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1位
¥8,507 円
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楽天Kobo電子書籍ストア
＜p＞Despite the increasing number of gamers worldwide, the moral classification of computer gaming marks an as yet unsolved riddle of philosophical ethics. In view of the explosive nature of the topic in everyday life (as seen in various debates about rampages), it is obvious that a differentiated professional clarification of the phenomenon is needed: Can playing computer games be immoral?＜/p＞ ＜p＞To answer this question, the author first discusses what we do at all when we play computer games: What kind of action are we talking about? The second step is a moral classification that reveals whether (and if so, why) some cases of computer gaming are morally problematic. The considerations made here provide a fundamental insight into the normative dimension of computer gaming.＜/p＞ ＜p＞＜strong＞Samuel Ulbricht＜/strong＞ studied philosophy and German studies in Stuttgart, where he passed his first state examination. He completed his second state examination in Heidelberg. For his final thesison the ethics of computer gaming, he received the "Prize of the Friends of the University of Stuttgart". His current research focuses on normative differences in moral theories, problem areas in applied ethics, the aesthetics and ethics of computer games and the ethics of education and teaching. He currently works at the Johannes Gutenberg University of Mainz.＜/p＞ ＜p＞This book is a translation of the original German 1st edition ＜em＞Ethik＜/em＞ ＜em＞des Computerspielens＜/em＞ by Samuel Ulbricht, published by J.B. Metzler, an imprint of Springer-Verlag GmbH Germany, part of Springer Nature in 2020. The translation was done with the help of artificial intelligence (machine translation by the service DeepL.com). A subsequent human revision was done primarily in terms of content, so that the book will read stylistically differently from a conventional translation. Springer Nature works continuously to further the development of tools for the production of books and onthe related technologies to support the authors.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。
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2位
¥3,865 円
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＜p＞What is the relationship between religion and multi-player online roleplaying games? Are such games simply a secular distraction from traditional religious practices, or do they in fact offer a different route to the sacred? In ＜em＞eGods＜/em＞, a leading scholar in the study of virtual gameworlds takes an in-depth look at the fantasy religions of 41 games and arrives at some surprising conclusions. William Sims Bainbridge investigates all aspects of the gameworlds' religious dimensions: the focus on sacred spaces; the prevalence of magic; the fostering of a tribal morality by both religion and rules programmed into the game; the rise of cults and belief systems within the gameworlds (and how this relates to cults in the real world); the predominance of polytheism; and, of course, how gameworld religions depict death. As avatars are multiple and immortal, death is merely a minor setback in most games. Nevertheless, much of the action in some gameworlds centers on the issue of mortality and the problematic nature of resurrection. Examining ＜em＞EverQuest II, Lord of the Rings Online, Rift, World of Warcraft, Star Wars: The Old Republic,＜/em＞ and many others, Bainbridge contends that gameworlds offer a new perspective on the human quest, one that combines the arts, simulates many aspects of real life, and provides meaningful narratives about achieving goals by overcoming obstacles. Indeed, Bainbridge suggests that such games take us back to those ancient nights around the fire, when shadows flickered and it was easy to imagine the monsters conjured by the storyteller lurking in the forest. Arguing that gameworlds reintroduce a ＜em＞curvilinear＜/em＞ model of early religion, where today as in ancient times faith is inseparable from fantasy, ＜em＞eGods＜/em＞ shows how the newest secular technology returns us to the very origins of religion so that we might "arrive where we started and know the place for the first time."＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。
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3位
¥2,695 円
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＜p＞This collection of essays situates the digital gaming phenomenon alongside broader debates in cultural and media studies. Contributors to this volume maintain that computer games are not simply toys, but rather circulate as commodities, new media technologies, and items of visual culture that are embedded in complex social practices. Apart from placing games within longer arcs of cultural history and broader critical debates, the contributors to this volume all adopt a pedagogical and theoretical approach to studying games and gameplay, drawing on the interdisciplinary resources of the humanities and social sciences, particularly new media studies.＜/p＞ ＜p＞In eight essays, the authors develop rich and nuanced understandings of the aesthetic appeals and pleasurable engagements of digital gameplay. Topics include the role of "cheats" and "easter eggs" in influencing cheating as an aesthetic phenomenon of gameplay; the relationship between videogames, gambling, and addiction; players' aesthetic and kinaesthetic interactions with computing technology; and the epistemology and phenomenology of popular strategy-based wargames and their relationship with real-world military applications. Notes and a bibliography accompany each essay, and the work includes several screenshots, images, and photographs.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。
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4位
¥6,064 円
