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| Preface | p. ix |
| Abbreviations | p. xi |
| Why Do People Play Games? | p. 3 |
| You Are the One | p. 3 |
| Tools to Think With | p. 5 |
| Getting Started | p. 8 |
| Summary | p. 12 |
| Genre | p. 13 |
| What Are Genres? | p. 14 |
| What Are Genres For? | p. 16 |
| Genre Maps | p. 18 |
| Computer Game Genres | p. 19 | ... MORE
| A Theory of Computer Game Genres | p. 21 |
| Summary | p. 25 |
| Further Reading and Tasks | p. 26 |
| Activity | p. 29 |
| The Story of Activity Groups | p. 29 |
| An Overview of Activity Profiles | p. 33 |
| Three Driving Games | p. 35 |
| Calculating Genres | p. 38 |
| Summary | p. 43 |
| Tasks | p. 44 |
| Pleasure | p. 45 |
| Aesthetics and Computer Games | p. 47 |
| Spacewar | p. 51 |
| Zork | p. 52 |
| Pac-Man | p. 56 |
| Comparative Aesthetics | p. 57 |
| Summary | p. 59 |
| Tasks | p. 60 |
| Two Rail-Shooters | p. 61 |
| Star Fox and Rez | p. 61 |
| Activity Profiling and Genre Theory | p. 63 |
| Applying Aesthetic Theory | p. 65 |
| The Method of Game Analysis | p. 67 |
| Tetsuya Mizuguchi, Rez, and Beyond | p. 67 |
| Summary | p. 69 |
| Further Reading and Tasks | p. 70 |
| Why Don't People Play Games | p. 71 |
| What Do We Mean by Games? | p. 72 |
| Resident Evil | p. 73 |
| Why Not Ask the Players? | p. 75 |
| Emotional Models of Play | p. 76 |
| Player Types | p. 79 |
| Demographic Research | p. 81 |
| Why Don't People Play Games? | p. 82 |
| Conclusions | p. 83 |
| What Is a Game? | |
| Just an Ordinary Day | p. 87 |
| The Glass Vial | p. 89 |
| Unrealisms | p. 90 |
| Perceptual Opportunities | p. 91 |
| Sureties | p. 92 |
| Surprises | p. 93 |
| Attractors | p. 93 |
| Connectors | p. 95 |
| Rewards | p. 97 |
| Getting It All Together in SinCity | p. 99 |
| Perceptual Mapping in SinCity | p. 100 |
| AS-OceanFloor | p. 103 |
| Summary | p. 108 |
| Further Reading and Tasks | p. 109 |
| Big Bad Streets | p. 111 |
| Driver School | p. 111 |
| Sureties | p. 113 |
| Surprises | p. 114 |
| Driver and SinCity Comparisons | p. 119 |
| Summary | p. 122 |
| Further Reading and Tasks | p. 123 |
| Time to Visit Yokosuka | p. 125 |
| Shenmue | p. 125 |
| Genre and Activity Profile | p. 126 |
| Aesthetics | p. 128 |
| Shenmue POs | p. 129 |
| PSAS and Cut Scenes | p. 131 |
| Interactive Storytelling? | p. 133 |
| And On With General Aesthetics | p. 134 |
| Summary | p. 135 |
| Further Reading and Tasks | p. 137 |
| Meaning What? | p. 139 |
| Semiotics and Signs | p. 140 |
| Pac-Man's Signs | p. 143 |
| Icons, Indexes, and Symbols | p. 144 |
| Denotation, Connotation, and Myth | p. 146 |
| Syntagms and Paradigms | p. 148 |
| Codes | p. 151 |
| Making Up Pac-Man | p. 154 |
| Filling Gaps | p. 155 |
| Summary | p. 159 |
| Further Reading and Tasks | p. 161 |
| All Work and Play | |
| The Work of Meaning | p. 164 |
| Signs of Interaction | p. 167 |
| The Mechanics of Interaction | p. 170 |
| The Inside-Out Code | p. 176 |
| Where Is the Player? | p. 178 |
| Summary | p. 180 |
| Further Reading and Tasks | p. 181 |
| Big Game Hunting | p. 183 |
| Semiosphere | p. 183 |
| The Code of Interaction | p. 185 |
| The Myth of Interaction | p. 189 |
| What Is a Game? | p. 191 |
| How Do You Get Out of Here? | p. 192 |
| Big Game Hunting | p. 194 |
| Glossary | p. 197 |
| List of Games | p. 203 |
| Bibliography | p. 205 |
| Index | p. 207 |
| Table of Contents provided by Ingram. All Rights Reserved. |