By Aphra Kerr
This booklet explores the lifecycle of electronic video games. Drawing upon a large diversity of media reviews views with features of sociology, social thought and economics, Aphra Kerr explores this all-pervasive, yet under-theorised, element of our media environment.
Written as an introductory textual content for media and online game scholars this publication goals current an outline of and scholary paintings on who makes video games, the place they get made, what sort of media and cultural shape they're and who performs them and where.
The company and tradition of electronic Games seems at:
• video games as a brand new media form;
• the layout, improvement and advertising of games;
• using video games in private and non-private spaces.
Combining a theoretical and empirical research of the creation, content material and intake of computing device video games, this publication could be of curiosity to many scholars of media, tradition and conversation.
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Additional resources for The business and culture of digital games: gamework/gameplay
However, in media studies, and in this book, the ‘cultural industries’ refers to the traditional media industries of television, radio, books, newspapers, magazines, film and music as well as the newer media industries of the internet and, I would argue, digital games. Advertising, marketing and education are also usually included (Garnham 2000; Hesmondhalgh 2002). qxd 2/18/2006 12:04 PM Page 45 Digital Games as Cultural Industry 45 Can the digital games industry be conceptualised as a cultural industry?
Aarseth argues that many of the core terms within classical narrative theory simply do not apply to textual adventure games and he rejects both classical and post-structuralist definitions of narrative. Indeed, he argues there may not be a story at all in digital games, merely a plot, or what he calls an ‘intrigue’, which the user must figure out (1997: 112). An intrigue is similar to Chatman’s concept of story or the ‘what’ that is transmitted by the text. An intrigue contains events (actions and happenings) and existents (characters and settings) but Aarseth claims they are not connected in a fixed, causal sequence as in a classical or modernist narrative.
Qxd 2/18/2006 12:02 PM Page 39 Digital Games as Text 39 Herz (1997) identifies eight different digital game genres, while Poole (2000) lists nine. The main differences between these two categorisations revolve around defining action, simulation and strategy games. For Herz, action games are a fairly broad church, while Poole distinguishes between shoot’ em-ups, racing games and platform games. Poole admits that the term ‘platform games’ is probably outdated now and a more appropriate term might be ‘exploration game’ or adventure game (2000: 44).
The business and culture of digital games: gamework/gameplay by Aphra Kerr