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Title:Newsgames: Journalism at Play
Format Type:Ebook
Author:Ian Bogost, Simon Ferrari, Bobby Schweizer
Publisher:MIT Press (MA)
ISBN:0262014874
ISBN 13:
Number of Pages:235
Category:Games, Non fiction, Journalism, Game design, Gaming

Newsgames: Journalism at Play by Ian Bogost, Simon Ferrari, Bobby Schweizer

PDF, EPUB, MOBI, TXT, DOC Newsgames: Journalism at Play Journalism has embraced digital media in its struggle to survive But most online journalism just translates existing practices to the Web stories are written and edited as they are for print video and audio features are produced as they would be for television and radio The authors of i Newsgames i propose a new way of doing good journalism videogames Videogames are native to computers rather than a digitized form of prior media Games simulate how things work by constructing interactive models journalism as game involves more than just revisiting old forms of news production i Wired i magazine s game i Cutthroat Capitalism i for example explains the economics of Somali piracy by putting the player in command of a pirate ship offering choices for hostage negotiation strategies Videogames do not offer a panacea for the ills of contemporary news organizations But if the industry embraces them as a viable method of doing journalism not just an occasional treat for online readers newsgames can make a valuable contribution

How to Do Things with Videogames

In recent years computer games have moved from the margins of popular culture to its center Reviews of new games and profiles of game designers now regularly appear in the i New York Times i and the i New Yorker i and sales figures for games are reported alongside those of books music and movies They are increasingly used for purposes other than entertainment yet debates about videogames still fork along one of two paths accusations of debasement through violence and isolation or defensive paeans to their potential as serious cultural works In i How to Do Things with Videogames i Ian Bogost contends that such generalizations obscure the limitless possibilities offered by the medium s ability to create complex simulated realities br br Bogost a leading scholar of videogames and an award winning game designer explores the many ways computer games are used today documenting important historical and cultural events educating both children and adults promoting commercial products and serving as platforms for art pornography exercise relaxation pranks and politics Examining these applications in a series of short inviting and provocative essays he argues that together they make the medium broader richer and more relevant to a wider audience br br Bogost concludes that as videogames become ever more enmeshed with contemporary life the idea of gamers as social identities will become obsolete giving rise to gaming by the masses But until games are understood to have valid applications across the cultural spectrum their true potential will remain unrealized i How to Do Things with Videogames i offers a fresh starting point to more fully consider games progress today and promise for the future br


Persuasive Games: The Expressive Power of Videogames

Videogames are an expressive medium and a persuasive medium they represent how real and imagined systems work and they invite players to interact with those systems and form judgments about them In this innovative analysis Ian Bogost examines the way videogames mount arguments and influence players Drawing on the year history of rhetoric the study of persuasive expression Bogost analyzes rhetoric s unique function in software in general and videogames in particular The field of media studies already analyzes visual rhetoric the art of using imagery and visual representation persuasively Bogost argues that videogames thanks to their basic representational mode of procedurality rule based representations and interactions open a new domain for persuasion they realize a new form of rhetoric Bogost calls this new form procedural rhetoric a type of rhetoric tied to the core affordances of computers running processes and executing rule based symbolic manipulation He argues further that videogames have a unique persuasive power that goes beyond other forms of computational persuasion Not only can videogames support existing social and cultural positions but they can also disrupt and change these positions themselves leading to potentially significant long term social change Bogost looks at three areas in which videogame persuasion has already taken form and shows considerable potential politics advertising and learning


Alien Phenomenology, or What It’s Like to Be a Thing

Humanity has sat at the center of philosophical thinking for too long The recent advent of environmental philosophy and posthuman studies has widened our scope of inquiry to include ecosystems animals and artificial intelligence Yet the vast majority of the stuff in our universe and even in our lives remains beyond serious philosophical concern br br In i Alien Phenomenology or What It s Like to Be a Thing i Ian Bogost develops an object oriented ontology that puts things at the center of being a philosophy in which nothing exists any more or less than anything else in which humans are elements but not the sole or even primary elements of philosophical interest And unlike experimental phenomenology or the philosophy of technology Bogost s alien phenomenology takes for granted that i all i beings interact with and perceive one another This experience however withdraws from human comprehension and becomes accessible only through a speculative philosophy based on metaphor br br Providing a new approach for understanding the experience of things i as i things Bogost also calls on philosophers to rethink their craft Drawing on his own background as a videogame designer Bogost encourages professional thinkers to become makers as well engineers who construct things as much as they think and write about them br


