This book investigates the narrativity of some of the most popular survival horror video games and the gender politics implicit in their storyworlds. In a thorough analysis of the genre that draws upon detailed comparisons with the mainstream action genre, Andrei Nae places his analysis firmly within a political and social context. In comparing survival horror games to the dominant game design norms of the action genre, the author differentiates between classical and postclassical survival horror games to show how the former reject the norms of the action genre and deliver a critique of the conservative gender politics of action games, while the latter are more heterogeneous in terms of their game design and, implicitly, gender politics. This book will appeal not only to scholars working in game studies, but also to scholars of horror, gender studies, popular culture, visual arts, genre studies and narratology.

Taking the reader on a journey through queer manifestations in games, this book advocates for video games as a rich, political and cultural medium, which provides us with tools to navigate the future of gaming. Situated at the intersection of New Media, Game, Cultural and Queer Studies, the book navigates diverse interspecies relationships, queer villains from the past, Pokémon memes on border politics, flânerie in post-industrial cities and one-sided erotic fights. It provides new critical engagements with the works of Jose Esteban Muñoz, Bonnie Ruberg, Guy Debord and Jack Halberstam, examining queer representation, gaming subcultures and dissident play practices. Making the bold claim that video games might be the queerest medium today, this book provides organic, self-reflective and, ultimately, thought-provoking thinking in which both games and gamers are queered. This book will be of interest to scholars researching game studies, sex, gender and sexuality in new media, but also readers interested in literature, digital media, society, participatory culture and queer studies.

This book unlocks an understanding of video games as virtual travel. It explains how video game design increasingly takes cues from the promotional language of tourism, and how this connection raises issues of power and commodification. Bridging the disciplinary gap between game and tourism studies, the book offers a comprehensive account of touristic gazing in games such as The Legend of Zelda: Breath of the Wild, Minecraft, and Microsoft Flight Simulator 2020. Traveling through video games involves a mythological promise of open-ended opportunity, summarized in the slogan you can go there. Van Nuenen discusses the scale of game worlds, the elusive nature of freedom and control, and the pivotal role of work in creating a sense of belonging. The logic of tourism is fundamentally consumptive—but through design choices, players can also be invited to approach their travels more critically. This is the difference between moving through a game world, and being moved by it. This interdisciplinary and innovative study will interest students and scholars of digital media studies, game studies, tourism and technology, and the Digital Humanities.

This book explores the relationship between video games and satire through an in-depth examination of Capcom’s Dead Rising series, which alludes to, recontextualises, and builds upon George A. Romero’s filmic satire on American consumer culture, Dawn of the Dead. Proposing a taxonomy of videoludic satire, this book details how video games can communicate satire through their virtual environments, their characters, their audio, the way they frame the passage of time, and the outcomes of in-game choices that their players can make. By applying this taxonomy to the Dead Rising series, this book presents a compelling case for how video games can function as instruments for social commentary and indicators of ideological tensions. This unique and insightful study will interest students and scholars of media studies, video game studies, satire, visual culture, and zombie studies.

This book explores the many ways Gothic literature and media have informed videogame design. Through a series of detailed case studies, Videogames and the Gothic illustrates the extent to which particular tropes of Gothic culture –neo-medieval aesthetics, secret-filled labyrinthine spaces, the sense of a dark past impacting upon the present – have been appropriated by and transformed within digital games. Moving beyond the study of the generic influences of horror on digital gaming, Ewan Kirkland focuses in on the Gothic, a less visceral mode tending towards the unsettling, the uncertain and the uncanny. He explores the extent to which imagery, storylines and narrative preoccupations taken from Gothic fiction facilitate the affordances and limitations of the videogame medium. A core contention of this book is that videogames have developed as an inherently Gothic form of popular entertainment. Arguing for close proximity between Gothic culture and the videogame medium itself, this book will be a key contribution to both Gothic and digital game scholarship; as such, it will have resonance with scholars and students in both areas, as well as those interested in Gothic novels, media and popular culture, digital games and interactive fiction.

This book offers an overview of how conflicts are represented and enacted in games, in a variety of genres and game systems. Games are a cultural form apt at representing real world conflicts, and this edited volume highlights the intrinsic connection between games and conflict through a set of theoretical and empirical studies. It interrogates the nature and use of conflicts as a fundamental aspect of game design, and how a wide variety of conflicts can be represented in digital and analogue games. The book asks what we can learn from conflicts in games, how our understanding of conflicts change when we turn them into playful objects, and what types of conflicts are still not represented in games. It queries the way games make us think about armed conflict, and how games can help us understand such conflicts in new ways. Offering a deeper understanding of how games can serve political, pedagogical, or persuasive purposes, this volume will interest scholars and students working in fields such as game studies, media studies, and war studies.

Videogames and Agency explores the trend in videogames and their marketing to offer a player higher volumes, or even more distinct kinds, of player freedom. The book offers a new conceptual framework that helps us understand how this freedom to act is discussed by designers, and how that in turn reflects in their design principles. What can we learn from existing theories around agency? How do paratextual materials reflect design intention with regards to what the player can and cannot do in a videogame? How does game design shape the possibility space for player action? Through these questions and selected case studies that include AAA and independent games alike, the book presents a unique approach to studying agency that combines game design, game studies, and game developer discourse. By doing so, the book examines what discourses around player action, as well as a game’s design can reveal about the nature of agency and videogame aesthetics. This book will appeal to readers specifically interested in videogames, such as game studies scholars or game designers, but also to media studies students and media and screen studies scholars less familiar with digital games. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.