Fantasy VII: Essays on the Game and Its Legacy (McFarland, 2023), the first edited collection of essays devoted only to the world of Final Fantasy VII, blends scholarly rigor with fan passion in order to identify the elements that keep Final Fantasy VII current and exciting for players. Some essays specifically address the game's perennially relevant themes and scenarios, ranging from environmental consciousness to economic inequity and posthumanism. Others examine the mechanisms used to immerse the player or to improve the narrative. Finally, there are several essays devoted specifically to the game's legacy, from its influence on later games to its characters' many crossovers and cameos. 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, editor-in-chief at Suisse cultural journal Nahaufnahmen.ch and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Price is Right is television's longest-running game show. Since its inception in 1956, contestants have won cars, tropical vacations, diamond jewelry, even a live horse, and the hosts' excited catchphrase "come on down!" has become part of our everyday vernacular. Part of the program's enduring appeal is the apparent ease of the game, guessing the cash value of certain prizes. But, if that's the case, then why do so many contestants come away from the show empty-handed? Solving The Price is Right (Prometheus Books, 2023) is an in-depth exploration of the underlying probability theory of the popular television program that explores how biases and behavioral pitfalls limit our ability to successfully apply logic and math both on and off the show.  With rigorous data and analysis compiled from Seasons 47 and 48 (356 total episodes), investor and math practitioner Justin L. Bergner draws strategic and mathematical insights from all facets of the show, from Contestant's Row bidding to the Showcase Showdown, and all 77 Pricing Games, using a combination of game theory, probability theory, statistics, and pattern recognition. In each section, Bergner summarizes contestant performance, highlights the biases leading to sub-par outcomes, and shows how outcomes can be improved by executing the right strategies while avoiding cognitive biases. Throughout, Bergner applies the lessons learned to the fields of business, finance, and our real lives, shedding light on themes of reverse psychology, strategic patience, and the importance of establishing what is sufficient for success in our pursuits. The result is a truly unique and meticulously researched book that uses Solving The Price is Right as a lens to examine our own choices - and how to make better ones. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Avatar Faculty: Ecstatic Transformations in Religion and Video Games (University of California Press, 2023) creatively examines the parallels between spiritual and digital activities to explore the roles that symbolic second selves—avatars—can play in our lives. The use of avatars can allow for what anthropologists call ecstasy, from the Greek ekstasis, meaning "standing outside oneself." The archaic techniques of promoting spiritual ecstasy, which remain central to religious healing traditions around the world, now also have contemporary analogues in virtual worlds found on the internet. In this innovative book, Jeffrey G. Snodgrass argues that avatars allow for the ecstatic projection of consciousness into alternate realities, potentially providing both the spiritually possessed and gamers access to superior secondary identities with elevated social standing. Even if only temporary, self-transformations of these kinds can help reduce psychosocial stress and positively improve health and well-being. Jeffrey G. Snodgrass is Professor of Anthropology at Colorado State University. Armanc Yildiz is a doctoral candidate in Social Anthropology with a secondary field in Studies in Women, Gender and Sexuality at Harvard University. He is also the founder of Academics Write, where he supports scholars in their writing projects as a writing coach and developmental editor. 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

