Video game theory thesis

Springer has partnered with Copyright Clearance Center's RightsLink service to offer a variety of options for reusing Springer content. For permission to reuse our content please locate the material that you wish to use on or on and click on the permissions link or go to , then enter the title of the publication that you wish to use. For assistance in placing a permission request, Copyright Clearance Center can be connected directly via phone: +1-855-239-3415, fax: +1-978-646-8600, or e-mail: info@.

In 1996, the rights to the game reverted from the Russian state to Pajitnov himself, who previously had made very little money from the game. [23] In 1996, The Tetris Company was founded, claiming to hold copyright registrations for Tetris products in the . [30] [31] and taking out trademark registrations for Tetris in almost every country in the world. [32] They have licensed the brand to a number of companies, and the . Court of International Trade and the . Customs have at times issued seizure orders to preclude unlicensed Tetris -like games from being imported into the ., [33] though bulletins circulated by the . Copyright Office state that copyright does not apply to the rules of a game. [34] [35]

Other researchers have focused on understanding videogames as cultural artifacts with embedded meaning, exploring what the medium of the videogame is, and situating it in context to other forms of human expression. Brenda Laurel ’s 1991 book Computers as Theatre, while principally focused on applying tenets of theatre criticism to the design of human-computer interfaces, describes how videogames are the natural result of the "capacity to represent action in which the humans could participate" of computers. Rather than considering the computer as a highly efficient tool for calculating or computing, she proposed understanding the computer as a medium. The thesis of her book attempts to draw parallels between drama and the computer, with computers allowing their users to play equivalent roles to both the drama performer as well as the audience member. Throughout her book, Laurel uses different videogames as exemplars of the many ideas and principles. Henry Jenkins , on the other hand, explores the role that videogames play in a broader context he refers to as transmedia storytelling . In Jenkins' view, content moves between different media, and videogames are a part of the general ecology of storytelling media that include movies, novels, and comic books (Jenkins, 2003). Similarly, Janet Murray ’s Hamlet on the Holodeck (1997) describes the computer as a new medium for the practice of storytelling. By analyzing videogames along with other digital artifacts such as hypertext and interactive chat characters, Murray explores the new expressive possibilities allowed by computers. In particular, she views videogames as part of an expanded concept of storytelling she calls cyberdrama. Espen Aarseth , in his book Cybertext , disagrees with Murray’s idea and holds, "to claim there is no difference between games and narratives is to ignore essential qualities of both categories" (Aarseth, 1997).

Video game theory thesis

video game theory thesis

Media:

video game theory thesisvideo game theory thesisvideo game theory thesisvideo game theory thesis