- Taschenbuch: 464 Seiten
- Verlag: The MIT Press (13. August 2010)
- Sprache: Englisch
- ISBN-10: 9780262514880
- ISBN-13: 978-0262514880
- ASIN: 0262514885
- Größe und/oder Gewicht: 17,8 x 2,4 x 22,9 cm
- Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
- Amazon Bestseller-Rang: Nr. 188.271 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Persuasive Games: The Expressive Power of Videogames (Mit Press) (Englisch) Taschenbuch – 13. August 2010
Wird oft zusammen gekauft
Kunden, die diesen Artikel gekauft haben, kauften auch
Es wird kein Kindle Gerät benötigt. Laden Sie eine der kostenlosen Kindle Apps herunter und beginnen Sie, Kindle-Bücher auf Ihrem Smartphone, Tablet und Computer zu lesen.
Geben Sie Ihre Mobiltelefonnummer ein, um die kostenfreie App zu beziehen.
Wenn Sie dieses Produkt verkaufen, möchten Sie über Seller Support Updates vorschlagen?
Whether we call them 'serious games', 'persuasive games', or simply 'video games', it is clear that there is much of rhetorical significance to mine from the electronic representations and interactions that have captivated such a large portion of the world's population. Ian Bogost's book is an excellent step towards understanding and appreciating these materials from an intellectual, critical, and humanistic perspective.--Rudy McDaniel, Literary and Linguistic Computing
Über den Autor und weitere Mitwirkende
Bogost is both an academic researcher and videogame designer, and Persuasive Games reflects both theoretical and a game design goals.
Kunden, die diesen Artikel angesehen haben, haben auch angesehen
|5 Sterne (0%)|
|4 Sterne (0%)|
|3 Sterne (0%)|
|2 Sterne (0%)|
|1 Stern (0%)|
Die hilfreichsten Kundenrezensionen auf Amazon.com
The title of the book comes from the ability of this procedural logic to make implicit and explicit arguments to the player. Most people have a sense that it's the interactivity of videogames that makes them special, but Bogost takes it one step further by discussing "procedural rhetoric," a systemic form of persuasion. As you play such a game, the way its system responds to your input builds cause-effect relationships in your mind. These cause-effect relationships can easily make "claims" about how similar real-world systems work.
Overall - excellent book. Very thought provoking and inspiring to the would-be game maker.
To me, one of the most interesting parts of this book is its implicit call for, or at least emphasis on, a cognitive or rational approach toward expressive game design (and possibly art making in general). Bogost describes games as procedural representations of how the world, or some part of it, works (which, of course, are in themselves processes). Because videogames run on computers and the very nature of computation requires explicit and exact specification, when representing with systems it can be said that one is creating a complete "theory" of what is being represented. The canonical example of a game representing an ideological position through its processes is SimCity. SimCity presents a world that takes for granted that various forms of governmental planning produce very specific results (which are literally hardcoded into the system). Players are placed in a role where zoning, etc. is unavoidable and naturalized. To be successful at the game, players must understand and then enact the rules of the system. Depending on the player's criticality, or how successful the game's procedural rhetoric is (a very important term explored in depth in this book), he or she may accept the solutions to the problems into his or her worldview.
Bogost practically goes right out and admits that this approach to game design, whether taken intentionally or not, is propagandist. Though, a significant portion of the book is dedicated to describing a strategic mode of engagement for players to avoid blindly falling prey to procedural rhetoric. Part of this involves developing "procedurally literacy". This more or less means to be able to interpret systems or processes (a skill that no doubt has relevance in life in and outside of games). Next, he describes the "simulation gap" as the difference between one's existing ideas about something and the ideas that one believes the system to be representing. It is through awareness of what happens in this gap, or the dissonance created between the mental models (this shares many similarities with theories of dialectic/montage), that one avoids being blindly persuaded and instead learns/grows from a persuasive game. For example, because I am procedurally literate, my outrage at the "truths" presented in SimCity only strengthen my case against the state because it teaches me new things to be outraged about as I recognize where I disagree with what is presented or what passes for political reasoning (and for that I love and am indebted to SimCity!). A large portion of Persuasive Games is spent on how videogames, like SimCity, can be used as a way for citizens to express opinions, persuade and communicate about complicated processes.
The product description really sums it up: "Videogames are both 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." How can that not sound profound, or at least enticing? Humans live in systems. This is meaning of life kind of stuff! Though it may be dense to some non-academic readers, Persuasive Games is one of the best books out there that describes how videogames can uniquely express ideas that are central to the human experience and I fully recommend it.