Jennifer deWinter – författare

This book analyzes the effect of policy on the digital game complex: government, industry, corporations, distributors, players, and the like. Contributors argue that digital games are not created nor consumed outside of the complex power relationships that dictate the full production and distribution cycles, and that we need to consider those relationships in order to effectively "read" and analyze digital games. Through examining a selection of policies, e.g. the Australian government’s refusal (until recently) to allow an R18 rating for digital games, Blizzard’s policy in regards to intellectual property, Electronic Arts’ corporate policy for downloadable content (DLC), they show how policy, that is to say the rules governing the production, distribution and consumption of digital games, has a tangible effect upon our understanding of the digital game medium.

Taking as its point of departure the fundamental observation that games are both technical and symbolic, this collection investigates the multiple intersections between the study of computer games and the discipline of technical and professional writing. Divided into five parts, Computer Games and Technical Communication engages with questions related to workplace communities and gamic simulations; industry documentation; manuals, gameplay, and ethics; training, testing, and number crunching; and the work of games and gamifying work. In that computer games rely on a complex combination of written, verbal, visual, algorithmic, audio, and kinesthetic means to convey information, technical and professional writing scholars are uniquely poised to investigate the intersection between the technical and symbolic aspects of the computer game complex. The contributors to this volume bring to bear the analytic tools of the field to interpret the roles of communication, production, and consumption in this increasingly ubiquitous technical and symbolic medium.

This book analyzes the effect of policy on the digital game complex: government, industry, corporations, distributors, players, and the like. Contributors argue that digital games are not created nor consumed outside of the complex power relationships that dictate the full production and distribution cycles, and that we need to consider those relationships in order to effectively "read" and analyze digital games. Through examining a selection of policies, e.g. the Australian government’s refusal (until recently) to allow an R18 rating for digital games, Blizzard’s policy in regards to intellectual property, Electronic Arts’ corporate policy for downloadable content (DLC), they show how policy, that is to say the rules governing the production, distribution and consumption of digital games, has a tangible effect upon our understanding of the digital game medium.

Taking as its point of departure the fundamental observation that games are both technical and symbolic, this collection investigates the multiple intersections between the study of computer games and the discipline of technical and professional writing. Divided into five parts, Computer Games and Technical Communication engages with questions related to workplace communities and gamic simulations; industry documentation; manuals, gameplay, and ethics; training, testing, and number crunching; and the work of games and gamifying work. In that computer games rely on a complex combination of written, verbal, visual, algorithmic, audio, and kinesthetic means to convey information, technical and professional writing scholars are uniquely poised to investigate the intersection between the technical and symbolic aspects of the computer game complex. The contributors to this volume bring to bear the analytic tools of the field to interpret the roles of communication, production, and consumption in this increasingly ubiquitous technical and symbolic medium.

The newest addition to our Influential Video Game Designers series explores the work of Todd Howard, executive producer at Bethesda Studios, known for how he consistently pushes the boundaries of open-world gaming and player agency. Howard’s games create worlds in which players can design their own characters and tell their own stories. While many games tell the story of the game’s main character, Todd Howard’s worldbuilding approach to game design focuses more on telling the story of the game’s world, whether it be the high fantasy environments of the Elder Scrolls series or the post-apocalyptic wasteland of the Fallout series. This focus on sculpting the world allows for remarkable amounts of player freedom and choice in an expansive game environment by creating a landscape rich with open opportunity. Drawing on both academic discussions of narrative, world design, and game design, as well as on officially released interviews, speeches, and presentations given by Howard and other designers at Bethesda Games, Wendi Sierra highlights three core areas set Howard’s design perspective apart from other designers: micronarratives, iterative design, and the sharing of design tools. Taken as a whole, these three elements demonstrate how Howard has used a worldbuilding perspective to shape his games. In doing so, he has impacted not only Bethesda Studios, but also the landscape of game design itself.

Video games are considered by many to be just entertainment—essentially void of skillful, artistic intervention. But as any gamer knows, there’s incredible technical and graphic talent behind even a flickering Gameboy screen.You may have never heard Shigeru Miyamoto’s name, but you’ve probably spent many a lazy afternoon absorbed in his work. Joining Nintendo as a video game designer in the late 1970s, Miyamoto created the powerhouse franchises Super Mario Bros., The Legend of Zelda, and Donkey Kong—games so ubiquitous that Miyamoto was named one of TIME’s 100 Most Influential People in 2007. Combining critical essays with interviews, bibliographies, and striking visuals, Shigeru Miyamoto unveils the artist behind thousands of glowing gaming screens, tracing out his design decisions, aesthetic preferences, and the material conditions that shaped his work. With this incredible (and incredibly unknown) figure, series editors Jennifer DeWinter and Carly Kocurek launch the Influential Video Game Designers series, at last giving these artists the recognition they deserve.

