Game Studies is a rapidly growing area of contemporary scholarship, yet volumes in the area have tended to focus on more general issues. With Playing with the Past, game studies is taken to the next level by offering a specific and detailed analysis of one area of digital game play -- the representation of history. The collection focuses on the ways in which gamers engage with, play with, recreate, subvert, reverse and direct the historical past, and what effect this has on the ways in which we go about constructing the present or imagining a future. What can World War Two strategy games teach us about the reality of this complex and multifaceted period? Do the possibilities of playing with the past change the way we understand history? If we embody a colonialist's perspective to conquer 'primitive' tribes in Colonization, does this privilege a distinct way of viewing history as benevolent intervention over imperialist expansion? The fusion of these two fields allows the editors to pose new questions about the ways in which gamers interact with their game worlds. Drawing these threads together, the collection concludes by asking whether digital games - which represent history or historical change - alter the way we, today, understand history itself.

Role-playing games seemed to appear of nowhere in the early 1970s and have been a quiet but steady presence in American culture ever since. This new look at the hobby searches for the historical origins of role-playing games deep in the imaginative worlds of Western culture. It looks at the earliest fantasy stories from the nineteenth and twentieth centuries, at the fans--both readers and writers--who wanted to bring them to life, at the Midwestern landscape and the middle-class households that were the hobby's birthplace, and at the struggle to find meaning and identity amidst cultural conflicts that drove many people into these communities of play. This book also addresses race, religion, gender, fandom, and the place these games have within American capitalism. All the paths of this journey are connected by the very quality that has made fantasy role-playing so powerful: it binds the limitless imagination into a "strict" framework of rules. Far from being an accidental offshoot of marginalized fan communities, role-playing games' ability to hold contradictions in dynamic, creative tension made them a necessary and central product of the twentieth century.

A lot of work has been done talking about what masculinity is and what it does within video games, but less has been given to considering how and why this happens, and the processes involved. This book considers the array of daily relationships involved in producing masculinity and how those actions and relationships translate to video games. Moreover, it examines the ways the actual play of the games maps onto the stories to create contradictory moments that show that, while toxic masculinity certainly exists, it is far from inevitable. Topics covered include the nature of masculine apprenticeship and nurturing, labor, fatherhood, the scapegoating of women, and reckoning with mortality, among many others.

Some board games-like Candy Land, Chutes & Ladders, Clue, Guess Who, The Game of Life, Monopoly, Operation and Payday--have popularity spanning generations. But over time, updates to games have created significantly different messages about personal identity and evolving social values. Games offer representations of gender, sexuality, race, ethnicity, religion, age, ability and social class that reflect the status quo and respond to social change. Using popular mass-market games, this rhetorical assessment explores board design, game implements (tokens, markers, 3-D elements) and playing instructions. This book argues the existence of board games as markers of an ever-changing sociocultural framework, exploring the nature of play and how games embody and extend societal themes and values.

The 1960s and early 70s saw the evolution of Frontier Myths even as scholars were renouncing the interpretive value of myths themselves. Works like Joe Haldeman's The Forever War exemplified that rejection using his experiences during the Vietnam War to illustrate the problematic consequences of simple mythic idealism. Simultaneously, Americans were playing with expanded and revised versions of familiar Frontier Myths, though in a contemporary context, through NASA's lunar missions, Star Trek, and Gerard K. O'Neill's High Frontier. This book examines the reasons behind the exclusion of Frontier Myths to the periphery of scholarly discourse, and endeavors to build a new model for understanding their enduring significance. This model connects NASA's failed attempts to recycle earlier myths, wholesale, to Star Trek's revision of those myths and rejection of the idea of a frontier paradise, to O'Neill's desire to realize such a paradise in Earth's orbit. This new synthesis defies the negative connotations of Frontier Myths during the 1960s and 70s and attempts to resuscitate them for relevance in the modern academic context.

The 1960s and early 70s saw the evolution of Frontier Myths even as scholars were renouncing the interpretive value of myths themselves. Works like Joe Haldeman's The Forever War exemplified that rejection using his experiences during the Vietnam War to illustrate the problematic consequences of simple mythic idealism. Simultaneously, Americans were playing with expanded and revised versions of familiar Frontier Myths, though in a contemporary context, through NASA's lunar missions, Star Trek, and Gerard K. O'Neill's High Frontier. This book examines the reasons behind the exclusion of Frontier Myths to the periphery of scholarly discourse, and endeavors to build a new model for understanding their enduring significance. This model connects NASA's failed attempts to recycle earlier myths, wholesale, to Star Trek's revision of those myths and rejection of the idea of a frontier paradise, to O'Neill's desire to realize such a paradise in Earth's orbit. This new synthesis defies the negative connotations of Frontier Myths during the 1960s and 70s and attempts to resuscitate them for relevance in the modern academic context.

