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Copyright, Contract, and Video Games: Terms of Play (Hart Publishing, 2026) uncovers how video game contracts act as monologues of power, moulding players to align with proprietary ideologies.
In the era of interactive technologies, the player emerges as a vital yet curiously overlooked figure. While copyright law governs the creation and distribution of these technologies, it sidesteps the player, leaving private contracts to define their role and obligations. Using video games as a case study, this book fills the gap left by copyright law, offering an innovative socio-legal methodology to interrogate and challenge harmful contractual norms.
By analysing contracts as a form of critical discourse, the book exposes the contradictions and idealisations embedded in these agreements, which often serve to reinforce industry priorities. It is an essential resource for scholars in intellectual property law, video game studies, and socio-legal research, contributing to pressing debates on user rights and the shifting balance of power in interactive industries.
With its fresh perspective on the interplay of copyright, contract, and cultural participation, the book redefines the player's role in a rapidly evolving digital landscape, offering new tools to understand and critique the legal frameworks shaping this most interactive of industries.
Amy Thomas is Lecturer in Intellectual Property and Information Law at the University of Glasgow, UK.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the University of Applied Sciences Neu-Ulm, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal TITEL kulturmagazin for the game section and is editor of the weekly game research newsletter Game Studies Watchlist.
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Games That Haunt Us: Gothic Game Space as a Living Nightmare (Bloomsbury, 2026) is an examination of how the Gothic appears in game space to interrogate an area of substantial importance to contemporary games, with a focus on environments, bodies, and defining the Gothic in games. The Gothic, both as a literary and videogame genre has increased in prominence amongst literature, media, and culture scholars globally, as games studies becomes a more recognized and exciting field of study and as Gothic scholars find new ways to apply their works across emerging mediums. But why have Gothic games risen in popularity since 2010? What do players feel when they play these games? Why are themes surrounding fraught identities, mourning, and monstrosity gaining so much attention? Games That Haunt Us investigates the very nature of the Gothic and how video games provide new ways of connecting with the genre. The scholars in this collection look at why Gothic games are having their moment of popularity, the unsettling themes they evoke in unstable times, why we are fascinated with death and decay, theories surrounding body horror, and how games transform avatars and ourselves. Games That Haunt Us is arranged into three sequential themes: what makes a Gothic game; Gothic environments in game space; and how Gothic bodies are approached and utilized in ludonarratives.Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, and is editor of the weekly game research newsletter Game Studies Watchlist.Learn more about your ad choices. Visit megaphone.fm/adchoices
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In Identity Building Among Role-Playing Gamers: Slaying Goblins in the Real World (Bloomsbury 2025), Heather Shay draws from 19 months of participant-observation and 20 in-depth interviews with players. She found that gamers derive significant social and psychological benefits from table-top role-playing games-not least in that players often feel the hobby makes them better people.
Playing these games allow players to depict themselves as good, moral actors through their in-game actions as well as by making the game enjoyable for their fellow players in real life. Table-top role-playing games also serve a psychological function by allowing participants to take imaginary risks with their characters, which in turn make them feel more alive than their everyday experiences allow them to. As they pretend to be fictional characters in fictional worlds, players use these games to create identities that make their lives more meaningful.
Michael O. Johnston, Ph.D., is an Associate Professor of Sociology at William Penn University, where he focuses on the cultural and interpretive analysis of space, behavior, and identity. His work examines how built and designed environments shape social interaction, networks, and morality in everyday life across a range of settings. He is the author of The Social Construction of a Cultural Spectacle: Floatzilla (Lexington Books, 2023), Community Media Representations of Place and Identity at Tug Fest: Reconstructing the Mississippi River (Lexington Books, 2022), and his most recent book Smalltown Urban: Performing the City in Rural America (Bloomsbury, under contract).
His current research advances several interconnected projects, including the study of escape rooms as emotion-structured environments, the production of temporary urbanism in rural historic towns, and the ways students experience “hanging out” and feeling at home in higher education. He is also developing new work on the social organization and cultural meaning of rodeo.
