Anastasia Salter

What makes a real game? Who is a gamer? And what type of play do we value? On the surface, the 2015 game Undertale didn’t seem like much, supported by fan funding and with minimalist retro graphics. But despite its pixelated monsters and dated role-playing mechanics, Undertale invited fans and players to rethink their very relationship with gaming and game characters. Players encountered an extraordinary range of possible play experiences, with paths through the game’s unassuming world leading to both empathy and extreme violence, offering room for reflection and growth. Players could befriend (sometimes queer) monsters or kill them, for instance, appealing to each monster’s unique personality to negotiate survival and find community. Contextualizing this game’s success in the wake of the GamerGate online harassment campaign and meditating on questions of violence and authenticity, writer and game scholar Anastasia Salter offers a profound exploration of this game sensation and a personal story of hope at a time when Salter was otherwise “done” with games. Undertale’s unique structure helped make it synonymous with “indie” games, built outside of the studio as a passion project and inspiring similar passion among its many fans even a decade later. But Undertale’s story also speaks to an auteur dream: what game developer Toby Fox and his collaborators accomplished on a small budget, with relatively simple tools, has left people replaying, arguing, and creating in its wake. As we enter a cultural moment where intense interest is shifting towards flashy creativity, powered by generative artificial intelligence, Undertale reminds fans and newcomers of the power of thoughtful and intentional human design.

What makes a real game? Who is a gamer? And what type of play do we value? On the surface, the 2015 game Undertale didn’t seem like much, supported by fan funding and with minimalist retro graphics. But despite its pixelated monsters and dated role-playing mechanics, Undertale invited fans and players to rethink their very relationship with gaming and game characters. Players encountered an extraordinary range of possible play experiences, with paths through the game’s unassuming world leading to both empathy and extreme violence, offering room for reflection and growth. Players could befriend (sometimes queer) monsters or kill them, for instance, appealing to each monster’s unique personality to negotiate survival and find community. Contextualizing this game’s success in the wake of the GamerGate online harassment campaign and meditating on questions of violence and authenticity, writer and game scholar Anastasia Salter offers a profound exploration of this game sensation and a personal story of hope at a time when Salter was otherwise “done” with games. Undertale’s unique structure helped make it synonymous with “indie” games, built outside of the studio as a passion project and inspiring similar passion among its many fans even a decade later. But Undertale’s story also speaks to an auteur dream: what game developer Toby Fox and his collaborators accomplished on a small budget, with relatively simple tools, has left people replaying, arguing, and creating in its wake. As we enter a cultural moment where intense interest is shifting towards flashy creativity, powered by generative artificial intelligence, Undertale reminds fans and newcomers of the power of thoughtful and intentional human design.

How Flash rose and fell as the world's most ubiquitous yet divisive software platform, enabling the development and distribution of a world of creative content.Adobe Flash began as a simple animation tool and grew into a multimedia platform that offered a generation of creators and innovators an astonishing range of opportunities to develop and distribute new kinds of digital content. For the better part of a decade, Flash was the de facto standard for dynamic online media, empowering amateur and professional developers to shape the future of the interactive Web. In this book, Anastasia Salter and John Murray trace the evolution of Flash into one of the engines of participatory culture. Salter and Murray investigate Flash as both a fundamental force that shaped perceptions of the web and a key technology that enabled innovative interactive experiences and new forms of gaming. They examine a series of works that exemplify Flash's role in shaping the experience and expectations of web multimedia. Topics include Flash as a platform for developing animation (and the "Flashimation" aesthetic); its capacities for scripting and interactive design; games and genres enabled by the reconstruction of the browser as a games portal; forms and genres of media art that use Flash; and Flash's stance on openness and standards-including its platform-defining battle over the ability to participate in Apple's own proprietary platforms. Flash's exit from the mobile environment in 2011 led some to declare that Flash was dead. But, as Salter and Murray show, not only does Flash live, but its role as a definitive cross-platform tool continues to influence web experience.

Critical Making in the Age of AI invites students, teachers, learners, and digital humanists to explore making as scholarship. Inspired by the craft traditions of textile arts, this book combines a survey of forms of alternative scholarly communication—such as comics, GIFs, maps, games, and generative AI—and a pattern book, where patterns serve as starting points that makers can reimagine and remix. Firmly grounded in the humanities and utilizing free tools and platforms (including Twine, Voyant, and Tracery) wherever possible, this engaging and accessible guide to digital methods introduces and puts into practice concepts that are essential to preparing students to navigate a changing landscape of media and information without investing in proprietary software, dedicated lab space, or expensive creative tools. The book’s eight patterns are especially appropriate for those just beginning to explore digital scholarly methods, and one goal of Critical Making in the Age of AI is to provide structure for work that is both meaningful and achievable with limited resources and time. By centering critical making through a design-justice and feminist lens, the coauthors model how inclusive and expansive approaches to making in research and teaching are vital to shaping the humanities of the future.

