Video games have been a central feature of the cultural landscape for over twenty years and now rival older media like movies, television, and music in popularity and cultural influence. Yet there have been relatively few attempts to understand the video game as an independent medium. Most such efforts focus on the earliest generation of text-based adventures ("Zork, " for example) and have little to say about such visually and conceptually sophisticated games as "Final Fantasy X, Shenmue, Grand Theft Auto, Halo, "and" The Sims, " in which players inhabit elaborately detailed worlds and manipulate digital avatars with a vast--and in some cases, almost unlimited--array of actions and choices. In "Gaming," Alexander Galloway instead considers the video game as a distinct cultural form that demands a new and unique interpretive framework. Drawing on a wide range of disciplines, particularly critical theory and media studies, he analyzes video games as something to be played rather than as texts to be read, and traces in five concise chapters how the "algorithmic culture" created by video games intersects with theories of visuality, realism, allegory, and the avant-garde. If photographs are images and films are moving images, then, Galloway asserts, video games are best defined as actions. Using examples from more than fifty video games, Galloway constructs a classification system of action in video games, incorporating standard elements of gameplay as well as software crashes, network lags, and the use of cheats and game hacks. In subsequent chapters, he explores the overlap between the conventions of film and video games, the political and cultural implications of gaming practices, the visual environment of video games, and the status of games as an emerging cultural form. Together, these essays offer a new conception of gaming and, more broadly, of electronic culture as a whole, one that celebrates and does not lament the qualities of the digital age. Alexander R. Galloway is assistant professor of culture and communication at New York University and author of "Protocol: How Control Exists after Decentralization."
0 有用 叉 2019-06-05 15:37:38
认真读了fps一章 从文化研究 电影批评进入游戏 一板一眼的写法
0 有用 甚谁 2024-06-03 21:25:03 日本
有种想到哪儿写到哪儿的味儿。没看出来游戏的政治与文化潜能,反游戏那部分写得一言难尽。不过fps那篇,fps构图的电影起源,有点意思。
0 有用 零点七 2022-05-14 15:35:43
不錯,我也能看懂!看來我沒有那么烂!盖洛威也在说人话!
1 有用 Manchild 2015-12-21 13:49:54
经常觉得加洛威分析新媒体都好浅,零零碎碎捡了些初阶电影理论,又那么喜欢画表图总结范式,不过好歹说的都还是人话。叙事理论、摄像机-人眼、现实主义、意识形态、反电影都是电影理论的框架。
1 有用 想本雅明迟了迟 2021-06-18 05:29:04
在二十一世紀初,遊戲還是電影的衍生品。
0 有用 甚谁 2024-06-03 21:25:03 日本
有种想到哪儿写到哪儿的味儿。没看出来游戏的政治与文化潜能,反游戏那部分写得一言难尽。不过fps那篇,fps构图的电影起源,有点意思。
0 有用 Ruoooooo 2023-02-12 09:35:19 浙江
过时了,也许.
0 有用 丹良 2022-11-09 13:53:42 甘肃
论述基本上都建立在电影理论上,属于看小标题和电影理论就可以理解的书。
0 有用 Emunah__ 2022-06-21 17:43:05
因为是游戏,所以额外加一星。很多东西都太过形而上,但从abstract到research practical的空间里有了启发的可能
0 有用 零点七 2022-05-14 15:35:43
不錯,我也能看懂!看來我沒有那么烂!盖洛威也在说人话!