The Language of Gaming
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The Language of Gaming

Astrid Ensslin

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eBook - PDF

The Language of Gaming

Astrid Ensslin

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About This Book

This innovative text examines videogames and gaming from the point of view of discourse analysis. In particular, it studies two major aspects of videogame-related communication: the ways in which videogames and their makers convey meanings to their audiences, and the ways in which gamers, industry professionals, journalists and other stakeholders talk about games. In doing so, the book offers systematic analyses of games as artefacts and activities, and the discourses surrounding them. Focal areas explored in this book include: - Aspects of videogame textuality and how games relate to other texts
- the formation of lexical terms and use of metaphor in the language of gaming
- Gamer slang and 'buddylects'
- The construction of game worlds and their rules, of gamer identities and communities
- Dominant discourse patterns among gamers and how they relate to the nature of gaming
- The multimodal language of games and gaming
- The ways in which ideologies of race, gender, media effects and language are constructed Informed by the very latest scholarship and illustrated with topical examples throughout, The Language of Gaming is ideal for students of applied linguistics, videogame studies and media studies who are seeking a wide-ranging introduction to the field.

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Information

Publisher
Red Globe Press
Year
2017
ISBN
9780230357082
Edition
1
Topic
Languages & Linguistics
Subtopic
Linguistics
Index
Languages & Linguistics
50
THE
LANGUAGE
OF
GAMING
Figure
4.1
Macrostructure
of
emergence
games,
where
essentially
identical
rule
sets
increase
in
difļ¬culty
with
every
level-up
Start
GameĀ 
over
GameĀ 
over
GameĀ 
over
GameĀ 
over
Goal
Figure
4.2
Basic
macrostructure
of
progression
games,
where
rules,
settings
and/or
situations
change
over
time
and
with
every
level-up
(cf.
Juul,
2005,
p.
75)
Textual
macrostructures
In
addition
to
integrating
general
and
speciļ¬c
ludic
elements,
videogames
com-
bine
a
variety
of
interconnected
text
types,
or
genres,
which
make
for
a
coher-
ent
textual
architecture.
However,
the
speciļ¬c
constellations
and
situationally
contingent
appearance
of
certain
different
text
types
tend
to
vary
signiļ¬cantly
between
individual
genres,
artefacts
and
even
between
individual
gameplay
experiences.
Therefore,
I
shall
refer
to
them
as
textual
or
genre
ecologies
(cf.
Erickson,
2000,
Kwasnik
and
Crowston,
2005,
Heyd,
2008)
rather
than
architecture(s),
which
suggests
a
more
rigid
infrastructure.
The
term
ā€˜ecologyā€™
aptly
merges
the
idea
of
ļ¬‚exible
combinations
of
commonly
co-deployed
gen-
res
with
that
of
genre-internal
malleability
and
adaptability
to
the
dynamics
of
computer-mediated
and
human-machine
communication.
To
recapitulate,
genres
are
types
of
discourse
that
tend
to
occur
in
partic-
ular
contexts
and
settings
(such
as
journalistic
articles
in
newspapers,
talks
at
academic
conferences,
or
doctorā€“patient
dialogues
during
surgery
hours).
They

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