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Half-Real: Video Games between Real Rules and Fictional Worlds

por Jesper Juul

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1354154,649 (3.46)Nenhum(a)
Video games as both a departure from and a development of traditional games; an analysis of the interaction between rules and fiction in video games. A video game is half-real: we play by real rules while imagining a fictional world. We win or lose the game in the real world, but we slay a dragon (for example) only in the world of the game. In this thought-provoking study, Jesper Juul examines the constantly evolving tension between rules and fiction in video games. Discussing games from Pong to The Legend of Zelda, from chess to Grand Theft Auto, he shows how video games are both a departure from and a development of traditional non-electronic games. The book combines perspectives from such fields as literary and film theory, computer science, psychology, economic game theory, and game studies, to outline a theory of what video games are, how they work with the player, how they have developed historically, and why they are fun to play. Locating video games in a history of games that goes back to Ancient Egypt, Juul argues that there is a basic affinity between games and computers. Just as the printing press and the cinema have promoted and enabled new kinds of storytelling, computers work as enablers of games, letting us play old games in new ways and allowing for new kinds of games that would not have been possible before computers. Juul presents a classic game model, which describes the traditional construction of games and points to possible future developments. He examines how rules provide challenges, learning, and enjoyment for players, and how a game cues the player into imagining its fictional world. Juul's lively style and eclectic deployment of sources will make Half-Real of interest to media, literature, and game scholars as well as to game professionals and gamers.… (mais)
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An excellent and important book to mark a beginning of computer game theory, Juul's writing and particular subject matter make the book a little dogged to read at times, and a touch repetitive. Still, the ideas are overall fascinating, and the distinction of games as defined by rules and/or fiction leads to a lot of philosophical questioning. A must-read for anyone dealing with technology in any way, and all-in-all a terrific book. ( )
  ephemeral_future | Aug 20, 2020 |
A very solid title. While I wouldn't recommend it for someone who wanted casual insight into the critical study of video games, it is a crucial resource for the researcher. There is much thorough and clear-headed analysis to serve as a springboard for future investigations. ( )
  breadhat | Jul 23, 2013 |
Kapitel 1-5
  kmittlboeck | Mar 14, 2012 |
If I were to pick a book that this one most reminded me of, it would be Scott McCloud's Understanding Comics: you could practically entitle this Understanding Video Games and be none the worse for wear. Like McCloud, Juul comes to his chosen branch of the media tree with a fresh eye, determined to coherently examine its component elements in order to build a new conception of the way they work their effects. For Juul, the key elements are narrative and rule-based play, and the unique experience of video games grows out of cooperation (as well as tensions and slippages) between these forces. Fascinating reading, clear and lucid, an essential work for anyone interested in the academic study of video games or cross-platform narrative. Highly recommended. ( )
  jbushnell | Oct 27, 2007 |
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Video games as both a departure from and a development of traditional games; an analysis of the interaction between rules and fiction in video games. A video game is half-real: we play by real rules while imagining a fictional world. We win or lose the game in the real world, but we slay a dragon (for example) only in the world of the game. In this thought-provoking study, Jesper Juul examines the constantly evolving tension between rules and fiction in video games. Discussing games from Pong to The Legend of Zelda, from chess to Grand Theft Auto, he shows how video games are both a departure from and a development of traditional non-electronic games. The book combines perspectives from such fields as literary and film theory, computer science, psychology, economic game theory, and game studies, to outline a theory of what video games are, how they work with the player, how they have developed historically, and why they are fun to play. Locating video games in a history of games that goes back to Ancient Egypt, Juul argues that there is a basic affinity between games and computers. Just as the printing press and the cinema have promoted and enabled new kinds of storytelling, computers work as enablers of games, letting us play old games in new ways and allowing for new kinds of games that would not have been possible before computers. Juul presents a classic game model, which describes the traditional construction of games and points to possible future developments. He examines how rules provide challenges, learning, and enjoyment for players, and how a game cues the player into imagining its fictional world. Juul's lively style and eclectic deployment of sources will make Half-Real of interest to media, literature, and game scholars as well as to game professionals and gamers.

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