Ludotopia

Where do computer games »happen«? The articles collected in this pioneering volume explore the categories of »space«, »place« and »territory« featuring in most general theories of space to lay the groundwork for the study of spatiality in games. Shifting the focus away from earlier debates on, e.g., the narrative nature of games, this collection proposes, instead, that thorough attention be given to the tension between experienced spaces and narrated places as well as to the mapping of both of these.

Where do computer games "happen"? The articles collected in this pioneering volume explore the categories of "space," "place," and "territory" to lay the groundwork for the study of spatiality in games.

Video game spaces have vastly expanded the built environment, offering new worlds to explore and inhabit. Like buildings, cities, and gardens before them, these virtual environments express meaning and communicate ideas and affects through the spatial experiences they afford. Drawing on the emerging field of embodied cognition, this book explores the dynamic interplay between mind, body, and environment that sits at the heart of spatial communication. To capture the wide diversity of forms that spatial expression can take, the book builds a comparative analysis of twelve video games across four types of space, spanning ones designed for exploration and inhabitation, kinetic enjoyment, enacting a situated role, and enhancing perception. Together, these diverse virtual environments suggest the many ways that video games enhance and extend our embodied lives.

Video Games and Comedy is the first edited volume to explore the intersections between comedy and video games. This pioneering book collects chapters from a diverse group of scholars, covering a wide range of approaches and examining the relationship between video games, humour, and comedy from many different angles. The first section of the book includes chapters that engage with theories of comedy and humour, adapting them to the specifics of the video game medium. The second section explores humour in the contexts, cultures, and communities that give rise to and spring up around video games, focusing on phenomena such as in-jokes, player self-reflexivity, and player/fan creativity. The third section offers case studies of individual games or game series, exploring the use of irony as well as sexual and racial humour in video games. Chapter “Emergence and Ephemerality of Humour During Live Coverage of Large-Scale eSports Events” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

While video games have blossomed into the foremost expression of contemporary popular culture over the past decades, their critical study occupies a fringe position in American Studies. In its engagement with video games, this book contributes to their study but with a thematic focus on a particularly important subject matter in American Studies: spatiality. The volume explores the production, representation, and experience of places in video games from the perspective of American Studies. Contributions critically interrogate the use of spatial myths ("wilderness," "frontier," or "city upon a hill"), explore games as digital borderlands and contact zones, and offer novel approaches to geographical literacy. Eventually, Playing the Field II brings the rich theoretical repertoire of the study of space in American Studies into conversation with questions about the production, representation, and experience of space in video games.

Video Game Chronotopes and Social Justice examines how the chronotope, which literally means “timespace,” is an effective interpretive lens through which to understand the cultural and ideological significance of video games. Using ‘slow readings’ attuned to deconstruction along the lines of post-structuralist theory, gender studies, queer studies, continental philosophy, and critical theory, Mike Piero exposes the often-overlooked misogyny, heteronormativity, racism, and patriarchal structures present in many Triple-A video games through their arrangement of timespace itself. Beyond understanding time and space as separate mechanics and dimensions, Piero reunites time and space through the analysis of six chronotopes—of the bonfire, the abject, the archipelago, the fart as pharmakon, madness, and coupled love—toward a poetic meaning making that is at the heart of play itself, all in affirmation of life, equity, and justice.

The open world role-playing Assassin’s Creed video game series is one of the most successful series of all time, praised for its in-depth use of historical characters and events, compelling graphics, and addictive gameplay. Assassin’s Creed games offer up the possibility of exploring history, mythology, and heritage immersively, graphically, and imaginatively. This collection of essays by architects archaeologists and historiansexplores the learning opportunities of playing, modifying, and extending the games in the classroom, on location, in the architectural studio, and in a museum.

Gaming no longer only takes place as a ›closed interactive experience‹ in front of TV screens, but also as broadcast on streaming platforms or as cultural events in exhibition centers and e-sport arenas. The popularization of new technologies, forms of expression, and online services has had a considerable influence on the academic and journalistic discourse about games. This anthology examines which paratexts gaming cultures have produced - i.e., in which forms and formats and through which channels we talk (and write) about games - as well as the way in which paratexts influence the development of games. How is knowledge about games generated and shaped today and how do boundaries between (popular) criticism, journalism, and scholarship have started to blur? In short: How does the paratext change the text?