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Understanding Video Games

The fifth edition of this pioneering textbook takes video game studies into the next decade, highlighting changes in mobile, social, and casual gaming.

This book introduces students to both the major theories used to analyze games, such as ludology and narratology, and the commercial and organizational aspects of the game industry. Drawing from historical and contemporary examples, this student‑friendly text also explores the aesthetics of games, evaluates the cultural position of video games, and considers the potential effects of both violent and “serious” games. This new edition includes updates to the history, statistics, and developments in the vast game studies landscape throughout. The book has been expanded with additional theory, research, and insights from scholars around the world, making it more inclusive and broadening its global perspective.

Extensively illustrated and featuring discussion questions, a glossary of key terms, and a detailed video game history timeline, Understanding Video Games, Fifth Edition is an indispensable resource for anyone interested in examining the ways video games are reshaping entertainment, education, and society.

Simon Egenfeldt‑Nielsen is CEO of Serious Games Interactive and DiBL. He has a PhD from IT‑University of Copenhagen in Games and Learning. Previously he worked as an assistant professor at the Center for Computer Games Research at the IT University of Copenhagen.

Jonas Heide Smith has a PhD in Games and is Head of Digital at SMK – National Gallery of Denmark where he works on digital cultural heritage.

Susana Pajares Tosca is Professor of Media Studies at the University of Southern Denmark. Over the last 20 years, her research has combined aesthetic and media studies approaches to investigating the reception of digital media, with a focus on games, transmedial worlds, and Japanese media mix. She is a founding editor of the journal Gamestudies.

Praise for the fourth edition:

Understanding Video Games: The Essential Introduction is a must‑read primer for any student considering game studies. A handbook that is clear, precise, up to date and extremely useful for tackling video games, a cultural and technical phenomenon of great complexity and full of nuances.

- Belen Mainer Blance, Professor and Director of the Videogames Department at University Francisco de Vitoria

Praise for the third edition:

A user‑friendly, eminently readable account that has something to offer to both the neophyte and the specialist, Understanding Video Games is the text that is needed to secure a durable place for game studies in the academic curriculum.

- Marie‑Laure Ryan, author of Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media

As the core text for my introductory games course, Understanding Video Games has remained an essential guide since its first edition. Ever attentive to the practicalities of classroom needs, this superb update presents its most complete and accessible overview of game studies yet.

- Soraya Murray, University of California, Santa Cruz

Understanding Video Games is an admirably comprehensive treatment of the video game industry, history, culture, and theory. This new edition remains the best general textbook I’ve found for teaching video games in the college classroom.

- Alf Seegert, University of Utah

Understanding Video Games

The Essential Introduction

Fifth Edition

Designed cover image: © Getty Images / Poravute

Fifth edition published 2024 by Routledge

605 Third Avenue, New York, NY 10158

and by Routledge 4 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business © 2024 Simon Egenfeldt‑Nielsen, Jonas Heide Smith, and Susana Pajares Tosca

The right of Simon Egenfeldt‑Nielsen, Jonas Heide Smith, and Susana Pajares Tosca to be identified as authors of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks and are used only for identification and explanation without intent to infringe.

First edition published by Routledge 2008 Fourth edition published by Routledge 2020

Library of Congress Cataloging‑in‑Publication Data

Names: Egenfeldt‑Nielsen, Simon, author. | Smith, Jonas Heide, author. | Tosca, Susana Pajares, author.

Title: Understanding video games : the essential information / Simon Egenfeldt‑Nielsen, Jonas Heide Smith, Susana Pajares Tosca.

Description: 5. | New York, NY : Routledge, 2024. | Includes bibliographical references and index.

Identifiers: LCCN 2023047751 (print) | LCCN 2023047752 (ebook) | ISBN 9781032214726 (hardback) | ISBN 9781032229744 (paperback) | ISBN 9781003274995 (ebook)

Subjects: LCSH: Video games.

Classification: LCC GV1469.3.E44 2024 (print) | LCC GV1469.3 (ebook) | DDC 794.8—dc23/eng/20231023

LC record available at https://lccn.loc.gov/2023047751

LC ebook record available at https://lccn.loc.gov/2023047752

ISBN: 9781032214726 (hbk)

ISBN: 9781032229744 (pbk)

ISBN: 9781003274995 (ebk)

DOI: 10.4324/ 9781003274995

Typeset in Warnock Pro by codeMantra

Who Studies Video Games? / How Do You Study Video Games? / Types of Analysis / Schools of Thought 2 The Game Industry

The Size of the Game Industry / The Structure of the Big Game Industry / The Development Process / Roles in Game Development 3 What Is a

A Brief Pre‑History of Video Games / Does History Matter? / A History of Video Games / The 1970s / The 1980s / The 1990s / The 2000s / The 2010s and Beyond / Perspectives

/ Geography and Representation / Number of Players / Games Without Boundaries

The Cultural Position of Video Games / The Players

Storytelling / Reception—The Player’s Experience of a Story / A Brief History of Literary Theory and Video Games / Transmedia Games / Final Remarks 8 Serious Games and Gamification— When Entertainment Is Not Enough

Overview and Thematic Areas / Games‑for‑Change / Games‑for‑Health / News Games / Political Games / Advertainment / Two Research Domains / Serious Games / Gamification—Conquering the World, One Point at A Time / Final Remarks

9 Video Games and Risks

Two Research Perspectives / The Active Media Perspective / The Active User Perspective / Other Questions / Final Remarks

Illustrations

FIGURES

1.0 Grand Theft Auto III: Vice City (2001) took the new millennium by storm 7

2.0 E.T. the Extra‑Terrestrial (1982) was so unplayable that it managed to capsize the booming game industry in the early 1980s 15

2.1 Annual global revenue for video games (million euros) The figure shows how the traditional console games and PC games are struggling with declining revenue, whereas mobile games are growing rapidly 17

2.2 The value chain of the game industry 23

3.0 Tic‑tac‑toe illustrates the concept of a game at its most simplest level 33

3.1 Assassin’s Creed: Unity (2014). One of the most successful new franchises in the later years 34

3.2 Family resemblances. Illustrates the fragmented nature of what we commonly refer to as games 35

3.3 Caillois’s classification of games. The figure shows Caillois’s classification of games, which is quite contested, as it seems hard to fit any game into one of the genres 39

3.4 Video game examples put into Caillois’s classification of games. Finding examples for each genre turns out to be quite difficult 41

3.5 Jesper Juul’s model of how standard game definitions work. The model captures the fragmented and double nature of games by offering a more flexible classification 49

3.6 Little Computer People (1985): One of the famous early examples of a borderline game that has later become so popular with games like Grand Theft Auto 50

3.7 Super Mario Bros. (1985) doesn’t really fit with the idea of interesting choices as a core element in videos games

3.8 In FIFA 12 (2011) you play soccer by using a joystick to score goals

3.9 In Championship Manager 4 (2003) you play soccer by setting the right strategy

3.10 Keep Talking and Nobody Explodes (2015), with its unique combination of collaborative gameplay and the immersion of a VR, became a huge success

52

57

57

60

4.0 Spacewar! (1962) is considered by some to be the first video game to show the potential of the new medium and was developed in 1961–1962 at MIT

63

4.1 Pong (1972) is considered the midwife of the commercial video game industry 73

4.2 Night D river (1976) introduces first‑person perspective to the arcade 73

4.3 Space Invaders (1978) is remembered fondly by many people and is a cultural icon for video games

4.4 Myster y House (1990) set a new standard for the graphics in the early adventure games

74

76

4.5 Battlezone (1980) became one of the first games to mark the military’s use of commercial off‑the shelf video games for training 79

4.6 Defender (1980) introduced a new principle where the game world would circularly scroll, which became very successful 79

4.7 Pac‑Man (1980) became hugely successful and one of the first games to successfully create a character that would become a well‑known brand

4.8 Space Panic (1980) may not be that well known, but it invented the popular platform game mechanics

80

81

4.9 Gauntlet (Commodore 64 version) (1985), one of the first successful multiplayer games that Atari earned a patent for 82

4.10 Moon Patrol (1982) introduced scrolling background layers that created the illusion of depth 82

4.11 Summer Games II (Commodore 64) (1984), one of the prime examples of the increasing popularity of sports games

83

4.12 Zaxxon (1982), the first game to introduce the successful isometric perspective in video games 84

4.13 Balance of Power (1990 version) (1990) set new standards for the realism and depth of strategy games

85

4.14 Herzog Zwei was the first real‑time strategy game 87

4.15 King’s Quest I: Quest for the Crown (2004 remake by Anonymous Game Developers Interactive) introduces the idea of an avatar in adventure games, so the player can move around on the screen to interact with objects 89

4.16 Maniac Mansion (2004 remake by LucasFan Games) (2004) introduced the point‑and‑click interface to the adventure genre 90

4.17 Microsoft Flight Simulator (1986 Mac version) (1986) set new standards for the realism of simulation games

92

4.18 Elite (D OS version) (1985) was a successful open‑ended world, sporting some of the earliest 3D polygon graphics that would later become an industry standard 93

