An exploration of the way videogames mount arguments and make expressive statements about the world that analyzes their unique persuasive power in terms of their computational properties. Videogames are an expressive medium, and a persuasive medium; they represent how real and imagined systems work, and they invite players to interact with those systems and form judgments about them. In this innovative analysis, Ian Bogost examines the way videogames mount arguments and influence players. Drawing on the 2,500-year history of rhetoric, the study of persuasive expression, Bogost analyzes rhetoric's unique function in software in general and videogames in particular. The field of media studies already analyzes visual rhetoric, the art of using imagery and visual representation persuasively. Bogost argues that videogames, thanks to their basic representational mode of procedurality (rule-based representations and interactions), open a new domain for persuasion; they realize a new form of rhetoric. Bogost calls this new form "procedural rhetoric," a type of rhetoric tied to the core affordances of computers: running processes and executing rule-based symbolic manipulation. He argues further that videogames have a unique persuasive power that goes beyond other forms of computational persuasion. Not only can videogames support existing social and cultural positions, but they can also disrupt and change these positions themselves, leading to potentially significant long-term social change. Bogost looks at three areas in which videogame persuasion has already taken form and shows considerable potential: politics, advertising, and learning.

In recent years, computer games have moved from the margins of popular culture to its center. Reviews of new games and profiles of game designers now regularly appear in the New York Times and the New Yorker, and sales figures for games are reported alongside those of books, music, and movies. They are increasingly used for purposes other than entertainment, yet debates about videogames still fork along one of two paths: accusations of debasement through violence and isolation or defensive paeans to their potential as serious cultural works. In How to Do Things with Videogames, Ian Bogost contends that such generalizations obscure the limitless possibilities offered by the medium’s ability to create complex simulated realities. Bogost, a leading scholar of videogames and an award-winning game designer, explores the many ways computer games are used today: documenting important historical and cultural events; educating both children and adults; promoting commercial products; and serving as platforms for art, pornography, exercise, relaxation, pranks, and politics. Examining these applications in a series of short, inviting, and provocative essays, he argues that together they make the medium broader, richer, and more relevant to a wider audience. Bogost concludes that as videogames become ever more enmeshed with contemporary life, the idea of gamers as social identities will become obsolete, giving rise to gaming by the masses. But until games are understood to have valid applications across the cultural spectrum, their true potential will remain unrealized. How to Do Things with Videogames offers a fresh starting point to more fully consider games’ progress today and promise for the future.

The rapid developments of new communication technologies have facilitated the popularization of digital games, which has translated into an exponential growth of the game industry in the last decades. The ubiquitous presence of digital games has resulted in an expansion of the applications of these games from mere entertainment purposes to a great variety of serious purposes. In this edited volume, we narrow the scope of attention by focusing on what game theorist Ian Bogost has called "persuasive games", that is, gaming practices that combine the dissemination of information with attempts to engage players in particular attitudes and behaviors. This volume offers a multifaceted reflection on persuasive gaming, that is, on the process of these particular games being played by players. The purpose is to better understand when and how digital games can be used for persuasion, by further exploring persuasive games and some other kinds of persuasive playful interaction as well. The book critically integrates what has been accomplished in separate research traditions to offer a multidisciplinary approach to understanding persuasive gaming that is closely linked to developments in the industry by including the exploration of relevant case studies.

The evolution of the game industry and changes in the advertising landscape in recent years have led to a keen interest of marketers in using digital games for advertising purposes. However, despite the increasing interest in this marketing strategy, the potential of digital games as a medium to convey advertising messages remains unexploited. *Digital Gaming and the Advertising Landscape* explores the different ways advertising messages can be embedded within digital games. An interdisciplinary approach is used to help explain how persuasive communication works within digital games. It does so by forging new links within the area of game studies where the emphasis of this book clearly lies, while also taking up new subjects such as design theories and their relation to games as well as how this relationship may be used in a practical context.

This book provides tips to teachers for moving toward active learning by using simulation and gaming. The book is a rare reference for teachers who wish to initiate active learning by applying many real experiences from world experts in simulation and gaming. This cumulative wisdom comes from cutting-edge trials reported at the 49th International Simulation and Gaming Association’s annual conference in Thailand 9–13 July 2018. The importance of changing teachers’ one-way lecture approach to that of active learning has been commonly understood for several decades and has been promoted especially in recent years in Asian universities. Simulation and gaming meets the requirements of such teaching programs, especially for active learning, but there are few books or references on how to gamify a lecture. This book serves as a guide to facilitate that change. The author recognizes the duty to provide readers with fixed directions toward simulation and gaming in the next generation, which have still not been fully elucidated. Developing a simulation and gaming culture and making it sustainable in the next decade are the purpose of this book.

An examination of subversive games like The Sims—games designed for political, aesthetic, and social critique. For many players, games are entertainment, diversion, relaxation, fantasy. But what if certain games were something more than this, providing not only outlets for entertainment but a means for creative expression, instruments for conceptual thinking, or tools for social change? In Critical Play, artist and game designer Mary Flanagan examines alternative games—games that challenge the accepted norms embedded within the gaming industry—and argues that games designed by artists and activists are reshaping everyday game culture. Flanagan provides a lively historical context for critical play through twentieth-century art movements, connecting subversive game design to subversive art: her examples of “playing house” include Dadaist puppet shows and The Sims. She looks at artists’ alternative computer-based games and explores games for change, considering the way activist concerns—including worldwide poverty and AIDS—can be incorporated into game design. Arguing that this kind of conscious practice—which now constitutes the avant-garde of the computer game medium—can inspire new working methods for designers, Flanagan offers a model for designing that will encourage the subversion of popular gaming tropes through new styles of game making, and proposes a theory of alternate game design that focuses on the reworking of contemporary popular game practices.

From the complex city-planning game SimCity to the virtual therapist Eliza: how computational processes open possibilities for understanding and creating digital media. What matters in understanding digital media? Is looking at the external appearance and audience experience of software enough—or should we look further? In Expressive Processing, Noah Wardrip-Fruin argues that understanding what goes on beneath the surface, the computational processes that make digital media function, is essential. Wardrip-Fruin looks at “expressive processing” by examining specific works of digital media ranging from the simulated therapist Eliza to the complex city-planning game SimCity. Digital media, he contends, offer particularly intelligible examples of things we need to understand about software in general; if we understand, for instance, the capabilities and histories of artificial intelligence techniques in the context of a computer game, we can use that understanding to judge the use of similar techniques in such higher-stakes social contexts as surveillance.