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Titlebook: Gaming Globally; Production, Play, an Nina B. Huntemann (associate professor of media st Book 2013 Nina B. Huntemann and Ben Aslinger 2013

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發(fā)表于 2025-3-21 18:53:06 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書目名稱Gaming Globally
副標(biāo)題Production, Play, an
編輯Nina B. Huntemann (associate professor of media st
視頻videohttp://file.papertrans.cn/381/380591/380591.mp4
叢書名稱Critical Media Studies
圖書封面Titlebook: Gaming Globally; Production, Play, an Nina B. Huntemann (associate professor of media st Book 2013 Nina B. Huntemann and Ben Aslinger 2013
描述Video games are inherently transnational by virtue of industrial, textual, and player practices. The contributors touch upon nations not usually examined by game studies - including the former Czechoslovakia, Turkey, India, and Brazil - and also add new perspectives to the global hubs of China, Singapore, Australia, Japan, and the United States.
出版日期Book 2013
關(guān)鍵詞Comic; consumption; Europe; Gaming; Internet; Online; politics; video
版次1
doihttps://doi.org/10.1057/9781137006332
isbn_softcover978-1-349-43501-2
isbn_ebook978-1-137-00633-2Series ISSN 2945-7459 Series E-ISSN 2945-7467
issn_series 2945-7459
copyrightNina B. Huntemann and Ben Aslinger 2013
The information of publication is updating

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Redefining the Console for the Global, Networked Eran Valley and the greater Boston area that were the beneficiaries of massive amounts of Cold War defense spending that stemmed from US foreign policy imperatives and buttressed the military-industrial-entertainment complex. As a complex creative industry, games emerged as a transnational hybrid of pr
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Brazil: Tomorrow’s Marketer and supermodels. In many areas, Brazil is evolving financially and socially, but the gaming industry still lacks the maturity and development of other major countries like the United States and Japan. There are approximately 35 million active players in the Brazilian gaming community (Takahashi 2
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Crafting a Path into Gaming Cultureer and consumer have become blurred in recent years, multiple paths to engagement with these media have emerged, and crossovers between digital games and other media (television, film, comics, and the Internet) have flourished. In this chapter, I explore the ways these changes in global gaming cultu
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