The Counterfeit Coin argues that games and related entertainment media have become almost inseparable from fantasy. In turn, these media are making fantasy itself visible in new ways. Though apparently asocial and egocentric—an internal mental image expressing the fulfillment of some wish—fantasy has become a key term in social contestations of the emerging medium. At issue is whose fantasies are catered to, who feels powerful and gets their way, and who is left out. This book seeks to undo the monolith of commercial gaming by locating multiplicity and difference within fantasy itself. It introduces and tracks three broad fantasy traditions that dynamically connect apparently distinct strata of a game (story and play), that join games to other media, and that encircle players in pleasurable loops as they follow these connections.

Simulating Good and Evil shows that the moral panic surrounding violent videogames is deeply misguided, and often politically motivated, but that games are nevertheless morally important. Simulated actions are morally defensible because they take place outside the real world and do not inflict real harms. Decades of research purporting to show that videogames are immoral has failed to produce convincing evidence of this. However, games are morally important because they simulate decisions that would have moral weight if they were set in the real world. Videogames should be seen as spaces in which players may experiment with moral reasoning strategies without taking any actions that would themselves be subject to moral evaluation. Some videogame content may be upsetting or offensive, but mere offense does not necessarily indicate a moral problem. Upsetting content is best understood by applying existing theories for evaluating political ideologies and offensive speech.
 

Videogames are firmly enmeshed in modern culture. Acknowledging the increasing cultural impact of this rapidly changing industry on artistic and creative practices, Videogames and Art features in-depth essays that offer an unparalleled overview of the field.

Together, the contributions position videogame art as an interdisciplinary mix of digital technologies and the traditional art forms. Of particular interest in this volume are machinima, game console artwork, politically oriented videogame art, and the production of digital art. This new and revised edition features an extended critical introduction from the editors and updated interviews with the foremost artists in the field. Rounding out the book is a critique of the commercial videogame industry comprising essays on the current quality and originality of videogames.