The Paradox of Transgression in Games looks at transgressive games as an aesthetic experience, tackling how players respond to game content that shocks, disturbs, and distresses, and how contemporary video games can evoke intense emotional reactions. The book delves into the commercial success of many controversial videogames: although such games may appear shocking for the observing bystander, playing them is experienced as deeply rewarding for the player. Drawing on qualitative player studies and approaches from media aesthetics theory, the book challenges the perception of games as innocent entertainment, and examines the range of emotional, moral, and intellectual experiences of players. As they explore what players consider transgressive, the authors ask whether there is something about the gameplay situation that works to mitigate the sense of transgression, stressing gameplay as an aesthetic experience. Anchoring the aesthetic game experience both in play studies as well as in aesthetic theory, this book will be an essential resource for scholars and students of game studies, aesthetics, media studies, philosophy of art, and emotions.

Published in 1999. On the basis of leading theoretical work on civil-military relations, the authors elaborate their own model, emphasising the continuum between military autonomy (which has traditionally characterised the military sector in Russia) and integration with civil society (which one might expect would be the result of the political changes having taken place in Russia over the past decade). Three Indicators of this relation are selected; the participation of military personnel in civilian life, and it particular politics; the status of closed cities; conversation of military industry to civilian production. These indicators are investigated at the federal level and at the regional level pertaining to Murmansk oblast' (the Kola Peninsula), which is one the most heavily militarised areas of the world. The study is based on intensive 'on-the-spot' data gathering in Murmansk, including interviews with officers, redundant officers and inhabitants of such closed cities.

The Paradox of Transgression in Games looks at transgressive games as an aesthetic experience, tackling how players respond to game content that shocks, disturbs, and distresses, and how contemporary video games can evoke intense emotional reactions. The book delves into the commercial success of many controversial videogames: although such games may appear shocking for the observing bystander, playing them is experienced as deeply rewarding for the player. Drawing on qualitative player studies and approaches from media aesthetics theory, the book challenges the perception of games as innocent entertainment, and examines the range of emotional, moral, and intellectual experiences of players. As they explore what players consider transgressive, the authors ask whether there is something about the gameplay situation that works to mitigate the sense of transgression, stressing gameplay as an aesthetic experience. Anchoring the aesthetic game experience both in play studies as well as in aesthetic theory, this book will be an essential resource for scholars and students of game studies, aesthetics, media studies, philosophy of art, and emotions.

Published in 1999. On the basis of leading theoretical work on civil-military relations, the authors elaborate their own model, emphasising the continuum between military autonomy (which has traditionally characterised the military sector in Russia) and integration with civil society (which one might expect would be the result of the political changes having taken place in Russia over the past decade). Three Indicators of this relation are selected; the participation of military personnel in civilian life, and it particular politics; the status of closed cities; conversation of military industry to civilian production. These indicators are investigated at the federal level and at the regional level pertaining to Murmansk oblast' (the Kola Peninsula), which is one the most heavily militarised areas of the world. The study is based on intensive 'on-the-spot' data gathering in Murmansk, including interviews with officers, redundant officers and inhabitants of such closed cities.

Contributors from a range of disciplines explore boundary-crossing in videogames, examining both transgressive game content and transgressive player actions. Video gameplay can include transgressive play practices in which players act in ways meant to annoy, punish, or harass other players. Videogames themselves can include transgressive or upsetting content, including excessive violence. Such boundary-crossing in videogames belies the general idea that play and games are fun and non-serious, with little consequence outside the world of the game. In this book, contributors from a range of disciplines explore transgression in video games, examining both game content and player actions. The contributors consider the concept of transgression in games and play, drawing on discourses in sociology, philosophy, media studies, and game studies; offer case studies of transgressive play, considering, among other things, how gameplay practices can be at once playful and violations of social etiquette; investigate players' emotional responses to game content and play practices; examine the aesthetics of transgression, focusing on the ways that game design can be used for transgressive purposes; and discuss transgressive gameplay in a societal context. By emphasizing actual player experience, the book offers a contextual understanding of content and practices usually framed as simply problematic. Contributors Fraser Allison, Kristian A. Bjorkelo, Kelly Boudreau, Marcus Carter, Mia Consalvo, Rhys Jones, Kristine Jorgensen, Faltin Karlsen, Tomasz Z. Majkowski, Alan Meades, Torill Elvira Mortensen, Victor Navarro-Remesal, Holger Poetzsch, John R. Sageng, Tanja Sihvonen, Jaakko Stenros, Ragnhild Tronstad, Hanna Wirman