This book provides the first in-depth exploration of video games as history. Chapman puts forth five basic categories of analysis for understanding historical video games: simulation and epistemology, time, space, narrative, and affordance. Through these methods of analysis he explores what these games uniquely offer as a new form of history and how they produce representations of the past. By taking an inter-disciplinary and accessible approach the book provides a specific and firm first foundation upon which to build further examination of the potential of video games as a historical form.

There are an increasing number of courses on digital games and gaming, following the rise in the popularity of games themselves. Amongst these practical courses, there are now theoretical courses appearing on gaming on media, film and cultural studies degree programmes. The aim of this book is to satisfy the need for a single accessible textbook which offers a broad introductions to the range of literatures and approaches currently contributing to digital game research. Each of the chapters will outline key theoretical perspectives, theorists and literatures to demonstrate their relevance to, and use in, the study of digital games.

This unique volume introduces and discusses the methods of validating computer simulations in scientific research. The core concepts, strategies, and techniques of validation are explained by an international team of pre-eminent authorities, drawing on expertise from various fields ranging from engineering and the physical sciences to the social sciences and history. The work also offers new and original philosophical perspectives on the validation of simulations. Topics and features: introduces the fundamental concepts and principles related to the validation of computer simulations, and examines philosophical frameworks for thinking about validation; provides an overview of the various strategies and techniques available for validating simulations, as well as the preparatory steps that have to be taken prior to validation; describes commonly used reference points and mathematical frameworks applicable to simulation validation; reviews the legal prescriptions, and the administrative and procedural activities related to simulation validation; presents examples of best practice that demonstrate how methods of validation are applied in various disciplines and with different types of simulation models; covers important practical challenges faced by simulation scientists when applying validation methods and techniques; offers a selection of general philosophical reflections that explore the significance of validation from a broader perspective. This truly interdisciplinary handbook will appeal to a broad audience, from professional scientists spanning all natural and social sciences, to young scholars new to research with computer simulations. Philosophers of science, and methodologists seeking to increase their understanding of simulation validation, will also find much to benefit from in the text.

Role-play as a Heritage Practice is the first book to examine physically performed role-enactments, such as live-action role-play (LARP), tabletop role-playing games (TRPG), and hobbyist historical reenactment (RH), from a combined game studies and heritage studies perspective. Demonstrating that non-digital role-plays, such as TRPG and LARP, share many features with RH, the book contends that all three may be considered as heritage practices. Studying these role-plays as three distinct genres of playful, participatory and performative forms of engagement with cultural heritage, Mochocki demonstrates how an exploration of the affordances of each genre can be valuable. Showing that a player’s engagement with history or heritage material is always multi-layered, the book clarifies that the layers may be conceptualised simultaneously as types of heritage authenticity and as types of in-game immersion. It is also made clear that RH, TRPG and LARP share commonalities with a multitude of other media, including video games, historical fiction and film. Existing within, and contributing to, the fiction and non-fiction mediasphere, these role-enactments are shaped by the same large-scale narratives and discourses that persons, families, communities, and nations use to build memory and identity. Role-play as a Heritage Practice will be of great interest to academics and students engaged in the study of heritage, memory, nostalgia, role-playing, historical games, performance, fans and transmedia narratology.

The growth of videogame design programs in higher education and explosion of amateur game development has created a need for a deeper understanding of game history that addresses not only "when," but "how" and "why." Andrew Williams takes the first step in creating a comprehensive survey on the history of digital games as commercial products and artistic forms in a textbook appropriate for university instruction. History of Digital Games adopts a unique approach and scope that traces the interrelated concepts of game design, art and design of input devices from the beginnings of coin-operated amusement in the late 1800s to the independent games of unconventional creators in the present. Rooted in the concept of videogames as designed objects, Williams investigates the sources that inspired specific game developers as well as establishing the historical, cultural, economic and technological contexts that helped shape larger design trends. Key Features Full-color images and game screenshots Focuses primarily on three interrelated digital game elements: visual design, gameplay design and the design of input devices This book is able to discuss design trends common to arcade games, home console games and computer games while also respecting the distinctions of each game context Includes discussion of game hardware as it relates to how it affects game design Links to online resources featuring games discussed in the text, video tutorial and other interactive resources will be included.

For two decades, Rockstar Games have been making games that interrogate and represent the idea of America, past and present. Commercially successful, fan-beloved, and a frequent source of media attention, Rockstar’s franchises are positioned as not only game-changing, ground-breaking interventions in the games industry, but also as critical, cultural histories on America and its excesses. But what does Rockstar’s version of American history look like, and how is it communicated through critically acclaimed titles like Red Dead Redemption (2010) and L.A. Noire (2011)? By combining analysis of Rockstar’s games and a range of official communications and promotional materials, this book offers critical discussion of Rockstar as a company, their video games, and ultimately, their attempts at creating new narratives about U.S. history and culture. It explores the ways in which Rockstar’s brand identity and their titles coalesce to create a new kind of video game history, how promotional materials work to claim the "authenticity" of these products, and assert the authority of game developers to perform the role of historian. By working at the intersection of historical game studies, U.S. history, and film and media studies, this book explores what happens when contemporary demands for historical authenticity are brought to bear on the way we envisage the past –– and whose past it is deemed to be. Ultimately, this book implores those who research historical video games to consider the oft-forgotten sources at the margins of these games as importance spaces where historical meaning is made and negotiated.

This book covers the state-of-the-art in digital games research and development for anyone working with or studying digital games and those who are considering entering into this rapidly growing industry. Many books have been published that sufficiently describe popular topics in digital games; however, until now there has not been a comprehensive book that draws the traditional and emerging facets of gaming together across multiple disciplines within a single volume.

From gaming consoles to smartphones, video games are everywhere today, including those set in historical times and particularly in the ancient world. This volume explores the varied depictions of the ancient world in video games and demonstrates the potential challenges of games for scholars as well as the applications of game engines for educational and academic purposes. With successful series such as “Assassin's Creed” or "Civilization” selling millions of copies, video games rival even television and cinema in their role in shaping younger audiences' perceptions of the past. Yet classical scholarship, though embracing other popular media as areas of research, has so far largely ignored video games as a vehicle of classical reception. This collection of essays fills this gap with a dedicated study of receptions, remediations and representations of Classical Antiquity across all electronic gaming platforms and genres. It presents cutting-edge research in classics and classical receptions, game studies and archaeogaming, adopting different perspectives and combining papers from scholars, gamers, game developers and historical consultants. In doing so, it delivers the first state-of-the-art account of both the wide array of 'ancient' video games, as well as the challenges and rewards of this new and exciting field.

How did games rise to become the central audiovisual form of expression and storytelling in digital culture? How did the practices of their artistic production come into being? How did the academic analysis of the new medium's social effects and cultural meaning develop? Addressing these fundamental questions and aspects of digital game culture in a holistic way for the first time, Gundolf S. Freyermuth's introduction outlines the media-historical development phases of analog and digital games, the history and artistic practices of game design, as well as the history, academic approaches, and most important research topics of game studies.

This book explores the lifecycle of digital games. Drawing upon a broad range of media studies perspectives with aspects of sociology, social theory and economics, Aphra Kerr explores this all-pervasive, but under-theorised, aspect of our media environment. Written as an introductory text for media and game students this book aims present an overview of industry and scholary work on who makes games, where they get made, what kind of media and cultural form they are and who plays them and where. The Business and Culture of Digital Games looks at: - games as a new media form; - the design, development and marketing of games; - the use of games in public and private spaces. Combining a theoretical and empirical analysis of the production, content and consumption of computer games, this book will be of interest to many students of media, culture and communication.