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"Aslinger, Ben"
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Gaming globally : production, play, and place
This collection includes essays from scholars from seven countries analyzing game cultures on macro- and micro-levels and investigates the growing transnational nature of digital play.
Book
Video games for the \next billion\: the launch of the Zeebo console
While it may not boast the postmodern look of the PS3, the sleek lines of the pure white Wii, or the raw computing power of the Xbox 360/PS3, the Zeebo has stirred up critical debates in the gaming and tech blogosphere, the business press, and games publications such as Edge and Game Developer about the globalization of video games, piracy, and the dominance of the big three console manufacturers and major publishers. Montfort and Bogost's insistence on considering the ways that the gaming platform constructs and defines the play experience opens the door to new ways of writing game histories and reevaluating the functionality and value of failed commercial ventures such as the Phantom and Dreamcast.\\n Conclusion I began this article by asserting that the launch of the Zeebo is a critical moment that asks game scholars, critics, and players to ponder the future state of game cultures.
Journal Article
WorldSpace Satellite Radio and the South African Footprint
The launch of WorldSpace’s AfriStar satellite in October 1998 made three beams of up to eighty channels available to subscribers on the African continent. WorldSpace is a subscription-based satellite radio service founded in 1990 by Noah Samara designed for emerging markets in Africa and Asia. WorldSpace’s AfriStar and AsiaStar satellites, launched in 1998 and 2000, respectively, each have three beams—East, West, and South—that transmit a mix of news, music, and entertainment to subscribers with branded WorldSpace receivers. WorldSpace is an interesting case study as a venture that attempted to find a middle ground between explicitly prodevelopment satellite and
Book Chapter
Clueless about Listening Formations?
\"4 Other reviewers explicitly compared the film to Heathers and contrasted it to Larry Clark's difficult and disturbing film Kids (for more on this comparison, see Leppert's essay in this \"In Focus\").5 The New York Times put Clueless in conversation with films made popular by baby boomers, such as Saturday Night Fever ( John Badham, 1977), Flashdance (Adrian Lyne, 1983), and Top Gun (Tony Scott, 1986), positing that Clueless signaled the arrival of generation X and the return of the teen girl spectator to the multiplex.6 Clueless depicts, in broad brushstrokes, teen audio cultures in the 1990s under the swath of the \"alternative\" radio format and the selective uptake of hip-hop in white, middle-class taste cultures. The sound track is timely in its response to burgeoning indie rock, alternative, and riot-grrrl music scenes and modes of production, and it is timeless because it manages to deploy then-contemporary music and cover versions of older songs to represent teen growing pains and identity struggles.
Journal Article
Aural appearances: Popular music, televisuality, and technology
In this dissertation, I explore how the “aural appearances” of popular music recordings and performers in television programs, video games, and other new media forms call attention to industrial and representational practices that mark a fundamental response to media convergence. I argue that exploring the aural appearances of popular music requires an understanding of (1) the negotiations that take place between media sectors, (2) the emergence of music supervisors and executives in the tech/wireless industries as critical figures who manage the phenomenon's transmedia nature, and (3) the ways that popular music takes on new relevance as a “channel of discourse” in television series, video games, and content for portable devices. I draw on and extend film and media studies scholarship on popular music, popular music studies scholarship, analyses of the music industry, and studies of media convergence. I also draw upon established trade sources such as Billboard, Variety, and Hollywood Reporter, gaming news and review sites, tech blogs, and business and technology reporting. Chapter one sets up the industrial contexts in which executive producers, music supervisors, game designers, and tech/wireless executives labored to create the aural appearances of television series, games, and portable devices. In chapter two, I turn my attention to the ways that the executive producers and music supervisors on the Showtime series Queer as Folk and The L Word used popular music to represent queer sexualities and queer communities in American pay cable television. In chapter three, I move from pay cable series to more mainstream texts. I argue that music supervisors in the television and gaming industries worked with executive producers, game publishers, and game developers to construct surgical aesthetics in prime time medical dramas and to construct an embodied aesthetics of game play. In chapter four, I examine how music supervisors and executive producers and wireless/tech firms used the aural appearances of popular music in order to construct the settings of television drama and the places in which portable technologies were used.
Dissertation
Make Room for the Wii
This chapter contains sections titled:
Locating the Game Console
Limited Spatial Mobilities
Conclusion: Too Many Mobilities to Count?
References
Further Reading
Book Chapter