More broadly, his scholarship is united by an interest in how people actively produce meaning, attachment, and identity within specific spatial and temporal contexts. To learn more about his work, visit his personal website or Google Scholar, connect with him on Bluesky (@professorjohnst.bsky.social) or X (@ProfessorJohnst), or reach out directly via email ([email protected]).
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This book offers a comprehensive and practical guide to Games User Research (GUR). Blending theory and hands-on experience, it walks readers through methods, tools, and techniques tailored to the real-world constraints of small and medium-sized game development studios to support them in delivering better player experiences. The book is divided into three parts. Part one introduces core concepts to game development, and explores gameplay experience, together with factors that influence player behaviour and decisions. The part ends by exploring the games user researcher's role and its common challenges. Next, part two presents readers with a 10-step end-to-end research process for a single study. From understanding stakeholders, designing methods, through recruiting participants, moderating sessions and analysing results, to delivering actionable insights. It provides guidance, real-life examples, and templates for integrating research in the game development practices, even when the budget and timeline are tight. Finally, part three provide readers with ready-to-use "recipes" for 10 research methods covering every phase of the game production cycle. Each recipe includes practical tips, pitfalls to avoid, and actual report excerpts. Whether you're an indie developer wanting to better understand your players, UX designer or researcher moving from application software to the world of games, this book will provide you with all the information on how to use research to gain the insights needed to create better player experiences.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, and is editor of the weekly game research newsletter Game Studies Watchlist.
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Tracing the cultural history of play--from Fluxus to SimCity Games and gamified activities have become ubiquitous in many adults' lives, and play is widely valued for fostering creativity, community, growth, and empathy. But how did we come to our current understanding of what it means to play? The Impossible Reversal: A History of How We Play charts the transformation of notions of playfulness beginning in the second half of the twentieth century, when a legion of artists, academics, and engineers developed new ways of theorizing, structuring, and designing ludic activity. Through examples ranging from experimental Fluxus games to corporate role-playing exercises and from the Easy Bake Oven to Tetris, The Impossible Reversal presents four styles of playfulness characteristic of the "era of designed play": the impossible reversal, which puts a player in a seemingly hopeless scenario they must upend with a tiny gesture; expending the secret, which involves silly rules that gain an obscure power and require players to embrace failure; simulated freedom, a satiric criticism of the ordinary world; and oblique repetition, a way of playing that stumbles toward unimaginable outcomes through simple, meaningless, and endlessly iterated acts. A unique genealogical account of play as both concept and practice, The Impossible Reversal illuminates how playfulness became essential for understanding cultural, technical, and economic production in the United States. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, and is editor of the weekly game research newsletter Game Studies Watchlist.Learn more about your ad choices. Visit megaphone.fm/adchoices
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Bounce: Balls, Walls, and Bodies in Games and Play (MIT Press, 2026) follows an array of bouncing balls through the histories of nonelectronic and electronic games, across the spectrum of play, game, and sport, and into the domains of physics, material science, animation, and computing. The book’s focus on bounce sidesteps the focus on play found in much of the game studies literature and broadens the scope of game history by spotlighting an interaction that is central to thousands of physical and digital games and sports. The book is divided into three sections that introduce different kinds of bounce to address the matter of the ball, the virtuality of bounce, and bounded spectacle: Ricochet in ancient tennis is set against modern tennis’s true bounce; squash and stretch in animation serves as a mirror of the pings and pongs of computer bounce; and the bounce feel in Electronic Art’s FIFA video game series and pok ta pok of the Mesoamerican game ulama elaborate the contrasting positions of these two mythological games.Carlin Wing is Associate Professor of Media Studies at Scripps College.Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, and is editor of the weekly game research newsletter Game Studies Watchlist.Learn more about your ad choices. Visit megaphone.fm/adchoices
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Despite its time travel mechanics, high stakes, and pulpy murder plot, Don’t Nod Entertainment’s 2015 adventure game Life is Strange stood out from most video games with its unapologetic emphasis on queer romance and friendships.
