New York University Department of Media, Culture, and Communication MCC-UE 1008.001 Video Games:Culture and Industry COURSE DESCRIPTION Over the past 30 years, video games have metamorphosed from household novelties and hobbyist toys to one of the most globally recognized forms of popular entertainment. The Entertainment Software Association 2013 Essential Facts report states that 58% of Americans play video games of some form, and 51% of all households own a dedicated console; it's long been acknowledged that major AAA video game releases generate more global revenue than a Hollywood blockbuster. Everyday, the world of video game play and video game production grows more embedded in our cultural, technical and economic lives. Games are no longer marginal entertainment: they are definitive modes of experience in the 21 st century. This class is designed to offer a broad introduction to the phenomenon of video games, focusing primarily on Western U.S. histories and cultural practices. We'll investigate the relationship between play and games, learn (and practice!) intro game design, examine current events around issues of race, gender and inclusivity in the contemporary game scene, study cultural practices as diverse as modding, cheating and goldfarming, and come to better understand the stakes of the rising indie game scene. In short, we're here to make games those simple pleasures we engage with everyday seem unfamiliar and full of complexity. And in this class, we'll also play. Playing games as a class provides us an opportunity to put our theoretical understanding of the subject in perspective, as well as give us a sense of what makes both classic and contemporary games compelling from a user s vantage point. Expect to play, win and fail all in plain view of your classmates. LEARNING OUTCOMES Students will be able to: Categorize and evaluate games based on genre, design, historical period, employing vocabulary native to media studies, game studies and game design Describe the relationships between play, electronic games, and broader cultural, social and economic forces Evaluate shifting trends in game development, between AAA and indie industries, as well as between casual and hardcore titles Demonstrate familiarity with basic areas of employment in the games industry, including games journalism, preservation, arts practices, and design
REQUIRED TEXTS Handbook of Computer Game Studies. Eds. Joost Raessens and Jeffrey Goldstein. Cambridge, MA: MIT Press, 2005. REQUIRED GAMES For most of our meeting days, specific games have been assigned alongside the readings. Some of these games will only be played in class. However, some of these games you are expected to download and/or purchase and play on your own time in order to be prepared for the day's discussion. The list below includes all games which you are required to play for homework, in addition to your reading Several of these games require purchase through a third party site, such as Steam or GOG. Quest for Glory I (VGA version), Sierra On-Line [February 14] [requires GoG.com account, must buy as QfG I-V bundle] http://www.gog.com/game/quest_for_glory Kentucky Route Zero, Cardboard Computer, 2013 [March 7] [requires Steam] http://store.steampowered.com/app/231200/ Gone Home, The Fulbright Company, 2013 [March 14] [requires Steam] http://store.steampowered.com/app/232430/ Consensual Torture Simulator. Merritt Kopas. [April 18] *PLEASE NOTE* Consensual Torture Simulator is a representation of a sado-masochistic relationship, which some students may deem sexually explicit. Because of this sensitive content, we will not be playing this game in class. Students are expected to play the game independently, on their own time. If any individual student finds this material objectionable and wishes not to play, for any reason, please speak with me so we may develop an alternate assignment. http://mkopas.net/2013/10/consensual-torture-simulator/ Richard Hofmeier. Cart Life. [May 9] Download Free version http://www.richardhofmeier.com/cartlife/ ASSIGNMENTS Reading Presentations Each student will select a reading from the syllabus and prepare a 10 minute presentation, delivered on the day the reading is assigned to be read. This presentation will serve as the introduction to that day's discussion. Students should practice their presentations independently and time themselves to ensure their presentation is approximately 10 minutes. Skills Assessed: Reading Comprehension, Synthesis, Summary, Public Speaking To fulfill the assignment, students must give an oral presentation accompanied a 6-slide Powerpoint (or some form of projected, slide-style visuals). Each slide of the Powerpoint has a specific goal:
Slide 1: Title Slide (include title of reading, your name, class, class date) Slide 2: Author background w/ picture Slide 3: Article synthesis. Summarize the article in broad strokes and identify the largescale idea, claim or argument the reading is making? Slide 4: Identify any specific vocabulary used in the article Slide 5: Summarize what you think is the most salient or provocative example or claim worth discussing Slide 6: Questions Writing Assignments This class has three required writing assignments, each roughly 4-5 pages. These assignments are intended to hone diverse skills for responding critically to games, and to acquaint students with standard genres of writing used in the games journalism industry/blog-o-sphere. These three writing assignments are the Board Game Analysis, the Game Scene Event Blog Article, and the Video Game Review. Assignment sheets can be found on NYU Classes, under the Assignments tab. To develop your awareness of the scene and hone your writing skills, I encourage you to follow these game journalism outlets on your Twitter/Facebook/RSS feeds: Gamasutra http://www.gamasutra.com/ Killscreen http://killscreendaily.com/ Polygon http://www.polygon.com/ Indiestatik http://indiestatik.com/ Midterm and Final A midterm and final are detailed on the syllabus. The midterm and the final will have the same format, and be comprised of terminology identifications, short answers, and an essay. Grade Evaluation Breakdown Participation 5% Reading Presentation 10% Board Game Analysis 15% Game Scene Event Blog Article 15% Video Game Review 15% Midterm 20% Final 20% Evaluation Rubric A= Excellent This work is comprehensive and detailed, integrating themes and concepts from discussions, lectures and readings. Writing is clear, analytical and organized. Arguments
offer specific examples and concisely evaluate evidence. Students who earn this grade are prepared for class, synthesize course materials and contribute insightfully. B=Good This work is complete and accurate, offering insights at general level of understanding. Writing is clear, uses examples properly and tends toward broad analysis. Classroom participation is consistent and thoughtful. C=Average This work is correct but is largely descriptive, lacking analysis. Writing is vague and at times tangential. Arguments are unorganized, without specific examples or analysis. Classroom participation is inarticulate. D= Unsatisfactory This work is incomplete, and evidences little understanding of the readings or discussions. Arguments demonstrate inattention to detail, misunderstand course material and overlook significant themes. Classroom participation is spotty, unprepared and off topic. F=Failed This grade indicates a failure to participate and/or incomplete assignments A = 94-100 A- = 90-93 B+ = 87-89 B = 84-86 B- = 80-83 C+ = 77-79 C = 74-76 C- = 70-73 D+ = 65-69 D = 60-64 F = 0-59 THE MANDATE OF MUTUAL RESPECT A great deal of effort goes into preparing and teaching a class; likewise, you each spend much time and energy reading and preparing for classes, tests and papers. Respect in the classroom is a mutual experience. My Obligations to You To be prepared and on time for class To lecture, lead discussion, and run groups that reflect the purpose and content of the course To test and grade fairly, and be unbiased in my assessment