Play Anything: The Pleasure of Limits, the Uses of Boredom, and the Secret of Games

b How filling life with play b b whether soccer or lawn mowing counting sheep or tossing Angry Birds b b forges a new path for creativity and joy in our impatient age b br br br Life is boring filled with meetings and traffic errands and emails Nothing we d ever call i fun i But what if we ve gotten fun wrong In i Play Anything i visionary game designer and philosopher Ian Bogost shows how we can overcome our daily anxiety transforming the boring ordinary world around us into one of endless playful possibilities br br The key to this playful mindset lies in discovering the secret truth of fun and games i Play Anything i reveals that games appeal to us not because they are fun but because they set i limitations i Soccer wouldn t be soccer if it wasn t composed of two teams of eleven players using only their feet heads and torsos to get a ball into a goal Tetris wouldn t be Tetris without falling pieces in characteristic shapes Such rules seem needless arbitrary and difficult Yet it is the limitations that make games enjoyable just like it s the hard things in life that give it meaning br br Play is what happens when we i accept i these limitations narrow our focus and consequently have fun Which is also how to live a good life Manipulating a soccer ball into a goal is no different than treating ordinary circumstances like grocery shopping lawn mowing and making PowerPoints as sources for meaning and joy We can play anything by filling our days with attention and discipline devotion and love for the world as it really is beyond our desires and fears br br Ranging from Internet culture to moral philosophy ancient poetry to modern consumerism Bogost shows us how today s chaotic world can only be tamed and enjoyed when we first impose boundaries on ourselves br


Unit Operations: An Approach to Videogame Criticism

In Unit Operations Ian Bogost argues that similar principles underlie both literary theory and computation proposing a literary technical theory that can be used to analyze particular videogames Moreover this approach can be applied beyond videogames Bogost suggests that any medium from videogames to poetry literature cinema or art can be read as a configurative system of discrete interlocking units of meaning and he illustrates this method of analysis with examples from all these fields The marriage of literary theory and information technology he argues will help humanists take technology more seriously and hep technologists better understand software and videogames as cultural artifacts This approach is especially useful for the comparative analysis of digital and nondigital artifacts and allows scholars from other fields who are interested in studying videogames to avoid the esoteric isolation of game studies The richness of Bogost s comparative approach can be seen in his discussions of works by such philosophers and theorists as Plato Badiou Zizek and McLuhan and in his analysis of numerous videogames including Pong Half Life and Star Wars Galaxies Bogost draws on object technology and complex adaptive systems theory for his method of unit analysis underscoring the configurative aspects of a wide variety of human processes His extended analysis of freedom in large virtual spaces examines Grand Theft Auto The Legend of Zelda Flaubert s Madame Bovary and Joyce s Ulysses In Unit Operations Bogost not only offers a new methodology for videogame criticism but argues for the possibility of real collaboration between the humanities and information technology


How to Talk about Videogames

Videogames Aren t they the medium of the twenty first century The new cinema The apotheosis of art and entertainment the realization of Wagnerian gesamtkunstwerk The final victory of interaction over passivity No probably not Games are part art and part appliance part tableau and part toaster In i How to Talk about Videogames i leading critic Ian Bogost explores this paradox more thoroughly than any other author to date br br Delving into popular familiar games like i Flappy Bird Mirror s Edge Mario Kart Scribblenauts Ms Pac Man FarmVille Candy Crush Saga Bully Medal of Honor Madden NFL i and more Bogost posits that videogames are as much like appliances as they are like art and media We don t watch or read games like we do films and novels and paintings nor do we perform them like we might dance or play football or Frisbee Rather we do something in between with games Games are devices we operate so game critique is both serious cultural currency and self parody It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable when we know it isn t br br Noting that the term i games criticism i once struck him as preposterous Bogost observes that the idea taken too seriously risks balkanizing games writing from the rest of culture severing it from the rivers and fields that sustain it As essential as it is he calls for its pursuit to unfold in this spirit God save us from a future of games critics gnawing on scraps like the zombies that fester in our objects of study br br br


Newsgames: Journalism at Play

Journalism has embraced digital media in its struggle to survive But most online journalism just translates existing practices to the Web stories are written and edited as they are for print video and audio features are produced as they would be for television and radio The authors of i Newsgames i propose a new way of doing good journalism videogames Videogames are native to computers rather than a digitized form of prior media Games simulate how things work by constructing interactive models journalism as game involves more than just revisiting old forms of news production i Wired i magazine s game i Cutthroat Capitalism i for example explains the economics of Somali piracy by putting the player in command of a pirate ship offering choices for hostage negotiation strategies Videogames do not offer a panacea for the ills of contemporary news organizations But if the industry embraces them as a viable method of doing journalism not just an occasional treat for online readers newsgames can make a valuable contribution


A Slow Year

A collection of four one kilobyte games for the Atari Video Computer System one for each season about the experience of observing things Neither action nor strategy each game requires a different kind of sedate observation and methodical input Accompanying the game are essays about the commonalities between videogames and poetry and machined haiku poetry generated by computer bits worth for each season


The Geek's Chihuahua: Living with Apple

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Kako činiti stvari videoigrama

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Alien Phenomenology, or What It’s Like to Be a Thing, Persuasive Games: The Expressive Power of Videogames, How to Do Things with Videogames, Kako činiti stvari videoigrama, A Slow Year, How to Talk about Videogames, Play Anything: The Pleasure of Limits, the Uses of Boredom, and the Secret of Games, The Geek's Chihuahua: Living with Apple, Unit Operations: An Approach to Videogame Criticism, Newsgames: Journalism at Play