Yet for all the game’s specificity, players around the world found something of themselves in its protagonist, Max Caulfield, a perceptive yet insecure teen photographer who discovers she has the ability to rewind time itself.
Narrative designer Kaitlin Tremblay offers an intimate close reading in Life is Strange (Boss Fight Books, 2026) through the lenses of personal history, YA fantasy, identity formation, grief, and most of all, choice. If Max is “the sum of all the possible choices that she could make,” as Tremblay writes, then every decision we players make says something about who we are—and who we want to be.
Kaitlin Tremblay is a writer and narrative designer.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal TITEL kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter Game Studies Watchlist.
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A deep dive into the reflective modes of playfulness in video games. Slowness and reflectiveness have always been part of the video game medium, though they have been used very differently throughout its history. In Zen and Slow Games (MIT Press, 2026), Víctor Navarro-Remesal challenges the dominant discourse of action and quick reflexes in video games to offer an analysis of reflectiveness as a style in games, tracing its evolution from its origins to the present time. Two labels are of particular importance: the Zen modes (and later, Zen games) of the 2000s, especially during the Casual Revolution, and the slow games or slow gaming movement, which started in the 2010s and is ongoing today. The term “reflective games” is offered as an umbrella to bring together these and other labels to raise awareness and discussion of slow gaming.
Víctor Navarro-Remesal is a media scholar specializing in games working at TecnoCampus, Universitat Pompeu Fabra in Barcelona, Spain.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, and is editor of the weekly game research newsletter Game Studies Watchlist.
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The play element at the heart of our interactions with computers—and how it drives the best and the worst manifestations of the information age.
Whether we interact with video games or spreadsheets or social media, playing with software shapes every facet of our lives. In Playing Software: Homo Ludens in Computational Culture (MIT Press, 2023), Miguel Sicart delves into why we play with computers, how that play shapes culture and society, and the threat posed by malefactors using play to weaponize everything from conspiracy theories to extractive capitalism. Starting from the controversial idea that software is an essential agent in the information age, Sicart considers our culture in general—and our way of thinking about and creating digital technology in particular—as a consequence of interacting with software's agency through play.
As Sicart shows, playing shapes software agency. In turn, software shapes our agency as we adapt and relate to it through play. That play drives the creation of new cultural, social, and political forms. Sicart also reveals the role of make-believe in driving our playful engagement with the digital sphere. From there, he discusses the cybernetic theory of digital play and what we can learn from combining it with the idea that playfulness can mean pleasurable interaction with human and nonhuman agents inside the boundaries of a computational system. Finally, he critiques the instrumentalization of play as a tool wielded by platform capitalism.
Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, editor of “Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok.
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PONG is one of the longest- and most consistently circulating video games. Released in 1972, it remains at our fingertips as Android or iOS app, hosted at freepong.org and the Internet Archive, and even released as A Tiny Game of Pong for the Apple Watch. Despite its simplicity and ubiquity, Atari’s PONG encapsulates far more than the history of a video game and an iconic game company. King PONG: How Atari Bounced Across Markets to Make Millions (MIT Press, 2026) is the first book dedicated to an unassuming game that changed the world. Through the prisms of product positioning, market development, and category creation, Professor Raiford Guins answers the question of why Atari’s inaugural product succeeded and why it endures.The author of Game After and Atari Design, and an excavator of the “Atari landfill” in New Mexico, Professor Guins brings us a unique history that reconsiders the launch of Atari’s PONG through the lens of the company’s business practices. He follows the young Silicon Valley startup from its early days of positioning its new product within the existing coin-op amusement industry to its establishment of a consumer industry for home video games—a story of remarkable market development innovation. Written with a passion for video games and a historian’s insight, the book animates the business exploits of one of the fastest growing and most influential companies ever.
This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.
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Rushed through development in just a year to capitalize on the runaway success of its predecessor, Dragon Age II's writing team had only a few months to write an entire game before handing it off to voice acting and development. The result was an often ramshackle sequel featuring a smaller world, fewer companions, and repetitive quests—as well as some of the best characters, dialogue, and storytelling Bioware has ever put to screen.
