"Video games have become a global industry, and their history spans dozens of national industries where foreign imports compete with domestic productions, legitimate industry contends with piracy, and national identity faces the global marketplace. This volume describes video game history and cultur
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e across every continent, with essays covering areas as disparate and far-flung as Argentina and Thailand, Hungary and Indonesia, Iran and Ireland. Most of the essays are written by natives of the countries they discuss, many of them game designers and founders of game companies, offering distinctively firsthand perspectives. Some of these national histories appear for the first time in English, and some for the first time in any language." (Back cover)
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"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 pro
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gress (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 26 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." (Publisher description)
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"Chancen und Risiken von Computerspielen, Retro Gaming, Gamification, Sim Games und Augmented Reality: Im Wintersemester 2013/2014 haben sich Professorinnen und Professoren aus ganz Bayern an der ersten bayernweiten Ringvorlesung Games beteiligt. Der MedienCampus Bayern und Games/Bavaria haben für
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diese Veranstaltungsreihe an fünf Abenden ins WERK1 München eingeladen. Weit über 100 Besucher sind aus verschiedensten Orten gekommen (Exkursionen von Studierenden gab es beispielsweise aus Regensburg, Kempten, Nürnberg und Augsburg) und haben die Ringvorlesung zu einem vollen Erfolg werden lassen." (Vorwort)
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"Shaman, paragon, God-mode: modern video games are heavily coded with religious undertones. From the Shinto-inspired Japanese video game 'Okami' to the internationally popular 'The Legend of Zelda' and 'Halo', many video games rely on religious themes and symbols to drive the narrative and frame the
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storyline. 'Playing with Religion in Digital Games' explores the increasingly complex relationship between gaming and global religious practices. For example, how does religion help organize the communities in MMORPGs such as 'World of Warcraft'? What role has censorship played in localizing games like 'Actraiser' in the western world? How do evangelical Christians react to violence, gore, and sexuality in some of the most popular games such as 'Mass Effect' or 'Grand Theft Auto'?" (Publisher description)
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"Dennis Eick zeigt, welche neuen Erzählformen durch das Internet und die technischen Möglichkeiten der Digitalisierung realisiert werden können. Er stellt zahlreiche Beispiele aus dem nationalen und internationalen Bereich vor und führt Interviews mit namhaften Fachleuten aus den einzelnen Genre
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s. Dabei stehen nicht nur die Dramaturgie, sondern auch die wirtschaftlichen Bedingungen und konkreten Arbeitsfelder für Kreative im Vordergrund. Denn nicht nur die Grenzen zwischen Film und Games schwinden, sondern beide Medien nähern sich immer stärker an. Das Gleiche findet auch in der vielbeschworenen Konvergenz von TV und Internet statt, welche zum Beispiel in den vielen Social Media-Anwendungen immer neue Erzählformen generiert. Geschichten verändern sich, überschreiten die Grenzen der einzelnen Medien, ob sie linear oder non-linear erzählt werden, ob sie einen passiven Zuschauer oder einen aktiven Konsumenten ansprechen. Erstmals zeigt ein Buch die Gesetze und Möglichkeiten auf, mit denen Geschichten heute und in Zukunft erzählt werden können." (Verlagsbeschreibung)
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"En 2010 el Foro desplegó una nueva investigación en la que han participado ocho países: Argentina, Brasil, Chile, Colombia, Ecuador, Guatemala, México y Perú. El esfuerzo realizado por los equipos locales del Foro, con el apoyo inestimable de Fundación Telefónica y de Telefónica, ha permiti
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do que más de seiscientos colegios hayan tomado parte en ella, lo que ha supuesto encuestar a más de setenta y ocho mil menores de entre 6 y 18 años. Se ha puesto, además, un énfasis particular en que también los menores de los entornos rurales estuvieran debidamente representados en la muestra de estudio, lo que ha supuesto en muchos casos un trabajo adicional por parte de los profesores y de los equipos locales [...] los menores en los países iberoamericanos están creciendo en un contexto altamente tecnologizado, lo que plantea nuevas oportunidades y nuevos retos desde el punto de vista educativo y de la protección del menor. La importancia de éstos es tal que solo cabe una respuesta activa por parte de todas la instituciones involucradas en su educación: gobiernos, empresas, escuelas y, por supuesto, familias, deben sentirse interpeladas por la necesidad de formar a los menores en el uso responsable de las TIC. Únicamente el esfuerzo conjunto podrá conseguir minimizar los riesgos a los que se enfrentan con su uso y sacar el máximo provecho a las oportunidades que ofrece este nuevo escenario." (Introducción, página 12)
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"Game stories have evolved from the simple kidnapped-girl plot of Donkey Kong to the complex novel-length tales of modern RPGs. In addition, the ability of the player to interact with and affect the story has created many new and different types of stories that are difficult if not impossible to por
