Fans pick 72 books like Getting Gamers

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!

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!

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.

I truly believe that video games are the art form that defines our present and, at least, our near-ish future. So, it was a great pleasure to encounter Zevin’s novel about the relationships behind a video game studio’s origins, which both elevates and scrutinizes the medium’s potential to revolutionize narrative storytelling.

Zevin deftly translates gaming's embodied perspective, including one stand-out moment in the back half that is perhaps the book’s defining triumph. Through her expansive prose, Sam, Sadie, and Marx play out their lives: their moments of intense and sometimes myopic creativity, their intricate interpersonal joys and devastations, and the fantastically rendered worlds, some built from reality and others from pixels which bring them together, push them apart, and might just bring them together again.

I found this book so smart in the way that it examines and questions how we have made many parts of our worlds into winner-take-all competitions or “games.” I thought Jagoda did a great job making me think about “gamified” realities that simulate real-world situations and how we virtually experiment through gameplay.

I was also drawn to the idea that games could “safely” let us play out real-world scenarios, imagining and testing out new ways of trying out alternative futures without the risks of playing those for real.

At the same time, I am reminded that however simulatively real the game feels, the consequences are not similarly real. Win or lose, we can always “end” the game, reboot, and start again–not necessarily so in real life. 

While not science fiction in the classical sense, it is a story of a different kind of world where virtual reality and reality blur. The main character almost lives in a virtual reality gaming program, but when he is to do something in the real world, he finds he can’t really tell the two apart and that leads to grave consequences.

A tremendous amount of what makes a great videogame happens at the millisecond level. In this realm that is invisible to most, tiny changes make for enormous differences in the way a game feels. If you would master the secret rules that make for a game that people can’t put down because it just feels so good to play, you are wise to read this book. 

This book is about being brave. You know when a problem grows into a huge scary monster, right? It’s got you cornered and you don't think you'll ever get out alive, but with the right attitude, you can. Our hero Phoenix is braver than his years, but in some ways he’s more grown-up than his dad. In this retelling of the ancient Greek story of the minotaur, who crushes mortals and eats them for breakfast, we step into a monstrous virtual world created by Phoenix’s dad. I wanted to run, but most of all I wanted to stay and see what happened next. Will the minotaur eat Phoenix alive? I related to Phoenix trying to survive and trying to work out his issues with his dad, because every one of us has to face the same difficult world and be courageous about it.

Lisp will always have a special place in my brain, not language can be as expressive and molded to what the programmer wants to do in my opinion.

Learning a programming language can be a bit dry, but not in the case of Land of Lisp, honestly I just found this book to be fun from beginning to end, and even so I was already familiar with Lisp before reading it I actually followed all the way through not skipping a page.

Yes Lisp is hardly in use these days, but if you know it you will find its concepts popping up all over the place and this is why knowing it is so useful.