Kara Gamer
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Gamer Trouble
Complicating perspectives on diversity in video games Gamers have been troublemakers as long as games have existed. As our popular understanding of “gamer” shifts beyond its historical construction as a white, straight, adolescent, cisgender male, the troubles that emerge both confirm and challenge our understanding of identity politics. In Gamer Trouble, Amanda Phillips excavates the turbulent relationships between surface and depth in contemporary gaming culture, taking readers under the hood of the mechanisms of video games in order to understand the ways that difference gets baked into its technological, ludic, ideological, and social systems. By centering the insights of queer and women of color feminisms in readings of online harassment campaigns, industry animation practices, and popular video games like Portal and Mass Effect, Phillips adds essential analytical tools to our conversations about video games. She embraces the trouble that attends disciplinary crossroads, linking the violent hate speech of trolls and the representational practices marginalizing people of color, women, and queers in entertainment media to the dehumanizing logic undergirding computation and the optimization strategies of gameplay. From the microcosmic level of electricity and flicks of a thumb to the grand stages of identity politics and global capitalism, wherever gamers find themselves, gamer trouble follows. As reinvigorated forms of racism, sexism, and homophobia thrive in games and gaming communities, Phillips follows the lead of those who have been making good trouble all along, agitating for a better world.
History of the Japanese Video Game Industry
This book is the first one to describe the entire history of the video game industry in Japan. The industry consists of multiple markets—for PCs, home consoles, arcades, cellular phones and smart phones—and it is very difficult to see the complete picture. The book deals comprehensively with the history of the Japanese game industry from the beginning of the non-computer age to the present. The video game industry in Japan was established in the arcade game market when Space Invaders was released by Taito in 1978. Game markets for both PCs and home consoles followed in the early 1980s. The platform that occupies a central market position started with the arcade and shifted, in order, to the home console, handheld consoles, and smart phones. In the video game industry in the twentieth century each platform had a clear identity, and the relationships among platforms were "interactions". In the twenty-first century, with the improvement of computer performance, the platform identity has disappeared, thus the relationship among platforms is highly competitive. Since the "crash of 1983" in the United States, the Japanese game industry has one of the largest market shares in the world and has developed without being influenced by other countries. It reached its peak in the late 1990s, and then its relative position declined due to the growth of foreign markets and the failure of emerging markets such as online PC games. Even today, Japan's gaming industry holds a dominant position in the world, but it is not the superpower it once was. Since the beginning of the twenty-first century, game research has become active worldwide. Among game researchers, there is a large demand for research on games in Japan, but there is still little dissemination of research in English. The original version of this book published in Japan is highly regarded and received an award for excellence from the Society of Socio-Informatics in 2017.