This abundantly illustrated book is an illuminating exploration of the impact of medieval imagery on three hundred years of visual culture. From the soaring castles of Sleeping Beauty to the bloody battles of Game of Thrones, from Middle-earth in The Lord of the Rings to mythical beasts in Dungeons & Dragons, and from Medieval Times to the Renaissance Faire, the Middle Ages have inspired artists, playwrights, filmmakers, gamers, and writers for centuries. Indeed, no other historical era has captured the imaginations of so many creators. The Fantasy of the Middle Ages: An Epic Journey Through Imaginary Medieval Worlds (J. Paul Getty Museum, 2022) aims to uncover the many reasons why the Middle Ages have proven so applicable to a variety of modern moments from the eighteenth through the twenty-first century. These “medieval” worlds are often the perfect ground for exploring contemporary cultural concerns and anxieties, saying much more about the time and place in which they were created than they do about the actual conditions of the medieval period. With over 140 color illustrations, from sources ranging from thirteenth-century illuminated manuscripts to contemporary films and video games, and a preface by Game of Thrones costume designer Michele Clapton, The Fantasy of the Middle Ages will surprise and delight both enthusiasts and scholars. This title is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from June 21 to September 11, 2022. Larisa Grollemond is the assistant curator of manuscripts at the J. Paul Getty Museum. She received her Ph.D. in art history from the University of Pennsylvania and was a contributing editor for Book of Beasts: The Bestiary in the Medieval World (Getty Publications, 2019). Bryan C. Keene (he/él/they/elle) is assistant professor of art history at Riverside City College and a former associate curator of manuscripts at the J. Paul Getty Museum. He specializes in codex cultures of the global Middle Ages and fantasy medievalisms. He holds a Ph.D. from the Courtauld Institute of Art, at the University of London. Evan Zarkadas (MA) is an independent scholar of European and Medieval history and an educator. He received his master’s in history from the University of Maine focusing on Medieval Europe, the Eastern Mediterranean, medieval identity, and ethnicity during the late Middle Ages. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today I talked to Felix Zimmermann about his book Virtual Realities: Atmospheric Experience of the Past in Digital Games (Virtuelle Wirklichkeiten: Atmosphärisches Vergangenheitserleben im Digitalen Spiel (Büchner-Verlag, 2023) Atmospheres are everywhere: at the workplace, in the soccer stadium, in front of the crackling fireplace. They shape our everyday language and have become quite natural expressions of how we find ourselves in certain environments and how we feel about them. Their influence is far-reaching: aesthetic atmospheres are closely linked to a contemporary experience-oriented historical culture whose products and practices claim to establish an immediate contact with the past. With 'Vergangenheitsatmosphären' Felix Zimmermann offers for the first time a term to adequately describe this striving for immediacy. Using in-depth analyses of the digital games Anno 1800 (2019), Assassin's Creed Syndicate (2015), and Dishonored: The Mask of Wrath (2012), the concept is contoured and the productivity of atmospheric research trained on theories and methods of public history, game studies, and phenomenology is demonstrated. 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

Playing Oppression: The Legacy of Conquest and Empire in Colonialist Board Games (MIT Press, 2023) by Dr. Mary Flanagan & Dr. Mikael Jakobsson is a striking analysis of popular board games' roots in imperialist reasoning—and why the future of play depends on reckoning with it. Board games conjure up images of innocuously enriching entertainment: family game nights, childhood pastimes, cooperative board games centered around resource management and strategic play. Yet in Playing Oppression, Dr. Flanagan and Dr. Jakobsson apply the incisive frameworks of postcolonial theory to a broad historical survey of board games to show how these seemingly benign entertainments reinforce the logic of imperialism. Through this lens, the commercialized version of Snakes and Ladders takes shape as the British Empire's distortion of Gyan Chaupar (an Indian game of spiritual knowledge), and early twentieth-century “trading games” that fêted French colonialism are exposed for how they conveniently sanitized its brutality while also relying on crudely racist imagery. These games' most explicitly abhorrent features may no longer be visible, but their legacy still lingers in the contemporary Eurogame tendency to exalt (and incentivize) cycles of exploration, expansion, exploitation, and extermination. An essential addition to any player's bookshelf, Playing Oppression deftly analyzes this insidious violence and proposes a path forward with board games that challenge colonialist thinking and embrace a much broader cultural imagination. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused 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

What role do imaginary games have in story-telling? Why do fiction authors outline the rules of a game that the reader will never watch or play?  Combining perspectives from philosophy, literature and game studies, Fictional Games: A Philosophy of Worldbuilding and Imaginary Play (Bloomsbury, 2023) provides the first in-depth investigation into the significance of games in fictional worlds. With examples from contemporary cinema and literature, from The Hunger Games to the science fiction of Iain M. Banks, Stefano Gualeni and Riccardo Fassone introduce four key functions that different types of imaginary games have in worldbuilding. First, fictional games can emphasize the dominant values and ideologies of the fictional society they belong to. Second, some games function as critical, utopian tools, inspiring shifts in the thinking and political orientation of the fictional characters. Third, imaginary games, especially those with a magical component, are conducive to the transcendence of a particular form of being, such as the overcoming of human corporeality. And fourth, fictional games can deceptively blur the boundaries between the contingency of play and the irrevocable seriousness of "real life", either camouflaging life as a game or disguising a game as something with more permanent consequences.  With illustrations in every chapter, bringing the imaginary games to life, Gualeni and Fassone creatively inspire us to consider fictional games anew: not as moments of playful reprieve in a storyline, but as significant and multi-layered rhetorical devices. 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 play element at the heart of our interactions with computers—and how it drives the best and the worst manifestations of the information age. Whether we interact with video games or spreadsheets or social media, playing with software shapes every facet of our lives. In Playing Software: Homo Ludens in Computational Culture (MIT Press, 2023), Miguel Sicart delves into why we play with computers, how that play shapes culture and society, and the threat posed by malefactors using play to weaponize everything from conspiracy theories to extractive capitalism. Starting from the controversial idea that software is an essential agent in the information age, Sicart considers our culture in general—and our way of thinking about and creating digital technology in particular—as a consequence of interacting with software's agency through play. As Sicart shows, playing shapes software agency. In turn, software shapes our agency as we adapt and relate to it through play. That play drives the creation of new cultural, social, and political forms. Sicart also reveals the role of make-believe in driving our playful engagement with the digital sphere. From there, he discusses the cybernetic theory of digital play and what we can learn from combining it with the idea that playfulness can mean pleasurable interaction with human and nonhuman agents inside the boundaries of a computational system. Finally, he critiques the instrumentalization of play as a tool wielded by platform capitalism. 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

