The Video Game Theory Reader

by Mark J.P. Wolf

Book Overview

In the early days of Pong and Pac Man, video games appeared to be little more than an idle pastime. Today, video games make up a multi-billion dollar industry that rivals television and film.

The Video Game Theory Reader brings together exciting new work on the many ways video games are reshaping the face of entertainment and our relationship with technology. Drawing upon examples from widely popular games ranging from Space Invaders to Final...

• Format: Paperback
• Language: English
• ISBN: 0415965799
• ISBN13: 9780415965798
• Release Date: October 2003
• Publisher: Routledge
• Length: 343 Pages
• Weight: 1.30 lbs.
• Dimensions: 0.9" x 6.1" x 8.9"

Customer Reviews

Well worth it

this is not light reading. There aren't any aliens to blast, cities to conquer, or my favorite, zombies to re-kill. Instead, this is fairly scholarly tome. It puts theories about why we really love blasting, conquering and re-killing. Not to be taken lightly but well worth the effort to read the science, psychology, marketing, and art behind our games.

Authoritative and interesting

The social impact of video games as a new media has been my focus this semester at the University of Minnesota and this book has been my bible. The articles are not only informative and thought-provoking, but very interesting. As a long-time gamer, this was an opportunity for me to look differently at a medium I thought was purely for entertainment and really see the far reaching effect that video games have not only our media and consumer culture, but also on the individual's psyche and perception of the world around him/her. If you're a researcher or just a gamer looking for a fresh perspective on this medium, you need to buy this book.

A Fantastic Primer on Game Theories ...

The Video Game Theory Reader begins not with a bold statement or manifesto for interpreting video games but in a far more grounded manner with a foreword from Warren Robinett who is widely regarded with having revolutionised gameplay in 1978 with his design for the Atari 2600 Adventure game. Robinett opens with an obvious but inescapable question about the acceptability of video games: 'It is hard to say what ranks lower on the artistic food chain than video games. Comic books? TV sit-coms? X-rated films? These ratlike vermin at the bottom scurry to avoid the thunderous footfalls of the towering behemoths of the art world.' (vii-viii). Robinett argues that most new art forms require an 'enabling technology'-cinema had the motion picture camera-and now video games have the affordable home PC (preceded somewhat by dedicated gaming systems like the Atari, which seem to have come full circle with new console Nintendo, Playstation and Microsoft's Xbox systems). With the technology firmly entrenched and a large body of work (the games) available for analysis, it's time for the critics and theorists to pay attention. As video games become increasingly complex and, more to the point, socially entrenched, the humble video game has become a worthy subject for critical analysis and a new cultural studies field is emerging. Moreover, the fact that in the US, UK and Australia video games sales outstrip the box office takings for first release films indicates that video games are playing an increasingly substantial role in our leisure hours and social interactions. While editors Mark J. P. Wolf and Bernard Perron may be overstating the case somewhat in claiming that 'the video game has recently become the hottest and most volatile field of study within new media theory' (1) , this collection certainly goes a long way to ensuring that video game analysis will have firm critical footholds. Wolf and Perron's excellent introduction goes a long way to illustrating that the field of video game study and theory does have both a lineage and its own proto-canon of important texts. As well as sketching the history of video game design and analysis, Wolf and Perron highlight four key elements of video games which distinguish them from the amorphous umbrella of new media: graphics, the changeable display almost always on a pixel-comprised screen; interface, the all-important connection between the game and player, which usually includes the graphics, but also speakers, microphones, keypads, joysticks, as well as onscreen elements such as sliders and menus; player activity, 'the heart of the video game experience' (15) and key to video game design; and algorithm, the program and procedures which must be to some extent unique for each different game. Walter Holland, Henry Jenkins and Kurt Squire's first chapter 'Theory by Design' looks at the feedback loop between design, play and theory in the realm of 'edutainment'-educationally oriented games-and uses four case studies