4.19 SimCity (DOS) (1989) heralded a new genre of open‑ended complex builder games 94

4.20 Wolfenstein 3D (1992) was the first game to herald the still immensely popular first‑person shooter genre 96

4.21 Doom (1993) showed the true potential of shareware and showed the way for modding 97

4.22 Mortal Kombat (DOS version) (1992), with its violence content, single‑handedly cleared the way for rating of video games in the United States 98

4.23 Dune II (1992) started the reign of the real‑time strategy games that became wildly popular in the 1990s 101

4.24 Sid Meier ’s Civilization (1991) marked the birth of the strongest franchise among turn‑based strategy games 102

4.25 Halo (PC version) (2001) brought first‑person shooters to the consoles and ensured Xbox a good launch 106

4.26 Angr y Birds (2009), with its simple gameplay, appealing visuals, and strong character design, became a synonym for the booming App Store 116

5.0 Heav y Rain (2010) won the hearts of critics and a number of awards for its artistic and dramatic appeal 123

5.1 Rock‑paper‑scissors shows the classic principle underlying many strategy games 129

5.2 Selected unit relationships in Age of Empires: Age of Kings (1999). It is fundamentally the same as rock‑paper‑scissors but vastly more complex 130

5.3 Two‑dimensional graphics mean that the game action is limited to a simple coordinate system 132

5.4 Basic graphical/spatial game characteristics. The figure does not indicate any relationship in the columns 133

5.5 SimCity 2000 (1993) demonstrates the isometric perspective 135

5.6 In games with three‑dimensional graphics, the gamespace can be thought of as the inside of a box 136

5.7 Example of 3D model from Global Conflicts: Palestine (2007) 137

5.8 The torus illustrates the looping space in some games 138

5.9 Spy Hunter (1983) demonstrates well the off‑screen space that you know is in front of you but which you can’t yet see 140

5.10 Tetris (1987) is world famous with numerous permutations, and is one of the most successful abstract games 145

5.11 Loom (1990) was an early example of how music can be used as core gameplay 151

6.0 Donke y Kong (1981) was the first hit game for Nintendo and the first to feature Mario, later to become star himself 159

6.1 April Ryan in The Longest Journey, on the way to her next destination 163

6.2 Positive in‑game emotions: a successful Tauren warrior moving on to the next quest in World of Warcraft 176

6.3 Overview of instrumental and expressive productivity 191

6.4 Gizmopolitan, a fictitious magazine produced by players of World of Warcraft 194

7.0 BioShock (2007) is widely acclaimed for the richness and depth of its narrative 205

7.1 Blade Runner: Howie Lee’s bar and our character 206

7.2 New Zealand Story (1989) cut‑scene, where the evil walrus kidnaps the kiwi family but one bird escapes 213

7.3 Max Payne II (2003) cut‑scene, where the player is emotionally tied to the main character 214

7.4 A model of classical linear fiction that shows how the story is built up in stages 217

7.5 A model of interactive fiction that shows the branching of the story 218

7.6 A variety of different interactive narratives and how they can fold into each other 221

7.7 The cover of the European version of Resident Evil Code: Veronica X for PlayStation 224

7.8 Myst (1994), with its special embedded narrative, attracted a new audience to video games 234

7.9 Façade (2005) attempts to use natural language interaction to create a deeper interactive narrative experience 237

8.0 The Oregon Trail (1971) was among the first learning games and has remained immensely popuar 245

8.1 September 12th (2004) provides the player with the military means to attack terrorists but also shows the unexpected repercussions 249

8.2 Dragon Box—Algebra 5+ (2012) elegantly teaches students equations through game puzzles of increasing complexity in an alternative to classic edutainment titles 258

9.0 The Walking Dead (2012), a zombie game known for its branching plot and the complex moral decisions players must face 289

10.0 An image generated with the use of the generative AI Midjourney by the author 325

TABLES

1.1 The five major types of analysis and their characteristics 12

2.1 Market share of major consoles. The table shows that PS has taken the lead over Microsoft but that Nintendo Switch has broken away with its lower price point and unique type of games 19

2.2 Major game companies’ revenue. The table shows that a lot of the revenue within games is going to nongame companies that have entered the market. The numbers have been adjusted, so they show yearly revenue for 2023 rather than only the first quarter 24

3.1 The characteristics of the four genres. The table shows a genre classification based on the key actions and success criteria to win the game 59

4.1 Top subscription‑based MMO titles by revenue (2014) (YTD) 112

8.1 The key differences between serious games and gamification 252

8.2 An overvie w of the three different subcategories within serious games 255

8.3 An overvie w of the key meta‑studies on learning outcomes from serious games, simulation games, and educational games. Only true recent meta‑studies are included, not overview articles 270

8.4 The different elements in design gamification experiences 276

8.5 The two schools within gamification and their characteristics 277

9.1 The differences between the Active Media perspective and the Active User perspective 293

Acknowledgments

Knowingly or not, a number of people have helped us write this book, through discussion, comments, or by contagious inspiration. For letting us pick their brains, we are indebted to our ex‑colleagues at the Center for Computer Games Research: Espen Aarseth, Troels Folmann, Gonzalo Fra sca, Jesper Juul, Anker Helm Jørgensen, Lisbeth Klastrup, Sara Mosberg, Miguel Sicart, and T. L. Taylor. For fast and knowledgeable assistance, we owe thanks to the scholarly subscribers of the Games Network discus sion list and to Morten Skovgaard, Thomas Vigild, and Mariann Nederby Madsen.

For encouragement, patience, and love we thank Sidsel Egenfeldt‑ Nielsen, Marie Louise Bossow Smith, and Martin Selmer.

Introduction

About the Reader

Structure of the Book

The Larger Questions

Some years ago, we began the first edition of this book by noting that the world was changing. From the perspective of video games, that may have been a bit mild. In fact, when looking back, 2007 now seems an almost quaint time of comforting stability. Indeed, today we increasingly talk about a society where games and play are ever‑present.

Broadly speaking, at that time, commercially ambitious games were multimillion‑dollar efforts of Himalayan proportions sold in boxes (or through $11‑per‑month subscriptions), and the then current generation of consoles seemed merely the most recent chapter of a never‑ending battle between console manufacturers.

By the time you launched your first angry bird from a creaking slingshot in 2010 or 2011 to exact revenge on unscrupulous, if immobile, green pigs, things looked quite different. Apple’s iPhone had (unpredicted by almost everybody) shown itself to be the device that would unlock the potential of mobile games, just as Facebook and other social networks were suddenly becoming heavyweight gaming platforms in their own right. Meanwhile, it was becoming less clear whether the newest generation of consoles would be the latest—or the last. The consoles have proven more resilient than some suspected, but are still struggling to stay relevant in today’s still more fragmented gaming landscape despite changing their business model dra matically, bringing in indie developers and embracing online distribution formats. The computing power of television sets has grown and services have popped up that promise to do all the heavy computer lifting and simply stream gaming audiovisuals to you. Despite the promise of these services, the revolution heralded by smart TV and game streaming has still to materi alize. But it seems that juggernauts like Apple, Google, Netflix and Amazon

Console: A computer designed for the sole purpose of playing games. Often sold without a keyboard.

Play: Ambiguous term (when contrasted to “games”), often referring to the relatively unstructured, relatively goalless activity of children’s (or adults’) playful behavior.

have far from given up on the power of television for gaming, so new fronts are emerging in the gaming marketplace. To add to the commotion, virtual reality and augmented reality have entered the stage, opening yet another arena. The future of the gaming world remains wide open.

Of course, in the much larger cultural scheme of things, ours is a time of impressively sudden, varied, and deep shifts. And our age is one in which technology is often the bellwether of these cultural transitions. From min iscule microchips spring visions of the world that challenge, enthrall, and delight us, intensifying our sense of an ever‑expanding world.

At some time in the not‑so‑distant past, most people were content with being passively entertained. More than happy to comply, writers for the page, for the stage, and for the screen would spin linear yarns of great, and sometimes not‑so‑great, sophistication; makeup would be applied, loca tions would be scouted, music would be composed, all to grip the heart and captivate our minds. Today, many are not satisfied with their couch‑bound spectator status; today, many insist on a more active role whether through fan culture, e‑Sports, game jams, or coding their own indie games.

The remarkable world of digital entertainment we know today all started with a whistling white torpedo sent floating through empty space in an MIT basement in 1961. As the torpedo crashed dramatically into the enemy space craft, no horns sounded and no drums shook the ground. This was the first volley in what would be known as Spacewar! But beyond the basement, the human race at large paid no notice to the fact that video games had been born.

The conception and subsequent birth were not entirely immaculate. Spacewar! was, in fact, shamelessly derivative. Its creators, devoted fans of contemporary science‑fiction books, had large‑scale visions of converting their passion to the big screen, and Spacewar! is reminiscent of many space battle movies. More importantly, Spacewar! merely marked the opening line of a new chapter in the larger, millennia‑spanning history of games.