Let's plays are among the most popular genres on YouTube. The visual worlds of video games shape the worldviews of millions. Gaming is a hobby and a mass spectacle. For a long time, the history of video games was primarily one of technical progress: from pixelated figures in 2D to increasingly convincing illusions of reality in games like Control. At the same time, independent game worlds emerge, such as in the expressionist dystopia Disco Elysium.  In Video Games: Digital Image Cultures (Videospiele: Digitale Bildkulturen), Jacob Birken vividly analyzes the different types and generations of games, provides insights into the interaction of hardware and software, and shows how newer video games stylistically reference the past of their own medium. But does this also revive the unfulfilled promises of the future of the information society? Jacob Birken writes and researches on the history, aesthetics, and theory of media technologies. In 2018, he published "The California Institution" on the 1906 San Francisco earthquake. He currently works at the University of Cologne. 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

Gaming the Past: Using Video Games to Teach Secondary History (Routledge, 2022) is a complete handbook to help pre-service teachers, current teachers, and teacher educators use historical video games in their classes to develop critical thinking skills. It focuses on practical information and specific examples for integrating critical thinking activities and assessments using video games into classes. Chapters cover the core parts of planning, designing, and implementing lessons and units based on historical video games. Topics include: Talking to administrators, parents, and students about the educational value of teaching with historical video games. Selecting games that are aligned to curricular goals by considering the genres of historical games. Planning and implementing game-based history lessons ranging from whole class exercises, to individual gameplay, to analysis in groups. Employing instructional strategies to help students learn to play and engage in higher level analysis Identifying and avoiding common pitfalls when incorporating games into the history class. Developing activities and assessments that facilitate interpreting and creating established and new media. Gaming the Past also includes sample unit and lesson plans, worksheets and assessment questions, and a list of historical games currently available, both commercial and freely available Internet 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

Jeffrey Carpenter and Andrea Robbett's book Game Theory and Behavior (MIT Press, 2022) is an introduction to game theory that offers not only theoretical tools but also the intuition and behavioral insights to apply these tools to real-world situations. This introductory text on game theory provides students with both the theoretical tools to analyze situations through the logic of game theory and the intuition and behavioral insights to apply these tools to real-world situations. It is unique among game theory texts in offering a clear, formal introduction to standard game theory while incorporating evidence from experimental data and introducing recent behavioral models. Students will not only learn about incentives, how to represent situations as games, and what agents “should” do in these situations, but they will also be presented with evidence that either confirms the theoretical assumptions or suggests a way in which the theory might be updated. Jeffrey Carpenter is the James Jermain Professor of Political Economy at Middlebury College. His research interests include Experimental and Behavioral Economics with applications to Labor, Public and Development Economics. While pursuing these interests he has conducted lab and field experiments in North America, South America, Europe and Asia. Andrea Robbett is an Associate Professor of Economics at Middlebury College. Her research uses laboratory experiments to test canonical theoretical models, new ideas, and conventional wisdom. Her work has addressed topics in public economics, labor, voting, information avoidance, financial decision-making and "attribute overload," trust and cooperation, and auctions. Peter Lorentzen is economics professor at the University of San Francisco. He heads USF's Applied Economics Master's program, which focuses on the digital economy. His research is mainly on China's political economy. Learn more about your ad choices. Visit megaphone.fm/adchoices

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not resolve the issue. Focusing on why individual players are motivated to entertain immoral and violent fantasies, Christopher Bartel's book Video Games, Violence, and the Ethics of Fantasy: Killing Time (Bloomsbury, 2020) advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, 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, 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 needs are satisfied in digital gaming? And what does the shift of these need satisfactions into the digital space say about the social realities in which they are embedded? Harald Koberg lets gamers themselves have their say and follows their traces of the described fascinations and passions in his latest book Free Play: Digital Gaming and the Longing for Effectiveness (Freies Spiel: Digitales Spielen und die Sehnsucht nach Wirkmächtigkeit). The answers found aim at experiences of efficacy: digital games and the communication spaces around them offer particular opportunities to experience one's own decisions and actions as relevant and effective. It is not only about narrated stories and interactions with the game, but also about the rules and limits of communication, spaces of unfolding, self-dramatization, and norm-setting. Using the examples of adolescent search for free spaces, insecure masculinity, and achievement society overload, Harald Koberg shows why critique of the medium of video games must focus on people and how much can be determined about larger social contexts along the way. 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