To treat your questions with respect and your concerns with sensitivity To help you succeed in this class insofar as you help yourself to succeed To inform you promptly of any changes to the syllabus or class rules Your Obligations to Me To be prepared and on time for class, including bringing your readings to class To approach class with respect, recognizing that it is an establish time of learning and discussion To dedicate your attention during class; no texting, reading the paper, napping, headphones, etc. To treat myself and your peers with thoughtfulness; no putting others down and no hate speech To complete all work yourself; no plagiarism or un-cited sources, as they will result in failure and disciplinary action To take responsibility for your work, and to accept the consequences of your choices COURSE POLICIES Absences and Lateness There is no attendance requirement for this class. However, attendance is a requisite for participation, so expect absences to negatively affect your participation grade. All assignments must be turned in on time, either in class or to my email inbox by the start of class. Absence is never an excuse for late work. Writing assignments will be docked 5% per day late. Midterm and Final cannot be made up. You must give your Reading Presentation of the day you are assigned no exceptions. Also, don t be late for class. It s rude. And you might find the door locked. Format Please type and double-space your written work. Typing improves the clarity and readability of your work and double-spacing allows room for me to comment. Please also number and staple multiple pages. You are free to use your preferred citation style. Please use it consistently throughout your writing. Grade Appeals Please allow two days to pass before you submit a grade appeal. This gives you time to reflect on my assessment. If you still want to appeal your grade, please submit a short but considered paragraph detailing your concerns. Based on this paragraph I will review the question and either augment your grade or refine my explanation for the lost points. Academic Dishonesty and Plagiarism
http://steinhardt.nyu.edu/policies/academic_integrity The relationship between students and faculty is the keystone of the educational experience at New York University in the Steinhardt School of Culture, Education, and Human Development. This relationship takes an honor code for granted and mutual trust, respect, and responsibility as foundational requirements. Thus, how you learn is as important as what you learn. A university education aims not only to produce highquality scholars, but to also cultivate honorable citizens. Academic integrity is the guiding principle for all that you do, from taking exams to making oral presentations to writing term papers. It requires that you recognize and acknowledge information derived from others and take credit only for ideas and work that are yours. You violate the principle of academic integrity when you cheat on an exam, submit the same work for two different courses without prior permission from your professors, receive help on a take-home examination that calls for independent work, or plagiarize. Plagiarism, one of the gravest forms of academic dishonesty in university life, whether intended or not, is academic fraud. In a community of scholars, whose members are teaching, learning, and discovering knowledge, plagiarism cannot be tolerated. Plagiarism is failure to properly assign authorship to a paper, a document, an oral presentation, a musical score, and/or other materials that are not your original work. You plagiarize when, without proper attribution, you do any of the following: copy verbatim from a book, an article, or other media; download documents from the Internet; purchase documents; report from other s oral work; paraphrase or restate someone else s facts, analysis, and/or conclusions; or copy directly from a classmate or allow a classmate to copy from you. Your professors are responsible for helping you to understand other people's ideas, to use resources and conscientiously acknowledge them, and to develop and clarify your own thinking. You should know what constitutes good and honest scholarship, style guide preferences, and formats for assignments for each of your courses. Consult your professors for help with problems related to fulfilling course assignments, including questions related to attribution of sources. Through reading, writing, and discussion, you will undoubtedly acquire ideas from others, and exchange ideas and opinions with others, including your classmates and professors. You will be expected, and often required, to build your own work on that of other people. In so doing, you are expected to credit those sources that have contributed to the development of your ideas. Avoiding Academic Dishonesty Organize your time appropriately to avoid undue pressure, and acquire good study habits, including note taking.