Based on new interviews with DA2 writers David Gaider, Jennifer Hepler, Lukas Kristjanson, as well as editor Karin Weekes, author Charlotte Reber tells the wild behind-the-scenes story of how a team at the top of their game made the best of an impossible assignment to create the series’s first fully voiced protagonist, its charmingly unreliable narrator, and a crew of unforgettable party members to bother, befriend, and romance. From DA2’s inception to its mishandled marketing campaign to its volatile reactions from players, Reber’s book raises a mug of ale to the game that was—and the game that might have been.
Charlotte Reber is a fiction writer and gamer with a fascination for telling stories and playing games in unusual ways. She has a handful of degrees in creative writing and children's literature from Wellesley College and Simmons University, and lives in Vermont with her family, several cats, and a suspiciously low number of dragons.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal TITEL kulturmagazin for the game section, and is editor of the weekly game research newsletter Game Studies Watchlist.
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Videogame culture is obsessed with development. But gaming is still widely associated with wasted time, squandered potential and backwards attitudes. Even as the average gamer grows older, the medium remains dogged by the same old question: when will videogames grow up? The Gamergate movement lent this question renewed urgency, launching attacks on feminists and “social justice warriors” that have come to be seen as a catalyst for the emergence of the alt-right and election of Donald Trump. Artgames after GamerGate (Palgrave Macmillan, 2025) explores how makers of independent and experimental videogames responded to Gamergate and its aftermath. Analysing key titles released between 2015 and 2018, it shows how artgame designers used assets, characters and mechanics scavenged from classic franchises like Zelda, Street Fighter and Sonic the Hedgehog to review gaming's history, reframe their own biographies and link gaming’s growing pains to a broader sense of disorientation, disillusionment and decline in American culture.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal TITEL kulturmagazin for the game section, and is editor of the weekly cost-free game research newsletter Game Studies Watchlist.
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How do video games and mental health intersect from the perspectives of psychology and game design? In recent years, the topic of mental health has gained tremendous importance for the games industry, affecting both the applied and entertainment games sectors. The former draws from established practices in diagnostics, digital medicine, therapy, and self-help to develop innovative and accessible tools; the latter follows in the tradition of games d'auteur, addressing the topic of mental health from a personal perspective. The contributors to Video Games and Mental Health: Perspectives of Psychology and Game Design (Transcript Publishing, 2024)(also in Open Access) inspect current trends and future perspectives related to these phenomena to inform the work of psychologists and game designers.Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, and is editor of the weekly game research newsletter Game Studies Watchlist.Learn more about your ad choices. Visit megaphone.fm/adchoices
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Building SimCity explores the history of computer simulation by chronicling one of the most influential simulation games ever made: SimCity. As author Chaim Gingold explains, Will Wright, the visionary designer behind the urban planning game, created SimCity in part to learn about cities, appropriating ideas from traditions in which computers are used as tools for modeling and thinking about the world as a complex system. As such, SimCity is a microcosm of the histories and cultures of computer simulation that engages with questions, themes, and representational techniques that reach back to the earliest computer simulations. Gingold uses SimCity to explore a web of interrelated topics in the history of technology, software, and simulation, taking us far and wide—from the dawn of programmable computers to miniature cities made of construction paper and role-play. An unprecedented history of Maxis, the company founded to bring SimCity to market, the book reveals Maxis’s complex relations with venture capitalists, Nintendo, and the Santa Fe Institute, which shaped the evolution of Will Wright’s career; Maxis’s failure to back The Sims to completion; and the company’s sale to Electronic Arts. Building SimCity boasts a treasure trove of visual matter to help bring its wide-ranging subjects to life, including painstakingly crafted diagrams that explain SimCity’s operation, the Kodachrome photographs taken by Charles Eames of schoolchildren making model cities, and Nintendo’s manga-style “Dr. Wright” character design, just to name a few.Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal TITEL kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter Game Studies Watchlist.Learn more about your ad choices. Visit megaphone.fm/adchoices
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The Psychgeist of Pop Culture: The Last of Us (Playstory Press, 2025) explores the psychological themes at the heart of The Last of Us franchise. Authors from media, culture, and fandom studies explore how trauma, grief, morality, survival, and revenge shape the story’s characters and influence their choices. This book examines these themes across both video games (The Last of Us and The Last of Us 2) and HBO television adaptation, focusing on their unique approaches to telling the same emotionally resonant stories. This includes close readings of key characters - such as Ellie and Joel - and considers how their experiences reflect broader human struggles.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the University of Applied Sciences Neu-Ulm, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal TITEL kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist.
