This book explores the ways in which contemporary writers, artists, directors, producers and fans use the opportunities offered by popular fantasy to exceed or challenge norms of gender and sexuality, focusing on a range of media, including television episodes and series, films, video games and multi-player online role-play games, novels and short stories, comics, manga and graphic novels, and board games. Engaging directly with an enormously successful popular genre which is often overlooked by literary and cultural criticism, contributors pay close attention to the ways in which the producers of fantasy texts, whether visual, game, cinematic, graphic or literary texts, are able to play with gender and sexuality, to challenge and disrupt received notions and to allow and encourage their audiences to imagine ways of being outside of the constitutive constraints of socialized gender and sexual identity. With rich case studies from the US, Australia, UK, Japan and Europe, all concentrating not on the critique of fantasy texts which duplicate or reinforce existing prejudices about gender and sexuality, but on examining the exploration of or attempt to make possible non-normative gendered and sexual identities, this volume will appeal to scholars across the social sciences and humanities, with interests in popular culture, fantasy, media studies and gender and sexualities.

This book explores the ways in which contemporary writers, artists, directors, producers and fans use the opportunities offered by popular fantasy to exceed or challenge norms of gender and sexuality, focusing on a range of media, including television episodes and series, films, video games and multi-player online role-play games, novels and short stories, comics, manga and graphic novels, and board games. Engaging directly with an enormously successful popular genre which is often overlooked by literary and cultural criticism, contributors pay close attention to the ways in which the producers of fantasy texts, whether visual, game, cinematic, graphic or literary texts, are able to play with gender and sexuality, to challenge and disrupt received notions and to allow and encourage their audiences to imagine ways of being outside of the constitutive constraints of socialized gender and sexual identity. With rich case studies from the US, Australia, UK, Japan and Europe, all concentrating not on the critique of fantasy texts which duplicate or reinforce existing prejudices about gender and sexuality, but on examining the exploration of or attempt to make possible non-normative gendered and sexual identities, this volume will appeal to scholars across the social sciences and humanities, with interests in popular culture, fantasy, media studies and gender and sexualities.

Online gaming is changing. It is no longer enough to analyse one type of online community in order to understand the phenomenon of players who take part in online worlds, or to generalise about their behaviour by looking at one single type of online gaming. This book looks at different types of games in the online gaming genre. MacCallum-Stewart studies the different ways in which online games create social environments, and how players choose to interpret these. These games vary from the immensely popular social networking games on Facebook such as Farmville to Massively Multiplayer Online Roleplaying Games to "Free to Play" online gaming and to console communities such as players of Xbox Live and PS3 games. Each chapter deals with a different aspect of social gaming online, examining how it is changing the way that players respond to games. This is one of the central issues that MacCallum-Stewart explores: When are games social, and what narrative devices make them so?

Despite the advent and explosion of video games, boardgames--from fast-paced party games to intensely strategic titles--have in recent years become more numerous and more diverse in terms of genre, ethos and content. The growth of gaming events and conventions such as Essen Spiel, Gencon and the UK Games EXPO, as well as crowdfunding through sites like Kickstarter, has diversified the evolution of game development, which is increasingly driven by fans, and boardgames provide an important glue to geek culture. In academia, boardgames are used in a practical sense to teach elements of design and game mechanics. Game studies is also recognizing the importance of expanding its focus beyond the digital. As yet, however, no collected work has explored the many different approaches emerging around the critical challenges that boardgaming represents. In this collection, game theorists analyze boardgame play and player behavior, and explore the complex interactions between the sociality, conflict, competition and cooperation that boardgames foster. Game designers discuss the opportunities boardgame system designs offer for narrative and social play. Cultural theorists discuss boardgames' complex history as both beautiful physical artifacts and special places within cultural experiences of play.

The study of online gaming is changing. It is no longer enough to analyse one type of online community in order to understand the plethora of players who take part in online worlds and the behaviours they exhibit. MacCallum-Stewart studies the different ways in which online games create social environments and how players choose to interpret these. These games vary from the immensely popular social networking games on Facebook such as Farmville to Massively Multiplayer Online Roleplaying Games to "Free to Play" online gaming and console communities such as players of Xbox Live and PS3 games. Each chapter deals with a different aspect of social gaming online, breaking down when games are social and what narrative devices make them so. This cross-disciplinary study will appeal to those interested in cyberculture, the evolution of gaming technology, and sociologies of media.

"Ringbearers" collects together essays by established and leading figures within Game Studies, each focused on different aspects of the Massively Multiplayer Online game "The Lord of the Rings Online."
The authors played the game extensively, yet they each come to it with different questions. Some essays focus on what players do with and in the game, whether that means asking about the opportunities provided for role-play or asking how the knowledge that fans bring to the game informs their experience of it. Others focus on the design of the game: for example the handling of narrative and its temporal dimensions, the articulation of core themes into ludic form, or the representational and aural strategies used. Moral rhetorics solicit discussion from various perspectives, as does the treatment of horror and the 'other'. Particular game mechanics are analysed in detail such as the game's crafting economy, or, more generally, the development of improbable conventions that players have learned to accept as the grammar of games.
As well as Design, Media and Game Studies students and scholars, "Ringbearers" will also prove of interest to those studying adaptation and to scholar-fans of JRR Tolkein's massively influential and popular fictional work.

What does love have to do with games? As games have developed in complexity, they have increasingly started to include narratives that seek to engage with love in a variety of ways. Whilst media attention often seems to focus on more violent emotions and behavior in games, love has always been a central part of the gaming experience. We love to play games, we have titles that we experience love towards, and sometimes we love too much, or love terrible games for their mistakes. Love in games therefore, is rather like love in life - it can be complicated, unexpected and difficult but also fun, enlightening and powerful. The authors of this collection aim for the first time to unpack the meaning and role of love in games by examining some of these aspects. Love is hard to reproduce in games, and we trace a number of ways - from coding to cosplay, in which love can be expressed in, for and around games. Investigating how games can start to think about love in exciting, in-depth ways is also key to understanding the growing importance of games and gamers as important cultural markers, since it points to gaming as growing in maturity in its attempt to address such a varied subject.