Learn proper forms of citation. Always check with your professors of record for their preferred style guides. Directly copied material must always be in quotes; paraphrased material must be acknowledged; even ideas and organization derived from your own previous work or another's work need to be acknowledged. Always proofread your finished work to be sure that quotation marks, footnotes and other references were not inadvertently omitted. Know the source of each citation. Do not submit the same work for more than one class without first obtaining the permission of both professors even if you believe that work you have already completed satisfies the requirements of another assignment. Save your notes and drafts of your papers as evidence of your original work. Disciplinary Sanctions When a professor suspects cheating, plagiarism, and/or other forms of academic dishonesty, appropriate disciplinary action may be taken following the department procedure or through referral to the Committee on Student Discipline. The Steinhardt School Statement on Academic Integrity is consistent with the New York University Policy on Student Conduct, published in the NYU Student Guide. STUDENT RESOURCES Students with physical or learning disabilities are required to register with the Moses Center for Students with Disabilities, 726 Broadway, 2nd Floor, (212-998- 4980) and are required to present a letter from the Center to the instructor at the start of the semester in order to be considered for appropriate accommodation. Writing Center: 411 Lafayette, 3 rd Floor. Schedule an appointment online at www.rich15.com/nyu/ or just walk-in. SCHEDULE OF CLASSES, READINGS AND ASSIGNMENTS January 31 Welcome Feb 7 Play and Culture Jenkins, Henry. Games, the New Lively Art. Handbook of Computer Game Studies. Eds. Joost Raessens and Jeffrey Goldstein. Cambridge, MA: MIT Press, 2005. 175 189. Huizinga, Johan. Nature and Significance of Play as a Cultural Phenomenon. From Homo Ludens: A Study of the Play-Element in Culture. 1950. Republished in The Game Design Reader. Eds. Katie Salen and Eric Zimmerman.1 18. [Game Play] Killer Queen arcade machine, NYU Game Center; Pong, Atari
Optional Reading: Geertz, Glifford. Deep Play: Notes on the Balinese Cockfight. Daedalus 134.4 (2005): 56 86. Feb 14 An Introduction to Games and 20 th Century Game History Malliet, Steven, and Gust de Meyer. The History of the Video Game. Handbook of Computer Game Studies. Eds. Joost Raessens and Jeffrey Goldstein. Cambridge, MA: MIT Press, 2005. 23-45 Wolf, Mark J. P., Genre and the Video Game. Handbook of Computer Game Studies. Eds. Joost Raessens and Jeffrey Goldstein. Cambridge, MA: MIT Press, 2005. 193-204. [Game Play] Quest for Glory 1, EGA Version, 1989 (REQUIRED GAME); Doom, id Software, 1993 Feb 21 Game Design // Guest Speaker: Toni Pizza, NYU Game Center Salen, Katie and Eric Zimmerman. Rules of Play: Game Design Fundamentals. New York: Routledge, 2003. Chapters 3, 5, 6. pp. 30-37; 48-69. Feb 28 In-Class Game Jam [Board Game Design Analysis Due] March 7 Narrative and Simulation Frasca, Gonzalo. Simulation Versus Narrative: Introduction to Ludology. In The Video Game Theory Reader. Eds. Mark J. P. Wolf and Bernard Perron. New York: Routledge, 2003. 221 235. Juul, Jesper. Games Telling Stories? Handbook of Computer Game Studies. Eds. Joost Raessens and Jeffrey Goldstein. Cambridge, MA: MIT Press, 2005. 219 226. [Game Play] Kentucky Route Zero (REQUIRED GAME), Cardboard Computer, 2013. March 14 Gender, Space and Access [First Game Journalism Essay Due] Jenkins, Henry. Complete Freedom of Movement: Video Games as Gendered Play Spaces. The Game Design Reader: A Rules of Play Anthology. Eds. Katie Salen and Eric Zimmerman. Cambridge, MA: MIT Press, 2006. 330 363. Lin, Holin. Body, Space, and Gendered Gaming Experiences: A Cultural Geography of Homes, Cybercafés, and Dormitories. Beyond Barbie and Mortal Kombat: New Perspectives on Gender and Gaming. Cambridge, MA: MIT Press, 2008. 54 67. Taylor, T.L. Where the Women Are. Play Between Worlds. Exploring Online Game Culture. Cambridge, MA: MIT Press, 2006. 93 126. [Game Play] Gone Home (REQUIRED GAME), The Fulbright Company, 2013. March 21 ****Spring Break! ****
