New Books in Game Studies

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

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

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

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