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Game Poems
Videogame Design as Lyric Practice
Jordan Magnuson
Amherst College Press, 2023

Scholars, critics, and creators describe certain videogames as being “poetic,” yet what that means or why it matters is rarely discussed. In Game Poems: Videogame Design as Lyric Practice, independent game designer Jordan Magnuson explores the convergences between game making and lyric poetry and makes the surprising proposition that videogames can operate as a kind of poetry apart from any reliance on linguistic signs or symbols.

This rigorous and accessible short book first examines characteristics of lyric poetry and explores how certain videogames can be appreciated more fully when read in light of the lyric tradition—that is, when read as “game poems.” Magnuson then lays groundwork for those wishing to make game poems in practice, providing practical tips and pointers along with tools and resources. Rather than propose a monolithic framework or draw a sharp line between videogame poems and poets and their nonpoetic counterparts, Game Poems brings to light new insights for videogames and for poetry by promoting creative dialogue between disparate fields. The result is a lively account of poetic game-making praxis.

“Everyone who loves the true power of games will benefit from the treasure trove of insights in Game Poems.” — Jesse Schell, author of The Art of Game Design

“Magnuson shines a sensitive and incisive light on small, often moving, videogames.” — D. Fox Harrell, Ph.D., Professor of Digital Media, Computing, and Artificial Intelligence, MIT

“[Game Poems] tells a new story about games— that games can be lyrical, beautiful, emotionally challenging—to inspire creators and critics alike.” —Noah Wardrip-Fruin, author of How Pac-Man Eats

“Even as the news swells with impending doom for creativity, writing, and text itself, this literate and crafty book pursues poetry not through implacable algorithms but in concrete and personal play.  It should be an indispensable guide for anyone who aims to maintain the true, human promise of technical poetics.”—Stuart Moulthrop, coauthor of Twining: Critical and Creative Approaches to Hypertext Narratives
 
“For far too long videogames have flourished – and commanded both capital and attention – in a kind of counterculture that they seem to have created as if ex nihilo for themselves and their players. But we are these players, and their culture has always been integrated with all of our own. In this evenhanded artist-scholar’s ars poetica Jordan Magnuson respects the material cultural specificity of videogames while regarding them through the ‘lens of poetry’ in order to discover – and help create – a practice and an art of Game Poems within the wider field. Magnuson formally, int(erv)entionally embraces this art as lyrically poetic.”—John Cayley, Brown University
 
“In Game Poems, Magnuson listens carefully to videogames, and hears them speak to questions of art, language, and meaning that connect our written past to our software future. Read this book and you will hear it too.”—Frank Lantz, Director, NYU Game Center
 
“Jordan Magnuson has created a work that ties together the worlds of poetry and videogames in a deep and enlightening way. For those of us who care about the potential of poetic games, Jordan greatly improves the language of how we talk about them and expands our ability to see what this unique form can become. This is one of my favorite books on game design and I apologize in advance to those whom I will end up cornering and not being able to stop talking to about it.”—Benjamin Ellinger, Game Design Program Director, DigiPen Institute of Technology
 
“A groundbreaking and accessible book that helps us think about games as poems. With patient tenacity, Magnuson teases out what he felt for years as he engaged in his own practice of making videogames. His mission to help us apply a ‘lyric reading’ to games so that our engagement with, and appreciation of, games can be enhanced feels deeply personal. Drawing from a wide range of games and computational media scholars, poetry scholars, game creators, and poets, Magnuson provides a rigorous, balanced, and unique interdisciplinary contribution. A must-read for videogame scholars, practicing game makers, and anyone interested in the potential of ‘game poems.’”—Susana Ruiz, University of California, Santa Cruz
 
