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The book analyzes the multifarious exchange of algorithmic technologies and concepts between the military and the media industry from the early 1990s until now. Unlike most related scholarly work which focuses on digital games, it drafts a model of programmable media which is grounded in a close-reading of the key technologies, most notably the paradigm of object-oriented programming, and reconsiders technical disciplines from a humanities perspective. This model is then applied to analyze the effects of algorithmic logic on the military-civilian continuum, including economic practices, patterns of media usage and military decision-making

Abstract
This article analyses the disruptive potential of Valve's game distribution platform, Steam, focusing specifically on how Steam has evolved into a de facto online social network and how Valve uses constant feature changes as part of its corporate rhetoric. Despite its profound influence on the video game industry, scholarly inquiry into Steam has focused on analyses of user or value creation. However, Steam arguably derives its long-term disruptive potential from combining the gamification of digital distribution with the formation of ephemeral public spheres around the games that it distributes, thereby becoming a de facto online social network. To investigate this strategy, the article employs a historically comparative affordance analysis, drawing on a small data set of Steam blog posts and tech blog coverage from 2007 to 2018 to map patterns of affordance change.

Abstract
The article at hand analyses the aesthetic dimension of contemporary "tech companies," particularly how their characteristic rhetoric of creativity, collaboration and disruption is built into the aesthetics of the physical work environments. For that purpose, proceduralist reading and environmental storytelling, usually applied to analyse meaning-making in digital game spaces, are adapted to conduct a comparative spatial affordance analysis on material from Officesnapshots, one of the largest online repositories for workspace documentation. Expanding upon earlier definitions of spatial affordances as quasi-textual features, the article defines the design elements of tech offices as a continuation of verbal and (audio-)visual corporate rhetoric employed by companies like Google, Facebook or Etsy. It thereby contributes a material-semiotic dimension to current debates about the epistemic implications of these software platforms, which José van Dijck summarises using the term "platform society." Besides game and play studies, elements of architectural semiotics and cultural analyses of support spaces (e.g. Kracauer 1999 and Moran 2005) as well as broader concepts such as the politics of theming (Freitag 2017) or the embedding of digital technologies into physical spaces (Kitchin and Dodge 2011) complement the theoretical framework.

Abstract
In contemporary debates about socio-technical implications of software, the platform metaphor, the corresponding notions of architectures and ecosystems as well as the formatting of data to afford 'platformization' play a central role. This approach has certainly proven fruitful to assess the role of companies like Facebook in contemporary society. However, it characteristically overlooks the messiness of actual usage practices and those studies that do acknowledge the internal power struggles that subcutaneously shape platforms often take a top-down perspective, disregarding bottom-up processes of (re-) appropriation. To address this gap, the article outlines a method to study how users and semi-professional developers collectively frame the cultural imaginary of a platform by conducting a thoroughly comparative content analysis of mashups created using the Facebook Web API. The affordances of many individual mashups might be considered marginal; yet, the tool-assistant comparison allows for inferring common patterns of interpretation that characterize mashup creation as a mobile digital practice, which plays a key role in social media platform development.

The paper at hand investigates forms and interpretations of author personae in autobiographical videogames. While, previously, autobiographical modes of expression have only been discussed in a few game-based artworks (Poremba 2007), the availability of free, easy-to-use tools like Twine and Ren'Py gradually affords autobiographical writing as a cultural technique outside of deliberately artistic endeavors. Therefore, the paper considers the creation and distribution of autobiographical games as a playful form of identity politics. For that purpose, a comparative content analysis (cf. e.g. Rössler 2012) of selected autobiographical games will be conducted, taking into account rhetorical and audiovisual elements but focusing on procedural design strategies and "bias" (Bogost 2008, 128). The corpus includes explicitly autobiographical sketches like Gravitation (2008) and Dys4ia (2012), but also cases in which the autobiographical characteristics are only implied like The Average Everyday Adventures of Samantha Browne (2016) as well as less polished, sometimes unfinished vignettes. This approach will be selectively complemented by a rhetorical analysis of paratextual elements such as developer statements and user comments. Play and games are increasingly recognized as modes of conceptualizing and expressing individual identity (Frissen et al. 2015, 35–36) that are particularly compatible with postmodern sensibilities. Consequently, the focus of the analysis will lie on how the implementation of the author personae as playable characters enable the developers to curate their identity online, both in terms of Moreno's psychodrama (Moreno 1987) and Foucault's technologies of the self (Aycock 1995).

Abstract
Since the release of iconic devices like the Nintendo DS (2004) and particularly the first iPhone (2007), touchscreen interfaces have become almost omnipresent and arguably shaped a "touchscreen generation". But how do touchscreen experiences operate as complex assemblages of material contingencies, electronics, algorithms and user interaction? And how do they function in actual software applications? In order to address these questions, the paper outlines a comparative software studies perspective, which comprises four consecutive steps. The introduction draws on cultural studies research on touchscreen interfaces to establish a theoretical framework for understanding the shifting epistemic status of the screen and the complex relationship between technical affordances and cognitive processes. Second, the paper explores aesthetic implications of the materiality of touchscreens, including the shift from vertical to horizontal navigational logic and the focus on physical contiguity in user experience design. Third, a series of short, interconnected case studies serves to illustrate the more specific implications on practices of media use and cultural production in a variety of applications. For example, apps like Vine evoke the 'tangibility' of digital material by allowing users to start and stop recording video by touching and releasing the screen respectively. Other, even more iconic examples include the swipe mechanic employed in Tinder and particularly the 'swipe to unlock' gesture used in the Android operating system. Finally, the previous findings are contextualised by briefly investigating the cultural imaginary of the touchscreen, which manifests itself in the form of haptic feedback as well as curved and even wearable touch-sensitive surfaces.

The book analyzes the multifarious exchange of algorithmic technologies and concepts between the military and the media industry from the early 1990s until now. Unlike most related scholarly work which focuses on digital games, it drafts a model of programmable media which is grounded in a close-reading of the key technologies, most notably the paradigm of object-oriented programming, and reconsiders technical disciplines from a humanities perspective. This model is then applied to analyze the effects of algorithmic logic on the military-civilian continuum, including economic practices, patterns of media usage and military decision-making.

With the climate crisis and its repercussions becoming more and more tangible, games are increasingly participating in the production, circulation, and interrogation of environmental assumptions, using both explicit and implicit ways of framing the crisis. Whether they are providing new spaces to imagine and practice alternative forms of living, or reproducing ecomodernist fantasies, games as well as player cultures are increasingly tuned in to the most pressing environmental concerns. This book brings together chapters by a diverse group of established and emerging authors to develop a growing body of scholarship that explores the shape, impact, and cultural context of ecogames. The book comprises four thematic sections, Today's Challenges: Games for Change, Future Worlds: New Imaginaries, The Nonhuman Turn, and Critical Metagaming Practices. Each section explores different aspects of ecocritical engagement in and through games. As a result, the book's comprehensive scope covers a variety of angles, methodologies, and case studies, significantly expanding the field of green media studies