Brendan Keogh

From Among Us to Minecraft, chess to Dungeons and Dragons, games and play are fundamentally transforming how we understand storytelling, education, identity, politics, and creativity. Game Studies provides the first ever critical and comprehensive introduction for navigating this complex, interdisciplinary, and rapidly growing field. It combines key theoretical frameworks with case studies of influential games to equip readers with the tools needed to critically engage with games and their growing cultural significance. Each chapter introduces a timely area of debate in games research, including games as storytelling, games and education, identity and representation, creativity and the games industry, and militarism and globalisation. Full of concrete examples and pedagogical features, Game Studies offers a highly accessible and urgently needed guide to this rapidly growing, hotly contested, and culturally significant field. It is essential reading for new students of both media studies and game design, and an important resource for scholars, developers, and gamers.

From Among Us to Minecraft, chess to Dungeons and Dragons, games and play are fundamentally transforming how we understand storytelling, education, identity, politics, and creativity. Game Studies provides the first ever critical and comprehensive introduction for navigating this complex, interdisciplinary, and rapidly growing field. It combines key theoretical frameworks with case studies of influential games to equip readers with the tools needed to critically engage with games and their growing cultural significance. Each chapter introduces a timely area of debate in games research, including games as storytelling, games and education, identity and representation, creativity and the games industry, and militarism and globalisation. Full of concrete examples and pedagogical features, Game Studies offers a highly accessible and urgently needed guide to this rapidly growing, hotly contested, and culturally significant field. It is essential reading for new students of both media studies and game design, and an important resource for scholars, developers, and gamers.

Videogames were once made with a vast range of tools and technologies, but in recent years a small number of commercially available 'game engines' have reached an unprecedented level of dominance in the global videogame industry. In particular, the Unity game engine has penetrated all scales of videogame development, from the large studio to the hobbyist bedroom, such that over half of all new videogames are reportedly being made with Unity. This book provides an urgently needed critical analysis of Unity as ‘cultural software’ that facilitates particular production workflows, design methodologies, and software literacies. Building on long-standing methods in media and cultural studies, and drawing on interviews with a range of videogame developers, Benjamin Nicoll and Brendan Keogh argue that Unity deploys a discourse of democratization to draw users into its ‘circuits of cultural software’. For scholars of media production, software culture, and platform studies, this book provides a framework and language to better articulate the increasingly dominant role of software tools in cultural production. For videogame developers, educators, and students, it provides critical and historical grounding for a tool that is widely used yet rarely analysed from a cultural angle.

An investigation of the embodied engagement between the playing body and the videogame: how player and game incorporate each other. Our bodies engage with videogames in complex and fascinating ways. Through an entanglement of eyes-on-screens, ears-at-speakers, and muscles-against-interfaces, we experience games with our senses. But, as Brendan Keogh argues in A Play of Bodies, this corporal engagement goes both ways; as we touch the videogame, it touches back, augmenting the very senses with which we perceive. Keogh investigates this merging of actual and virtual bodies and worlds, asking how our embodied sense of perception constitutes, and becomes constituted by, the phenomenon of videogame play. In short, how do we perceive videogames? Keogh works toward formulating a phenomenology of videogame experience, focusing on what happens in the embodied engagement between the playing body and the videogame, and anchoring his analysis in an eclectic series of games that range from mainstream to niche titles. Considering smartphone videogames, he proposes a notion of co-attentiveness to understand how players can feel present in a virtual world without forgetting that they are touching a screen in the actual world. He discusses the somatic basis of videogame play, whether games involve vigorous physical movement or quietly sitting on a couch with a controller; the sometimes overlooked visual and audible pleasures of videogame experience; and modes of temporality represented by character death, failure, and repetition. Finally, he considers two metaphorical characters: the "hacker," representing the hegemonic, masculine gamers concerned with control and configuration; and the "cyborg," less concerned with control than with embodiment and incorporation.