“This book tenaciously wrenches videogame hermeneutics from the insatiable maws of rhetoric and narratology—to the cheers of poets everywhere. In elucidating the lyric characteristics of the "game poem," Magnuson demonstrates not just that poetry is a useful lens for understanding videogames, but also that videogames can be a useful lens for understanding poetry. A rewarding text for scholars, game designers, poets, and anyone in between.”—Allison Parrish, Interactive Telecommunications Program and Interactive Media Arts, NYU
 
“A concise, passionate articulation - and defense! - of an artistic space between poems and videogames. If game scholars wish to prove that they are not engaged merely in an apologetics for violent pornography, they need only to teach this book.”—Chris Bateman, author of Imaginary Games and 21st Century Game Design
 
“I feel I've found a kindred spirit in Jordan Magnuson and his practical recommendations for creating distilled, compelling, personal videogames – throw out the conventions of game design one at a time? Yes, please! The revelation for me in this book, however, is the heat and power of the language of poets and poetry brought close to videogame design. There's much in here worth pursuing to kindle the fires of new and exciting videogame poems, and Jordan is a capable and delightfully humble guide.”—Pippin Barr, author of How to Play a Video Game and The Stuff Games Are Made Of
 
“With Game Poems, Jordan Magnuson lays to rest any last vestige of the notion that the implicit limits of games are as ‘entertainment products’. By taking games seriously as successors of the lyric poetry tradition, he opens up new avenues for how game designers can think about what they do, how critical game theorists can approach their many-faceted object of study, and how players can more fully engage with videogames.”—Soraya Murray, author of On Video Games
 
Game Poems shines an important light on a neglected area of videogame theory and provides unique guidance for those interested in exploring the poetic potential of videogames.”—Jenova Chen, designer of Flow, Flower, Journey, and Sky: Children of the Light
 
“Popular frameworks for video game scholarship consistently fail to account for the most avant-garde and affective works of interactive art. With Game Poems, Jordan Magnuson provides not only a lens to understand these diverse and important titles but also a guide to constructing the next generation of personal and incisive games. With numerous examples from decades of experimental games, including Magnuson's own minimalist and insightful work, this book is an excellent introduction to the form for neophytes as well as finally providing words to describe a movement that many experienced game poets previously understood only intuitively.”—Gregory Avery-Weir, creator of The Majesty of Colors and Looming
 
“Jordan Magnuson is one of a surprisingly small group of artists who see in the technology of videogames a versatile medium capable of expressing much more than conventional games.”—Michaël Samyn, co-founder, Tale of Tales; co-creator of Sunset, The Graveyard, and The Path
 
“So much has been written about what games are, and yet there’s always a new way of thinking about them. In Jordan Magnuson’s Game Poems we discover that games are also a lyrical form of art; that games can be understood as poetry, and that the making games as poetry creates new modes of artistic expression. Jordan Magnuson’s book is a fascinating exploration of games as poetry, and the poetry of play.”—Miguel Sicart, author of Play Matters, Beyond Choices: The Design of Ethical Gameplay, and Playing Software
 
“In Game Poems, I found a new perspective on the kind of videogames that are dearest to me: short, personal, poetic games. By looking at games through the lens of lyric poetry, Jordan Magnuson puts into focus the workings of that mysterious hodgepodge of audio, visuals, and interactivity: the language of videogames. Both experienced and novice game makers will find approachable, practical advice on the craft of videogames. And anyone who plays short games will find new ways of appreciating and talking about them. I know I will be returning to it for inspiration when making my own small games!”—Adam Le Doux, creator of Bitsy
 
“As a creator and researcher, Jordan Magnuson has been able to demonstrate through the utmost visual simplicity, by enhancing basic geometric forms, the empathetic capacity of the videogame medium. Game Poems explores this idea and the reconfiguration of the videogame beyond its ludic component, highlighting the artistic and poetic potential of games.”—Antonio César Moreno Cantano, University Complutense of Madrid
 
