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	<author>
  <id>38615</id>
  <name><![CDATA[Ian Bogost]]></name>
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        <book>
  <id type="integer">5435210</id>
  <isbn>026201257X</isbn>
  <isbn13>9780262012577</isbn13>
  <text_reviews_count type="integer">5</text_reviews_count>
  <title>
    <![CDATA[Racing the Beam: The Atari Video Computer System]]>
  </title>
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  <link>http://www.goodreads.com/book/show/5435210.Racing_the_Beam_The_Atari_Video_Computer_System</link>
  <average_rating>4.00</average_rating>
  <ratings_count>13</ratings_count>
  <description>
    <![CDATA[The Atari Video Computer System dominated the home video game market so completely that &quot;Atari&quot; became the generic term for a video game console. The Atari VCS was affordable and offered the flexibility of changeable cartridges. Nearly a thousand of these were created, the most significant of which established new techniques, mechanics, and even entire genres. This book offers a detailed and accessible study of this influential video game console from both computational and cultural perspectives.<br/>  <br/>  Studies of digital media have rarely investigated platforms—the systems underlying computing. This book (the first in a series of Platform Studies) does so, developing a critical approach that examines the relationship between platforms and creative expression. Nick Montfort and Ian Bogost discuss the Atari VCS itself and examine in detail six game cartridges: <em>Combat, Adventure, Pac-Man, Yars' Revenge, Pitfall!,</em> and <em>Star Wars: The Empire Strikes Back.</em> They describe the technical constraints and affordances of the system and track developments in programming, gameplay, interface, and aesthetics. <em>Adventure,</em> for example, was the first game to represent a virtual space larger than the screen (anticipating the boundless virtual spaces of such later games as <em>World of Warcraft</em> and <em>Grand Theft Auto</em>), by allowing the player to walk off one side into another space; and <em>Star Wars: The Empire Strikes Back</em> was an early instance of interaction between media properties and video games.<br/>  <br/>  Montfort and Bogost show that the Atari VCS—often considered merely a retro fetish object—is an essential part of the history of video games.<br/>  <br/>  <em>Platform Studies series</em>]]>
  </description>
<authors>
    <author>
    <id>66416</id>
        <name><![CDATA[Nick Montfort]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/66416.Nick_Montfort]]></link>
    <average_rating>3.79</average_rating>
    <ratings_count>84</ratings_count>
    <text_reviews_count>15</text_reviews_count>
  </author>
    <author>
    <id>38615</id>
        <name><![CDATA[Ian Bogost]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
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    <link><![CDATA[http://www.goodreads.com/author/show/38615.Ian_Bogost]]></link>
    <average_rating>3.87</average_rating>
    <ratings_count>38</ratings_count>
    <text_reviews_count>10</text_reviews_count>
  </author>
  </authors>  <published>2009</published>
</book>

        <book>
  <id type="integer">68562</id>
  <isbn>0262026147</isbn>
  <isbn13>9780262026147</isbn13>
  <text_reviews_count type="integer">4</text_reviews_count>
  <title>
    <![CDATA[Persuasive Games: The Expressive Power of Videogames]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1213030236m/68562.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1213030236s/68562.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/68562.Persuasive_Games_The_Expressive_Power_of_Videogames</link>
  <average_rating>3.69</average_rating>
  <ratings_count>13</ratings_count>
  <description>
    <![CDATA[Videogames are both an expressive medium and a persuasive medium; they represent how real and imagined systems work, and they invite players to interact with those systems and form judgments about them. In this innovative analysis, Ian Bogost examines the way videogames mount arguments and influence players. Drawing on the 2,500-year history of rhetoric, the study of persuasive expression, Bogost analyzes rhetoric's unique function in software in general and videogames in particular. The field of media studies already analyzes visual rhetoric, the art of using imagery and visual representation persuasively. Bogost argues that videogames, thanks to their basic representational mode of procedurality (rule-based representations and interactions), open a new domain for persuasion; they realize a new form of rhetoric.<br/> <br/> Bogost calls this new form &quot;procedural rhetoric,&quot; a type of rhetoric tied to the core affordances of computers: running processes and executing rule-based symbolic manipulation. He argues further that videogames have a unique persuasive power that goes beyond other forms of computational persuasion. Not only can videogames support existing social and cultural positions, but they can also disrupt and change those positions, leading to potentially significant long-term social change. Bogost looks at three areas in which videogame persuasion has already taken form and shows considerable potential: politics, advertising, and education. Bogost is both an academic researcher and a videogame designer, and <em>Persuasive Games</em> reflects both theoretical and game-design goals.]]>
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    <author>
    <id>38615</id>
        <name><![CDATA[Ian Bogost]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/38615.Ian_Bogost]]></link>
    <average_rating>3.87</average_rating>
    <ratings_count>38</ratings_count>
    <text_reviews_count>10</text_reviews_count>
  </author>
  </authors>  <published>2007</published>
</book>