Critical Making in the Age of AI invites students, teachers, learners, and digital humanists to explore making as scholarship. Inspired by the craft traditions of textile arts, this book combines a survey of forms of alternative scholarly communication—such as comics, GIFs, maps, games, and generative AI—and a pattern book, where patterns serve as starting points that makers can reimagine and remix. Firmly grounded in the humanities and utilizing free tools and platforms (including Twine, Voyant, and Tracery) wherever possible, this engaging and accessible guide to digital methods introduces and puts into practice concepts that are essential to preparing students to navigate a changing landscape of media and information without investing in proprietary software, dedicated lab space, or expensive creative tools. The book’s eight patterns are especially appropriate for those just beginning to explore digital scholarly methods, and one goal of Critical Making in the Age of AI is to provide structure for work that is both meaningful and achievable with limited resources and time. By centering critical making through a design-justice and feminist lens, the coauthors model how inclusive and expansive approaches to making in research and teaching are vital to shaping the humanities of the future.

Educational technology adoption is more widespread than ever in the wake of COVID-19, as corporations have commodified student engagement in makeshift packages marketed as gamification. This book seeks to create a space for playful learning in higher education, asserting the need for a pedagogy of care and engagement as well as collaboration with students to help us reimagine education outside of prescriptive educational technology. Virtual learning has turned the course management system into the classroom, and business platforms for streaming video have become awkward substitutions for lecture and discussion. Gaming, once heralded as a potential tool for rethinking our relationship with educational technology, is now inextricably linked in our collective understanding to challenges of misogyny, white supremacy, and the circulation of misinformation. The initial promise of games-based learning seems to linger only as gamification, a form of structuring that creates mechanisms and incentives but limits opportunity for play. As higher education teeters on the brink of unprecedented crisis, this book proclaims the urgent need to find a space for playful learning and to find new inspiration in the platforms and interventions of personal gaming, and in turn restructure the corporatized, surveilling classroom of a gamified world.Through an in-depth analysis of the challenges and opportunities presented by pandemic pedagogy, this book reveals the conditions that led to the widespread failure of adoption of games-based learning and offers a model of hope for a future driven by new tools and platforms for personal, experimental game-making as intellectual inquiry.

Educational technology adoption is more widespread than ever in the wake of COVID-19, as corporations have commodified student engagement in makeshift packages marketed as gamification. This book seeks to create a space for playful learning in higher education, asserting the need for a pedagogy of care and engagement as well as collaboration with students to help us reimagine education outside of prescriptive educational technology. Virtual learning has turned the course management system into the classroom, and business platforms for streaming video have become awkward substitutions for lecture and discussion. Gaming, once heralded as a potential tool for rethinking our relationship with educational technology, is now inextricably linked in our collective understanding to challenges of misogyny, white supremacy, and the circulation of misinformation. The initial promise of games-based learning seems to linger only as gamification, a form of structuring that creates mechanisms and incentives but limits opportunity for play. As higher education teeters on the brink of unprecedented crisis, this book proclaims the urgent need to find a space for playful learning and to find new inspiration in the platforms and interventions of personal gaming, and in turn restructure the corporatized, surveilling classroom of a gamified world.Through an in-depth analysis of the challenges and opportunities presented by pandemic pedagogy, this book reveals the conditions that led to the widespread failure of adoption of games-based learning and offers a model of hope for a future driven by new tools and platforms for personal, experimental game-making as intellectual inquiry.