Creating and playing games is a basic impulse of Homo sapiens. The ancient Greeks, the Vikings, and most likely even our ancient cave‑dwelling ancestors had rule‑based systems of play. These served many purposes, from entertainment to competition to education. But our new, post‑Spacewar! chapter is remarkable. In the historical blink of an eye, video games have colonized our minds and invaded our screens. From a Boston basement, video games have exploded exponentially—reproducing at an alarming rate, much like the fearful space invaders that inspired so many early games— until they are now everywhere, from tiny mobile phone displays to ostenta tious wall‑mounted plasma TVs. And although games like the casual mobile game Angry Birds, the anti‑terrorist, multiplayer Counter‑Strike, or the role‑playing space epic Mass Effect 3 are indebted to ancient predecessors, games are not what they used to be, either. As the computer has offered up its sublime powers—capable of the impartial processing of even the most complex of rules and the simultaneous dynamic presentation of sound and graphics—new game forms seem more akin to living, breathing worlds than to backgammon or poker.

It was inevitable that academics would eventually notice. Thus, for the last 45 years, scholars have unleashed traditional theories and methods of analysis with still greater speed—sometimes effortlessly, sometimes more awkwardly—onto the phenomenon of video games. The study of video games has from its humble beginnings in the 1980s accelerated at the same speed as video games themselves become still more mainstream in soci ety. New theories have evolved, coinciding with a growing number of books and websites devoted to the medium and with the ever‑growing demand for game design professionals. When this first book was written, the field was in a much more fragmented state than currently, and it was hard to navigate both for established researchers and newcomers to the field. Today the field has grown into a coherent and established player but finding your footing as a newcomer has in some ways become even more difficult. As the amount, speed and quality of research grows, we hope that this book can provide a foundation for starting your journey into the ever‑evolving space of games research.

In the following chapters, we aim to provide the reader with a broad understanding of video games and video game studies. We explore what we consider to be the most important developments and the most influ ential perspectives and discuss the relations between them. We have been greatly helped by the superb enthusiasm with which experienced gamers have begun to document and chronicle the history of the game industry and of the games themselves. This deeply felt devotion to the history of the medium has manifested itself in the publication of impressive books such as J. C. Herz’s Joystick Nation (1997), Van Burnham’s Supercade (2001), Liz Faber’s re:play (1998), and Rusel DeMaria and Johnny L. Wilson’s High Score! (2002). Comprehensive and extremely useful game documentation projects—like The International Arcade Museum (www.arcade‑museum. com) and MobyGames (www.mobygames.com)—also serve as crucial information depots for the game scholar.

Such resources nicely complement the publication of thorough and knowledgeable volumes on game design, history, and theory, such as Chris Crawford’s now classic The Art of Computer Game Design (1982), Espen Aarseth’s Cybertext (1997), Janet Murray’s Hamlet on the Holodeck (1997), Richard Rouse’s Game Design: Theory and Practice (2001), Richard Bartle’s Designing Virtual Worlds (2003), Andrew Rollings and Dave Morris’s Game Architecture and Design (2000), Katie Salen and Eric Zimmerman’s Rules of Play (2004), Jesper Juul’s Half‑Real: Video Games between Real Rules and Fictional Worlds (2005), Ian Bogost’s Persuasive Games (2007), Tristan Donovan’s Replay (2010), and Jane McGonigal’s Reality Is Broken (2011). Understanding Video Games owes its existence to these predecessors. But needless to say, everything there is to know about games cannot fit snugly into one volume. Even many volumes would be incapable of docu menting the astounding growth of the games field. Instead, we refer liberally to original literature and to more comprehensive treatments of many of the issues that we touch upon.

ABOUT THE READER

We have written this book to serve a variety of purposes. Our primary audi ence is a student of games, perhaps in a program of study anchored within the humanities or the social sciences. He or she is not yet a fully trained games scholar but has an interest in achieving a broad understanding of games. But the comprehensive overview we are striving for should find other beneficiaries as well. Those who are technically oriented or mainly interested in designing games will hopefully find much here to interest them, even if the book does not directly increase their practical skills. Sim ilarly, one of our core assumptions is that any student of games will benefit from at least a passing knowledge of issues not specifically tied to his or her specialty. Understanding how games work and why they look the way they do requires an interdisciplinary approach. We should all, in a perfect world, be equally unafraid of code, aesthetic theory, and social thinking. Finally, we hope that even professional scholars will find useful our attempt to map systematically the pertinent topics in game studies.

STRUCTURE OF THE BOOK

Beyond this introduction, the book is divided into the following chapters:

Chapter 1: Studying Video Games outlines what it means to study video games, and what major approaches there exist.

Chapter 2: The Game Industry explores the business side of video games, to provide a basis for understanding large‑scale trends in contemporary game design.

Chapter 3: What Is a Game? introduces the reader to classic and cur rent approaches to the study of games and play, and discusses how to group games meaningfully into specific types or genres.

Chapter 4: History tells the history of video games, focusing on the devel opment of game form and groundbreaking titles. This history emphasizes the games themselves rather than the game industry or individual designers.

Chapter 5: Video Game Aesthetics offers a formal description of games in terms of sound, graphics, and use of space and time.

Chapter 6: Video Games in Culture positions video games in our mod ern (media) culture and examines the discourses that both surround and permeate the gaming world. It also explores some of the cultural practices of video game players: who they are, why they play games, and how they organize themselves in communities that generate culture inside and out side their games.

Chapter 7: Narrative recounts the relationship between video games and the art of storytelling, focusing on the role of literary theory in the study of games.

Chapter 8: Serious Games and Gamification—When Entertainment Is Not Enough introduces the reader to the increasingly important field often referred to as serious games and gamification and discusses topics like “games and learning” and “persuasive games.”

Chapter 9: Video Games and Risks discusses the oft‑mentioned and cul turally divisive question of whether (or how) playing certain types of games can harm the player.

Chapter 10: The Future Of Game Studies discusses what lies ahead as the field grows, and game development is impacted by new technology like generative AI.

Discussion questions appear at the end of each chapter. These are designed to stimulate thought and argument on the topics covered and to offer ave nues for further reading and research. A Recommended Games section also offers suggestions for games that help to illustrate concepts explored in each chapter. Further Readings are also added to address areas that we find are tangential to the chapter but not always covered in full detail.

THE LARGER QUESTIONS

Many people believe that textbooks should be all‑inclusive collections of knowledge on a given topic. This is not an unreasonable ambition, but it can give a false impression of orderliness and can ignore the messy, on‑the‑ground chaos vital to creative and intellectual advances. Such a per spective implies that most issues within a field are settled and that the schol ars all agree; the extent of disagreement within a discipline is ignored. Game studies is a young field. It is a field that has yet to settle, systematically and convincingly, some rather important questions.

One of these is the most basic question of all: “What is a game?” Game scholars do not agree on this most fundamental issue. If this worries you, take heart—it is a condition common to many fields. Sociologists, for instance, do not all hold identical ideas about what “society” means; media scholars differ in their definition of “medium.” In one important sense, of course, the ques tion of what makes up a game is really just a question of definition. We cannot determine empirically or logically what a game is. What we can do, however, is seek a definition appropriate for our questions and be quite explicit about the meaning of “game” when we employ it in important situations.

Another question central to game studies is this: “Why are there games?”

Why do we, biological entities capable of creating poetry, climbing moun‑ tains, and splitting the atom, spend so much time playing games—especially when playing these games often conflicts with our basic human needs: to sleep, to feed ourselves, to communicate with our spouses? We don’t know. Or rather, the question has sparked surprisingly little interest, and no con sensus exists. However, some answers have been proposed1 and, not unrea‑ sonably, they tend to be rooted in biology. They usually go something like this: the ability to play allows organisms to simulate real‑life situations. Through these simulations, the organism can practice important skills in relative safety. The individual with a disposition toward play then has an adaptive advantage over those lacking this disposition; natural selection takes care of the rest. The individual who practices throwing his spear in his spare time stands a better chance of survival when a sabre‑toothed tiger

attacks. Such an answer, though sensible, is not comprehensive. While evo lutionary biology, for instance, may explain why there are games, it does not explain very clearly why our games look the way they do. Nor does it explain why people like different games and display such an enormous range of atti‑ tudes about the very act of playing games.

Which leads us to the next question: “Why do some people prefer certain games?” Again, we must admit that we cannot answer this with any sort of conviction. In fact, trustworthy statistics documenting such preferences (or documenting whether there is, in fact, variation) are less than abundant.2 We could speculate that age, gender, social status, religion, or hair color correlates with game preferences, but we would then have to explain why this should be the case. We have lots of ideas but no fully formed theory here. The expanded version of this question is also interesting: “Do certain types of games appeal to people in certain times or cultures, and, if so, why?” Again, we could speculate that there is a correlation between the rise of cap italism and the popularity of certain types of highly competitive games, but what we really need is a coherent theory of why such a relationship should be expected and rigorous testing of specific hypotheses derived from such a theory.

Lastly, there is the question uttered by everyone from pundits to parents: “How do games affect the player?” In this case, there is research but little agreement. The question should not be confused with “Do games affect the player?”—they do. The former question is completely legitimate, but it is also quite difficult to answer (as we shall see in Chapter 9). Some popular variations on this question include: “Do violent games make players vio lent?” “Do zero‑sum games make people less cooperative in real life?” “Can games teach children useful skills?”

