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How did games rise to become the central audiovisual form of expression and storytelling in digital culture? How did the practices of their artistic production come into being? How did the academic analysis of the new medium's social effects and cultural meaning develop? Addressing these fundamental questions and aspects of digital game culture in a holistic way for the first time, Gundolf S. Freyermuth's introduction outlines the media-historical development phases of analog and digital games, the history and artistic practices of game design, as well as the history, academic approaches, and most important research topics of game studies. Gundolf S. Freyermuth (PhD) is Professor of Media and Game Studies and a founding director of the Cologne Game Lab at TH Köln-University of Applied Sciences in Cologne, Germany. He also teaches Comparative Media Studies at the ifs international film school Cologne. His research interests include video games, audiovisuality, transmediality and network culture.

Cover -- Copyright information -- Dedication -- Preface: The smoking truck driver -- Acknowledgements -- Contents -- Abstract -- 1. Understanding documentary as a political text: state of the research -- 2. Methodology and context -- 2.1 Methodology -- Dialectical and historical materialism -- Hermeneutics -- 2.2 Context -- Reflections on the political origins of documentary -- Power structures in documentary film -- The political dialectic of content and form in documentary film -- 3. The cinematic means as loci of power structures -- 3.1 Social and political power structures in "Even Though My Land is Burning" and "Not Just Your Picture" -- "Even Though My Land is Burning" -- "Not Just Your Picture" -- 3.2 Documentary characters: choice of protagonists as a political narrative -- The political dialectic of characters and society -- "Hoop Dreams" -- "Welcome to Leith" -- Individualism and the neo-liberal structure -- "King of Kong: A Fistful of Quarters" -- "Man on Wire" -- "Love Me" -- Characters and society in my practical work -- Conclusion -- 3.3 Reflexivity and participatory film -- "I'm harboring a murderer in my film" - Reflexivity and participation as content/form dialectic in the films of Avi Mograbi -- "Once I Entered a Garden" -- "Between Fences" -- "Z32" -- "I am a refugee and a filmmaker, and you ask me to choose which?" - experiences of reflexivity and participation in my practical work -- "Even Though My Land is Burning" -- "Not Just Your Picture" -- "Limbo" -- 3.4 The power structures of the interview -- Historical emergence of the interview form -- Aesthetic and form of the interview -- Talking Head -- Vox Pop -- Conversation, dialogue or pseudo-dialogue -- The Masked Interview -- Theoretical approaches to different interview forms -- "The Fog of War" -- The power relations of interviews -- Interviews in my practical work.

Virtual Reality (VR) und Augmented Reality (AR) gelten als State of the Art der Mensch-Maschine-Interaktion. Während in der öffentlichen Wahrnehmung etwa von »Pokémon Go« die spielerischen Elemente im Vordergrund stehen, gibt es zunehmend und absehbar auch journalistische Anwendungen (z.B. »Project Syria«). Der Band versammelt Beiträge, die sich mit dem Status quo der Technik und Anwendungsszenarien beschäftigen. Da die in virtuellen Welten verringerte und teilweise unbewusste Distanz von Betrachtung und Erleben bei journalistischen Inhalten besonders kritisch ist, werden erstmals auch Regulierungsfragen diskutiert.Mit Beiträgen von Laura Marie Braam, Dominic Habel, Karl-Heinz Ladeur, Marc Liesching, Kerstin Liesem, Andreas Mühlberger, Christoph Neuberger, Bastian Orthmann, Thomas Seymat und Christian Weissig.

Frontmatter -- Contents -- Prolog -- Playing, Making, Thinking Games -- I. Games -- Introduction -- 1. What is a Game? Systematic and Historical Approaches -- 2. Games in the Modern Era. A Short Media History -- 3. Procedural Turn (since the 1950s) -- 4. Hyperepic Turn (since the 1970s) -- 5. Hyperrealistic Turn (since the 1990s) At -- 6. The Double Alterity of Digital Games -- 7. A Look Ahead: Hyperimmersive Turn? -- Intermezzo: Game // Film -- Introduction -- 1. Game and Film -- 2. Audiovisual Rivalries -- 3. Modes of Audiovisual Storytelling -- II. Game Design -- Introduction -- 1. Analog Design -- 2. Digital Design -- 3. A Short History of Game Design -- 4. Areas of Games Design -- 5. Practices of Game Design -- III. Game Studies -- Introduction -- 1. Theories of Analog Games vs. Theories of Digital Games -- 2. The Schisms of Game Studies -- 3. Desideratum: Overcoming the Schisms -- 4. Perspectives of Research 1: Digital Games -- 5. Perspectives of Research 2: Serious Games -- Epilog -- Academization and Aesthetic Production -- Sources

Cover -- Contents -- Acknowledgments -- Introduction -- Hypothesis: The Video Game Dystopia as a New Strategic Enterprise of Utopia and Playful Trial Action -- State of Research: The Assumed Position Within Video Game Studies -- Method: A Creative Encounter Between Guiding Structure and Playful Expression -- Structural Overview of the Argument -- Part I: Towards the Video Game Dystopia -- Preface to Part I -- 1 Utopia and the Dream of a Better World -- 1.1 Utopianism -- 1.2 The Literary Utopia of Sir Thomas More and Bioshock Infinite's Columbia -- 1.3 The Secret Wish Hidden Within the Dream -- 1.4 Defining the Literary Utopia -- 1.5 Towards the Video Game Dystopia -- 2 Dystopia: Nightmarish Worlds as Distorted Anxiety Dreams -- 2.1 Anti-Utopia or Dystopia? -- 2.2 Anti-Utopia as a Rejection of Utopianism -- 2.3 Variants of Dystopia: The Classical and Critical Dystopia -- 2.3.1 The Classical Dystopia and the Player's Enclosure Within its System -- 2.3.2 The Critical Dystopia as a Liberating Route Towards a Better Future -- 2.4 Four Variants of the Video Game Dystopia: A Typology -- 2.5 The Resistance of the One Free Man: City 17 as Orwellian Nightmare -- 2.5.1 The Player as Dissident and the Process of Coming to Awareness -- 2.5.2 The Official Narrative and the Combine's False Utopia -- 2.5.3 The Counter-Narrative and the One Free Man as the Opener of the Way -- 2.6 Dystopia's Plot Framework and the Video Game Dystopia -- 3 Warning, Effectiveness, and Targets of the Video Game Dystopia -- 3.1 The Video Game Dystopia's Primary Function as Warning -- 3.2 The Video Game Dystopia's Effectiveness in Issuing Warnings -- 3.3 Targets of the Video Game Dystopia -- 3.3.1 The Ongoing Threat of Oppressive Regimes: Anti-Totalitarianism -- 3.3.2 Capitalism and Its Momentous Consequences -- 3.3.3 On the Dangers of Science and Technology

Cover -- Contents -- Introduction -- I. BIG SCREENS -- Fantastic Views -- Attraction, Simulation, Speculation -- Incorporations -- Dimension and Duration -- The (Imaginary) Man of (Hollywood) Cinema -- Back to the Beginning -- Scars and Screens -- Prescripts and Postscripts -- II. SMALL FORMS -- Tipp-Ex -- Micro Movies -- Strike a Pose -- Instagramming -- Right here, Right now -- Types and Bytes -- Touch / Don't Touch -- Going in Circles -- APPENDIX -- Publication Data -- List of Figures.