Hypertext is now commonplace: links and linking structure nearly all of our experiences online. Yet the literary, as opposed to commercial, potential of hypertext has receded. One of the few tools still focused on hypertext as a means for digital storytelling is Twine, a platform for building choice-driven stories without relying heavily on code. In Twining, Anastasia Salter and Stuart Moulthrop lead readers on a journey at once technical, critical, contextual, and personal. The book’s chapters alternate careful, stepwise discussion of adaptable Twine projects, offer commentary on exemplary Twine works, and discuss Twine’s technological and cultural background. Beyond telling the story of Twine and how to make Twine stories, Twining reflects on the ongoing process of making. "While there have certainly been attempts to study Twine historically and theoretically... no single publication has provided such a detailed account of it. And no publication has even attempted to situate Twine amongst its many different conversations and traditions, something this book does masterfully." —James Brown, Rutgers University, Camden

The genre of adventure games is frequently overlooked. Lacking the constantly-evolving graphics and graphic violence of their counterparts in first-person and third-person shooters or role-playing games, they are often marketed to and beloved by players outside of mainstream game communities. While often forgotten by both the industry and academia, adventure games have had (and continue to have) a surprisingly wide influence on contemporary games, in categories including walking simulators, hidden object games, visual novels, and bestselling titles from companies like Telltale and Campo Santo. In this examination of heirs to the genre’s legacy, the authors examine the genre from multiple perspectives, connecting technical analysis with critical commentary and social context. This will be the first book to consider this important genre from a comprehensive and transdisciplinary perspective. Drawing upon methods from platform studies, software studies, media studies, and literary studies, they reveal the genre’s ludic and narrative origins and patterns, where character (and the player’s embodiment of a character) is essential to the experience of play and the choices within a game. A deep structural analysis of adventure games also uncovers an unsteady balance between sometimes contradictory elements of story, exploration, and puzzles: with different games and creators employing a multitude of different solutions to resolving this tension.

Increasingly over the past decade, fan credentials on the part of writers, directors, and producers have come to be seen as a guarantee of quality media making - the "fanboy auteur". Figures like Joss Whedon are both one of "us" and one of "them". This is a strategy of marketing and branding - it is a claim from the auteur himself or industry PR machines that the presence of an auteur who is also a fan means the product is worth consuming. Such claims that fan credentials guarantee quality are often contested, with fans and critics alike rejecting various auteur figures as the true leader of their respective franchises. That split, between assertions of fan and auteur status and acceptance (or not) of that status, is key to unravelling the fan auteur.In A Portrait of the Auteur as Fanboy: The Construction of Authorship in Transmedia Franchises, authors Anastasia Salter and Mel Stanfill examine this phenomenon through a series of case studies featuring fanboys. The volume discusses both popular fanboys, such as J.J. Abrams, Kevin Smith, and Joss Whedon, as well as fangirls like J.K. Rowling, E.L. James, and Patty Jenkins, and dissects how the fanboy-fangirl auteur dichotomy is constructed and defended by popular media and fans in online spaces, and how this discourse has played in maintaining the exclusionary status quo of geek culture. This book is particularly timely given current discourse, including such incidents as the controversy surrounding Joss Whedon's so-called feminism, the publication of Harry Potter and the Cursed Child, and contestation over authorial voices in the DC cinematic universe, as well as broader conversations about toxic masculinity and sexual harassment in Hollywood.

Increasingly over the past decade, fan credentials on the part of writers, directors, and producers have come to be seen as a guarantee of quality media making - the "fanboy auteur". Figures like Joss Whedon are both one of "us" and one of "them". This is a strategy of marketing and branding - it is a claim from the auteur himself or industry PR machines that the presence of an auteur who is also a fan means the product is worth consuming. Such claims that fan credentials guarantee quality are often contested, with fans and critics alike rejecting various auteur figures as the true leader of their respective franchises. That split, between assertions of fan and auteur status and acceptance (or not) of that status, is key to unravelling the fan auteur.In A Portrait of the Auteur as Fanboy: The Construction of Authorship in Transmedia Franchises, authors Anastasia Salter and Mel Stanfill examine this phenomenon through a series of case studies featuring fanboys. The volume discusses both popular fanboys, such as J.J. Abrams, Kevin Smith, and Joss Whedon, as well as fangirls like J.K. Rowling, E.L. James, and Patty Jenkins, and dissects how the fanboy-fangirl auteur dichotomy is constructed and defended by popular media and fans in online spaces, and how this discourse has played in maintaining the exclusionary status quo of geek culture. This book is particularly timely given current discourse, including such incidents as the controversy surrounding Joss Whedon's so-called feminism, the publication of Harry Potter and the Cursed Child, and contestation over authorial voices in the DC cinematic universe, as well as broader conversations about toxic masculinity and sexual harassment in Hollywood.