These larger themes are woven throughout Understanding Video Games, and we attempt to answer some of the questions by synthesizing the work that has been done so far in game studies. But the reader should keep in mind the relative youth of the field. At present, video game studies may have more questions than answers, more doubts than certainties. The rules are still being formed; the orthodoxies have not yet been established. And for the curious researcher, there are many worlds in need of exploration. Of course, this is part of why the field is so thrilling. In other words, the disci pline welcomes you; there is much to be done.

NOTES

1 Film scholar Joseph Anderson, in the 1996 book The Reality of Illusion, has argued interestingly that play

behavior is a biological adaptation. This also explains why we like movies. 2 One source is Kafai (1998).

Studying Video Games

Who Studies Video Games?

How Do You Study Video Games? Types of Analysis

Schools of Thought

Right at this moment, millions of people around the world are playing video games. One obvious way in which this matters is financial. The rising popu‑ larity of games translates into astounding amounts of cash. The game indus‑ try is quickly becoming a financial juggernaut. Our research may help make even better games, may help large companies increase their profits, or may offer a critical perspective on the social workings and effects of the game industry. Either way, the very size of the industry justifies our attention. But it isn’t just the money that’s important.

Video games warrant attention for their cultural and aesthetic elements. The aesthetic developments of game design are intense, constant, and thrill ing; this explosive evolution of creative possibility is beginning to influence significantly other types of expression. It is clear by now, after the Matrix movie trilogy, and the Grand Theft Auto, Uncharted, Red Dead Redemp tion and The Last of Us games, that movies and games are borrowing from each other’s arsenals. For the younger generations, especially, games are crucial to the way they express themselves artistically and, presumably, in the way they conceive of the world. What does it mean, for instance, when a person’s self‑expression moves away from linear representations, such as

Grand Theft Auto III: Vice City (2001) took the new millennium by storm

books and films, and they find more meaning in interactive, nonlinear sys tems where outcomes depend on player choices? Maybe it doesn’t mean anything. Maybe it means a lot of small changes are happening but no rev‑ olution should be expected. And maybe it means that in a decade or two, video games will be so essential to the creation of culture that teenagers will be unable to imagine a world before video games existed. And most likely, perhaps, is some combination of all three scenarios. Regardless, such ques tions need to be investigated systematically.

WHO STUDIES VIDEO GAMES?

Science is the building upon a foundation of experience, the abandonment of old theories, and the revision of earlier hypotheses. The study of video games is not different, but we still have a fragmented and emerging research field despite huge leaps forward since the first edition of this book was brew ing almost 25 years ago.1

Is game research a science in this sense? On the one hand, people who claim to be doing game research clearly do not always live up to the highest stan dards of the scientific method (true for any field); further, there is even some disagreement about how to actually do game research. On the other hand, if we take science to mean the systematic, rigorous, and self‑critical production of knowledge, game research can and should be a scientific discipline.

So who are game researchers? In general, they are professionals predom inantly occupied with the study of video games. Undergraduates can now major in video games. PhD programs have emerged. Dedicated journals are available and distinct conferences are held. In the larger academic scale of things, all of this is still new; however, Espen Aarseth, editor of the Game Studies journal, noted that “2001 can be seen as the Year One of Computer Game Studies as an emerging, viable, international, academic field.”2

A new generation of researchers considers video games their primary research interest. But the struggle for acceptance and academic credibil ity can still be considerable. Looking back to when things started we now have more credible and respected academic journals dedicated to the study of video games that can provide scholars with the necessary platform for advancing their thinking. The classic Simulation & Gaming journal pub lished for the first time more than 50 years ago was at the start of the millen nium joined by Game Studies that have even outgrown the teen years. Today we also have several other peer‑reviewed journals like Games and Culture, International Journal of Gaming and Computer‑Mediated Simulations, Computer Games Journal, International Journal of Game‑Based Learning, Eludamos: Journal for Computer Game Culture, International Journal of Computer Games Technology, International Journal of Role‑playing, Inter national Journal of Serious Games and Press Start.

We study video games, not a phenomenon that epitomizes highbrow cul‑ tural expression. While we should acknowledge that our field of research

may be frowned upon, we must also avoid any sort of paranoia. If our research is not accepted, we should not comfort ourselves with conspiracy theories nor view other fields as populated by enemies. We should instead raise our internal standards.

A series of very important developments has helped put game studies on the road to becoming a viable field. For instance, the last few decades have witnessed a general rehabilitation of popular culture as a worthy topic of study. Also, many scholars have grown up with video games and see no reason why they should be exempt from enquiry. But more importantly, games have grown highly complex—as has their development—inviting serious attention and creating the need for highly trained game graduates. Over the years, DiGRA as an association has grown with multiple regional chapters.

It has become quite obvious that many fields can contribute to the study of games, and game researchers are an eclectic bunch with a multidisci plinary background. Humanist scholars with film or literature backgrounds constitute a large group, but game research conferences are also attended by social scientists (mostly sociologists), by computer scientists, and, very importantly, by game designers. The presence of the latter group, who are typically not academics, is noteworthy. For the time being at least, there is a relatively close relationship between game researchers and game design‑ ers. This may sound obvious but is in fact quite a special situation. In older research fields—such as film and literary studies—the distance between scholars and practitioners can loom large, and it seems at times that the two groups barely speak the same language. This may sometimes seem to be the case in our field as well, but at least both sides are committed to making an effort.

HOW DO YOU STUDY VIDEO GAMES?

To say that there is more than one way to approach video games is to put it mildly. Most researchers, at least at present, choose to adopt methods and approaches from their primary fields. Ethnographers tend to observe players. Those trained in film studies tend to analyze the games themselves and communication scholars tend to analyze interactions between play ers. There is nothing inherently wrong with this tendency as long as one acknowledges the more general ideal that one should use the methodology best suited to answer the question at hand.

In order to give you a better sense of how to approach games academi cally, let’s examine a few noteworthy studies and discuss the methodological approaches that they represent.

We will start with Dmitri Williams’s study of how video games have been represented in US news media over a 30‑year period.3 In order to understand the function of video games in public discourse and the rela‑ tionship between the portrayal of video games and more general cultural

Mechanics: Ambiguous term often referring to events or actions that the game design allows for; for instance, driving, regaining health, or shooting. May be thought of as the “verbs” of a game, i.e. what the player can do.

currents, Williams searched the archives of Time, Newsweek and US News and World Report. He analyzed 119 articles, which fit his criteria, and concluded that:

Consistent with prior new media technologies, video games passed through marked phases of vilification followed by partial redemption. Also consistent with prior media, games served as touchstones for larger struggles within the culture—so much so that perhaps “lightning rod” is a better term.4

We should note that Williams tackled not games themselves or even players but rather secondary texts that he subjected to content analysis.

In another study, Nicolas Ducheneaut, Robert J. Moore, and Eric Nick ell explored the ways in which Star Wars Galaxies: An Empire Divide d—a massively multiplayer online game set in George Lucas’s Star Wars universe—encourages sociability among players.5 In particular, they were interested in how players interacted in the game’s “cantinas”—locations where players could meet and socialize. The observed behavior was ana lyzed to determine if it conformed to sociologist Ray Oldenburg’s notion of “the third place,” a term used for informal public places like bars and general stores.

Ducheneaut, Moore, and Nickell chose to combine various methodolo‑ gies. They began by conducting a “virtual ethnography,” that is, they spent time in the field (in the game) systematically observing social interactions in the cantinas. They also videotaped their entire game sessions (with a camera plugged into the graphics card). Finally, they recorded a log of all the inter actions that occurred between players as tracked by the game and analyzed it using specially designed software. Among other things, the authors con cluded that while the cantinas did not serve as particularly sociable spaces, the entire game, due to more subtle mechanics than just these intentionally designed social spaces, was in fact quite sociable.

Susana Pajares Tosca performed a “close reading” of Resident Evil Code: Veronica X, 6 a “survival horror” game, where players have to fight zom bies and monsters and solve puzzles in order to escape from an altogether unpleasant island. Tosca’s study harnessed the techniques of “reader‑ response criticism.” She employed textual analysis, closely examining the work, looking for noteworthy properties of the game’s structure, and teasing out the meaning of the game’s story. Tosca’s research is primarily concerned with using this specific theoretical toolset to explore the text of the game. Surprisingly, given the number of humanist scholars in the field, this is one of just a few detailed analyses of an individual game title. Finally, Jesper Juul has pursued the philosophical and ontological foun dations of games.7 His main goals have been to provide a definition of video games that highlights their special properties, and to explore the relation ship between video games and traditional games. In order to do this, Juul examined noteworthy former attempts and arrived at a “classical game

model” (see Chapter 3), which enumerates the features necessary for an activity to be considered a game. The method employed by Juul is a mix ture of logical deduction and induction, laying bare the assumptions, which often go unnoticed when games are discussed or studied.