March 28 The Problem of Inclusivity in the Contemporary Game Industry // Consalvo, Mia. Crunched by Passion: Women Game Developers and Workplace Challenges. Beyond Barbie and Mortal Kombat. Cambridge, MA: MIT Press, 2008. Different Games Conference. Inclusivity Statement. http://www.lainenooney.com/uploads/6/3/6/8/6368912/7611809_orig.jpg McElroy, Griffin. IGDA Draws Backlash, Member Resignations over Female Dancers at GDC Party. Polygon. March 28, 2013. http://www.polygon.com/2013/3/28/4157266/igda-gdc-party-brenda-romeroresignation Plunkett, Luke. Here's a Devastating Account of the Crap Women in the Games Business Have to Deal With. In 2012. Kotaku. November 27, 2012. http://kotaku.com/5963528/heres-a-devastating-account-of-the-crap-women-inthe-games-business-have-to-deal-with-in-2012 Sarkeesian, Anita. Tropes Vs. Women video series. www.feministfrequency.com Sarkeesian, Anita. TEDxWomen Talk: Online Harassment & Cyber Mobs. November 30, 2012. http://tedxwomen.org/speakers/anita-sarkeesian-2/ April 4 Race and Representation [Game Scene Event Blog Article Due] Phi, Thien-bao Thuc. Game Over: Asian Americans and Video Game Representation. Transformative Works and Cultures, 2009. vol. 2. http://journal.transformativeworks.org/index.php/twc/article/view/84/89 Everett, Anna. Serious Play: Playing with Race in Contemporary Game Culture. Handbook of Computer Game Studies. Eds. Joost Raessens and Jeffrey Goldstein. Cambridge, MA: MIT Press, 2005. 311 325. April 11 MIDTERM April 18 Games, Violence and the Military Industrial Complex // Guest Speaker: Merritt Kopas, indie game designer Kingsepp, Eva. Fighting Hyperreality With Hyperreality: History and Death in World War II Digital Games. Games and Culture. 2.4 (2007): 366 375. Sample, Mark L. Virtual Torture: Videogames and the War on Terror. Game Studies. 8.2 (2008). http://gamestudies.org/0802/articles/sample Stahl, Roger. All Consuming War: From Spectacle to Interactivity. Militainment, Inc. War, Media, and Popular Culture. London: Routledge. 2010. 20 49.
[Game Play] Kopas, Merritt. Consensual Torture Simulator (REQUIRED GAME). http://mkopas.net/2013/10/consensual-torture-simulator/ April 25 Unexpected Outcomes of Video Game Culture Consolvo, Mia. Gaining Advantage: How Videogame Players Define and Negotiate Cheating. Cheating: Gaining Advantage in Videogames. Cambridge, MA: MIT Press, 2007. 83 105. Dibbell, Julian. The Life of the Chinese Gold Farmer. New York Times. June 17, 2007. http://www.nytimes.com/2007/06/17/magazine/17lootfarmerst.html?_r=0 Schlieiner, Anne-Marie. Game Reconstruction Workshop. Handbook of Computer Game Studies. Eds. Joost Raessens and Jeffrey Goldstein. Cambridge, MA: MIT Press, 2005. 405 414. [Game Play] Super Mario World, Super Nintendo with Game Genie May 2 Video Game Preservation // Guest Speaker: Raiford Guins, Associate Professor, Stony Brook University [Video Game Review Due] Lowood, Henry. Playing History with Games: Steps towards Historical Archives of Computer Gaming. Presented at the Electronic Media Group Annual Meeting of the American Institute for Conservation of Historic and Artistic Works. Portland, Oregon, June 14, 2004. Sterling, Bruce. Digital Decay. Transcript from Preserving the Immaterial: A Conference on Variable Media. Solomon R. Guggenheim Museum, NY. March 30 31, 2001. Winget, Megan A. Videogame Preservation and Massively Multiplayer Online Role-playing Games: A Review of the Literature. Journal of the American Society for Information Science and Technology. 62.10 (2011): 1869-1883. May 9 Indie and Casual Gaming Anthropy, Anna. Rise of the Videogame Zinesters. New York: Seven Stories Press, 2012. 1 21; 69 91. Juul, Jesper. A Casual Revolution. Cambridge, MA: MIT Press, 2010. 1 20. Koster, Ralph. A Letter to Leigh. Ralph Koster's Website. April 9, 2013. http://www.raphkoster.com/2013/04/09/a-letter-to-leigh/ Yang, Robert. A Letter to a Letter. April 10, 2013. Radiator Blog. http://www.blog.radiator.debacle.us/2013/04/a-letter-to-letter.html [Game Play] Richard Hofmeier. Cart Life (REQUIRED GAME). http://www.richardhofmeier.com/cartlife/ [Game Play] Anna Anthropy. Dys4ia. http://auntiepixelante.com/?p=1515