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 laurie.dickmeyer@angelo.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

When viewed through the context of an interactive play, a video game player fulfills the roles of both actor and spectator, watching and influencing a game's story in real time. This book presents video gaming as a virtual medium for performance, scrutinizing the ways in which a player's interaction with the narrative informs personal, historical, social and cultural understanding. Centering the author's own experiences as both video game player and performance scholar, The Performance of Video Games: Enacting Identity, History and Culture Through Play (McFarland, 2022) thoroughly applies concepts from theatre and performance studies. Chapters argue that the posthuman player position now challenges what can be contextualized as a lived experience, and how video games can change players' relationships with historical events and contemporary concerns, ultimately impacting how they develop a sense of self. Using the author's own gaming experiences as a framework, the book focuses on the intersection between player and narrative, exploring what engagement with a storyline reveals about identity and society. 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 can act as invaluable tools for the teaching of the Middle Ages. The learning potential of physical and digital games is increasingly undeniable at every level of historical study. These games can provide a foundation of information through their stories and worlds. They can foster understanding of complex systems through their mechanics and rules. Their very nature requires the player to learn to progress. The educational power of games is particularly potent within the study of the Middle Ages. These games act as the first or most substantial introduction to the period for many students and can strongly influence their understanding of the era. Within the classroom, they can be deployed to introduce new and alien themes to students typically unfamiliar with the subject matter swiftly and effectively. They can foster an interest in and understanding of the medieval world through various innovative means and hence act as a key educational tool. Teaching the Middle Ages through Modern Games: Using, Modding and Creating Games for Education and Impact (de Gruyter, 2022), edited by Robert Houghton, presents a series of essays addressing the practical use of games of all varieties as teaching tools within Medieval Studies and related fields. In doing so it provides examples of the use of games at pre-university, undergraduate, and postgraduate levels of study, and considers the application of commercial games, development of bespoke historical games, use of game design as a learning process, and use of games outside the classroom. As such, Teaching the Middle Ages through Modern Games is a flexible and diverse pedagogical resource and its methods may be readily adapted to the teaching of different medieval themes or other periods of history. 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

In Wandering Games (MIT Press, 2022), Melissa Kagen analyzes wandering within different game worlds, viewed through the lenses of work, colonialism, gender, and death. Wandering in games can be a theme, a formal mode, an aesthetic metaphor, or a player action. It can mean walking, escaping, traversing, meandering, or returning. Kagen introduces the concept of “wandering games,” exploring the uses of wandering in a variety of game worlds. She shows how the much-derided Walking Simulator—a term that began as an insult, a denigration of games that are less violent, less task-oriented, or less difficult to complete—semi-accidentally tapped into something brilliant: the vast heritage and intellectual history of the concept of walking in fiction, philosophy, pilgrimage, performance, and protest. Kagen examines wandering in a series of games that vary widely in terms of genre, mechanics, themes, player base, studio size, and funding, giving close readings to Return of the Obra Dinn, Eastshade, Ritual of the Moon, 80 Days, Heaven’s Vault, Death Stranding, and The Last of Us Part II. Exploring the connotations of wandering within these different game worlds, she considers how ideologies of work, gender, colonialism, and death inflect the ways we wander through digital spaces. Overlapping and intersecting, each provides a multifaceted lens through which to understand what wandering does, lacks, implies, and offers. Kagen’s account will attune game designers, players, and scholars to the myriad possibilities of the wandering ludic body. Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices

Adam Crowley's book Representations of Poverty in Videogames (Palgrave MacMillan, 2022) argues that digital games address contemporary, middle-class anxieties about poverty in the United States. The early chapters consider gaming as a modern form of slumming and explore the ways in which titles like The Elder Scrolls V: Skyrim and World of Warcraft thematize poverty. The argument turns to the field of literary studies to identify analytical frameworks for addressing and understanding these themes. Throughout, the book considers how the academic area of inquiry known as game studies has developed over time, and makes use of such scholarship to present, frame, and value its major claims and findings. In its conclusion, the book models how poverty themes might be identified and associated for the purpose of gaining greater insights into how games can shape, and also be shaped by, the player’s economic expectations. 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