By Jimmy Russell
Synopsis from Amazon:
In this fact-filled installment in Jimmy Russell's video games Console heritage sequence, we study one hundred and one striking evidence approximately Nintendo's seminal NES, the main major console in Nintendo historical past.
The evidence hide many parts, together with the background, the undefined, online game titles either infrequent and renowned and a few amazing details you most likely by no means knew! all people from unfashionable players who have been there on the time to n00bz who imagine a PlayStation is old-fashioned will locate this glorious booklet jam packed filled with interesting trivia!
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Extra resources for 101 Amazing Nintendo NES Facts (Games Console History, Volume 2)
In any case, the idea of Pong as the quintessential game is reflective of a certain history of games which is also importantly connected to the ideologies of modding and hacking the code. It is often noted that the earliest digital games from the late 1950s were experimental and not available to the public, as they were created on the gigantic mainframe computers in laboratories and research centres in the USA. Nevertheless, there is an important exception: Tennis for Two was developed in the research institution of Brookhaven National Laboratory for the entertainment of the guests on the annual Visitors’ Day.
He argues that usage in these collaborative environments is almost necessarily productive, as users and participants are so easily and effortlessly enabled to take their usage practices a step further, so to speak, and start adopting a more productive position. Users as participants are almost inevitably becoming also the produsers (Bruns 2006; Bruns 2007). The essence of digital culture – the flexibility of code and the ‘softness’ of soft 42 players unleashed! ware – has given new hope to the proponents of the democratisation of culture (Suoranta & Vadén 2008, 49-51), but alongside many ‘copyleftist’ ideologies there is a strong trend to see user participation as ‘new’ potential in the traditional business operations of industrial production (Lessig 2006).
I also want to analyse the player-created mod in terms of and in itself as a symptom of a larger cultural shift, endorsed by digital technologies, of a player (or reader, spectator, user) becoming the co-producer (author or co-author) of the cultural artefact in question. As game researcher David B. Nieborg (2005, 4) concludes, ‘[b]y producing additional or replaceable game content, the agency of gamers goes beyond the mere interaction with the text itself. ’ This altering focus does not only concern the role of the player, but the conception of what constitutes game as a cultural product, a text, is also being renegotiated.