Bernstein, C. (2001). Play it again pac-man. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 155–168). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 12/10/2004, 17:08
Kent, S. L. (2001). Super mario nation. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 35–48). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 08/10/2004, 17:00
Slovin, R. (2001). Hot circuits: Reflections on the 1989 video game exhibition of the american museum of the moving image. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 137–154). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 12/10/2004, 17:07
Tews, R. R. (2001). Archetypes on acid: Video games and culture. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 169–182). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 18/10/2004, 17:28
Wolf, M. J. P. (2001). Genre and the video game. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 114–134). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 12/10/2004, 17:05
Wolf, M. J. P. (2001). Introduction. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 1–9). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 08/10/2004, 16:57
Wolf, M. J. P. (2001). Narrative in the video game. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 94–111). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 04/10/2006, 12:59
Wolf, M. J. P. (2001). Space in the video game. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 51–75). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 08/10/2004, 17:10
While discussing the variety of video game representations of space, the 10th type is the three-dimensional environment (interactive). "Battlezone was also the first game to feature off-screen sound and events; sounds of the player's tank getting hit indicated an off-screen tank's attack, alerting the player to turn and fight. The first-person perspective increased the importance of off-screen space because it positioned the player within the space subjectively, as opposed to the third-person objective view in eariler games. This shift also allowed a more mature usage of off-screen space and one closer to that of cinematic off-screen space."
Wolf, M. J. P. (2001). The video game as a medium. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 13–33). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 08/10/2004, 16:59
Wolf, M. J. P. (2001). Time in the video game. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 78–91). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 14/02/2006, 10:28
Talking of time indicators in film: "...grain, hiss and flicker are nondiegetic indicators of time passing. ... Since video games usually do not have the same nondiegetic indicators of passing time ... other forms of ambience are sometimes added to scenes to emphasize the potential for movement and keep the image feeling "live"."
Gives an example of ambient sound (wind) in Myst. As this movement (he's referring more to other time indicators such as fan blades etc. but I include sound 'movement' like wind) is repeated (i.e. looping sound samples), this is a form of cyclical as opposed to linear time.
