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dc.contributor.advisorMoulthrop, Stuart
dc.contributor.authorSalter, Anastasia
dc.contributor.departmentUniversity of Baltimore. School of Information Arts and Technologiesen_US
dc.contributor.programUniversity of Baltimore. Doctor of Communications Designen_US
dc.date.accessioned2016-12-19T15:46:00Z
dc.date.available2016-12-19T15:46:00Z
dc.date.issued2010-05
dc.descriptionD.S. -- University of Baltimore, 2010en_US
dc.descriptionDissertation submitted to the School of Information Arts and Technologies of the University of Baltimore in partial fulfillment of the requirements for the degree of Doctor of Communications Designen_US
dc.description.abstractThe formative years of computer gaming saw the birth of a genre dedicated to storytelling as a primary experience. These games, adventure games, briefly rose to dominance within the industry in the nineties but faded fast. Sequels in the major franchises and planned games for the new millennium were mostly cancelled, and the genre is often held up as an example of a failed experiment where games tried too hard to play the role of traditional media. Yet while commercial innovation fell to the wayside fan communities continued to keep the genre alive, passing around games deemed abandonware and building their own games, both extensions of the familiar and new narratives. These projects emerge from communities united not by love of any single classic game but by devotion to a genre, a form, which the members of the community extended and rebuilt. The fans who created ways to extend this form of gaming throughout two decades were concerned less with evolution in graphics and processor speeds than with keeping games playable and available on modern computers. Their efforts created value even in games that had been left unsold by developers for ten years or more, and a revitalization in the genre has begun with innovation moving freely from communal to commercial space.en_US
dc.format.extent181 leavesen_US
dc.format.mimetypeapplication/pdf
dc.genredissertationsen_US
dc.identifierdoi:10.13016/M29V5Z
dc.identifier.otherSalter_baltimore_0942A_10005
dc.identifier.otherUB_2010_Salter_A
dc.identifier.urihttp://hdl.handle.net/11603/3699
dc.language.isoen_USen_US
dc.rightsThis item may be protected under Title 17 of the U.S. Copyright Law. It is made available by the University of Baltimore for non-commercial research and educational purposes.en_US
dc.subjectadventure gamesen_US
dc.subjectauthorshipen_US
dc.subjectcopyrighten_US
dc.subjectdigital narrativeen_US
dc.subjectnew mediaen_US
dc.subject.lcshElectronic gamesen_US
dc.subject.lcshMass media and cultureen_US
dc.subject.lcshVideo gamesen_US
dc.titlePersonal adventures: the shift from player to authoren_US
dc.typeTexten_US


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