TYPES OF ANALYSIS

As we have seen, games can be approached from a wide range of academic perspectives and by employing a number of different methodologies. Salen and Zimmerman, in their detailed exploration of game design, suggest that games may be approached with a focus on rules (the design of the game), play (the human experience of playing the game), or culture (the larger contexts engaged with and inhabited by the game).8 To these three units of analysis we add those of ontology and metrics, to arrive at these five main perspectives:

1. The game: Here, one or more particular games are subjected to analysis. The point is to look at games in themselves and say something about their structure and how they employ certain techniques—of player reward, of player representation in the game world, and so on—to achieve the player experience that the game designer aims for. This is often the type of analysis chosen by those with a background in comparative literature or other aesthetic disciplines.9

2. The players: Sometimes the activity of playing games is more important than the games themselves. Studies focusing on the players usually wish to explore how players use games as a type of medium or as a social space. Sociologists and ethnographers tend to favor this type of analysis.10

3. The culture: Moving still further from the games themselves, we can choose to focus on the wider culture that games are part of. Here, we wish to understand how games and gaming interact with wider cultural patterns. For instance, we may be interested in the subcultures that evolve around gaming or in the discourses surrounding gaming, looking at public outrage over violent games as compared to earlier “media pan ics.” Methodologically, such studies often turn to secondary sources like news media or advertising.11

4. Ontology: Meanwhile, some studies examine the philosophical founda tions of games . These studies usually seek to present general statements that apply to all games, and may enable us to understand, for example, the relationship between rules, fiction, and the player.12 Such scholarship builds on logical analysis, which is typically grounded in concrete exam‑ ples but is not interested in individual titles per se.

5. Metrics: Finally, recent years have seen a growing interest in data‑driven design research, focusing on “metrics” (i.e. quantitative measures of player behavior). Such studies often examine the relationship between game design and player behavior (or sentiment), for instance, to help developers improve the player experience.13

Table 1.1 The five major types of analysis and their characteristics.

Type of Analysis Common Methodologies

Theoretical InspirationCommon Interest

Game Textual analysisComparative literature, film studies Design choices, meaning

Player Observation, inter‑ views, surveys

Culture Interviews, textual analysis

Ontology Philosophical enquiry

Metrics

Statistical analysis of logged data

Sociology, ethnography, cultural studies

Cultural studies, sociol‑ ogy

Various, e.g. philosophy, cultural history, literary criticism

Software development, behavioral psychology

Use of games, game communities

Games as cultural objects, games as part of the media ecology

Logical/philosophical foundations of games and gaming

Game design

Actual studies, of course, often disrespect such neat reductionism and span multiple categories. The preceding scheme indicates general trends, but we must remember that a certain set of methodologies and a certain set of theories need not always go together.

SCHOOLS OF THOUGHT

To speak of schools of thought within game studies may be an overstate ment, as these groupings do not usually self‑identify themselves as groups, nor indeed as “schools.” Nevertheless, certain perspectives do stand out as particularly stable.

First of all, two research communities currently perform game research on a significant scale. The first of these we can call the “simulation community.” Researchers within this group focus on all forms of simulations—including nonelectronic ones—but also consistently study video games. This group is well established and has its own conferences and journals like Simulation & Gam ing. The second and much newer “video game studies community” sprang into existence around the year 2000; it represents what we refer to as “game studies” in this book. The video game studies community presently revolves around the Digital Games Research Association (DiGRA) and journals like Game Studies and Games and Culture. Communication and collaboration between the simu lation community and the video game studies community is still rare.

Formalism

Within the video game studies community, two general approaches can be identified, though most researchers do not resort solely to one or the other. A “formalist group” tends to use game analysis or ontological analysis. They represent a humanistic approach to media and focus on the works them selves or philosophical questions related to the nature or use of those works. Similar approaches are found in fields such as art or film studies.

Within the formalist group a division sprang up early on, as much was made of the difference between prioritizing representation and prioritizing rules. These subgroups were known as “narratologists” and “ludologists,” respectively (see Chapter 7), and differed in their opinion as to which part of the game product was most worthy of study. Narratologists saw fit to approach games as one might a movie or novel, whereas ludologists, often arguing that narrative was a mere trapping, felt that game studies should be the study of systems of rules.

Whereas examples of actual narratologists—people who would claim that narrative was most important—are tellingly difficult to find, ludologists were quite vocal. For instance, game designer/thinker Raph Koster claimed that “the stories in most video games serve the same purpose as calling the über‑checker a ‘king.’ It adds interesting shading to the game but the game at its core is unchanged.”14 And game theorist Espen Aarseth claimed that “the dimensions of Lara Croft’s body, already analyzed to death by film theorists, are irrelevant to me as a player, because a different‑looking body would not make me play differently. When I play, I don’t even see her body, but see through it and past it.”15 In other words, the fictional layer—the characters and the plot—is merely an interface for the rules, the actual core game.

Situationism

The situationist group is generally interested in analysis of game players or the culture at large. They are not interested in all‑encompassing statements that do not take context and variation into account. They search less for general patterns or laws and more for analysis and descriptions of specific events or social practices.

In this camp we often find not just the suggestion that games can fruit fully be studied as socially situated play but also a clear discomfort with the formalist approach. Anthropologist Thomas M. Malaby, for instance, has warned against “concluding from categories” (i.e. formalism), preferring “reasoning from actual experience” (i.e. situationism).16 In a similar vein, game researchers Ermi and Mäyrä have noted that “if we want to understand what a game is, we need to understand what happens in the act of playing, and we need to understand the player and the experience of gameplay.”17

A school of thought that is also quite distinct is the analysis of patterns in the industry or production culture. For example, Ergin Bulut’s18 or Casey O’Donnell’s19 critical examination of working in the more main game indus try or Felan Parker’s focus on the dilemmas related to being an indie devel‑ oper.20 Industry and production structures that may also well sift into the characteristics of the games produced. However, in this book we will not dive into this area in more detail.

On the whole, however, game studies have so far been an inclusive field. It is unified by a certain pioneering spirit, and the understanding that the underexplored nature of games leaves room for all those interested. It is also unified in the belief that in order to understand most aspects of video games, you need to play them. So we wholeheartedly encourage you, as someone

Narrative: A string of connected events making up a story.

Interface: The graphical or textual form of interaction between user and software. Through the interface the user may give commands to the software that are then translated into instructions that the computer can interpret.

Gameplay: Ambiguous term for the total effect of all active game elements. Refers to the holistic game experience and the ability of the game to command the attention of the player.

who wants to understand video games, to seek out video game classics and simply to familiarize yourself with as many genres as possible. Always ask yourself the following questions: Why does this work? Why was it done in this manner? How else might it have been done? And why do players act in this way in this particular game? Love of games is obviously no requirement, but it certainly doesn’t hurt when entering the world of game research. And it is to this world that we now turn.

DISCUSSION QUESTIONS

• There is a move away from linear media (e.g. television) and toward interactive media (e.g. video games and the Internet). What causes this trend? Is it simply that technology offers new forms of interaction with media, or is the move tied to larger societal changes?

• What are the challenges and pitfalls of opening up a whole new field of academic study like video game studies? What considerations should one be aware of when entering territory where very little previous research exists?

• How should students of games whose research focuses on one type of analysis deal with the existence of other types of analysis? Is it necessary, in every case, to address all of the major perspectives on a video game phenomenon? How important is it to play games as a researcher?

FURTHER READINGS

Aarseth, E. (2001) Computer game studies, year one. Game Studies, 1(1). Online. Available HTTP: <https://gamestudies.org/0101/editorial.html> (Estimated reading time: 8 minutes)

Klabbers, J. (2018) On the architecture of game science. Simulation and Gaming, 49(3), 1–39. (Estimated reading time: 75 minutes)

NOTES

1 Klabbers (2018).

2 Aarseth (2001).

3 Williams (2003a , 2003b).

4 Williams (2003b: 543).

5 Ducheneaut and Moore (2004); Ducheneaut et al. (2004).

6 Tosca (2003c).

7 Juul (2003b).

8 Salen and Zimmerman (2004).

9 Atkins (2003); Tosca (2003c).

10 Kerr (2003); Taylor (2003b); Wright et al. (2002).

11 For example, Consalvo (2003a).

12 Juul (2003a); Salen and Z immerman (2004); Aarseth (1997).

13 Drachen and Canossa (2009); Nacke et al. (2009).

14 Koster (2004).

15 Aarseth (2004).

16 Malaby (2007).

17 Ermi and Mäyrä (2005).

18 Bulut (2020).

19 O’Donnell (2016).

20 Whitson et al. (2021).

Another random document with no related content on Scribd:

Flagellants, the formation of their processions, 345, & seq.

The success they met with in different Countries, 350.

Description of one of their itinerant processions in Germany, 351, & seq

Their establishment and first success in France, 355, 372, & seq are there discountenanced at last, 373

Their fraternities must be distinguished from the sect of Hereticks, called Flagellants, 368

Account of these Hereticks, 369

Account of these fraternities, 370, & seq

Are, as it were, naturalised in Italy and Spain, 374.

Manner in which they perform these processions in Spain, 374, & seq.

