Just as the video game console market was about to crash into the New Mexico desert in 1983, professor and sociologist David Sudnow was unearthing the secrets of “eye, mind, and the essence of video skill” through an exploration of Atari’s Breakout, one of the earliest hits of the arcade world. Originally released under the title Pilgrim in the Microworld, Sudnow’s groundbreaking longform criticism of a single game predates the rise of game studies by decades. While its earliest critics often scorned the idea of a serious book about an object of play, the book’s modern readers remain fascinated by an obsessive, brilliant, and often hilarious quest to learn to play Breakout just as one would learn the piano. Featuring a new foreword and freshly edited text, Breakout makes a perfect addition to Boss Fight’s lineup of critical, historical, and personal looks at single video games. We’re proud to restore this classic to print and share with new audiences Sudnow’s wild pilgrimage into the limitless microworld of play.

A broad treatment of computer and video games from a wide range of perspectives, including cognitive science and artificial intelligence, psychology, history, film and theater, cultural studies, and philosophy. New media students, teachers, and professionals have long needed a comprehensive scholarly treatment of digital games that deals with the history, design, reception, and aesthetics of games along with their social and cultural context. The Handbook of Computer Game Studies fills this need with a definitive look at the subject from a broad range of perspectives. Contributors come from cognitive science and artificial intelligence, developmental, social, and clinical psychology, history, film, theater, and literary studies, cultural studies, and philosophy as well as game design and development. The text includes both scholarly articles and journalism from such well-known voices as Douglas Rushkoff, Sherry Turkle, Henry Jenkins, Katie Salen, Eric Zimmerman, and others. Part I considers the "prehistory" of computer games (including slot machines and pinball machines), the development of computer games themselves, and the future of mobile gaming. The chapters in part II describe game development from the designer's point of view, including the design of play elements, an analysis of screenwriting, and game-based learning. Part III reviews empirical research on the psychological effects of computer games, and includes a discussion of the use of computer games in clinical and educational settings. Part IV considers the aesthetics of games in comparison to film and literature, and part V discusses the effect of computer games on cultural identity, including gender and ethnicity. Finally, part VI looks at the relation of computer games to social behavior, considering, among other matters, the inadequacy of laboratory experiments linking games and aggression and the different modes of participation in computer game culture.

This is a state-of-the-art survey of an emerging area of study in media, communication and cultural studies, mobility studies and mobile communications. ‘Mobile socialities’ demarcates a new area of research that captures people’s various and contrary experiences of media in relation to their mobilities and socialities. The chapters in this volume are written by a range of international scholars offering a comprehensive overview and source of inspiration for a diverse range of topics on the contingent practices and finite resources of people and media on the move. The book demonstrates through empirical and theoretical research how mobile socialities is a generative concept for thinking through power, identity and the contexts of media in public and mediated spaces, work and everyday life, addressing a spectrum of mobile socialities and lived politics. The research and various cases make visible previously hidden, or obscured, social practices and allow us to rethink the meanings of mobility, digital media or the home in these examples of people living within the centre and peripheries of society. The Handbook establishes mobile socialities as a new area of academic enquiry, ideal for advanced undergraduate students and scholars across the disciplines of media, communication and cultural studies, anthropology, cultural geography and sociology.

Ultima and World-Building in the Computer Role-Playing Game is the first scholarly book to focus exclusively on the long-running Ultima series of computer role-playing games (RPG) and to assess its lasting impact on the RPG genre and video game industry. Through archival and popular media sources, examinations of fan communities, and the game itself, this book historicizes the games and their authors. By attending to the salient moments and sites of game creation throughout the series’ storied past, authors Carly A. Kocurek and Matthew Thomas Payne detail the creative choices and structural forces that brought Ultima’s celebrated brand of role-playing to fruition. This book first considers the contributions of series founder and lead designer, Richard Garriott, examining how his fame and notoriety as a pioneering computer game auteur shaped Ultima’s reception and paved the way for the evolution of the series. Next, the authors retrace the steps that Garriott took in fusing analog, tabletop role-playing with his self-taught lessons in computer programming. Close textual analyses of Ultima I outline how its gameplay elements offered a foundational framework for subsequent innovations in design and storytelling. Moving beyond the game itself, the authors assess how marketing materials and physical collectibles amplified its immersive hold and how the series’ legions of fans have preserved the series. Game designers, long-time gamers, and fans will enjoy digging into the games’ production history and mechanics while media studies and game scholars will find Ultima and World-Building in the Computer Role-Playing Game a useful extension of inquiry into authorship, media history, and the role of fantasy in computer game design.

An investigation of the embodied engagement between the playing body and the videogame: how player and game incorporate each other. Our bodies engage with videogames in complex and fascinating ways. Through an entanglement of eyes-on-screens, ears-at-speakers, and muscles-against-interfaces, we experience games with our senses. But, as Brendan Keogh argues in A Play of Bodies, this corporal engagement goes both ways; as we touch the videogame, it touches back, augmenting the very senses with which we perceive. Keogh investigates this merging of actual and virtual bodies and worlds, asking how our embodied sense of perception constitutes, and becomes constituted by, the phenomenon of videogame play. In short, how do we perceive videogames? Keogh works toward formulating a phenomenology of videogame experience, focusing on what happens in the embodied engagement between the playing body and the videogame, and anchoring his analysis in an eclectic series of games that range from mainstream to niche titles. Considering smartphone videogames, he proposes a notion of co-attentiveness to understand how players can feel present in a virtual world without forgetting that they are touching a screen in the actual world. He discusses the somatic basis of videogame play, whether games involve vigorous physical movement or quietly sitting on a couch with a controller; the sometimes overlooked visual and audible pleasures of videogame experience; and modes of temporality represented by character death, failure, and repetition. Finally, he considers two metaphorical characters: the “hacker,” representing the hegemonic, masculine gamers concerned with control and configuration; and the “cyborg,” less concerned with control than with embodiment and incorporation.

