Video games are considered by many to be just entertainment-essentially void of skillful, artistic intervention. But as any gamer knows, there's incredible technical and graphic talent behind even a flickering Gameboy screen. You may have never heard Shigeru Miyamoto's name, but you've probably spent many a lazy afternoon absorbed in his work. Joining Nintendo as a video game designer in the late 1970s, Miyamoto created the powerhouse franchises Super Mario Bros., The Legend of Zelda, and Donkey Kong-games so ubiquitous that Miyamoto was named one of TIME's 100 Most Influential People in 2007. Combining critical essays with interviews, bibliographies, and striking visuals, Shigeru Miyamoto unveils the artist behind thousands of glowing gaming screens, tracing out his design decisions, aesthetic preferences, and the material conditions that shaped his work. With this incredible (and incredibly unknown) figure, series editors Jennifer DeWinter and Carly Kocurek launch the Influential Video Game Designers series, at last giving these artists the recognition they deserve.

Recent years have seen an increase in public attention to identity and representation in video games, including journalists and bloggers holding the digital game industry accountable for the discrimination routinely endured by female gamers, queer gamers, and gamers of color. Video game developers are responding to these critiques, but scholarly discussion of representation in games has lagged far behind. Gaming Representation examines portrayals of race, gender, and sexuality in a range of games, from casuals like Diner Dash, to indies like Journey and The Binding of Isaac, to mainstream games from the Grand Theft Auto, BioShock, Spec Ops, The Last of Us, and Max Payne franchises. Arguing that representation and identity function as systems in games that share a stronger connection to code and platforms than it may first appear, the contributors to this volume push gaming scholarship to new levels of inquiry, theorizing, and imagination.

This book analyzes the effect of policy on the digital game complex: government, industry, corporations, distributors, players, and the like. Contributors argue that digital games are not created nor consumed outside of the complex power relationships that dictate the full production and distribution cycles, and that we need to consider those relationships in order to effectively "read" and analyze digital games. Through examining a selection of policies, e.g. the Australian government's refusal (until recently) to allow an R18 rating for digital games, Blizzard's policy in regards to intellectual property, Electronic Arts' corporate policy for downloadable content (DLC), they show how policy, that is to say the rules governing the production, distribution and consumption of digital games, has a tangible effect upon our understanding of the digital game medium.

Taking as its point of departure the fundamental observation that games are both technical and symbolic, this collection investigates the multiple intersections between the study of computer games and the discipline of technical and professional writing. Divided into five parts, Computer Games and Technical Communication engages with questions related to workplace communities and gamic simulations; industry documentation; manuals, gameplay, and ethics; training, testing, and number crunching; and the work of games and gamifying work. In that computer games rely on a complex combination of written, verbal, visual, algorithmic, audio, and kinesthetic means to convey information, technical and professional writing scholars are uniquely poised to investigate the intersection between the technical and symbolic aspects of the computer game complex. The contributors to this volume bring to bear the analytic tools of the field to interpret the roles of communication, production, and consumption in this increasingly ubiquitous technical and symbolic medium.

This book analyzes the effect of policy on the digital game complex: government, industry, corporations, distributors, players, and the like. Contributors argue that digital games are not created nor consumed outside of the complex power relationships that dictate the full production and distribution cycles, and that we need to consider those relationships in order to effectively "read" and analyze digital games. Through examining a selection of policies, e.g. the Australian government's refusal (until recently) to allow an R18 rating for digital games, Blizzard's policy in regards to intellectual property, Electronic Arts' corporate policy for downloadable content (DLC), they show how policy, that is to say the rules governing the production, distribution and consumption of digital games, has a tangible effect upon our understanding of the digital game medium.

Taking as its point of departure the fundamental observation that games are both technical and symbolic, this collection investigates the multiple intersections between the study of computer games and the discipline of technical and professional writing. Divided into five parts, Computer Games and Technical Communication engages with questions related to workplace communities and gamic simulations; industry documentation; manuals, gameplay, and ethics; training, testing, and number crunching; and the work of games and gamifying work. In that computer games rely on a complex combination of written, verbal, visual, algorithmic, audio, and kinesthetic means to convey information, technical and professional writing scholars are uniquely poised to investigate the intersection between the technical and symbolic aspects of the computer game complex. The contributors to this volume bring to bear the analytic tools of the field to interpret the roles of communication, production, and consumption in this increasingly ubiquitous technical and symbolic medium.

Video games are considered by many to be just entertainment-essentially void of skillful, artistic intervention. But as any gamer knows, there's incredible technical and graphic talent behind even a flickering Gameboy screen. You may have never heard Shigeru Miyamoto's name, but you've probably spent many a lazy afternoon absorbed in his work. Joining Nintendo as a video game designer in the late 1970s, Miyamoto created the powerhouse franchises Super Mario Bros., The Legend of Zelda, and Donkey Kong-games so ubiquitous that Miyamoto was named one of TIME's 100 Most Influential People in 2007. Combining critical essays with interviews, bibliographies, and striking visuals, Shigeru Miyamoto unveils the artist behind thousands of glowing gaming screens, tracing out his design decisions, aesthetic preferences, and the material conditions that shaped his work. With this incredible (and incredibly unknown) figure, series editors Jennifer DeWinter and Carly Kocurek launch the Influential Video Game Designers series, at last giving these artists the recognition they deserve.

Recent years have seen an increase in public attention to identity and representation in video games, including journalists and bloggers holding the digital game industry accountable for the discrimination routinely endured by female gamers, queer gamers, and gamers of color. Video game developers are responding to these critiques, but scholarly discussion of representation in games has lagged far behind. Gaming Representation examines portrayals of race, gender, and sexuality in a range of games, from casuals like Diner Dash, to indies like Journey and The Binding of Isaac, to mainstream games from the Grand Theft Auto, BioShock, Spec Ops, The Last of Us, and Max Payne franchises. Arguing that representation and identity function as systems in games that share a stronger connection to code and platforms than it may first appear, the contributors to this volume push gaming scholarship to new levels of inquiry, theorizing, and imagination.