“Poems ask us to slow down, pay attention, and take the time to appreciate our experiences. Emerging from Magnuson's need to find ways to talk about his own creative practice, this book is all about discovering ways to do this with videogames. Magnuson explores what it means to view videogames as poetry, and provides insight, as a practitioner, on how to make game poems that enable and encourage this type of reflection. Drawing on a wide range of sources, from literature and philosophy to game studies and game design, this book covers a lot of material, but always remains grounded in concrete examples and solid theory. The book ends with a call to “go make some game poems!” After reading the book, I was keen to do exactly that. I urge you to do the same!”—Alex Mitchell, National University of Singapore
 
“To many, poetry is a dying – or dead – art form. Few people sit down at night to open their favorite poet’s chapbook with the latest streaming service at hand or their favorite videogame console sitting nearby. Spectacle seems to be the cultural norm, and this can be no more evident than in videogames: when the latest and greatest offers 60+ hours of spine-tingling excitement, why would someone want to launch a smaller-form game about expressions such as love, death, loneliness, or even God? But, as Jordan Magnuson, in his new book Games Poems, shows, poems have always been an integral piece of forming human culture. Poems have the ability to get right to the heart of the matter and, in fact, pierce the heart of the reader. Poems can be a form of cultural resistance, and even launch revolutions. Magnuson’s book highlights what it means to use the medium of game design as poetry. Magnuson presents several examples of the intricacies of poetry in general, as well as work that fuses the ideals of poetry with game design. Magnuson succinctly examines how the imagination, rhythm, intensity, style – and brevity – of poetry can enlighten the game design process in order to form possibility spaces within videogames that are pointed and powerful.”—Tim Samoff, Games and Interactive Media Program Director, Azusa Pacific University

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The "Legend of Zelda
Ocarina of Time": A Game Music Companion
Tim Summers
Intellect Books, 2022
Critical analysis of the music of the iconic 1998 Nintendo 64 video game. 

More than twenty years after its creation, The Legend of Zelda: Ocarina of Time is still held in high critical regard as one of the finest examples of the video game medium. The same is true of the game’s music, whose superlative reception continues to be evident, whether in the context of the game or in orchestral concerts and recordings of the game’s music.

Given music’s well-established significance for the video game form, it is no coincidence that music is placed at the forefront of this most lauded and loved of games. In Ocarina of Time, music connects and unifies all aspects of the game, from the narrative conceit to the interactive mechanics, from the characters to the virtual worlds, and even into the activity of legions of fans and gamers, who play, replay, and reconfigure the music in an enduring cultural site that has Ocarina of Time at its center. As video game music studies begins to mature into a coherent field, it is now possible to take the theoretical apparatus and critical approaches that have been developed in antecedent scholarship and put these into practice in the context of an extended concrete game example.

The most extensive investigation into the music of a single game yet undertaken, this book serves three important primary purposes: first, it provides a historical-critical account of the music of an important video game text; second, it uses this investigation to explore wider issues in music and media studies (including interactivity, fan cultures, and music and technology); and third, it serves as a model for future in-depth studies of video game music.
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Minor Platforms in Videogame History
Benjamin Nicoll
Amsterdam University Press, 2019
Videogame history is not just a history of one successful technology replacing the next. It is also a history of platforms and communities that never quite made it; that struggled to make their voices heard; that aggravated against the conventions of the day; and that never enjoyed the commercial success or recognition of their major counterparts. In *Minor Platforms in Videogame History*, Benjamin Nicoll argues that 'minor' videogame histories are anything but insignificant. Through an analysis of transitional, decolonial, imaginary, residual, and minor videogame platforms, Nicoll highlights moments of difference and discontinuity in videogame history. From the domestication of vector graphics in the early years of videogame consoles to the 'cloning' of Japanese computer games in South Korea in the 1980s, this book explores case studies that challenge taken-for-granted approaches to videogames, platforms, and their histories.
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The Music of Nobuo Uematsu in the Final Fantasy Series
Edited by Richard Anatone
Intellect Books, 2023
On the oeuvre of Nobuo Uematsu, the Beethoven of video game music.

