The Video Game Theory Reader 2
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The Video Game Theory Reader 2 picks up where the first Video Game Theory Reader (Routledge, 2003) left off, with a group of leading scholars turning their attention to next-generation platforms-the Nintendo Wii, the PlayStation 3, the Xbox 360-and to new issues in the rapidly expanding field of video games studies. The contributors are some of the most renowned scholars working on video games today including Henry Jenkins, Jesper Juul, Eric Zimmerman, and Mia Consalvo. While the first volume had a strong focus on early video games, this volume also addresses more contemporary issues such as convergence and MMORPGs. The volume concludes with an appendix of nearly 40 ideas and concepts from a variety of theories and disciplines that have been usefully and insightfully applied to the study of video games.
advertising slogan for the 400 and 800 told consumers, “You don’t have to be a genius to use one,” playing up the ease-of-use of these home computers. The 400 and 800 systems stand as examples of cross-purposed devices—they are neither the best version of a gaming system or a computer. As Nintendo of America President Minoru Arakawa said of Coleco’s similar ADAM line of dual-use com- puter/game systems: “It [the Coleco ADAM] was a big mess. How do you define the line between computer and video
Corporation for Public Broadcasting, the NASB, and the Federal Reserve. Major companies getting involved in virtual world experiments include Cisco, IBM, Intel, Google, and Sony. We are certain that there are also others. It is a natural step for a graduate student in the social sciences to think about using a virtual world to conduct an experiment. We predict that within five years, papers will be published in mainstream academic journals that were born as virtual worlds experiments in PhD
artistic nature of the medium, curiously video game aesthetics as such have been underexplored in video game studies. The reason may be due to the aforementioned debate about the legitimacy of video game as a cultural and art form, but also probably because of the low esteem of the “aesthetic” as a dated classical discipline, which in the twentieth century was associated with subjective and obsolete notions of “Beauty” or the “Sublime.” Questions about genre, narrative, emotion, space, time,
range of games is vast. For example, tic-tac-toe, auctions, economic markets, and trade negoti-ations are all considered “games,” and game theory originated as the mathematical study of such human interactions. Today, massive multiplayer video games belong to the most complex classes of games, and here Appendix . 351 we will discuss three aspects of game theory that have particular relevance for video games: game design, game dynamics, and complexity theory. First, let us consider game design.
139, 301, 318, 322, 327, and casual situations 304–05 353, 361, 362–64, 369 Laguna Racer 154–55 ludosis, of games 319 La-Mulana 17, 169–94 ludus 14, 147 Lakoff, George 56 language 16, 19, 23, 27, 28, 56, 301, M.A.C.H. 3 161 305–307, 361, 373, 376–77, 381–82 MacArthur Foundation 29, 31 conventional 51–2 Macintosh TV 209 poetic 51–2 Maddin, Guy 186, 191 Lantz, Frank 31 magic circle 16, 24, 26, 28, 48, 95, 111–12, Lara Croft Tomb Raider: Anniversary 166 113, 296, 326, 364, 379