The genre of adventure games is frequently overlooked. Lacking the constantly-evolving graphics and graphic violence of their counterparts in first-person and third-person shooters or role-playing games, they are often marketed to and beloved by players outside of mainstream game communities. While often forgotten by both the industry and academia, adventure games have had (and continue to have) a surprisingly wide influence on contemporary games, in categories including walking simulators, hidden object games, visual novels, and bestselling titles from companies like Telltale and Campo Santo. In this examination of heirs to the genre’s legacy, the authors examine the genre from multiple perspectives, connecting technical analysis with critical commentary and social context. This will be the first book to consider this important genre from a comprehensive and transdisciplinary perspective. Drawing upon methods from platform studies, software studies, media studies, and literary studies, they reveal the genre’s ludic and narrative origins and patterns, where character (and the player’s embodiment of a character) is essential to the experience of play and the choices within a game. A deep structural analysis of adventure games also uncovers an unsteady balance between sometimes contradictory elements of story, exploration, and puzzles: with different games and creators employing a multitude of different solutions to resolving this tension.

This book examines changing representations of masculinity in geek media, during a time of transition in which “geek” has not only gone mainstream but also become a more contested space than ever, with continual clashes such as Gamergate, the Rabid and Sad Puppies’ attacks on the Hugo Awards, and battles at conventions over “fake geek girls.” Anastasia Salter and Bridget Blodgett critique both gendered depictions of geeks, including shows like Chuck and The Big Bang Theory, and aspirational geek heroes, ranging from the Winchester brothers of Supernatural to BBC’s Sherlock and the varied superheroes of the Marvel Cinematic Universe. Through this analysis, the authors argue that toxic masculinity is deeply embedded in geek culture, and that the identity of geek as victimized other must be redefined before geek culture and media can ever become an inclusive space.

In the 1990s, the Personal Computer (or PC) was on the rise in homes, and with it came new genres of play. Yet most of the games in these new genres featured fantasylands or humorous science fiction landscapes with low stakes and little to suggest the potential of the PC as a serious space for art and play. Jane Jensen’s work and landmark Gabriel Knight series brought a new darkness and personality to PC gaming, offering a first powerful glimpse of what games could be as they came of age. As an author and designer, Jensen brought her approach as a designer-writer hybrid to the forefront of game design, with an approach to developing environments through detailed research to make game settings come to life, an attention to mature dilemmas and complex character development, and an audience-driven vision for genres reaching beyond the typical market approaches of the gaming industry. With a brand new interview with Jensen herself, Anastasia Salter provides the first ever look Jensen’s impact and role in advancing interactive narrative and writing in the game design process.

In the 1990s, the Personal Computer (or PC) was on the rise in homes, and with it came new genres of play. Yet most of the games in these new genres featured fantasylands or humorous science fiction landscapes with low stakes and little to suggest the potential of the PC as a serious space for art and play. Jane Jensen’s work and landmark Gabriel Knight series brought a new darkness and personality to PC gaming, offering a first powerful glimpse of what games could be as they came of age. As an author and designer, Jensen brought her approach as a designer-writer hybrid to the forefront of game design, with an approach to developing environments through detailed research to make game settings come to life, an attention to mature dilemmas and complex character development, and an audience-driven vision for genres reaching beyond the typical market approaches of the gaming industry. With a brand new interview with Jensen herself, Anastasia Salter provides the first ever look Jensen’s impact and role in advancing interactive narrative and writing in the game design process.

What Is Your Quest? examines the future of electronic literature in a world where tablets and e-readers are becoming as common as printed books and where fans are blurring the distinction between reader and author. The construction of new ways of storytelling is already underway: it is happening on the edges of the mainstream gaming industry and in the spaces between media, on the foundations set by classic games. Along these margins, convergent storytelling allows for playful reading and reading becomes a strategy of play.One of the earliest models for this new way of telling stories was the adventure game, the kind of game cantered on quests in which the characters must overcome obstacles and puzzles. After they fell out of fashion in the 1990s, fans made strenuous efforts to keep them alive and to create new games in the genre. Such activities highlight both the convergence of game and story and the collapsing distinction between reader and author. Continually defying the forces of obsolescence, fans return abandoned games to a playable state and treat stories as ever-evolving narratives. Similarly, players of massive multiplayer games become co-creators of the game experience, building characters and creating social networks that recombine a reading and gaming community.The interactions between storytellers and readers, between programmers and creators, and among fans turned world-builders are essential to the development of innovative ways of telling stories. And at the same time that fan activities foster the convergence of digital gaming and storytelling, new and increasingly accessible tools and models for interactive narrative empower a broadening range of storytellers. It is precisely this interactivity among a range of users surrounding these new platforms that is radically reshaping both e-books and games and those who read and play with them.