Japanese musician and composer Nobuo Uematsu has built his career and reputation on his soundtracks to the enduring Final Fantasy video game series, which are notable for their remarkable cinematic feel. Today Uematsu is one of Japan’s most beloved living composers, credited with inspiring a new generation of classical music fans. This volume, the first book-length study of the music of Uematsu, takes a variety of different analytical approaches to his body of work. It offers readers interested in ludomusicology—the study of and research into video game music—a variety of ways with which to understand Uematsu’s compositional process and the role that video game music has in the overall gaming experience.
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Nostalgia and Videogame Music
A Primer of Case Studies, Theories and Analyses for the Player-Academic
Edited by Vincent E. Rone, Can Aksoy, and Sarah Pozderac-Chenevey
Intellect Books, 2022
The first multi-disciplinary study of the connection between memory and music in video games.

This book allows readers to understand the relationships and memories they often form around games, and music is central to this process. The quest into the past begins with this book, a map that leads to the intersection between nostalgia and videogame music. Informed by research on musicology, memory, and practices of gaming culture, this edited volume discusses different forms of nostalgia, considers how videogames display their relation to those forms, and explores the ways theoretically self-conscious positions can be found in games. An important scholarly addition to the burgeoning field of ludomusicology, this book will appeal to researchers, educators, practitioners, undergraduate and graduate students, and videogame fans and players alike.
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Playthrough Poetics
Gameplay as Research Method
Milena Droumeva
Amherst College Press, 2025
Game streamers and live commentators are producing increasingly comprehensive analyses of gameplay, yet scholarship still tends to flatten the experiential media of video games into text for close reading. By shifting focus toward the immersiveness of video games, Playthrough Poetics makes the case for gameplay as a necessary, alternate method. Contributors to this volume engage widely with the activity of play through autoethnographies, meta-analyses of self-broadcasting, new procedural methods like gamespace soundwalking, as well as the affective aspects of games research. In doing so, they model new possibilities for academic players and gamers alike.

Rigorous scholarship meets cultural practice in this innovative, multi-modal edited collection that includes video essays and offers transcripts of the playthroughs themselves. Readers (and viewers) will come away with a toolkit of models, case studies, and conceptual frameworks for analyzing video games through gameplay. This volume is a fresh return to the joy of play: the poetics of games as contemporary forms of storytelling and interactivity.

With contributions from Ashlee Bird, Brandon Blackburn, Milena Droumeva, Kishonna Gray, Robyn Hope, Ben Scholl, Maria Sommers, Ashlyn Sparrow, Christine Tran, and Aaron Trammell.
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Transnational Play
Piracy, Urban Art, and Mobile Games
Anne-Marie Schleiner
Amsterdam University Press, 2020
Transnational Play makes a case for approaching gameplay as a global industry and set of practices that also includes diverse participation from players and developers located within the global South, in nations outside of the First World. Such participation includes gameplay in cafes, games for regional and global causes like environmentalism, piracy and cheats, localization, urban playful art in Latin America, and the development of culturally unique mobile games. This book offers a reorientation of perspective on global play, while still acknowledging geographically distributed socioeconomic, racial, gender, and other inequities. Over the course of the inquiry, which includes a chapter dedicated to the cartography of the mobile augmented reality game Pokémon Go, the author develops a theoretical line of argument critically informed by gender studies and intersectionality, post-colonialism, geopolitics, and game studies. This book looks at who develops, localizes, and consumes games, problematizing play as a diverse and contested transnational domain.
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Video Game Art Reader
Volume 1
Tiffany Funk
Amherst College Press, 2017
The inaugural issue of VGAR celebrates video game culture as inclusive and global. Opening with an interview with the art director of the first independent Cuban video game, Savior, while the following essays from art historians, literary theorists, game designers, artists, educators, museum curators, and programmers all engage with video games as an important part of the global art landscape. Each engages with what makes good game art with special attention to the transnational cadre of gamers that play them.