Since the emergence of digital game studies, a number of debates have engaged scholars. The debate between ludic (play) and narrative (story) paradigms remains the one that famously ""never happened."" This collection of new essays critically frames that debate and urges game scholars to consider it central to the field. The contributors examine various digital games, assessing the applicability of play versus narrative approaches or considering the failure of each. The essays consider the broader history of game studies, while applying notions of play and story to recent games in an attempt to foster serious debate and analysis.

In an era of reboots, restarts and retreads, J.J. Abrams' Star Trek trilogy-featuring new, prequel adventures of Kirk, Spock and the rest of the original series characters, aboard the USS Kelvin-has brought the franchise to a new generation and perfected a process increasingly central to entertainment media: reinvigorating the beloved classic. Offering the first in-depth analysis of the new trilogy and the vision of the next generation of Star Trek filmmakers, this collection of new essays explores issues of gender, race, politics, economics, technology and morality-always key themes of the franchise-in the 21st century context of "The Kelvin Timeline."

In 1977 a single film called Star Wars exploded on the consciousness of the world. Since then the franchise, created by George Lucas, has become a global entertainment corporation. The merchandise of the original trilogy was largely confined to toys and games, but those games have since become computerized, the toys more sophisticated, and Star Wars has moved into the multi-media environment of the twenty-first century in ways unimaginable in the long-ago world of 1977. Computer games and web sites, novels, animated television shows, as well as a new trilogy of films, have all placed Star Wars at the center of world popular culture. Finding the Force of the Star Wars Franchise brings together contributors who critically analyze the Star Wars universe from many perspectives. Topics include war, foreign policy, gender roles, spirituality and religion, toy play and adult collecting, creative fandom, race, special effects, and mythology.

What is a video game? What makes a video game "good"? If a game is supposed to be fun, can it be fun without a good story? If another is supposed to be an accurate simulation, does it still need to be entertaining? With the ever-expanding explosion of new video games and new developments in the gaming world, questions about video game criticism are becoming more complex. The differing definitions that players and critics use to decide what a game is and what makes a game successful, often lead to different ideas of how games succeed or fail. This collection of essays puts on display the variety and ambiguity of video games. Each essay is a work of game criticism that takes a different approach to defining the game and analyzing it. Through analysis and critical methods, these essays discuss whether a game is defined by its rules, its narrative, its technology, or by the activity of playing it, and the tensions between these definitions. With essays on Overwatch, Dark Souls 3, Far Cry 4, Farmville and more, this collection attempts to show the complex changes, challenges and advances to game criticism in the era of video games.

Video games are a complex, compelling medium in which established art forms intersect with technology to create an interactive text. Visual arts, architectural design, music, narrative and rules of play all find a place within, and are constrained by, computer systems whose purpose is to create an immersive player experience. In the relatively short life of video game studies, many authors have approached the question of how games function, some focusing on technical aspects of game design, others on rules of play. Taking a holistic view, this study explores how ludology, narratology, visual rhetoric, musical theory and player psychology work (or don't work) together to create a cohesive experience and to provide a unified framework for understanding video games.

Fantasy and science fiction began in print, and from the first films to the latest blockbusters, print stories have provided the inspirations, the ideas, and in some cases the detailed blueprints. Adaption Studies has long been an area of intense debate in literature and film studies, but no single work has ever approached fantasy and science fiction texts as a unique and important area of inquiry by themselves. The Fantastic Made Visible is the first book to do exactly that. Follow that journey from the earliest adaptations of Jules Verne, Robert A. Heinlein, and Shakespeare to today's films based on The Hobbit, Planet of the Apes, and The Hunger Games in what is the most complete collection of its kind currently available. Written in clear, jargon-free English, this book has a wide range of critical approaches and films from around the world.

In the vein of their cult-classic dark fantasy titles Demon's Souls (2009) and the Dark Souls franchise (2011, 2014, 2016), game developers FromSoftware released the bleak Gothic horror Bloodborne in 2015. Players are cast in the role of hunters in a hostile land, probing the shadowy city of Yharnam in search of "paleblood." The game achieved iconic status as both a horror and an action title for its rich lore and for the continuity of story elements through all aspects of game design. This first full-length study examines Bloodborne's themes of dangerous knowledge and fatal pride and its aesthetics in the context other works on game studies, horror and the Gothic. The book's three parts focus on lore and narrative, the game's nightmarish world, and its mechanics.

