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Read online Newsgames: Journalism at Play.pdf PDF, EPUB, MOBI, TXT, DOC Newsgames: Journalism at Play Journalism has embraced digital media in its struggle to survive But most online journalism just translates existing practices to the Web stories are written and edited as they are for print video and audio features are produced as they would be for television and radio The authors of i Newsgames i propose a new way of doing good journalism videogames Videogames are native to computers rather than a digitized form of prior media Games simulate how things work by constructing interactive models journalism as game involves more than just revisiting old forms of news production i Wired i magazine s game i Cutthroat Capitalism i for example explains the economics of Somali piracy by putting the player in command of a pirate ship offering choices for hostage negotiation strategies Videogames do not offer a panacea for the ills of contemporary news organizations But if the industry embraces them as a viable method of doing journalism not just an occasional treat for online readers newsgames can make a valuable contribution by Ian Bogost, Simon Ferrari, Bobby Schweizer

Books descriptionDetails
Newsgames: Journalism at Play
Title:Newsgames: Journalism at Play
Format Type:eBook PDF / e-Pub
Rating:
Author:
Published:
ISBN:0262014874
ISBN 13:
Number of Pages:235
Category:Games, Non fiction, Journalism, Game design, Gaming
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Alien Phenomenology, or What Its Like to Be a Thing, How to Talk about Videogames, The Geek's Chihuahua: Living with Apple (Forerunners: Ideas First), Persuasive Games: The Expressive Power of Videogames, Newsgames: Journalism at Play, Unit Operations: An Approach to Videogame Criticism, How to Do Things with Videogames, Kako initi stvari videoigrama, Play Anything: The Pleasure of Limits, the Uses of Boredom, and the Secret of Games, A Slow Year
In Unit Operations Ian Bogost argues that similar principles underlie both literary theory and computation proposing a literary technical theory that can be used to analyze particular videogames Moreover this approach can be applied beyond videogames Bogost suggests that any medium from videogames to poetry literature cinema or art can be read as a configurative system of discrete interlocking units of meaning and he illustrates this method of analysis with examples from all these fields The marriage of literary theory and information technology he argues will help humanists take technology more seriously and hep technologists better understand software and videogames as cultural artifacts This approach is especially useful for the comparative analysis of digital and nondigital artifacts and allows scholars from other fields who are interested in studying videogames to avoid the esoteric isolation of game studies The richness of Bogost s comparative approach can be seen in his discussions of works by such philosophers and theorists as Plato Badiou Zizek and McLuhan and in his analysis of numerous videogames including Pong Half Life and Star Wars Galaxies Bogost draws on object technology and complex adaptive systems theory for his method of unit analysis underscoring the configurative aspects of a wide variety of human processes His extended analysis of freedom in large virtual spaces examines Grand Theft Auto The Legend of Zelda Flaubert s Madame Bovary and Joyce s Ulysses In Unit Operations Bogost not only offers a new methodology for videogame criticism but argues for the possibility of real collaboration between the humanities and information technology, A collection of four one kilobyte games for the Atari Video Computer System one for each season about the experience of observing things Neither action nor strategy each game requires a different kind of sedate observation and methodical input Accompanying the game are essays about the commonalities between videogames and poetry and machined haiku poetry generated by computer bits worth for each season, Videogames Aren t they the medium of the twenty first century The new cinema The apotheosis of art and entertainment the realization of Wagnerian gesamtkunstwerk The final victory of interaction over passivity No probably not Games are part art and part appliance part tableau and part toaster In i How to Talk about Videogames i leading critic Ian Bogost explores this paradox more thoroughly than any other author to date br br Delving into popular familiar games like i Flappy Bird Mirror s Edge Mario Kart Scribblenauts Ms Pac Man FarmVille Candy Crush Saga Bully Medal of Honor Madden NFL i and more Bogost posits that videogames are as much like appliances as they are like art and media We don t watch or read games like we do films and novels and paintings nor do we perform them like we might dance or play football or Frisbee Rather we do something in between with games Games are devices we operate so game critique is both serious cultural currency and self parody It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable when we know it isn t br br Noting that the term i games criticism i once struck him as preposterous Bogost observes that the idea taken too seriously risks balkanizing games writing from the rest of culture severing it from the rivers and fields that sustain it As essential as it is he calls for its pursuit to unfold in this spirit God save us from a future of games critics gnawing on scraps like the zombies that fester in our objects of study br br br, 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 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