Ebook The Aesthetic of Play (The MIT Press), by Brian Upton
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The Aesthetic of Play (The MIT Press), by Brian Upton
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Review
This thoughtful book is unusual in that the author has extensive experience in video game development and also has a strong interest in philosophy, aesthetics, and epistemology.―Choice
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Review
This book blasts through the sterile dogmas of game studies with a model of play that unites stories, games, and criticism into diverse unity. Upton offers a unique and invigorating perspective on humanity's love affair with the aesthetic experiences of playing by transforming his own skills as a game designer into an intriguing new approach.―Chris Bateman, Ph.D., game designer, philosopher, and authorBrian Upton addresses some of the most difficult problems in game scholarship in an enjoyable and highly readable way. This book will be required reading for my graduate students.―Ernest W. Adams, founder of International Game Developers AssociationUpton's book is a rarity in game design and development texts―it provides a new way of understanding games both analog and digital that is innovative, tangible, and incredibly valuable for an evolving medium.―Brenda Romero, game designer, Romero GamesA bold new approach to thinking about aesthetics through the lens of games and play.―Frank Lantz, Director, NYU Game Center
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Product details
Series: The MIT Press
Hardcover: 336 pages
Publisher: The MIT Press; 1 edition (March 6, 2015)
Language: English
ISBN-10: 0262028514
ISBN-13: 978-0262028516
Product Dimensions:
6 x 0.9 x 9 inches
Shipping Weight: 1.3 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
4 customer reviews
Amazon Best Sellers Rank:
#490,596 in Books (See Top 100 in Books)
I just now finished reading this, and I really really enjoyed it. I wish I'd had it on hand when I was teaching a game design class a few years ago. I heard about it on "The Big Idea" section of Scalzi's blog (http://whatever.scalzi.com/2015/03/17/the-big-idea-brian-upton/). Neuroscience? Microsemiotics? Applications to literary criticism? I sent off for a copy.I'll leave a review of the technical content to others, and will instead comment on the results of my experience of reading. (Read the book, and you may see why that could be a natural move to make right after reading the book!)* I want to talk about it with my friends. And then talk about it with some people I've never met, for contrast.* I want to go back and replay some games from a couple decades ago and introspect on how I'm engaging with them.* I want to go to a modern art museum and try out some new approaches to looking at what I've traditionally categorized as "trash my 3 year old could make".* I want to run a series of experiments that involve exposing different groups of people to new games.* I want to read up on deconstructionism a bit more, because while I don't think I'm going to start liking it, I think I can see an interesting option for disliking it less.* I want to design a game that synergistically exploits both narrative and gameplay and blows a big fat raspberry at the various authors that say the two are intrinsically opposed.* And then I want to play it.
This is definitely one of the best books on game design that I have read.A frequent complaint I have about game design theory is that it often breaks down when trying to apply it to an actual game. Things like MDA and the lenses of game design sound good on paper but in my opinion, don't work very well when you're in the middle of a game project and there's a million different moving pieces all at once that are constantly evolving.In situations like these, you need simple and flexible design rules that allow you to look at the smaller scale and NOT the bigger picture, because looking at the bigger picture all the time only means you're missing out on the short term effects of your design which exist at the micro level, which is disastrous in the long run for the feel of your game.Upton's idea of "constraints" and "state" and their interplay, constitutes a very adroit and flexible way of thinking about the effect that your design has on the structures of play, and is in my opinion a vital and important part of game design theory that deserves wider recognition.
My thinking on this book has continued to change since reading it. I was initially frustrated with some of the ways it used theory (semiotics and narrative) because it doesn't dive deeply into these topics. But Upton does a great job of tackling these topics and their connections with each other in a way that's fresh, and moves the discussion forward. So while it might not be a lengthy treatment of whatever field you're from, it's a wonderful exploration of how different fields in game studies can come together to understand games and their meanings.
Just got it for Father's Day. Why did I ask for it? Because Jackie Kashien's interview with Brian Upton on her podcast "The Dork Forest" sold me on Brian Upton. Man. Very cool. Here's a link to the podcast: [...]
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