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 21st 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, (212-9984980) 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, 3rd 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 20th 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