Jaroslav Švelch Book order

An ode to the gruesome game characters we love to beat—from the monsters of D&D to the mutants of The Last of Us—and what they tell us about ourselves. Since the early days of video games, monsters have played pivotal roles as dangers to be avoided, level bosses to be defeated, or targets to be destroyed for extra points. But why is the figure of the monster so important in gaming, and how have video games come to shape our culture’s conceptions of monstrosity? To answer these questions, Player vs. Monster explores the past half-century of monsters in games, from the dragons of early tabletop role-playing games and the pixelated aliens of Space Invaders to the malformed mutants of The Last of Us and the bizarre beasts of Bloodborne, and reveals the common threads among them. Covering examples from aliens to zombies, Jaroslav Švelch explores the art of monster design and traces its influences from mythology, visual arts, popular culture, and tabletop role-playing games. At the same time, he shows that video games follow the Cold War–era notion of clearly defined, calculable enemies, portraying monsters as figures that are irredeemably evil yet invariably vulnerable to defeat. He explains the appeal of such simplistic video game monsters, but also explores how the medium could evolve to present more nuanced depictions of monstrosity.

"Based on oral histories gathered from players, game creators and hobbyists active in the 1980s, as well as archival material like computer club newsletters, official documents, hobby magazines, TV broadcasts and the games produced in the period, Gaming the Iron Curtain offers a social history of games in Communist-era Czechoslovakia - a country with a rigid centrally planned economy, separated from its Western neighbors by the so-called Iron Curtain. In Czechoslovakia at the time, there was no hardware or software market, no private enterprise, no commercial advertising and no publicly available computing or gaming magazines. Despite these limitations, a vibrant computer hobby scene emerged. Tens of thousands of Czechs and Slovaks played computer games and at least two hundred titles were developed over the course of the 1980s. Aside from playing games, Czechoslovak home computer enthusiasts were also "gaming" their hardware and software by discovering new ways to code, crack and hack. But most importantly, they looked for and took advantage of 'gaps' in the Iron Curtain and the oppressive political regime in order to play and create games. Gaming the Iron Curtain therefore an original historical narrative as well as a comprehensive social historical understanding of how computer games were made and how gaming communities functioned in the Soviet bloc"-- Provided by publisher