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＜p＞＜strong＞How amateur programmers in 1980s Czechoslovakia discovered games as a medium, using them not only for entertainment but also as a means of self-expression.＜/strong＞＜/p＞ ＜p＞Aside from the exceptional history of Tetris, very little is known about gaming culture behind the Iron Curtain. But despite the scarcity of home computers and the absence of hardware and software markets, Czechoslovakia hosted a remarkably active DIY microcomputer scene in the 1980s, producing more than two hundred games that were by turns creative, inventive, and politically subversive. In ＜em＞Gaming the Iron Curtain,＜/em＞ Jaroslav ?velch offers the first social history of gaming and game design in 1980s Czechoslovakia, and the first book-length treatment of computer gaming in any country of the Soviet bloc.＜/p＞ ＜p＞?velch describes how amateur programmers in 1980s Czechoslovakia discovered games as a medium, using them not only for entertainment but also as a means of self-expression. Sheltered in state-supported computer clubs, local programmers fashioned games into a medium of expression that, unlike television or the press, was neither regulated nor censored. In the final years of Communist rule, Czechoslovak programmers were among the first in the world to make activist games about current political events, anticipating trends observed decades later in independent or experimental titles. Drawing from extensive interviews as well as political, economic, and social history, ＜em＞Gaming the Iron Curtain＜/em＞ tells a compelling tale of gaming the system, introducing us to individuals who used their ingenuity to be active, be creative, and be heard.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。
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5位
¥4,710 円
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＜p＞Normal0falsefalsefalseMicrosoftInternetExplorer4＜/p＞ ＜p＞In his 2004 book ＜em＞Game Work＜/em＞, Ken S. McAllister proposed a rigorous critical methodology for the discussion of the “video game complex”ーthe games themselves, their players, the industry that produces them, and those who review and market them. Games, McAllister demonstrated, are viewed and discussed very differently by different factions: as an economic force, as narrative texts, as a facet of popular culture, as a psychological playground, as an ethical and moral force, even as a tool for military training.＜/p＞ ＜p＞In ＜em＞Gaming Matters＜/em＞, McAllister and coauthor Judd Ruggill turn from the broader discussion of video game rhetoric to study the video game itself as a medium and the specific features that give rise to games as similar and yet diverse as Pong, Tomb Raider, and Halo. In short, what defines the computer game itself as a medium distinct from all others? Each chapter takes up a different fundamental characteristic of the medium. Games are:＜/p＞ ＜p＞? Idiosyncratic, and thus difficult to apprehend using the traditional tools of media study＜/p＞ ＜p＞? Irreconcilable, or complex to such a degree that developers, players, and scholars have contradictory ways of describing them＜/p＞ ＜p＞? Boring, and therefore obligated to constantly make demands＜/p＞ ＜p＞on players’ attention＜/p＞ ＜p＞? Anachronistic, or built on age-old tropes and forms of play＜/p＞ ＜p＞while ironically bound to the most advanced technologies＜/p＞ ＜p＞? Duplicitous, or dependent on truth-telling rhetoric even when they are about fictions, fantasies, or lies＜/p＞ ＜p＞? Work, or are often better understood as labor rather than play＜/p＞ ＜p＞? Alchemical, despite seeming all-too mechanical or predictable＜/p＞ ＜p＞Video games are now inarguably a major site of worldwide cultural production.＜/p＞ ＜p＞＜em＞Gaming Matters＜/em＞ will neither flatter game enthusiasts nor embolden game detractors in their assessments. But it will provide a vocabulary through which games can be discussed in academic settings and will create an important foundation for future academic discourse.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。
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6位
¥2,419 円
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＜p＞＜strong＞How a form of play becomes a sport: players, agents, referees, leagues, tournaments, sponsorships, and spectators, and the culture of professional computer game play.＜/strong＞＜/p＞ ＜p＞Competitive video and computer game play is nothing new: the documentary King of Kong memorably portrays a Donkey Kong player's attempts to achieve the all-time highest score; the television show ＜em＞Starcade＜/em＞ (1982?1984) featured competitions among arcade game players; and first-person shooter games of the 1990s became multiplayer through network play. A new development in the world of digital gaming, however, is the emergence of professional computer game play, complete with star players, team owners, tournaments, sponsorships, and spectators. In ＜em＞Raising the Stakes＜/em＞, T. L. Taylor explores the emerging scene of professional computer gaming and the accompanying efforts to make a sport out of this form of play.＜/p＞ ＜p＞In the course of her explorations, Taylor travels to tournaments, including the World Cyber Games Grand Finals (which considers itself the computer gaming equivalent of the Olympics), and interviews participants from players to broadcasters. She examines pro-gaming, with its highly paid players, play-by-play broadcasts, and mass audience; discusses whether or not e-sports should even be considered sports; traces the player's path from amateur to professional (and how a hobby becomes work); and describes the importance of leagues, teams, owners, organizers, referees, sponsors, and fans in shaping the structure and culture of pro-gaming.＜/p＞ ＜p＞Taylor connects professional computer gaming to broader issues: our notions of play, work, and sport; the nature of spectatorship; the influence of money on sports. And she examines the ongoing struggle over the gendered construction of play through the lens of male-dominated pro-gaming. Ultimately, the evolution of professional computer gaming illuminates the contemporary struggle to convert playful passions into serious play.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。
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