Video games are considered by many to be just entertainment—essentially void of skillful, artistic intervention. But as any gamer knows, there’s incredible technical and graphic talent behind even a flickering Gameboy screen.You may have never heard Shigeru Miyamoto’s name, but you’ve probably spent many a lazy afternoon absorbed in his work. Joining Nintendo as a video game designer in the late 1970s, Miyamoto created the powerhouse franchises Super Mario Bros., The Legend of Zelda, and Donkey Kong—games so ubiquitous that Miyamoto was named one of TIME’s 100 Most Influential People in 2007. Combining critical essays with interviews, bibliographies, and striking visuals, Shigeru Miyamoto unveils the artist behind thousands of glowing gaming screens, tracing out his design decisions, aesthetic preferences, and the material conditions that shaped his work. With this incredible (and incredibly unknown) figure, series editors Jennifer DeWinter and Carly Kocurek launch the Influential Video Game Designers series, at last giving these artists the recognition they deserve.

This volume examines the role of writing, rhetoric, and literacy programs and approaches in the practice of civic engagement in global contexts. Writing programs have experience in civic engagement and service learning projects in their local communities, and their work is central to developing students’ literacy practices. Further, writing programs compel student writers to attend to audience needs and rhetorical exigencies as well as reflect on their own subject positions. Thus, they are particularly situated to partner with other units on college campuses engaged in global partnerships.  Civic Engagement in Global Contexts provides examples and evidence of the critical self-reflection and iteration with community partners that make these projects important and valuable. Throughout its thirteen chapters, this collection provides practical pedagogical and administrative approaches for writing studies faculty engaging with global learning projects, as well as nuanced insight into how to navigate contact zones from the planning stages of projects to the hard work of self-reflection and change.  Partnerships and projects across national borders compel the field of rhetoric and composition to think through the ethics of writing studies program design and teaching practices. Doing this difficult work can disrupt presumptive notions of ownership that faculty and administrators hold concerning the fields involved in these projects and can even lead to decentering rhetoric/composition and other assumptions held by US-based institutions of higher education. Civic Engagement in GlobalContexts will be useful to instructors, advisors, and project managers of students in faculty-led project learning in overseas settings, international service learning through foreign study programs, and foreign study itself and to faculty members introducing civic engagement and community-based learning projects with foreign students in overseas institutions.  Contributors: Olga Aksakalova, James Austin, Maria de Lourdes Caudillo Zambrano, Rebecca Charry Roje, Patricia M. Dyer, Tara E. Friedman, Bruce Horner, Kathryn Johnson Gindlesparger, Adela C. Licona, Ian Mauer, Joyce Meier, Susan V. Meyers, Sadia Mir, Stephen T. Russell

An exploration of the influential work of Hideo Kojima, creator of cinematic titles such as the blockbuster Metal Gear Solid franchise, which has moved over 50 million units globally, as well as Snatcher, Policenauts, and Death Stranding.As the architect of the Metal Gear Solid franchise, Kojima is synonymous with the “stealth game” genre, where tension and excitement is created from players avoiding enemies rather than confronting them. Through the franchise, Kojima also helped to bridge the gap between games and other forms of media, arguing that games could be deep experiences that unearthed complex emotions from players on the same level as films or novels.Drawing on archives of interviews in English and Japanese with Kojima and his team, as well as academic discourses of social/political games and cinematic narrative/world-building, this book examines Kojima's progressive game design as it applies to four key areas: socially-relevant narratives, cinematic aesthetics, thematically-connected systems, and reflexive spaces.

This book explores the influential work of Eugene Jarvis, designer of the wildly-successful arcade games Defender, Robotron: 2084, NARC, Smash TV, and Cruis’n USA, among others.Embracing a variety of genres across decades, the video games of Eugene Jarvis offer a series of design lessons in how to craft coin-operated game machines that can survive and thrive even as the arcade was disappearing from the American landscape. In particular, his titles demonstrate the enduring appeal of gameplay challenges, taboo content, and possessing a larger-than-life form factor and accessible gameplay. Drawing upon multiple interviews with Jarvis and his collaborators, as well as scholarly reflections on game design, historic industry data, and archival documents, this book makes the case that Jarvis is the unparalleled “King of the Arcade” for his ability to craft gameplay experiences that cannot be replicated on home consoles or personal computers.