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New technology has brought with it new tools for learning, and research has shown that the educational potential of video games resonates with scholars, teachers, and students alike. This book describes the largely untapped potential of mobile learning games—games played on such handheld devices as cell phones, Game Boys, and Sony PSPs—to make a substantial impact on learning. Examining mobile games from both educational and gaming perspectives, it argues that the strengths of the mobile platform—its portability, context sensitivity, connectivity, and ubiquity—make it ideal for learning games in elementary, secondary, university, and lifelong education. The book begins by exploring the past and present of education, educational technology, “edutainment,” and mobile games. It then offers a series of case studies of mobile educational games that have been developed and implemented in recent years. These games—either participatory (which require interaction with other players) or augmented reality (which augment the real world with virtual information)—can be produced at lower cost than PC or full-size console games. They use social dynamics and real-world context to enhance game play, can be integrated into the natural flow of instruction more easily than their big-screen counterparts, and can create compelling educational and engaging environments for learners. They are especially well suited for helping learners at every level develop twenty-first century skills, including the ability to tackle complex problems and acquire information in “just-in-time” fashion.

Despite the emergence of computer games as a dominant cultural industry (and the accompanying emergence of computer games as the subject of scholarly research), we know little or nothing about the ethics of computer games. Considerations of the morality of computer games seldom go beyond intermittent portrayals of them in the mass media as training devices for teenage serial killers. This exploration of the subject addresses broader issues about the ethics of games, the ethics of playing the games, and the ethical responsibilities of game designers. It argues that computer games are ethical objects, that computer game players are ethical agents, and that the ethics of computer games should be seen as a complex network of responsibilities and moral duties. Players should not be considered passive amoral creatures; they reflect, relate, and create with ethical minds. The games they play are ethical systems, with rules that create gameworlds with values at play. Drawing on concepts from philosophy and game studies, the book proposes a framework for analyzing the ethics of computer games as both designed objects and player experiences. After presentin core theoretical arguments and offering a general theory for understanding computer game ethics, the book offers case studies examining single-player games (using Bioshock as an example), multiplayer games (illustrated by Defcon), and online gameworlds (illustrated by World of Warcraft) from an ethical perspective. It explores issues raised by unethical content in computer games and its possible effect on players.

Digital games tend to follow one of two trends when presenting game information to the player. The game may present game information in a naturalistic way as part of the imaginary universe presented by the game, avoiding symbolic or abstract representations that seem alien to the fictional world. Alternatively, the game may use graphical augmentations such as superimposed information, menus, and icons that points directly to important information. In Gameworld Interfaces, Kristine Jørgensen investigates different approaches to designing the game interface. She argues that gameworlds are not governed by the pursuit of fictional coherence but by the logics of game mechanics, and that this is a characteristic that distinguishes gameworlds from traditional fictional worlds. For this reason, one approach to interface design is not superior to the other as long as relevant game information is effectively communicated in a way that makes sense to the particular game situation. Gameworld Interfaces is a study of audiovisual computer game interfaces and how they interact with the gameworld. The book presents a theory of game user interfaces and considers the implications of this theory for game design based on interviews with game interface design teams, extensive interviews and observations of players, and many hours of gameplay.

In South Korea, online gaming is a cultural phenomenon. Games are broadcast on television, professional gamers are celebrities, and youth culture is often identified with online gaming. Uniquely in the online games market, Korea not only dominates the local market but has also made its mark globally. This book examines the rapid growth of this industry from a political economy perspective, discussing it in social, cultural, and economic terms. Korea has the largest percentage of broadband subscribers of any country in the world, and Koreans spend increasing amounts of time and money on Internet-based games. Online gaming has become a mode of socializing—a channel for human relationships. The Korean online game industry has been a pioneer in software development and eSports (electronic sports and leagues). The book discusses the policies of the Korean government that encouraged the development of online gaming both as a cutting-edge business and as a cultural touchstone; the impact of economic globalization; the relationship between online games and Korean society; and the future of the industry. It examines the rise of Korean online games in the global marketplace, the emergence of eSport as a youth culture phenomenon, the working conditions of professional gamers, the role of game fans as consumers, how Korea’s local online game industry has become global, and whether these emerging firms have challenged the West’s dominance in global markets.

Over the last decade, machinima—the use of computer game engines to create movies—has emerged as a vibrant area in digital culture. Machinima as a filmmaking tool grew from the bottom up, driven by enthusiasts who taught themselves to deploy technologies from computer games to create animated films quickly and cheaply. This book provides a critical overview of this rapidly developing field. The contributors include both academics and artist-practitioners. They explore machinima from multiple perspectives, ranging from technical aspects of machinima, from real-time production to machinima as a performative and cinematic medium, while paying close attention to the legal, cultural, and pedagogical contexts for machinima. The book extends critical debates originating within the machinima community to a wider audience and provides a foundation for scholarly work from a variety of disciplines. It charts the emergence of machinima as a game-based cultural production that spans technologies and media, forming new communities of practice on its way to a history, an aesthetic, and a market.

The move to 3D graphics represents a dramatic artistic and technical development in the history of video games that suggests an overall transformation of games as media. The experience of space has become a key element of how we understand games and how we play them. This book investigates what this shift means for video game design and analysis. Navigable 3D spaces allow us to crawl, jump, fly, or even teleport through fictional worlds that come to life in our imagination. We encounter these spaces through a combination of perception and interaction. Drawing on concepts from literary studies, architecture, and cinema, the book argues that game spaces can evoke narratives because the player is interpreting them in order to engage with them. Consequently, it approaches game spaces not as pure visual spectacles but as meaningful virtual locations. The book’s argument investigates what structures are at work in these locations, proceeds to an in-depth analysis of the audiovisual presentation of gameworlds, and ultimately explores how we use and comprehend their functionality. It introduces five analytical layers — rule-based space, mediated space, fictional space, play space, and social space — and uses them in the analyses of games that range from early classics to recent titles. The book revisits current topics in game research, including narrative, rules, and play, from this new perspective. The book provides a range of arguments and tools for media scholars, designers, and game researchers with an interest in 3D game worlds and the new challenges they pose.

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 demands of 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, including game designers and founders of game companies, offering distinctively first-hand perspectives. Some of these national histories appear for the first time in English, and some for the first time in any language.