Isbn: 9780816699124 - How to Talk About Videogames: Volume 47 (electronic Mediations) (36 results)

Language: English
Published by University of Minnesota Press, 2015
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Language: English
Published by University of Minnesota Press, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by University of Minnesota, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by University of Chicago press, 2015
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More imagesLanguage: English
Published by University of Minnesota Press, US, 2015
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Seller: Rarewaves.com USA, London, LONDO, United KingdomRarewaves.com USA
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Paperback. Condition: New. Videogames! Aren't they the medium of the twenty-first century? The new cinema? The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk? The final victory of interaction over passivity? No, probably not. Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this paradox more thoroughly than any other author to date.Delving into popular, familiar games like Flappy Bird, Mirror's Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL, and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don't watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn't.Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the "rivers and fields" that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: "God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study.". …

Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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paperback. Condition: Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing, fanning, inscriptions, margin notes, yellowing, staining on edge or cover or pages, bumps, scuffs, etc etc (sometimes multiple of these). It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.…

Language: English
Published by University of Minnesota Press, 2015
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Language: English
Published by University of Minnesota Press, Minnesota, 2015
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Paperback. Condition: new. Paperback. Videogames! Aren't they the medium of the twenty-first century? The new cinema? The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk? The final victory of interaction over passivity? No, probably not. Games are part art and part appliance, part tableau and part toaster. In "How to Talk about Videogames," leading critic Ian Bogost explores this paradox more thoroughly than any other author to date.Delving into popular, familiar games like "Flappy Bird, Mirror's Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL," and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don't watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn't.Noting that the term "games criticism "once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the "rivers and fields" that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: "God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study." Leading critic Ian Bogost posits that game critique is both serious cultural currency and selfparody. Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
- Softcover
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Condition: New. pp. 208.

Language: English
Published by Univ of Minnesota Pr, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by University of Minnesota Press, 2015
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Condition: New. Series: Electronic Mediations. Num Pages: 208 pages. BIC Classification: JFCA; JFD; UDX. Category: (G) General (US: Trade). Dimension: 218 x 141 x 16. Weight in Grams: 254. . 2015. Paperback. . . . .

Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by University of Minnesota Press, 2015
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Language: English
Published by University Of Minnesota Press 2015-11-15, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by University of Minnesota Press, 2015
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Condition: New. Series: Electronic Mediations. Num Pages: 208 pages. BIC Classification: JFCA; JFD; UDX. Category: (G) General (US: Trade). Dimension: 218 x 141 x 16. Weight in Grams: 254. . 2015. Paperback. . . . . Books ship from the US and Ireland.

Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by Univ Of Minnesota Press, 2015
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Language: English
Published by University Of Minnesota Press Nov 2015, 2015
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Taschenbuch. Condition: Neu. Neuware - Videogames! Aren't they the medium of the twenty-first century The new cinema The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk The final victory of interaction over passivity No, probably not. Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this paradox more thoroughly than any other author to date.Delving into popular, familiar games like Flappy Bird, Mirror's Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL, and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don't watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn't.Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the "rivers and fields" that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: "God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study.".…