Few books have attempted to contextualize the importance of video game play with a critical social, cultural and political perspective that raises the question of the significance of work, pleasure, fantasy and play in the modern world. The study of why video game play is 'fun' has often been relegated to psychology, or the disciplines of cultural anthropology, literary and media studies, communications and other assorted humanistic and social science disciplines. In Utopic Dreams and Apocalyptic Fantasies, Talmadge Wright, David Embrick and Andras Lukacs invites us to move further and consider questions on appropriate methods of researching games, understanding the carnival quality of modern life, the role of marketing in altering game narratives, and the role of fantasy and desire in modern video game play. Embracing an approach that combines a cultural and/or critical studies approach with a sociological understanding of this new media moves the debate beyond simple media effects, moral panics, and industry boosterism to one of asking critical questions, what does modern video game play 'mean,' what questions should we be asking, and what can sociological research contribute to answering these questions. This collection includes works which use textual analysis, audience based research, symbolic interactionism, as well as political economic and psychoanalytic perspectives to illuminate areas of inquiry that preserves the pleasure of modern play while asking tough questions about what such pleasure means in a world divided by political, economic, cultural and social inequalities.

Building on contributions from sociology, psychology, anthropology, philosophy, literature, and neuroscience, Henricks develops a more general account of how people discover and reproduce the "meanings" of their involvements with others. Among its many themes are treatments of selves as "projections of personhood," of the ways in which self-expression has changed historically and is now experienced in our electronically mediated era, of emotions as "framing judgments," and of ritual, play, communitas, and work as four distinctive "pathways of experience."

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.

What is a videogame? What makes a videogame "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 videogames and new developments in the gaming world, questions about videogame 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 new essays puts on display the variety and ambiguity of videogames. 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 videogames.

Robert Geraci argues that virtual worlds and video games have become a locus for the satisfaction of religious needs, providing many users with communities, a meaningful experience of history and human activity, and a sense of transcendence.

Video games open portals to fantastical worlds where imaginative play and enchantment prevail. These virtual settings afford us considerable freedom to act out with relative impunity. Or do they? Sound Play explores the aesthetic, ethical, and sociopolitical stakes of people's creative engagements with gaming's audio phenomena-from sonorous violence to synthesized operas, from democratic music-making to vocal sexual harassment. William Cheng shows how video games empower their designers, composers, players, critics, and scholars to tinker (often transgressively) with practices and discourses of music, noise, speech, and silence. Faced with collisions between utopian and alarmist stereotypes of video games, Sound Play synthesizes insights across musicology, sociology, anthropology, communications, literary theory, philosophy, and additional disciplines. With case studies spanning Final Fantasy VI, Silent Hill, Fallout 3, The Lord of the Rings Online, and Team Fortress 2, this book insists that what we do in there-in the safe, sound spaces of games-can ultimately teach us a great deal about who we are and what we value (musically, culturally, humanly) out here. Foreword by Richard Leppert Video Games Live cover image printed with permission from Tommy Tallarico

In Play and the Human Condition, Thomas Henricks brings together ways of considering play to probe its essential relationship to work, ritual, and communitas. Focusing on five contexts for play--the psyche, the body, the environment, society, and culture--Henricks identifies conditions that instigate play, and comments on its implications for those settings. Offering a general theory of play as behavior promoting self-realization, Henricks articulates a conception of self that includes individual and social identity, particular and transcendent connection, and multiple fields of involvement. Henricks also evaluates play styles from history and contemporary life to analyze the relationship between play and human freedom. Imaginative and stimulating, Play and the Human Condition shows how play allows us to learn about our qualities and those of the world around us--and in so doing make sense of ourselves.

A Companion to Popular Culture is a landmark survey of contemporary research in popular culture studies that offers a comprehensive and engaging introduction to the field. Includes over two dozen essays covering the spectrum of popular culture studies from food to folklore and from TV to technology Features contributions from established and up-and-coming scholars from a range of disciplines Offers a detailed history of the study of popular culture Balances new perspectives on the politics of culture with in-depth analysis of topics at the forefront of popular culture studies

While many books and articles are emerging on the new area of game studies and the application of computer games to learning, therapeutic, military and entertainment environments, few have attempted to contextualize the importance of virtual play within a broader social, cultural and political environment that raises the question of the significance of work, play, power and inequalities in the modern world. Many studies tend to concentrate on the content of virtual games, but few have questioned how power is produced or reproduced by publishers, gamers or even social media; how social exclusion (e.g., race, class, gender, etc.) in the virtual environments are reproduced from the real world; and how actors are able to use new media to transcend their fears, anxieties, prejudices and assumptions. The articles presented by the contributors in this volume represent cutting-edge research in the area of critical game play with the hope to draw attention to the need for more studies that are both sociological and critical.

Thirty-nine essays explore the vast diversity of video game history and culture across all the world's continents. Video games have become a global industry, and their history spans dozens of national industries where foreign imports compete with domestic productions, legitimate industry contends with piracy, and national identity faces the global marketplace. This volume describes video game history and culture across every continent, with essays covering areas as disparate and far-flung as Argentina and Thailand, Hungary and Indonesia, Iran and Ireland. Most of the essays are written by natives of the countries they discuss, many of them game designers and founders of game companies, offering distinctively firsthand perspectives. Some of these national histories appear for the first time in English, and some for the first time in any language. Readers will learn, for example, about the rapid growth of mobile games in Africa; how a meat-packing company held the rights to import the Atari VCS 2600 into Mexico; and how the Indonesian MMORPG Nusantara Online reflects that country's cultural history and folklore. Every country or region's unique conditions provide the context that shapes its national industry; for example, the long history of computer science in the United Kingdom and Scandinavia, the problems of piracy in China, the PC Bangs of South Korea, or the Dutch industry's emphasis on serious games. As these essays demonstrate, local innovation and diversification thrive alongside productions and corporations with global aspirations. Africa • Arab World • Argentina • Australia • Austria • Brazil • Canada • China • Colombia • Czech Republic • Finland • France • Germany • Hong Kong • Hungary • India • Indonesia • Iran • Ireland • Italy • Japan • Mexico • The Netherlands • New Zealand • Peru • Poland • Portugal • Russia • Scandinavia • Singapore • South Korea • Spain • Switzerland • Thailand • Turkey • United Kingdom • United States of America • Uruguay • Venezuela