Western digital game play has shifted in important ways over the last decade, with a plethora of personal devices affording a range of increasingly diverse play experiences. Despite the celebration of a more inclusive environment of digital game play, very little grounded research has been devoted to the examination of familial play and the domestication of digital games, as opposed to evolving public and educational contexts. This book is the first study to provide a situated investigation of the site of family play- the shared spaces and private places of gameplay within the domestic sphere. It carries out an empirically grounded and critical analysis of what marketing and sales discourses about shifts in the digital games audience actually look like in the space of the home, as well as the social and cultural role these ludic technologies take in the everyday practices of the family in the domestic context. It examines the material realities of video game technologies in the home; including time management and spatial organization, as well as the discursive role these devices play in discussions of technological competence and its complex relationship to age, generational differences, and gender performance. Harvey's interdisciplinary approach and innovative methodology will hold great critical appeal for those studying digital culture, children's media, and feminist studies of new media, as well as critical theories of technology and leisure and sport theory.

Western digital game play has shifted in important ways over the last decade, with a plethora of personal devices affording a range of increasingly diverse play experiences. Despite the celebration of a more inclusive environment of digital game play, very little grounded research has been devoted to the examination of familial play and the domestication of digital games, as opposed to evolving public and educational contexts. This book is the first study to provide a situated investigation of the site of family play- the shared spaces and private places of gameplay within the domestic sphere. It carries out an empirically grounded and critical analysis of what marketing and sales discourses about shifts in the digital games audience actually look like in the space of the home, as well as the social and cultural role these ludic technologies take in the everyday practices of the family in the domestic context. It examines the material realities of video game technologies in the home; including time management and spatial organization, as well as the discursive role these devices play in discussions of technological competence and its complex relationship to age, generational differences, and gender performance. Harvey's interdisciplinary approach and innovative methodology will hold great critical appeal for those studying digital culture, children's media, and feminist studies of new media, as well as critical theories of technology and leisure and sport theory.

Together with the Olympics, world's fairs are one of the few regular international events of sufficient scale to showcase a spectrum of sights, wonders, learning opportunities, technological advances, and new (or renewed) urban districts, and to present them all to a mass audience. Meet Me at the Fair: A World's Fair Reader breaks new ground in scholarship on world's fairs by incorporating a number of short new texts that investigate world's fairs in their multiple aspects: political, urban/architectural, anthropological/ sociological, technological, commercial, popular, and representational. In taking the measure of both the material artifacts and the larger cultural production of world's fairs, the volume presents its own phantasmagoria of disciplinary perspectives, historical periods, geographical locales, media, and messages, mirroring the microcosmic form of the world's fair itself.

The odyssey of a group of "refugees" from a closed-down online game and an exploration of emergent fan cultures in virtual worlds. Play communities existed long before massively multiplayer online games; they have ranged from bridge clubs to sports leagues, from tabletop role-playing games to Civil War reenactments. With the emergence of digital networks, however, new varieties of adult play communities have appeared, most notably within online games and virtual worlds. Players in these networked worlds sometimes develop a sense of community that transcends the game itself. In Communities of Play, game researcher and designer Celia Pearce explores emergent fan cultures in networked digital worlds-actions by players that do not coincide with the intentions of the game's designers. Pearce looks in particular at the Uru Diaspora-a group of players whose game, Uru: Ages Beyond Myst, closed. These players (primarily baby boomers) immigrated into other worlds, self-identifying as "refugees"; relocated in There.com, they created a hybrid culture integrating aspects of their old world. Ostracized at first, they became community leaders. Pearce analyzes the properties of virtual worlds and looks at the ways design affects emergent behavior. She discusses the methodologies for studying online games, including a personal account of the sometimes messy process of ethnography. Pearce considers the "play turn" in culture and the advent of a participatory global playground enabled by networked digital games every bit as communal as the global village Marshall McLuhan saw united by television. Countering the ludological definition of play as unproductive and pointing to the long history of pre-digital play practices, Pearce argues that play can be a prelude to creativity.