1. Introduction
[Melanie Swalwell, Helen Stuckey and Angela Ndalianis]
Part I: Historicizing Game Fandom
2. Early Games Production, Gamer Subjectivation and the Containment of the Ludic Imagination
[Graeme Kirkpatrick]
3. Transitioning to the Digital: Run5 magazine as archive and account of SSG’s dialogue with wargamers in the 1980s
[Helen Stuckey]
4. Keeping the Spectrum alive: Platform fandom in a time of transition
[Jaroslav Švelch]
5. Pirates, Platforms, and Players: Theorizing post-consumer fan histories through the Sega Dreamcast
[Skot Deeming and David Murphy]
Part II: Fan Contributions to Game History
6. EVE Online’s War Correspondents: Player journalism as history
[Nick Webber]
7. NES Homebrew and the Margins of the Retrogaming Industry
[John Vanderhoef]
8. Museums of Failure: Fans as curators of ‘bad’, unreleased, and ‘flopped’ videogames
[Victor Navarro-Remesal]
9. Glitching, Codemining and Procedural Level Creation in Super Mario Bros. [James Newman]
Part III: The Archive
10. Repacking my Library
[Jennifer deWinter and Carly Kocurek]
11. Sega Saturn Fan Sites and the Vernacular Curation of Videogame History
[Benjamin Nicoll]
12. Unusable Archives: Everyday play and the Everyplay archives
[James Manning]
13. Moving on from the Original Experience: Philosophies of preservation and dis/play in game history
[Melanie Swalwell]
Melanie Swalwell is an Associate Professor and ARC Future Fellow in
Screen and Media at Flinders University, Australia. She is
co-editor of the anthology, The Pleasures of Computer Games (2008).
Melanie is currently completing a monograph Homebrew Gaming and the
Beginnings of Vernacular Digitality for the MIT Game Histories
series.
Helen Stuckey is a Postdoctoral Research Fellow at Flinders
University, Australia. Her research explores the curation and
collection of videogames. A games curator and historian, she has
worked at the Australian Centre for the Moving Image and was the
Director of the Games Program at RMIT University.
Angela Ndalianis is Professor in Screen Studies at the University
of Melbourne, Australia, where she also directs the Transformative
Technologies Research Unit. Her publications include Neo-Baroque
Aesthetics and Contemporary Entertainment (2004), Science Fiction
Experiences (2010), The Horror Sensorium (2012) and The
Contemporary Comic Book Superhero (2008).
"This book is an essential read for those of us who study what people (especially communities) do with games beyond designing and playing them. It will be of interest to anyone working in game history and especially those who study issues of preservation and archives. It should also be useful for fan scholars."- Samuel Tobin, Fitchburg State University,American Journal of Play
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