Terra the magical half-human. Shadow the mysterious assassin. Celes the tough, tender general. Kefka the fool who would be god. Each of the many unforgettable characters in Final Fantasy VI has made a huge impression on a generation of players, but why do we feel such affection for these 16-bit heroes and villains as so many others fade? The credit goes to the game’s score, composed by the legendary Nobuo Uematsu. Armed with newly translated interviews and an expert ear for sound, writer and musician Sebastian Deken conducts a critical analysis of the musical structures of FF6, the game that pushed the Super Nintendo’s sound capabilities to their absolute limits and launched Uematsu’s reputation as the “Beethoven of video game music.” Deken ventures deep into the game’s lush soundscape—from its expertly crafted leitmotifs to its unforgettable opera sequence—exploring the soundtrack’s lasting influence and how it helped clear space for game music on classical stages around the world.

You’ve met with a terrible fate, haven’t you? Those grim words hang over the entirety of Majora Mask, the sixth entry in the Legend of Zelda series. In his darkest adventure, Link must relive the same three days over and over again to prevent the moon from colliding into the kingdom of Termina and ending the world. Made with a small team in a single year for the Nintendo 64 from the assets of its predecessor, Majora’s Mask could have been a shameless cash-in—but instead has gained wide recognition as the most mysterious, mature, and touching game in the series. It’s also the Zelda game that has inspired more inventive fan theories and bone-chilling internet horror stories than might be expected from a high-fantasy adventure. Through rigorous research and a new in-depth interview with Majora’s North American localizer, Jason Leung, writer and editor Gabe Durham investigates the relationship between Majora’s fast-paced, adaptive development and the meaning projected onto its story by players—and shines a light on the strange and tumultuous romance between art and fandom.

Bond—James Bond. In the 80s and 90s, the debonair superspy’s games failed to live up to the giddy thrills of his films. That all changed when British studio Rare unleashed GoldenEye 007 in 1997. In basements and college dorms across the world, friends bumped shoulders while shooting, knifing, exploding, and slapping each other’s digital faces in the Nintendo 64 game that would redefine the modern first-person shooter genre and become the most badass party game of its generation. But GoldenEye’s success was far from a sure thing. For years of development, GoldenEye’s team of rookie developers were shooting in the dark with no sense of what the N64 or its controller would be like, and the game’s relentless violence horrified higher-ups at squeaky clean Nintendo. As development lagged far behind the debut of the tie-in film GoldenEye, the game nearly came out an entire Bond movie too late. Through extensive interviews with GoldenEye’s creators, writer and scholar Alyse Knorr traces the story of how this unlikely licensed game reinvigorated a franchise and a genre. Learn all the stories behind how this iconic title was developed, and why GoldenEye 007 has continued to kick the living daylights out of every other Bond game since.

Now a sprawling video game franchise, Resident Evil has kept us on the edge of our seats for decades with its tried-and-true brand of jump scares, zombie action, and biological horror. But even decades after its release, we can’t stop revisiting the original’s thrills, chills, and sometimes unintentional spills. Pop culture writer and horror cinephile Philip J Reed takes dead aim at 1996’s Resident Evil, the game that named and defined the genre we now call “survival horror.” While examining Resident Evil’s influences from the worlds of film, literature, and video games alike, Reed’s love letter to horror examines how the game’s groundbreaking design and its atmospheric fixed-cam cinematography work to thrill and terrify players—and why that terror may even be good for you. Featuring a foreword from Troma Entertainment legend Lloyd Kaufman and new interviews with the game’s voice actors and its live-action cast, the book serves as the master of unlocking the behind-the-scenes secrets of Resident Evil, and shows how even a game filled with the most laughable dialogue can still scare the pants off of you.

A troubled man travels to a mysterious town from his past after receiving a letter from his wife... who's been dead for years. And while our "hero" explores dark corridors and battles countless disturbing enemies, his journey offers more psychological horror than survival horror. Welcome to Silent Hill, where the monster is you. Silent Hill 2 doubles down on what made the first game so compelling: The feeling of being lost in a foggy, upside-down town as unsettling as it is familiar. Nearly two decades after first experiencing Silent Hill 2, writer and comedian Mike Drucker returns to its dark depths to explore how this bold video game delivers an experience that is tense, nightmarish, and anything but fun. With an in-depth and highly personal study of its tragic cast of characters, and a critical examination of developer Konami’s world design and uneven marketing strategy, Drucker examines how Silent Hill 2 forces its players to grapple with the fact that very real-world terrors of trauma, abuse, shame, and guilt are far more threatening than any pyramid-headed monster could ever be.