        <book>
  <id type="integer">68556</id>
  <isbn>026202599X</isbn>
  <isbn13>9780262025997</isbn13>
  <text_reviews_count type="integer">1</text_reviews_count>
  <title>
    <![CDATA[Unit Operations: An Approach to Videogame Criticism]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170693250m/68556.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170693250s/68556.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/68556.Unit_Operations_An_Approach_to_Videogame_Criticism</link>
  <average_rating>4.20</average_rating>
  <ratings_count>10</ratings_count>
  <description>
    <![CDATA[In <em>Unit Operations</em>, Ian Bogost argues that similar principles underlie both literary theory and computation, proposing a literary-technical theory that can be used to analyze particular videogames. Moreover, this approach can be applied beyond videogames: Bogost suggests that any medium--from videogames to poetry, literature, cinema, or art--can be read as a configurative system of discrete, interlocking units of meaning, and he illustrates this method of analysis with examples from all these fields. The marriage of literary theory and information technology, he argues, will help humanists take technology more seriously and hep technologists better understand software and videogames as cultural artifacts. This approach is especially useful for the comparative analysis of digital and nondigital artifacts and allows scholars from other fields who are interested in studying videogames to avoid the esoteric isolation of &quot;game studies.&quot; 	<br/> <br/> The richness of Bogost's comparative approach can be seen in his discussions of works by such philosophers and theorists as Plato, Badiou, Zizek, and McLuhan, and in his analysis of numerous videogames including <em>Pong</em>, <em>Half-Life</em>, and <em>Star Wars Galaxies</em>. Bogost draws on object technology and complex adaptive systems theory for his method of unit analysis, underscoring the configurative aspects of a wide variety of human processes. His extended analysis of freedom in large virtual spaces examines <em>Grand Theft Auto 3</em>, <em>The Legend of Zelda</em>, Flaubert's <em>Madame Bovary</em>, and Joyce's <em>Ulysses</em>. In <em>Unit Operations</em>, Bogost not only offers a new methodology for videogame criticism but argues for the possibility of real collaboration between the humanities and information technology.]]>
  </description>
<authors>
    <author>
    <id>38615</id>
        <name><![CDATA[Ian Bogost]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/38615.Ian_Bogost]]></link>
    <average_rating>3.87</average_rating>
    <ratings_count>38</ratings_count>
    <text_reviews_count>10</text_reviews_count>
  </author>
  </authors>  <published>2006</published>
</book>