Contributions by Jesse de Vos, Jacob Euteneuer, Monica Evans, Tiffany Funk, René Glas, Eddie Lohmeyer, Evan Meaney, Kieran Nolan, Josuhe Pagliery, Sercan Şengün, Teresa Silva, Christopher W. Totten, and Jasper van Vught.
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Video Game Art Reader
Volume 2
Tiffany Funk
Amherst College Press, 2018
This volume of VGAR critically analyzes video game art as a means of survival. Though “survival strategy” exists as a defined gaming genre, all video games—as unique, participatory artworks—model both individual and collaborative means of survival through play. Video games offer opportunities to navigate both historical and fictional conflicts, traverse landscapes devastated by climate change or nuclear holocaust, and manage the limited resources of individuals or even whole civilizations on earth and beyond. They offer players a dizzying array of dystopian scenarios in which to build and invent, cooperate with others (through other players, NPCs, or AI) to survive another day. Contributors show how video games focus attention, hone visuospatial skills, and shape cognitive control and physical reflexes and thus have the power to participate in the larger context of radical, activist artworks that challenge destructive hegemonic structures as methods of human conditioning, coping, and creating.

Contributions by Anna Anthropy , Andrew Bailey, Michael Anthony DeAnda, Luisa Salvador Dias, Tiffany Funk, Elizabeth LaPensée, Treva Michelle Legassie, Michael Paramo, and Martin Zeilinger.
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Video Game Art Reader
Volume 3
Tiffany Funk
Amherst College Press, 2019
This special edition of the VGA Reader, guest-edited by Christopher W. Totten and Enrica Lovaglio Costello, focuses on the connections between video games and architectural design. Each of the essays in this volume engages in critical investigations that reveal how game spaces evoke meaning, enhance game narratives, and explore unconventional themes.

Contributions by Christopher Barney, Enrica Lovaglio Costello, Ross De Vito, Chanelle Mosquera, Zack Ragozzino, Gabriella Santiago, Bobby Schweizer, Christopher W. Totten, Dr. Zöe J. Wood, and Robert Yang. 
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Video Game Art Reader
Volume 4
Tiffany Funk
Amherst College Press, 2022
In computing, overclocking refers to the common practice of increasing the clock rate of a computer to exceed that certified by the manufacturer. The concept is seductive but overclocking may destroy your motherboard or system memory, even irreparably corrupt the hard drive. Volume 4 of the Video Game Art Reader (VGAR) proposes overclocking as a metaphor for how games are produced and experienced today, and the temporal compressions and expansions of the many historical lineages that have shaped game art and culture. Contributors reflect on the many ways in which overclocking can be read as a means of oppression but also a strategy to raise awareness of how inequities have shaped video games.

Contributions by Uche Anomnachi, Andrew Bailey, Chaz Evans, Tiffany Funk, D’An Knowles Ball, Alexandre Paquet, Chris Reeves, and Regina Siewald.
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Video Game Art Reader
Volume 5: The Game Art Curators Kit
Tiffany Funk
Amherst College Press, 2024
Many ambitious and experimental game forms don't fit into the digital download or retail distribution channels that support so-called “traditional” video games. Instead, these games are supported by a new global movement in video game curation. This special edition of the Video Game Art Reader features an international collaboration of video game professionals working together to create a resource for game exhibition organization, design, and curation. Professionals, artists, and others who organize and curate video game exhibitions and events act within a rhizomatic network of methods, missions, and goals. They establish organizations like galleries, collectives, and non-profits. Methods of sharing video games as critical cultural phenomena continue to evolve and expand. Conceived during the first meeting of GAIA (Game Arts International Assembly), the Game Art Curators Kit documents and shares the collective experience of an international network of video game curators and organizers. Sharing practical tips on everything from accessibility to preservation, the book also serves as a guide to support a new global movement in video game curation.
 
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