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Over the past several decades, video games have gone from single-purpose games to multi-faceted platforms. This article is a case study that develops 'unending consumption' to understand the political economy of video game concerts. Unending consumption is the expansion of the means of consumption under a subscription model. By applying unending consumption to the political economy of video games, I show how video game concerts are embedded in the current moment of capitalism. The new political economy of video games blurs the line between video games and music as distinct media—an element of convergence. While video games and music converge through a new form of unending consumption, I argue these changes create more gatekeepers and limit the ability of independent creators to make a living.

Reviews the longstanding and controversial topic of the effects of video game violence on children. Examines existing research and draws on personal experience and an interview with Doug Lowenstein, President of the Entertainment Software Association, for a view from the video game industry. Reports limitations on the significance of the research: some is short‐term, on one type of game only, or not on the most realistic modern games. Concludes however that there is no reason to believe that playing aggressive games leads to an increase long term in aggressive behaviour: there is a lack of longitudinal study evidence, children are usually able to distinguish between fantasy and reality, and playing violent games may actually channel aggression. Indicates the usefulness of parental involvement in their children's games and of publications like the "Children's Software Review".

In this article I argue that the structural conditions of global capitalism and postcolonialism encourage game developers to rearticulate hegemonic memory politics and suppress subaltern identities. This claim is corroborated via an application of Edward Herman and Noam Chomsky's propaganda model to the Japanese-developed video game Metal Gear Solid V: The Phantom Pain. This case study highlights that the hegemonic articulations of colonial histories are not exclusive to Western entertainment products where instead modes of production matter in the 'manufacturing of mnemonic hegemony'. I also propose that the propaganda model, while instructive, can be improved further by acknowledging a technological filter and the role of the subaltern. Thus, the article furthers the understanding of the relation between production and form in contemporary technological phenomena like video games and how this relation motivates hegemonic articulations of the past in contemporary mass culture. ; In this article I argue that the structural conditions of global capitalism and postcolonialism encourage game developers to rearticulate hegemonic memory politics and suppress subaltern identities. This claim is corroborated via an application of Edward Herman and Noam Chomsky's propaganda model to the Japanese-developed video game Metal Gear Solid V: The Phantom Pain. This case study highlights that the hegemonic articulations of colonial histories are not exclusive to Western entertainment products where instead modes of production matter in the 'manufacturing of mnemonic hegemony'. I also propose that the propaganda model, while instructive, can be improved further by acknowledging a technological filter and the role of the subaltern. Thus, the article furthers the understanding of the relation between production and form in contemporary technological phenomena like video games and how this relation motivates hegemonic articulations of the past in contemporary mass culture. ; In this article I argue that the structural conditions of global capitalism and postcolonialism encourage game developers to rearticulate hegemonic memory politics and suppress subaltern identities. This claim is corroborated via an application of Edward Herman and Noam Chomsky's propaganda model to the Japanese-developed video game Metal Gear Solid V: The Phantom Pain. This case study highlights that the hegemonic articulations of colonial histories are not exclusive to Western entertainment products where instead modes of production matter in the 'manufacturing of mnemonic hegemony'. I also propose that the propaganda model, while instructive, can be improved further by acknowledging a technological filter and the role of the subaltern. Thus, the article furthers the understanding of the relation between production and form in contemporary technological phenomena like video games and how this relation motivates hegemonic articulations of the past in contemporary mass culture.

Critically examines some of the research approaches to video games both in Russia and abroad. The article summarizes conclusions of the leading Western specialists in video games studies and proposes an alternative understanding of video games as particular emergent interactive social­communicative means of contemporary digital culture that input to general education, goal­setting, and other gamers' skills.

When white, middle-class teens kill, the media and politicians are quick to blame video games. Are they right?

Video Game, especially in Indonesia, has been long seeing as kid toy with minimum or no psychological impact to the player. This view is a serious mistake since video game able to transmit violence message to political message into their audience or player. Political message especially is very omnipresent in such game as Red Alert, Generals and others FPS or RTS games. The message on these games is higly political and contains political views the developer has. This writing tries to read the political messages on games like Red Alert and Counter Strike to find myth the developer create or believe and search out why these myths is present. Barthes analysis on semiotics were used to read not only the denotative meaning of the message, but also find the connotative message and finaly find the myths wrapped around the games.

Part 1.Scaffolding and how to fall off it: Theories and concepts.-1. Ludo-Comedic Consonance: An Introduction to Video Games and Comedy.-2. Comedy and the Dual Position of the Player.-3. Press X to Punch(line): The Design and Cognition of Interactive Gags.-4. The Rubber Chicken's Ergodicity: On Puzzle Punchlines in The Secret of Monkey Island.-5. On Nintendo's Visual Humour: Slapstick Cinema and Comic Theatre in Super Smash Bros.-6. Benign Trials, Vexing Violations: Reading Humour in Puzzle Games -- Part 2.Clowning Around: Contexts, Cultures,and Communities -- 7. The Illuminatus Space Game: From an April Fools' Joke to Digital Cultural Heritage.-8. Red Comrades Save the Galaxy: Early Russian Adventure Games and the Tradition of Anecdote.-9. "Sorry, You Had Won": Satirical French Digital Games Responding to National Sociopolitical Crisis (1984–1986).-10. Making Fun of Tetris: Humour in Parodies of a Computer Game Classic.-11. Ridiculing the Player: Live-Action Visualisations of Game Experience in YouTube Parody Videos as an Ambivalent Strategy of Self-Fashioning.-12. Emergence and Ephemerality of Humour During Live Coverage of Large-Scale eSports Events -- Part 3. Five Ways to Spoil A Joke: Case Studies -- 13. Cybernetic Irony: Racial Humour from Mecha-Hitler to Nuclear Gandhi.-14. "Mark Matthews Stars in 'Anatomy is Hard!' A Struggling Student Tries to Make the Grade with His Professor": Sexual Humour and Queer Space in Coming Out on Top.-15. "A Tool of Efficiency and Consumption to Destroy Man": Irony and Sincerity in Travis Strikes Again: No More Heroes.-16. Humour in Pornographic Browser Games: From Undertale to Uddertale, a Case Study.-17. That Joke Isn't Funny Anymore (Or Is It?): On Hitman and Gamer Humour(lessness).

This article presents the ways in which Muslims and Arabs are represented and represent themselves in video games. First, it analyses how various genres of European and American video games have constructed the Arab or Muslim Other. Within these games, it demonstrates how the diverse ethnic and religious identities of the Islamic world have been flattened out and reconstructed into a series of social typologies operating within a broader framework of terrorism and hostility. It then contrasts these broader trends in western digital representation with selected video games produced in the Arab world, whose authors have knowingly subverted and refashioned these stereotypes in two unique and quite different fashions. In conclusion, it considers the significance of western attempts to transcend simplified patterns of representation that have dominated the video game industry by offering what are known as 'serious' games.