In Italy, 382, & seq.

Real cruelty of these Flagellants upon themselves, 384, 385.

Flagellating fanaticism, a kind of, seems to have taken place in England about the time of the Rebellion, 340

Proofs of it, ibid

Flagellations, are either of a voluntary, or a corrective, or a recommendatory kind. Voluntary flagellations were in use among most Nations of Antiquity, 79, & seq.

Were unknown, it seems, to the first Christians, 102.

Were not prescribed to religious persons by the first Founders of Monastic Orders, 118.

Conjectures about the times in which they grew into use among Christians, 192, & seq

The time at which they certainly became universally used among them, 201, & seq

Cruelty with which they are performed, 203, & seq 384, & seq

Incredible and superstitious stories contrived to recommend them, 299, & seq

Flagellations (corrective) their use is known from the earliest times, 51.

Are used as a means of procuring victory in war, 52; by Masters over their Slaves; great power of Masters in Rome in that respect, 57, & seq

Both in antient and modern times by Schoolmasters, 71, & seq by Judges, 55; by Ladies to correct misbehaviour, 319, & seq

Are useful to defeat captious arguments, 177

To reward satires or bon-mots, 177, 178, 268, & seq

To check those who betray the secrets of others, 268, & seq

To repress competitors, 277.

To confute heresy, 258.

Are, in modern times, used in Seraglios, 172; in the palaces of the western Sovereigns, 173, & seq.

in Monasteries and the rites with which they are performed there, 131, & seq. 180.

Flagellations (jocular) performed as a pastime, 96, 97, 39, 240, 241.

Flagellations (recommendatory) 162, & seq.

Flagellations (in general) are undergone by Sovereigns and Great Men, 265.

Are served by Emperors with their own hands, ibid.

Are useful to make one’s fortune, 267.

To acquire reputation, ibid.

Are very proper to enliven and embellish public festivals, 395.

Are capable of being performed with much gracefulness, 375, 376.

The most comfortable manner to receive them, 253.

Their glory completed, 258.

Francis (St.) his stigmats, a contrivance of his, 109.

Is flagellated by the Devil the very first night after his arrival at Rome, 126.

Friars, miracle effected by one, 128, & seq.

Contrivance of certain Friars in Catalonia, 247

See Monks

Fulk Grisegonelle, an account of the penance he performs, 391.

G.

Gay quoted, 77

Gelasius (Pope), puts an end to the festival of the Lupercalia, 94. Improvements that had been made in it in his time, ibid.

Gerald (Sylvester) his Itinerarium Cambriæ, quoted, 317

Gil Blas, quoted, 78.

Girard (Father), inflicts Cornelian disciplines on Miss Cadiere, 237

Gerund de Campazas, a Spanish Novel, quoted, 293, 379.

Goddesses, weapons with which the Antients supplied them, 60, 319

Gretzer (Father), a strenuous promoter of flagellations, 44, 45.

His consultation of a Physician recited, 402, 403.

Gymnosophists, or naked Sages, 391

H

Heloisa. The friendship of Abelard to her, 236, 243.

Henry II. of England, receives a correction from the Church, 251, 252.

Henry III of France, inlists as a Brother in a fraternity of Disciplinants, 356, & seq 372.

Henry IV. of France, receives likewise a correction from the Church, 253.

The great indulgence with which he is treated on that occasion, 254, 255

Hermits, what kind of men they are, 115.

No better than common Friars; story of one, ibid.

Hérodote (Apologie pour), an account of the Book, 128

Again quoted, 247, 315

Herodotus, quoted, 85.

Hooëden (the Rector of), accident that happened to his Concubine, 317

Hope (Cape of Good), in what manner fires are prevented there, 292.

Horace, quoted, 24, 55, 56, 65, 71, 283

Hudibras, quoted, 327, 339, 376.

Hume (Mr ) quoted, 259

Husbands corrected by their Wives, 339.

The subject is extensive and deep, and requires a Treatise apart, 340.

I.

James I flagellated by his Preceptor, 160

James II. dazzled by Miss Arabella Churchill’s posteriors, 286.

Jerom (St ) his observations on the epitaph of the widow Marcella, quoted, 94

His exhortation to Sabinus, 109

Does not seem to have practised any beatings upon himself, otherwise than with his fists, 110.

Fired with an ardent desire of acquiring the style of Cicero, 111.

Fustigated for that reason by the Angels before the Tribunal of God, ibid.

Jesuit, a Reverend Father Jesuit acts as an agent from Philip II of Spain, to persuade a Princess of the Austrian House to marry him, 176

The eloquence of the Father, ibid

He only draws in the issue a flagellation upon himself, 177

Is served with it in the kitchen, 177, 187

Jesuits, their regularity in inflicting flagellations, 161.

Excellent Latin distich made at the expence of the society by one of their School-boys, 162

Jews (the antient) made not self-flagellations part of their religious worship, 27, & seq.

The impartiality shewn to both sexes among them, 30

The modern Jews adopt the practice of voluntary flagellations, 35

A description of their manner of performing them, 35, & seq

Coercive flagellations were known among them, 27, 28

The number of the blows was fixed by the Law of Moses at forty, 30

Innocents (the day of the), a day of great retribution and justice, 328, & seq.

Giving the innocents is an antient as well as ingenious custom, 330, 331.

Italy Processions of Disciplinants are much in vogue in that Country, 381

The pageantry and festivity by which they are accompanied, 381, & seq

Juliet of Gonzaga, abominable act of ingratitude and vanity of that woman, 271.

Juniperus (Brother), a great partisan of nakedness, 393.

His public entrance into the town of Viterbo, and noble carriage as well as sanctity on that occasion, Ibid.

Justin, quoted, 51

Justina (the Monk of St.) his Chronicle quoted, 346, & seq.

Juvenal, his singular expression with respect to Augustus, 60

His account of the cruel wantonness of Roman Mistresses with their slaves, 67, & seq

The festival of the Lupercalia alluded to by him, 91

K

Kennet (Bishop), his Chronicle, quoted, 237.

Kitchen (the), is the appropriated place for flagellations in the Palaces of the Western Kings and great Men, 185

Advantages of the place, ibid

The great share the people of the kitchen bore in former times in supporting the dignity of Kings, 186.

Farther remark on the importance of the people of the kitchen, 191.

Their laudable zeal in assisting their Masters, 190, 191.

Kolben, his description of the Cape of Good Hope, quoted, 292

L

Labat (Father), his travels into Spain and Italy quoted, 382.

Lacedæmon Flagellating solemnities that took place there, 79, & seq.

Are described, or alluded to, by Cicero, Plutarch, Lucian, Seneca, &c. ibid.

Are still in use in the times of Tertullian, 83

It is difficult to say whether there was more inhumanity or stupidity in these processions, 395

Ladies have an abhorrence to cruelty, even in their acts of revenge, 320.

Neither do they intirely overlook offences; remarkable instances of both their spirited resentment and mercifulness, 321, & seq.

Aim at elegance in all their actions, 320, & seq.

The singular power of the graces to engage their attention, 376.

Have a right to flagellate their Husbands, 339, 340.

Lady (a great), mentioned by Brantôme; the remarkable entertainments and festivity that took place in her house, 239, & seq.

Lancelot du Lac, the Knight, his History quoted, 218, 228.

Lafontaine, the Poet, quoted, 116, 196, 243, 322, 409.

Law (the study of the), what is necessary to succeed in it, 282

Lazare (the Fathers of), their seminary; the excellent institution it was, 162.

The extensiveness of their operations, 163, 164.

Their scrupulous exactness in performing their engagements, ibid.

The occasion of their seminary being abolished, 165, 166.

Lazarillo de Tormes, the notorious Spanish Cheat; how punished by his four Wives, 327

Legend (Golden), a farrago of Monkish stories compiled by Jacobus de Voragine, 115.

Again quoted, 151.

Lewis XI. of France; the rascally turn of his devotion, 207.

Liancourt (the Lady of), account of this Lady; her competition with the Marchioness of Tresnel, 278

Is worsted in the issue, 280

Libanius, the Sophist, quoted, 288.

Limeuil (Mademoiselle de), a Maid of Honour to the Queen of France, 173, 174

The misfortune that befalls her, ibid

Lower discipline defined, 21.

Is adopted by Capuchin Friars and the whole Tribe of Nuns, 21, 404.

Were not unknown to the Greeks and Romans, 287.

Are known in France, 288.

In Italy, ibid.

Among the Persians, 289.

The Turks, ibid.

The Chinese, ibid

The Arabs, 290

In Denmark, 291

Among the Dutch, 292

In Poland, 179, 292

In England, ibid

In Spain, 293

A few remarks on their propriety, 400, & seq.

Loyola (Ignatius of), gets himself whipt at School, 98.

Lucian, quoted, 24, 81, 82, 96, 319.

Lupercalia, account of that festival, 90, & seq.

It is continued to very late times, 93.

Is greatly improved, 94

An attempt to revive it, 241

A farther description of it, 396, & seq

Had vastly the advantage of all the festivals of the like kind, contrived by other nations, ibid

M

Margaret, Queen of Navarre, attempts to make herself Mistress of the Town of Agen, 269.