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On September 26, 1998, a video game made its debut in Japanese arcades. It was over seven feet tall and weighed just over 900 pounds. It had no characters, no story, no quests to fulfill or bosses to beat. What it had was a metal platform on which you were supposed to stand, put your feet into the right place at the right time, and dance.
Join two music critics, long-ago players, and Sota Fujimori fans as they take you on the astonishing journey through the artists, influences, and innovators of Dance Dance Revolution, a game two and a half decades in the making and still going -- in homes, arcades, and expos.
From its unexpected appearance to its social heyday to its reappearance in the American market, DDR has taken many forms -- not all of them sanctioned by Konami. It has spawned community, creativity, competition, lawsuits, 1,000+ songs that range from wacky to tacky to beautiful, and yes, a lot of dancing. While we were all leaning on the back bar, working up a sweat, DDR managed to change the world.
Jessica Doyle has a Ph.D. in city planning and a love for writing about the connections between pop music, globalization, and the built environment. She cares for her family in the Atlanta suburbs.
Jordan Ferguson is the author of J Dilla’s Donuts, #93 in the 33 1/3 series of record guides, and co-host of the Geekdown, a podcast about fandoms. He lives and works in Toronto, Canada. Find him online @jordan_ferguson.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist.
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An immersive journey into the author's lifelong attachment to video games, revealing how they shape us, shatter us, and give us the courage to start againOf Floating Isles: On Growing Pains and Video Games (Arsenal Pulp Press, 2025) is a captivating collection of personal essays that unpack the mystifying and often intimate roles that video games play in our lives. Interweaving memoir with cultural critique, Kawika Guillermo explores the subtle yet transformative influences of video games in shaping them as a queer and mixed-race grandson of two preachers; as a traveller, immigrant, and games scholar; and as a father, caregiver, and mourner. Through a mixture of fanciful musing, rigorous inquiry, and unflinching self-reflection, Of Floating Isles reframes the gamer's retreat from others not as social isolation, but as a quest for a different community, one where they feel seen, heard, and understood. This deep-seated longing to belong, Guillermo suggests, forms the imaginative worlds of video games and the floating isles they conjure.By exploring their own lifelong attachment to video games, Guillermo shows how games can spark rage, confusion, and the desire to escape, but these emotions are not necessarily bad - they are the growing pains that many young people must work through. So too can games provide reflective realms to dwell, to imagine, and to build spaces for queer, trans, racialized, and neurodiverse groups. Envisioning games as forms of poetic interaction, Of Floating Isles boldly conveys their truth-telling powers: their ability to offer guidance in times of loss and hardship, and their power to reveal the oppressive mechanisms of our "real" world.Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist.Learn more about your ad choices. Visit megaphone.fm/adchoices
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Historiographies of Game Studies: What It Has Been, What It Could Be (Punctum Books, 2025) offers a first-of-its-kind reflection on how game studies as an academic field has been shaped and sustained. Today, game studies is a thriving field with many dedicated national and international conferences, journals, professional societies, and a strong presence at conferences in disciplines like computer science, communication, media studies, theater, visual arts, popular culture, and others. But, when did game studies start? And what (and who) is at the core or center of game studies? Fields are defined as much by what they are not as by what they are, and their borderlands can be hotly contested spaces.