        <book>
  <id type="integer">6997432</id>
  <isbn>0415996600</isbn>
  <isbn13>9780415996600</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Joystick Soldiers]]>
  </title>
  <image_url>http://www.goodreads.com/images/nocover-111x148.jpg</image_url>
  <small_image_url>http://www.goodreads.com/images/nocover-60x80.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/6997432-joystick-soldiers</link>
  <average_rating>0.0</average_rating>
  <ratings_count>0</ratings_count>
  <description>
    <![CDATA[<p><em>Joystick Soldiers </em>is the first anthology to examine the reciprocal relationship between militarism and video games. War has been an integral theme of the games industry since the invention of the first video game, <em>Spacewar! </em>in 1962.While war video games began as entertainment, military organizations soon saw their potential as combat simulation and recruitment tools. A profitable and popular relationship was established between the video game industry and the military, and continues today with video game franchises like <em>America’s Army</em>, which was developed by the U.S.Army as a public relations and recruitment tool.</p><br/><p>This collection features all new essays that explore how modern warfare has been represented in and influenced by video games. The contributors explore the history and political economy of video games and the military-entertainment complex; present textual analyses of military-themed video games such as <em>Metal Gear Solid</em>; and offer reception studies of gamers, fandom, and political activism within online gaming. </p><br/><p> </p>]]>
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    <id>38615</id>
        <name><![CDATA[Ian Bogost]]></name>
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    <average_rating>3.87</average_rating>
    <ratings_count>38</ratings_count>
    <text_reviews_count>10</text_reviews_count>
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    <author>
    <id>3104071</id>
        <name><![CDATA[Matthew Thomas Payne]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
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    <link><![CDATA[http://www.goodreads.com/author/show/3104071.Matthew_Thomas_Payne]]></link>
    <average_rating>0.0</average_rating>
    <ratings_count>0</ratings_count>
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    <author>
    <id>3122368</id>
        <name><![CDATA[Nina B.  Huntemann]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/3122368.Nina_B_Huntemann]]></link>
    <average_rating>0.0</average_rating>
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  </author>
  </authors>  <published>2009</published>
</book>

        <book>
  <id type="integer">1452839</id>
  <isbn>1933900024</isbn>
  <isbn13>9781933900025</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Elementary Greek: Koine for Beginners, Audio Companion Year 2]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1183755277m/1452839.jpg</image_url>
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  <link>http://www.goodreads.com/book/show/1452839.Elementary_Greek_Koine_for_Beginners_Audio_Companion_Year_2</link>
  <average_rating>0.0</average_rating>
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  <description>
    <![CDATA[This CD provides a guide to pronouncing the Greek letters and words you will encounter during your study of Elementary Greek: Koine for Beginners, Year 2. The audio companion includes all of the letters, words, phrases, and grammatical forms from the textbook. Practice listening and repeating Greek words and sounds along with the text. Comes packaged in a sturdy, protective plastic box suitable for shelving.]]>
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    <id>38615</id>
        <name><![CDATA[Ian Bogost]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/38615.Ian_Bogost]]></link>
    <average_rating>3.87</average_rating>
    <ratings_count>38</ratings_count>
    <text_reviews_count>10</text_reviews_count>
  </author>
  </authors>  <published>2006</published>
</book>

        <book>
  <id type="integer">1452838</id>
  <isbn>0974239194</isbn>
  <isbn13>9780974239194</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Elementary Greek: Koine for Beginners, Year One Audio Companion]]>
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  <link>http://www.goodreads.com/book/show/1452838.Elementary_Greek_Koine_for_Beginners_Year_One_Audio_Companion</link>
  <average_rating>0.0</average_rating>
  <ratings_count>0</ratings_count>
  <description>
    <![CDATA[This CD provides a guide to pronouncing the Greek letters and words you will encounter during your study of Elementary Greek, Year One. The audio companion includes all of the the letters, words, phrases, and grammatical forms from the textbook. Practice listening and repeating Greek words and sounds along with the text. Comes packaged in a sturdy, protective plastic box suitable for shelving.]]>
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    <author>
    <id>259687</id>
        <name><![CDATA[Christine Gatchell]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/259687.Christine_Gatchell]]></link>
    <average_rating>4.00</average_rating>
    <ratings_count>2</ratings_count>
    <text_reviews_count>0</text_reviews_count>
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    <author>
    <id>38615</id>
        <name><![CDATA[Ian Bogost]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
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    <link><![CDATA[http://www.goodreads.com/author/show/38615.Ian_Bogost]]></link>
    <average_rating>3.87</average_rating>
    <ratings_count>38</ratings_count>
    <text_reviews_count>10</text_reviews_count>
  </author>
  </authors>  <published>2005</published>
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