This book modifies the concept of performativity with media theory in order to build a rigorous method for analyzing videogame performances. Beginning with an interdisciplinary exploration of performative motifs in Western art and literary history, the book shows the importance of framing devices in orienting audiences’ experience of art. The frame, as a site of paradox, links the book’s discussion of theory with close readings of texts, which include artworks, books and videogames. The resulting method is interdisciplinary in scope and will be of use to researchers interested in the performative aspects of gaming, art, digital storytelling and nonlinear narrative.

When viewed through the context of an interactive play, a video game player fulfills the roles of both actor and spectator, watching and influencing a game's story in real time. This book presents video gaming as a virtual medium for performance, scrutinizing the ways in which a player's interaction with the narrative informs personal, historical, social and cultural understanding. Centering the author's own experiences as both video game player and performance scholar, the book thoroughly applies concepts from theatre and performance studies. Chapters argue that the posthuman player position now challenges what can be contextualized as a lived experience, and how video games can change players' relationships with historical events and contemporary concerns, ultimately impacting how they develop a sense of self. Using the author's own gaming experiences as a framework, the book focuses on the intersection between player and narrative, exploring what engagement with a storyline reveals about identity and society.

Video games are a relative late arrival on the cultural stage. While the academic discipline of game studies has evolved quickly since the nineties of the last century, the academia is only beginning to grasp the intellectual, philosophical, aesthetical, and existential potency of the new medium. The same applies to the question whether video games are (or are not) art in and on themselves. Based on the Communication-Oriented Analysis, the authors assess the plausibility of games-as-art and define the domains associted with this question.

This book examines the notion of storytelling in videogames. This topic allows new perspectives on the enduring problem of narrative in digital games, while also opening up different avenues of inquiry. The collection looks at storytelling in games from many perspectives. Topics include the remediation of Conrad’s Heart of Darkness in games such as Spec Ops: The Line; the storytelling similarities in Twin Peaks and Deadly Premonition, a new concept of ‘choice poetics’; the esthetics of Alien films and games, and a new theoretical overview of early game studies on narrative

This book argues that videogames address contemporary, middle-class anxieties about poverty in the United States. The early chapters consider gaming as a modern form of slumming and explore the ways in which titles like The Elder Scrolls V: Skyrim and World of Warcraft thematize poverty. The argument turns to the field of literary studies to identify analytical frameworks for addressing and understanding these themes. Throughout, the book considers how the academic area of inquiry known as game studies has developed over time, and makes use of such scholarship to present, frame, and value its major claims and findings. In its conclusion, the book models how poverty themes might be identified and associated for the purpose of gaining greater insights into how games can shape, and also be shaped by, the player’s economic expectations.

The World is Born From Zero is an investigation into the relationship between video games and science fiction through the philosophy of speculation. Cameron Kunzelman argues that the video game medium is centered on the evaluation and production of possible futures by following video game studies, media philosophy, and science fiction studies to their furthest reaches. Claiming that the best way to understand games is through rigorous formal analysis of their aesthetic strategies and the cultural context those strategies emerge from, Kunzelman investigates a diverse array of games like The Last of Us, VA-11 Hall-A, and Civilization VI in order to explore what science fiction video games can tell us about their genres, their ways of speculating, and how the medium of the video game does (or does not) direct us down experiential pathways that are both oppressive and liberatory. Taking a multidisciplinary look at these games, The World is Born From Zero offers a unique theorization of science fiction games that provides both science fiction studies and video game studies with new tools for thinking how this medium and mode inform each other.

Video Games and Comedy is the first edited volume to explore the intersections between comedy and video games. This pioneering book collects chapters from a diverse group of scholars, covering a wide range of approaches and examining the relationship between video games, humour, and comedy from many different angles. The first section of the book includes chapters that engage with theories of comedy and humour, adapting them to the specifics of the video game medium. The second section explores humour in the contexts, cultures, and communities that give rise to and spring up around video games, focusing on phenomena such as in-jokes, player self-reflexivity, and player/fan creativity. The third section offers case studies of individual games or game series, exploring the use of irony as well as sexual and racial humour in video games. Chapter “Emergence and Ephemerality of Humour During Live Coverage of Large-Scale eSports Events” is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.