Is forced to fly on horseback with the utmost hurry and expedition, ibid.

The consequences of it, ibid.

Masters in Rome; the great power they possessed over their slaves, 57.

To what degree they abused it, 57, & seq.

Instances of this abuse, 61, 66, & seq.

Provisions made by the Emperors to restrain them, 69, 70; and by the Church, 61, 70.

Marlborough (the great Duke of), to what he owed his first advancement, 286

Mathew (Brother), the godly personage he was, 262.

The lecture he bestows upon a young Lady who pays a visit to him in his bed, 263.

Ought not to be imitated, except by persons who possess as much sanctity as him, 294, 297

Menagiana quoted, 233.

Menas, a Spanish Friar, does not keep his word to his female penitents, 246

Middleton, his Letter from Rome quoted, 87, 318, 381.

Milo, how serves Sallust the Historian, who had meddled with his Wife, 65

Milton quoted, 338.

Mind (the human), how variable and fantastick in her opinions, 281

Singular instance of it, 281, & seq. 287, & seq.

Miserere, or 51st Psalm, the singing of it particularly used to enliven as well as regulate the time of religious flagellation among Christians, 32, 371

Mistresses in Rome; the abuse they made of their power over their female slaves.

See Masters.

Molesworth (Lord), his description of a hunting-match at the Court of Denmark, 291

Molly Mog, the song made to her honour by Gay, 77.

Molière quoted, 20, 99, 206

Monastic Orders; by whom first instituted, 118.

Monasteries: voluntary disciplines were not in use in them, in the times of their first foundation, 118, & seq

Monks, receive frequent disciplines from their Abbots, 135, & seq.

Cases in which such disciplines ought to be inflicted on them, ibid.

Do not much respect their Abbot, notwithstanding his power of flagellation, 154, & seq.

An explanation of this singularity, ibid

Great lovers of entertainments, 142

Account of a treat given by one to some others, 143, 144; after reckoning for the same, 145, 146

The remarkable zeal of one against adultery, 138

The great zeal of another in vindicating the honour of the Virgin, 310, 311

The wager made by a certain Monk, 314; comes off winner, 315.

See Friars.

More (Chancellor), adopts the opinion of the usefulness of flagellations for converting Hereticks, 259

Munson (Lord), chastised by his Lady, 339.

Farther account of him, 340.

N.

Nakedness is thought by some to possess, of itself, a degree of sanctity, 391, & seq.

Account of several of its practitioners, ibid

The strong arguments of Cardinal Damian in its favour, 389 Is after all but an incomplete act of penance, 395

Navarre (the Tales of the Queen of), quoted, 188, 330, 331.

Nuns, their confinement and amorous visions, 107, 108

Settled days on which they are to inflict disciplines upon themselves, 120, 121

Power of the Abbess to inflict disciplines upon them, 167, & seq

Cases in which she is directed to use that power, ibid

The spirited manner in which certain Nuns assert the honour of their Convent, 322, & seq.

O.

Orbilius (the flogging), 71, 160

Ovid, his advice to Lovers, 341.

Again quoted, 407.

P.

Pardulph (St ) affords an instance of voluntary discipline, in early times, 198

Pavillon, his verses to the praise of Iris’s Bum, 286.

Penance, or Penitence, is a Sacrament among Catholicks, 22; its essentials, ibid

The hundred years penance, what it is, 203, & seq

Is sometimes performed in twenty days, ibid

Was but a trifle for Rodolph of Eugubio, and Dominic the Cuirassed, ibid

The Widow Cechald likewise performs it, 221

Penitents, processions of Penitents.

See Flagellants.

Blue Penitents in the City of Bourges; their fraternity abolished, 360, 373

Peregrinus (the Philosopher), flagellatory pastimes of his, 96.

Persians, the use of flagellations is known among them, 53

Are used at Court, ibid

Peter I. (the Czar), inflicts flagellations with his own hands, 266.

Petrarch recommends flagellations, 76

Petronius, his Satyricon quoted, 88, 89.

Philip II of Spain, sends proposals of marriage to a Princess of the House of Austria, widow to the late King of France, 176.

Employs in this affair the agency of a Father Jesuit, ibid.

His success and that of the Jesuit, 177.

Philosophers, particular Sects of them among the Greeks practise selfflagellations, 83

The greater number of them ridicule practices of this kind, 84

Physician (a), consulted by Gretzer on the ill consequences of the upper discipline, 403.

His learned decision, ibid.

Picards, a Sect in Germany, declare for a state of complete nakedness, 392

Carry their notions farther than the Adamites had done, ibid.

Pictures in Churches, are the Libraries of ignorant Christians, 25.

Their too great licence, ibid.

Many wicked thoughts propagated by them, 26; as well as errors, ibid

Plautus had been the servant of a Baker, 62; quoted, 63, & seq.

His allusion to a singular practice of the vulgar in Rome, 95. Plutarch quoted, 53

Had been an eye-witness of the flagellating solemnities in Lacedæmon, 79, 80

Poland; lower disciplines used in that Kingdom for mending the manners of Servants, 179.

For punishing Fornicators, 292

Pont Euxine (the Hermit of the), his contrivance to rescue a young Woman from the hands of a military Man, 196.

Poggio, a tale of his quoted, 116

Presbyter, whence the word is derived, 143.

Priors or Superiors of Monasteries, are the substitutes of the Abbots, 135

Are invested with the same power of flagellation, ibid

Great passion of one and remarkable use made by him of his power, 148 Are apt to carry the joke too far in their use of flagellations, 153

Are cautioned against it, ibid

See Abbots

Q.

Quintilian quoted, 72

Quixote (Don), his excellent and polite speech to the fair Maritornes, 295. Is rather too inquisitive in his conversation with the Senora Rodriguez, 326, 327; experiences the resentment of the Dutchess and the fair Altisidora, on that occasion, ibid

R

Rabelais quoted, 160, 284.

Rakes, how served in Rome by the Husbands of the Wives whom they courted, 64, & seq

Raymond, Count of Toulouse, how absolved of his excommunication, 252.

Rodolph of Eugubio, his great feats in the career of flagellation, 202, 203

Romans, the great power of Masters among them over their Slaves, 57.

See Masters.

Consider a whip as a characteristic mark of dominion, 59, 60.

Flagellations were performed among them with religious views, 88, & seq.

Singular practices of this kind among the vulgar, 94, & seq

Romuald (St.) a great flagellator, 153.

In one instance flagellates even his own father, 260, 261. His Monks retaliate his flagellations upon him, 154.

His lucky escape, 157.

Rousseau the Poet quoted, 138, 284

Russian Baths and Stoves described, 409.

Russian Ladies; how properly they punish a boasting Coxcomb who had affronted them, 334, & seq

See Ladies

S

Sadragesillus, preceptor to Dagobert, heir to the Crown of France, 74. How used by his Pupil, 75.

St. Loe (Captain) gets the Boston Magistrates and Select-men served with a flagellation, 273, & seq.

Saints, the frequent tricks the Devil puts upon them, 125, & seq.

How they have received the advances of the Fair Sex, 261, & seq.

The expedient of a certain Eastern Saint to make himself cry, 364

Sallust (the Historian), makes free with Milo’s Wife; how served by the Husband, 65.

Sancho, his manner of discipline, 195, 226

Sanlec, a French Poet; his Satire on Confessors quoted, 234.

Scarron quoted, 285

Scaligerana quoted, 36, 270.

Schoolmasters of modern times are as fond of using their discipline as ancient ones, 71, & seq

Are not worth mentioning in so interesting a book as this, 160, 175

Scot, a good Story of his, in his Mensa Philosophica, 232.

Scythians, their expedient to conquer their revolted Slaves, 51; and success, 52

Seneca quoted, 82.

Slaves, the wanton usage of them in Rome, 61, & seq 66, & seq

See Masters.

Solomon (King), recommends flagellations, 76.

His opinion confirmed afterwards by that of Chrysippus, ibid.

Sorbona, whence the word is derived, 143.

Sovereigns; instances of Sovereigns upon whom disciplines have been publicly inflicted, 250, & seq

Spain. An account of the processions of Penitents established there, 374, & seq.

Gallantry and nicety of honour that prevail in them, ibid.

The art of performing flagellations with gracefulness is taught there by Masters for that purpose, 376.

Spirit of Laws quoted, 173

Stephen (Cardinal), dies suddenly for his having neglected the use of flagellations, 214, 302.

Stylites (St Simeon), an Anchorite who had fixed his habitation on the top of a column, 114

Suetonius quoted, 59, 97.

Superanus, a Greek Philosopher; laudable flagellations he inflicts upon himself, 98.

Surgeon, great favour and confidence shewn to him by a great Princess, 270. His ungrateful conduit, ibid.

The greatness of his guilt displayed, 271, 272; his punishment, ibid extreme justice of the same, ibid

Syrians, flagellations of a religious kind used among them, 86, 87.

T.

Tales, Arabian Tales quoted, 290

Of the Queen of Navarre, 188, 330, 331

Thracians, flagellations of a voluntary kind used among them, 84.