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tray in other kinds of media. Although games are an excellent medium for many types of storytelling, their interactivity makes them far different from more traditional media such as books and film. Interactive stories themselves havemany unique and challenging issues that aren’t encountered when writing a more traditionally structured tale, which we’ll be discussing all throughout the rest of this book. Game writers also need to think about many other factors, such as the synthesis between the story and gameplay and how to maintain a proper pace when the story’s progression is, at least to a certain extent, controlled by the player." (Page 5)
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"In summary, the present chapter analyzed the role of digital games in the growing practice of entertainment-education. We argued that serious games should not be automatically labeled as E-E digital games just because they include some social content. Connections were drawn between the social inter
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actional possibilities afforded by the technology of digital games vis-a-vis the more traditional mass-mediated E-E programs, expounding on the five key attributes of experiential game play, multimodality, interactivity, persuasive, interactive narrative, and social interaction. We concluded by noting that digital games offer tremendous generative potential for broaching alternative interventional possibilities for social change, and that scholarship on digital games would benefit from questioning the dominant psychosocial theoretical leanings that privilege linearity, causality, reductionism, and individualcenteredness." (Page 285)
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"In the many studies of games and young people's use of them, little has been written about an overall “ecology” of gaming, game design and play—mapping the ways that all the various elements, from coding to social practices to aesthetics, coexist in the game world. This volume looks at games
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as systems in which young users participate, as gamers, producers, and learners. The Ecology of Games aims to expand upon and add nuance to the debate over the value of games—which so far has been vociferous but overly polemical and surprisingly shallow. Game play is credited with fostering new forms of social organization and new ways of thinking and interacting; the contributors work to situate this within a dynamic media ecology that has the participatory nature of gaming at its core. They look at the ways in which youth are empowered through their participation in the creation, uptake, and revision of games; emergent gaming literacies, including modding, world-building, and learning how to navigate a complex system; and how games act as points of departure for other forms of knowledge, literacy, and social organization." (Back cover)
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"This book is for people who are interested in creating their own computer games for the Windows platform. Using the easy but powerful The Games Factory 2 software, you will be able to make games quicker and easier than ever before, without any programming knowledge. Game creation is a lot of fun an
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d easier than you might have previously imagined; it really is simple to start making your own games. The Games Factory 2 software that we use in this book allows you to make many different types of games, such as card games, board games, puzzles, platform games, side-scrolling games, shoot ‘em ups, adventure games, and more. If you have always dreamed of making your own games, now is your chance." (Introduction)
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"[This book] is meant to be a resource for writers and designers and those who must work with us and who may want to talk intelligently with us at some point. This is not a book of rules that, if slavishly followed, will guarantee success. You’ll see that just about every time I try to lay down so
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me canonical law to follow, I immediately think of exceptions. Don’t be afraid to break any rules as you write, as long as you know exactly what they mean, and why they’re rules to begin with. Pablo Picasso knew this, as you’ll soon see. It is one of the continuing themes running through this book. Think of it as a book of ideas and of choices. With any luck, it will help you to generate ideas of your own. And you will feel more comfortable when choices present themselves as you write. Knowing which choices to make is not teachable. It’s part of that creative instinct we call talent whose secret voice guides us in our decisions every time we sit down at the keyboard. And anyway, they will be different for different people. Despite what writing gurus say, all stories are not identical. They are shaped by all those unique facets of the human beings who write them." (Introduction)
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"The 2000 Yearbook treats two themes, both of which relate to newer features of the media landscape: violence in video and computer games, and pornography on television and on Internet. Some articles in the Yearbook also discuss findings on audience perceptions of violence and sex in the media. The
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choice of these themes has to do with the marked increase in the availability of such content to children and youth via new media technologies. The Yearbook comes with two bibliographies: Research on Pornography and Sex in the Media and Research on Video and Computer Games." (Publisher description)
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