In this anthology, scholars from across the field consider how the boundaries of game studies have been established, codified, contested, and protected, raising critical questions about who and what gets left out of the field. Over more than two dozen chapters and interviews with leading figures, including Espen Aarseth, Kishonna Gray, Henry Jenkins, Lisa Nakamura, Kentaro Matsumoto, Ken McAllister, and Janet Murray, the contributors offer a dazzling array of insightful provocations that address the formation, propagation, and cultivation of game studies, interrogating not only the field’s pasts but its potential futures and asking us to think deliberately about how academic fields are collectively built.
Alisha Karabinus (she/her) is Assistant Professor of Writing and Digital Studies at Grand Valley State University.
Carly A. Kocurek (she/her) is Professor of Digital Humanities and Media Studies at the Illinois Institute of Technology.
Cody Mejeur (they/them) is Assistant Professor of Game Studies at University at Buffalo, SUNY.
Emma Vossen (she/her) is an Assistant Professor of Game Studies in the Department of Digital Humanities at Brock University, Canada.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the University of Applied Sciences Neu-Ulm, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal TITEL kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist.
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Peoples & Things host, Lee Vinsel, talks with Julien Mailland, Associate Professor of Media Management, Law, and Policy at The Media School of Indiana University Bloomington, about his book, The Game That Never Ends: How Lawyers Shape the Videogame Industry. The book examines key moments, beginning in the 1970s, in which legal decisions influenced how the videogame industry worked, how law shaped business and technology strategy and vice versa. The conversation touches on the book’s three major themes: intellectual property, freedom of speech, and international law. The pair also discuss Mailland’s new project, a geopolitical history of the best-selling videogame of all time, Tetris.
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African American males are confronted with formidable barriers in their pursuit of quality education, resulting in stark disparities in academic performance, economic opportunities, and social outcomes. Despite numerous educational initiatives striving for parity, African American males persistently bear the brunt of the highest rates of suspensions, expulsions, and dropout rates, surpassing all other demographic groups. Educational environments often fail to acknowledge and integrate the cultural and social needs of Black males, viewing them as "problems" rather than recognizing their immense potential for academic and leadership success. The prevalence of negative stereotypes in media, particularly in video games, exacerbates societal biases, portraying African American males as inherently violent and criminal. These representations contribute to implicit biases that affect perceptions and treatment in real-life scenarios. The systemic issues within the education system, coupled with socioeconomic factors, result in African American males being underrepresented in advanced placement and gifted education programs. This underrepresentation limits their opportunities for higher education and professional advancement.
Confronting these challenges necessitates a comprehensive approach that encompasses the creation of inclusive educational environments, the eradication of systemic racism, and the promotion of positive representations of African American males in media. By acknowledging and fostering the potential of Black males, society can strive to reduce disparities and cultivate a more equitable and just education system that recognizes and celebrates their academic and professional achievements. African American Males and Video Gamesexplores the perspectives of four African American male college students aged 18 to 21 on the impact of video games on their academic growth and development. The participants, all maintaining a GPA of 3.0 or higher, shared their experiences with teachers, video games, and coping mechanisms. This qualitative approach allowed for a rich understanding of the participant's experiences and the role of video games in their academic and mental well-being. Video games emerged as a significant coping tool for the participants, providing a mental escape from academic and social pressures. The games allowed them to engage in competitive and creative activities, fostering a sense of accomplishment and reducing stress. For example, games like NBA 2K21 and Forza Horizon 4 enabled them to explore alter egos and interests in a virtual space, offering entertainment and a sense of community. African American Males and Video Gamesis a critical text for exploring alternatives in providing a quality education experience for young African American males.
Rudolf Thomas Inderst (*1978) enjoys video games since 1985. He received a master’s degree in political science, American cultural studies as well as contemporary and recent history from Ludwig-Maximilians-University, Munich and holds two PhDs in game studies (LMU & University of Passau). Currently, he's teaching as a professor for game design and game studies at the HNU University of Applied Sciences Neu-Ulm, Germany, has submitted his third dissertation at the University of Vechta, holds the position as lead editor at the online journal Titel kulturmagazin for the game section, hosts the German local radio show Replay Value and is editor of the weekly game research newsletter DiGRA D-A-CH Game Studies Watchlist.
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