Tresnel (the Marchioness of), is incensed at the arrogant competition of the Lady of Liancourt, a woman of inferior birth, 278 Gets her served with a flagellation, 279

More serious consequences of the affair, 280

Triumpher among the Romans, the companion he had in his Car, 59.

V.

Venus, the strange weapon with which the Antients supplied her, 60, 319. The Temple which the Greeks erected to her, 283.

Vestals, how punished, 167, & seq

Villemartin (Miss de), is co-spectatress of a flagellation, 280; is admonished never to do so anymore, 281.

Virgil quoted, 90

Virgin Mary rescues an Usurer from the hands of the Devils, 304. The assistance she gives to a person who used to pay devotion to her, 308.

The remarkable zeal of a Monk to assert her honour, 310, & seq.

Visitation (Nuns of the), discipline themselves when they please, 121

Voltaire (M. de), quoted, 32, 207, 288.

Upper discipline defined, 21

See Discipline W

Walpole (Sir Robert), his Excise Scheme, preferable, upon the whole to the schemes that took place in the times of the Roman Emperors, 124.

Whipcord, the great expence made about it by Government, 344. At what time it began to be used, ibid.

Wife, Roman Wives not much better than modern ones, 64

Instance of conjugal love of one whose husband offered himself to be disciplined in her stead, 232

Inflict castigations upon their husbands, 339, 340

Witasky, the Buffoon to Peter I. is a good hand at flagellating and cudgelling, 266.

Wurtzbourg, a Sovereign Bishoprick in Germany; a flagellation is an indispensable step to procure the installation to that See, 256

C O N T E N T S .

The I, 1

Chap I The substance of the account given by the Abbé Boileau of his design in writing his Book: he seems upon the whole to have been of opinion that voluntary flagellations were no very antient practice, 17

Chap. II. No persons, under the old Law, inflicted flagellations on themselves, with their own hands, or received the same from other persons, 27

Chap. III. Voluntary flagellations were unknown to the first Christians, 39

Chap. IV. The use of flagellations was known among the antient Heathens, 51

Chap. V. The subject continued, 71

Chap. VI. Flagellations of a religious and voluntary kind were practised among the antient Heathens, 79

Chap. VII. Containing the most ingenious arguments of the Abbé Boileau. The practise of scourging one’s-self was unknown to the first Fathers of the Church; and also to the first Anchorites or Hermits, 102

Chap VIII A few more of the Abbé Boileau’s arguments are introduced Self-flagellations did not make a part of the duties prescribed in the first Monasteries The only positive instances of flagellations suffered by Saints, or the Candidates for that title in the days we speak of, are those which the Devil has inflicted upon them, 118

Chap. IX. Corrections of a flagellatory kind, inflicted by force, were however, though in very early times, the common method of correcting offences of a religious nature; and the power of inflicting them was possessed alike by Bishops, and the Heads of Monasteries, 131

Chap. X. Strictness of certain Superiors of Convents, in exerting their power of flagellation. The same is abused by several of them, 147

Chap XI Disciplines of the same wholesome kind have been prescribed for Novices and such persons as are intended to embrace the ecclesiastical Life, 158

Chap XII The same discretionary powers of flagellation have been established in the Convents of Nuns, and lodged in the hands of the Abbesses, or Prioresses, 167

Chap XIII The subject of voluntary flagellations among Christians, is at last introduced. That method of self-mortification appears to have been practised in very early times; but it does not seem to have been universally admitted before the years 1044 and 1056; which was the time Cardinal Damian wrote, 192

Chap. XIV. The practice of self-flagellation meets with some opposition; but this is soon over-ruled by the fondness of the Public, 211

Chap. XV. Another difficulty. Which is the best plight to be in, for receiving a discipline? 223

Chap. XVI. Confessors at length assume a kind of flagellatory power over their Penitents The abuses that arise from it, 227

Chap XVII The Church at large also claims a power of publicly inflicting the discipline of flagellation Instances of Kings and Princes who have submitted to it, 249

Chap XVIII The glory of flagellations completed: they are made use of for curing Heresy, 258

Chap. XIX. The subject of the merit of flagellations continued. Holy persons, though without any public authority, have used them occasionally to give weight to their admonitions, 260

Chap. XX. The fondness of people for flagellations, gives rise to a number of incredible stories on that subject, 299

Chap. XXI. A remarkable instance of a flagellation performed in honour of the Virgin Mary, 310

Chap. XXII. Another story of a female Saint appeased by a flagellation, 317

Chap. XXIII. Formation of the public procession of Flagellants. Different success they meet with in different Countries, 345

Chap XXIV The last Chapter, in which the Abbé Boileau is personally introduced: he is of opinion that the lower discipline is contrary to decency, and the upper discipline is liable to bring defluxions on the eyes, 400

TRANSCRIBER’S NOTE

The character ſ (long-form s) has been replaced by the normal s.

The Greek ϛ (stigma) has been replaced by στ.

Obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources.

Some hyphens in words have been silently removed, some added, when a predominant preference was found in the original book

Except for those changes noted below, all misspellings in the text, and inconsistent or archaic usage, have been retained.

Pg 4: ‘I hvae not the’ replaced by ‘I have not the’

Pg 9: ‘Sarbonne, and a dean’ replaced by ‘Sorbonne, and a dean’

Pg 22: ‘I potively aver’ replaced by ‘I positively aver’

Pg 56: ‘of the Trumvirs’ replaced by ‘of the Triumvirs’

Pg 61: ‘at last so such’ replaced by ‘at last to such’.

Pg 62: ‘such a mnner that’ replaced by ‘such a manner that’.

Pg 66 Fn [23]: ‘uncontroubled power’ replaced by ‘uncontrouled power’.

Pg 71: missing anchor [24] placed after ‘chastisement.’.

Pg 93 Fn [36]: ‘of Chritianity; and persons of noble familities’ replaced by ‘of Christianity; and persons of noble families’.

Pg 99 Fn [41]: ‘see their appartments’ replaced by ‘see their apartments’.

Pg 110: ‘made it altother’ replaced by ‘made it altogether’.

Pg 134: ‘moveover recommended’ replaced by ‘moreover recommended’.

Pg 139: ‘or solliciting the’ replaced by ‘or soliciting the’.

Pg 162 Fn [64]: ‘the distieh made’ replaced by ‘the distich made’

Pg 167: ‘inflicting disciciplines’ replaced by ‘inflicting disciplines’

Pg 177 Fn [67]: ‘his sollicitations’ replaced by ‘his solicitations’

Pg 179 Fn [68]: ‘new-papers, with’ replaced by ‘news-papers, with’

Pg 184 Fn [67]: ‘receive an hearsay’ replaced by ‘receive on hearsay’

Pg 206 Fn [80]: ‘Play of Mollere’ replaced by ‘Play of Molière’

Pg 210 Fn [82]: ‘Smollet, Franklin’ replaced by ‘Smollett, Franklin’

Pg 223: ‘from one anther’ replaced by ‘from one another’.

Pg 224: ‘over their growns’ replaced by ‘over their gowns’.

Pg 245 Fn [94]: ‘Charles Borommee’ replaced by ‘Charles Borrommee’.

Pg 249: ‘an indispensible act’ replaced by ‘an indispensable act’.

Pg 250: ‘forgiven his his sin’ replaced by ‘forgiven his sin’.

Pg 284 Fn [102]: ‘a flat noise’ replaced by ‘a flat nose’.

Pg 287 Fn [102]: ‘and expresly chosen’ replaced by ‘and expressly chosen’.

Pg 289 Fn [102]: ‘come expresly to’ replaced by ‘come expressly to’

Pg 298 Fn [102]: ‘is no unpleassing’ replaced by ‘is no unpleasing’

Pg 301: ‘he comfessed the’ replaced by ‘he confessed the’

Pg 318 Fn [111]: ‘the fifth chapter’ replaced by ‘the sixth chapter’

Pg 319 Fn [111]: ‘See p 71’ replaced by ‘See p 79’

Pg 319 Fn [111]: ‘See p 76, 77’ replaced by ‘See p 85, 86’

Pg 325 Fn [111]: ‘beardless strippling’ replaced by ‘beardless stripling’

Pg 333 Fn [111]: ‘porper instruments’ replaced by ‘proper instruments’.

Pg 337 Fn [111]: ‘the falshood of’ replaced by ‘the falsehood of’.

Pg 357: ‘same manner it it was’ replaced by ‘same manner it was’.

Pg 381 Fn [115]: ‘bad him go home’ replaced by ‘bade him go home’.

Pg 384 Fn [115]: ‘them, Iay these’ replaced by ‘them, lay these’.

Pg 402: ‘at the learned’ replaced by ‘as the learned’.

Index:

Pg 413: ‘runs the grantlope’ replaced by ‘runs the gantelope’.

Pg 414: ‘Charles Borromeo’ replaced by ‘Charles Borromee’.

Pg 422: ‘Quixotte’ replaced by ‘Quixote’.

Pg 424: ‘indispensible step’ replaced by ‘indispensable step’

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