CMNS 391: Video Games and Society (Rev. C1) Report a Broken Link

Unit 1: Play and the Philosophy of Leisure

Pieper, J. (1952). Chapter III. In Joseph Pieper, Leisure: The basis of culture (pp. 23–32). Indianapolis, IN: Pantheon Books.
Huizinga, J. (1955). Nature and significance of play as a cultural phenomenon. In Johan Huizinga (Ed.), Homo Ludens: A study of the play element in culture (pp. 1–27). Boston: The Beacon Press.

Unit 2: What Is A Game?

Egenfeldt-Nielson, S. Heide Smith, J.,  & Pajares Tosca, S. (2013). What is a game? In Understanding video games: The essential introduction (2nd ed.) (pp. 27–51). London & New York: Routledge.
Langdon, K. (2000). “What Is a Game?”

Unit 3: The History and Media Context of Video Games

Malliet, S., & de Meyer, G. (2005). The history of the video game.  In Joost Raessens and Jeffrey Goldstein (Eds.), Handbook of computer game studies (pp. 23–45). Cambridge, MA: The MIT Press, 2005.
Tyler, T. (December 2008).  A Procrustean probe. Game Studies: The International Journal of Computer Game Research 8(2).
King, B., & Borland, J. (2003). Prologue: The beginnings.  In Brad King and John Borland, Dungeons and dreamers: The rise of computer game culture (pp.1–8). Emeryville, CA: McGraw-Hill/Osborne.

Unit 4: Who Plays, and Why?

ESA: 2017 Sales, Demographics and Usage Data: Essential Facts about the Computer and Video Game Industry
Yee, N. (June 2006). The demographics, motivations and derived experiences of users of massively-multiuser online graphical environments. Presence: Teleoperators and Virtual Environments, 15(3), 309–329.

Unit 5: Video Game Genres

Wolf, Mark J.P. (2001). Genre and the video game. In Mark J. P. Wolf (Ed.), The medium of the video game. Austin, TX: University of Texas Press.
Apperley, T. H. (2006). Genre and game studies: Toward a critical approach to video game genres. Simulation & Gaming 37, 6–23.
Aki, J. (July 2002).  Halo and the anatomy of the FPS. Game Studies: The International Journal of Computer Game Research 2(1).

Unit 6: Cautionary Tales

Kutner, L. & Olson, C. (2008). Sex, hate, game addiction and other worries. In Lawrence Kutner and Cheryl Olson (Eds.), Grand theft childhood: The surprising truth about violent video games and what parents can do (pp. 139–162). New York: Simon & Schuster.
Rose, K. (2008, October 23).The potential dangers of reading too much.
Gamespot. (2012, November 19). Violence in Video Games – The What If Machine [Video file]. Retrieved from
Kutner, L., and Olson, C. (2008, April 28). Violence and video games.
feministfrequency. (2014, June 16). Women as Background Decoration: Part 1 – Tropes vs Women in Video Games [Video file]. Retrieved from:
Stermer, S. P., & Burkley, M. (March 2015). SeX-Box: Exposure to sexist video games predicts benevolent sexism. Psychology Of Popular Media Culture4(1), 47–55.
PBS Game/Show. Are Games Racist? | Game/Show | PBS Digital [Video file]. Retrieved from:
Behm-Morawitz, E., & TA, D. (2014). Cultivating virtual stereotypes?: The impact of video game play on racial/ethnic stereotypes. Howard Journal Of Communications25(1), 1–15. 
gamechronicles. (2007, June 9). Video Game Addiction? Part 1 of 4 [Video file]. Retrieved from

Unit 7: Educational Tales

Johnson, S. (2005, July 24). Your brain on video games: Could they actually be good for you? Discover Magazine.
Gee, J. P. (August 2008). Big thinkers: James Paul Gee on grading with games. edutopia [Video file]. Retrieved from:
Egenfeldt-Nielson, S., Heide Smith, J,. & Pajares Tosca, S. (2016). Serious games: When entertainment is not enough. In Understanding Video Games: The Essential Introduction (3rd ed.) (pp. 229–254). London & New York: Routledge.
Cox, T. (Presenter). (2005, December 28). 'Serious' Video Games for education, activism [Audio file]. Retrieved from:

Unit 8: Games As Cultural Artifacts

Egenfeldt-Nielson, S., Heide Smith, J,. & Pajares Tosca, S. (2016). Video Games in Culture. In Understanding Video Games: The Essential Introduction (3rd ed.) (pp. 157–192). London & New York: Routledge.
Leonard, D. (November 2004). Unsettling the military entertainment complex: Video games and a pedagogy of peace. Simile 4(4).
Mr Foxhound. (2011, May 30). America's Army 3 online gameplay [Video file]. Retrieved from:
Gamerspawn. (2009, September 11). Call of Duty 3 – E3 2006 Trailer [Video file]. Retrieved from:
TheMediaCows. (2012, June 4). Splinter Cell: Blacklist Official Trailer E3 2012 [HD] [Video file]. Retrieved from:
Sicart, M. (2003, November 4–6). Family values: Ideology, computer games and The Sims. Paper presented at DIGRA '03 – Proceedings of the 2003 DIGRA International Conference: Level Up, Utrecht, The Netherlands.
Yee, N. (2006). The labour of fun: How video games blur the boundaries of work and play. Games and Culture 1, 68–71.

Unit 9: Economics and the Video Game Industry

Egenfeldt-Nielson, S., Heide Smith, J,. & Pajares Tosca, S. (2016). The game industry. In Understanding Video Games: The Essential Introduction (3rd ed.) (pp. 15–29). London & New York: Routledge.
ESA; The U.S. Video Game Industry’s Economic Impact [blog]
ESA: U.S. Video Game Industry Generates $23.5 Billion in Revenue for 2015 (press release).
Reford, S. (2007, February 14). Corporate ideology in World of Warcraft (online essay).
Castronova, E. (December 2003). On virtual economies. Game Studies: The International Journal of Computer Game Research 3(2).

Unit 10: Games and Myths and Archetypes

Gackenbach, J., Ellerman, E., & Hall, C. (2011). Video game play as nightmare protection: A preliminary inquiry in military gamers. Dreaming 21(4), 221–245.
Daniel Floyd. (2008, February 17). 'Narrative Evolved': Video Games & Storytelling [Video file]. Retireved from:
WhiteKhakis. (2008, January 17). Super Mario Galaxy – End Cut Scene [Video file]. Retrieved from:
Setphire. (2006, September 14). Halo I Final Cut Scene – The Maw [Video file]. Retrieved from:
kollgian. (2008, March 7). God of War: Chains of Olympus – Final cut scene [Video file]. Retrieved from:
Electronic Arts France. (2009, February 24). Dante's Inferno trailer [Video file]. Retrieved from:
Tews, R. R. (2002). Archetypes on acid. In M. J.P. Wolf (Ed.), The medium of the video game (pp. 169–181). Austin, TX: University of Texas Press.
MacKay, J. (2007). The modern mythos. In G. Yeffeth (Ed.), Halo effect: An unauthorized look at the most successful video game of all time (pp. 87–96). Dallas, TX: Benbella Books, Inc.
Krzywinska, T. (2008). World creation and lore: World of Warcraft as rich text. In H. G. Corneliussen and J. W. Rettberg (Eds.), Digital culture, play, and identity: A World of Warcraft reader (pp. 123–142). Cambridge, MA and London, England: The MIT Press.

Unit 11: Virtual Communities

Smith, J. H. (August 2007). Tragedies of the ludic commons – Understanding cooperation in multiplayer games. Game Studies: The International Journal of Computer Game Research 7(1).
Williams, D., et al. (October 2006). From tree house to barracks: The social life of guilds in World of Warcraft. Games and Culture 1(4), 338–361.
kalamagehun. (2009, July 9). Guild Meeting of the Mithril Brotherhood 2009 [Video file]. Retrieved from:
Frank Schenk. (2008, Febrary 7). Tron Trailer [Video file]. Retrieved from:
JaseLove. (2006, September 16). The Matrix Trailer [Video file]. Retrieved from:
Machinima. (2009, August 22). Avatar Trailer [Video file]. Retrieved from:

Unit 12: The New Art Form

Schrank, B. (2014). Video games as avant-garde art. In Avant-garde videogames. The MIT Press (pp 1–21).
IGN. (2009, March 5). IGN’s Top 100 Game Developers: Games or Art? [Video file]. Retrieved from:
Smithsonian Magazine. (2012, February 21). The Art of Video Games [Video file]. Retrieved from:
Newman, T. (2009, April 8). Why games are not art.
Jones, J. (2012, November 30). Sorry MoMA, video games are not art.
Ebert, R. (2007, July 21). Games vs. art: Ebert vs. Barker.
Rick Muelhauser. (2008, July 26). Videogames Are Art. [Video file]. Retrieved from:
Daniel Floyd. (2009, March 14). Video Games and Choice. [Video file]. Retrieved from:
Jenkins, H., & Squire, K. (2002). The art of contested spaces. In Luucian King & Conrad Bain (Eds.) Game on. London: Barbican.