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Subjective Experiences of Interactive Nostalgia

Edited By Ryan Lizardi

From explorations of video game series to Netflix shows to Facebook timelines, Subjective Experiences of Interactive Nostalgia helps readers understand what it is actually like to be nostalgic in a world that increasingly asks us to interact with our past. Interdisciplinary authors tackle the subject from historical, philosophical, rhetorical, sociological, and economic perspectives, all the while asking big questions about what it means to be asked to be active participants in our own mediated histories. Scholars and pop culture enthusiasts alike will find something to love as this collection moves from a look at traditional interactive media, such as video games, to nostalgia within all things digital and ends with a rethinking of the potentials of nostalgia itself.

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2. “Been There, Done That!”: An Examination of Media Nostalgia as a Creative Practice for Creating New Retro Games (Sebastian Felzmann)

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2. “Been There, Done That!”: An Examination of Media Nostalgia as a Creative Practice for Creating New Retro Games

SEBASTIAN FELZMANN

Note: An earlier version of this chapter was included in the German publication Shift Restore Escape: Retrocomputing und Computerarchäologie, ed. Stefan Höltgen (Winnenden: CSW-Verlag, 2014).

Introduction

Media nostalgia and thus retro gaming or gaming nostalgia have become an increasingly important branch of the computer game scene in recent years and are attracting ever-growing attention—not only on the part of recipients and users who have grown up with the medium, but also on the part of producers. The basis for this development is certainly the specific composition of the computer game medium: “A videogame is a game which we play thanks to an audiovisual apparatus and which can be based on a story” (Esposito 2005a, 2). The audiovisual apparatus is the technical basis of the game: without it, it cannot take place and it determines its respective media constitution. As a result, the game is logically subject to specific changes when the technological foundations change. Compared to other, older media, where technological development takes place in much slower cycles, this is without a doubt a genuine characteristic of computer games.1 There exists a constant pressure to outperform the technically possible; the user is caught in a treadmill of planned digital obsolescence of hardware manufacturers and platform sellers, which forces him to constantly...

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