100 books like Gamelife

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.

David Sudnow’s Breakout: Pilgrim in the Microworld is perhaps the earliest account of a person’s obsession with a video game.

Sudnow’s diary-like approach to his relationship with the 1976 arcade game Breakout is captivating. It reads like improv jazz (which isn’t surprising considering Sudnow himself was an accomplished jazz pianist).

For example, here’s Sudnow describing the moments before starting the final phase of his longest game so far: “I feel the attempted seduction of the long lobbing interim, a calm before the storm, the action so laid back that I’m consciously elaborating a rhythm to be ready, set, go for a slam.”

Sudnow shows us that what might seem like simple bleeps and bloops to most people can instead be a life-affirming awakening to others. And how can something so powerful not warrant respect?

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

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!

Telling the story of the girl who became an international icon when the Associated Press published a photograph of her running from napalm bombing in her village in 1972, Denise Chong’s The Girl in the Picture offers insight into the day-to-day lives of South Vietnamese villagers who simply wanted to survive. Caught between the U.S.-supported South Vietnamese military and the National Liberation Front, villagers often had family members fighting on both sides of the war, not because of divergent ideological beliefs, but because repressive recruitment efforts left young men no choice but to enlist. Through the eyes of Kim Phuc, Denise Chong’s book humanizes life on the ground in a war zone and describes what happened when U.S. troops left the country.

This book is so subtle and intelligent that it makes me smile at almost every line. Sarraute hates nothing more than clichés and the narcissistic self-indulgence of memoirs. In Childhood, the inner dialogue between the narrator and her memory allows her to avoid these pitfalls and resurrect the past with an amazing emotional accuracy. The questions asked by her critical self deepen her memory and lead to a delicate, vivid, and funny rendering of her childhood at the beginning of the twentieth century in Paris between her divorced Russian parents.

No one wants to know a troubled, addicted family member isn't going to beat their demons. But knowing the ending at the beginning makes reading this difficult story possible. Bailey tells a relatable story that breaks down his brother's struggles and their effect upon the family in a way that those of us who share similar stories can relate to. The reader can see how and where things went wrong with Blake's brother Scott, while recognizing that there wasn't anything anyone could have done to prevent the ending.