The world of video games has long revolved around a subset of its player base-straight, white males aged 18-25. Highly gendered marketing in the late 1990s and early 2000s widened the gap between this perceived base and the actual diverse group who buy video games. Despite reports from the Entertainment Software Association that nearly half of gamers identify as female, many developers continue to produce content reflecting this imaginary audience. Many female gamers are in turn modifying games to appeal to players like themselves. "Modders" alter the appearance of characters, rewrite scenes and epilogues, enhance or add love scenes and create fairy tale happy endings. This collection of new essays examines the phenomenon of women and modding, focusing on such titles as Skyrim, Dragon Age, Mass Effect and The Sims. Topics include the relationship between modders and developers, the history of modding, and the relationship between modding and disability, race, sexuality and gender identity.

Over the years, board games have evolved to include relatable characters, vivid settings and compelling, intricate plotlines. In turn, players have become more emotionally involved-taking on, in essence, the role of coauthors in an interactive narrative. Through the lens of game studies and narratology-traditional storytelling concepts applied to the gaming world-this book explores the synergy of board games, designers and players in story-oriented designs. The author provides development guidance for game designers and recommends games to explore for hobby players.

The Matrix films, along with the video games, anime and toys inspired by them, are rich with philosophical, religious and social references that cry out for interpretation. Here these ideas are examined in the context of the history of thought and cinema. The variety of applications in this study is remarkable, engaging thinkers ranging from conservative Christians to postmodernist critics. Feminist issues meet cyberpunk, cosmological perspectives meet mythological and literary analysis. Violence in society, American values, politics, heroic models - all are called into question as several esteemed scholars decode the entire world of the Matrix franchise.

Few media franchises can match The Matrix for enthusiasm of reception and subsequent proliferation. Who in 1999 could have imagined that the momentum of a single film would sustain two more major theatrical releases in a single year, a collection of nine anime cartoons, a best-selling computer game, and more websites than can be counted? Jacking In To The Matrix Trilogy will be the first academic study to take an in-depth look at all of these products, a coherent overview of the franchise as a whole. The Matrix films are rich with mythological and religious references, as well as drawing upon futuristic fiction. Such richness demands a variety of decoding interpreting skills, and the array of talent in this volume will lay bare many of the strand that have given the Matrix creations such a sense of magic. The book gathers original articles that comment on the cultural and religious implications of The Matrix trilogy, its place within the cyberworlds of contemporary literature and philosophy, and its portrayal of gender and race. The volume also makes conjectures about the ethical and social consequences of taking either the red of the blue pill. Jacking In To The Matrix Trilogy wil

In 1977 a single film called Star Wars exploded on the consciousness of the world. Since then the franchise, created by George Lucas, has become a global entertainment corporation. The merchandise of the original trilogy was largely confined to toys and games, but those games have since become computerized, the toys more sophisticated, and Star Wars has moved into the multi-media environment of the twenty-first century in ways unimaginable in the long-ago world of 1977. Computer games and web sites, novels, animated television shows, as well as a new trilogy of films, have all placed Star Wars at the center of world popular culture. Finding the Force of the Star Wars Franchise brings together contributors who critically analyze the Star Wars universe from many perspectives. Topics include war, foreign policy, gender roles, spirituality and religion, toy play and adult collecting, creative fandom, race, special effects, and mythology.

Game Studies is a rapidly growing area of contemporary scholarship, yet volumes in the area have tended to focus on more general issues. With Playing with the Past, game studies is taken to the next level by offering a specific and detailed analysis of one area of digital game play -- the representation of history. The collection focuses on the ways in which gamers engage with, play with, recreate, subvert, reverse and direct the historical past, and what effect this has on the ways in which we go about constructing the present or imagining a future. What can World War Two strategy games teach us about the reality of this complex and multifaceted period? Do the possibilities of playing with the past change the way we understand history? If we embody a colonialist's perspective to conquer 'primitive' tribes in Colonization, does this privilege a distinct way of viewing history as benevolent intervention over imperialist expansion? The fusion of these two fields allows the editors to pose new questions about the ways in which gamers interact with their game worlds. Drawing these threads together, the collection concludes by asking whether digital games - which represent history or historical change - alter the way we, today, understand history itself.

Among the most expensive--and most profitable--films of all time, the works of James Cameron have had a profound effect upon popular culture and the technology of moviemaking. Yet the very blockbuster nature of his films means that the political commentary, cultural discourse and rich symbolism within the works are often overlooked. From The Terminator to Avatar, the director has evinced a persistence of themes, concerns and visions that capture the contemporary zeitgeist. This collection of essays on James Cameron's films, written by a diverse group of scholars from a wide range of disciplines, provides a comprehensive exploration of the work and legacy of one of America's foremost filmmakers.