74 books like Breakout

Of course, I have to recommend Davis’s book; we have similar titles! But in all seriousness, Davis takes a much different approach to the “gamer memoir” by focusing more on the games themselves. He reminisces about his favorite childhood games and/or games that were culturally important and does a great job highlighting what made them work (or not work) without letting modern-day feelings get in the way. Occasionally, Davis will tie the game into some real-world lesson he learned. It’s that aspect that I appreciate the most. I also try to reflect on certain games as being more than just “something fun at the time.”

This one’s an intentionally short read, fast-forwarding through Leith’s life at breakneck speed, only stopping to check in every few years to see what game he was into then. The whole thing feels like a strange fever dream or stream of consciousness, particularly in the first few chapters when his childhood memories are probably as fuzzy as the TV he played Planetoid on. Still, it’s a fascinating look at how certain games stick with you over the years. I have my own collection of games that don’t necessarily reflect my favorites of all time but certainly define key moments in my life.

Where David Sudnow’s Breakout: Pilgrim in the Microworld focused on the flamboyant poetry of gaming, Michael W. Clune’s Gamelife opts for minimalism.

Clune himself describes the book as a memoir about computer games, which is true, and that description alone warrants inclusion in my list. Why? Any topic that can be a lens through which to reflect on one’s own life is noteworthy.

Clune isn’t a game developer recounting a life spent developing games. Clune isn’t a games industry executive doling out business advice. Clune is a gamer with a childhood he’s able to better understand when filtered through video games.

Tell your non-gaming friends: video games are therapy!

Yes, this is technically a “celebrity memoir,” but Day is in a unique position of not only growing up in gaming culture but rising to fame because of it. While only two of the chapters in her book are about specific games she played, one of those games does become the basis for the show that launched her career. It’s interesting to read how she navigated the early days of YouTube and created and marketed the show with basically no budget. As someone who has frequently tried (and failed) to create game-related content of my own, it was nice to see what a self-made success story can look like.

Despite the implications of the title, this book is not a how-to book about repurposing Nintendo game cartridges as drink coasters. It’s even better than that (and this is coming from someone who actually does use old, non-functioning game cartridges as drink coasters). 

How to Do Things with Videogames is a plea to non-gaming industries to embrace video games as tools to advance their own products and services. While video game mechanics and visuals have certainly matured since their introduction in the 1970s—and that is all quite interesting—Ian Bogost’s book isn’t interested in how humans have advanced video games but instead in how video games could advance humans.

I’ll give a specific example that has stuck with me since my first read of this book. Humans are great with spatial awareness. Video games have an amazing ability to leverage this capability for fun. But why not leverage this capability to… show more.

Sometimes, defending your video game obsession means acknowledging that the video game industry is flawed. It’s best not to avoid necessary conversations about the negative impacts that video games can have on families and on personal health.

But while it would be tempting to cite flawed studies about games as a precursor to violence (a sub-recommendation for more about such flawed studies would be The Gaming Mind: A New Psychology of Videogames and the Power of Play by Alexander Kriss), Jason Schreier’s book instead digs into the “industry” part of the video games industry to explore systemic problems like overwork, the lack of unionization, and incredible wealth inequality.

The video game industry is huge (like, really huge. Like, 2.5x the size of the movie and music industry combined huge). Its enormity, combined with its lack of regulation and oversight, makes for a difficult foundation on which to build a life.… show more.

Getting Gamers shows us that the science of video games is the science of human interaction. In fact, some game development studios staff teams of psychologists and researchers, and sometimes those teams use virtual spaces as testing environments for psychology theories.

How does physical appearance prime social interactions (ie, the Proteus Effect), for example? With the wealth of avatar customization options available to gamers, we can carefully articulate and test our assumptions of interactions in groups using MMOs (massive multiplayer online games).

Tell your non-gaming friends: video games remind us that we are human!

This book is just out and reflects the latest scholarship in historical game studies by a new leading academic. Wright’s book tackles one of the biggest players in the video game industry, Rockstar Games, and seeks to understand how Rockstar plays with American history, culture, and our notions of authenticity. Essential reading. 

This smart and at-times hilarious book takes serious, analytical, video game criticism and runs it through the meatgrinder of the gaming- and drug-addicted mind of an adult player. It is a memoir, a love story, and a guide to understanding why, as the title suggests, video games absolutely matter.

Often, the magic of three is not so obvious. In the newly-published picture book, Treasure Hunt by Stephanie Wildman, three children play a new game. Older brother Luis turns his two younger siblings away from video games by creating a scavenger hunt in which they must use riddles as clues to gather ordinary household objects. And yes, they get three clues and so three chances to gather all the objects, which then become the materials to create a puppet show using a discarded cardboard box the new stove came in as the stage. The use of three here, as in all stories, produces a feeling of a satisfying completion. This is a mystery story for children 3-8 with a surprise ending and guidance for kids on how to make simple puppets.