Customer Reviews

Unit Operations: An Approach to Videogame Criticism

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Bogost's begins with a promising venture into the video game territory. This time we are promised that video games are distinguished from books and films, and that the "ludology" of video games is recognized as an independent field. Bogost uses philosophy in order to accomplish this mission. Although when it comes to critical arguments, Bogost's approach is mainly Badiousian, he sets forth a rich array of classical and contemporary philosophies, from Plato to Spinoza, Deleuze, and Harman. I have this feeling that at some point Bogost emphasizes too much on the narrative and cultural aspects of video games and therefore, his project falls into the same category of mainstream cultural critiques of video games. But there are sections which penetrate right into the structure of games and their architecture. In these sections, Bogost uses a heavy deal of Badiou's axiomatic set theory to back up his theory of unit operations. This is not essentially a negative point but he could develop a genuine theory of his own and eliminate the risk of associating video games with philosophy which for the most part has the same restricting role of literature (the narrative) and cinema (the filmic) for video games. Overall, Unit Operations is a rich and an insightful book, but falls short in some of its ambitions.

This book isn't what it sounds like at first glance. It is a view of video games from a literary criticism perceptive. Don't buy this if your interested in game design if you don't also have a passion for literary criticism.

Unit Operations is every bit as brilliant - and damn fun a read - as those of us lucky enough to've had early glimpses at Bogost's project had hoped.

It's tempting to write a review of this book in the form of a treatment for a mega-million-dollar console game, and that temptation seems to me no accident: this book will change the way you pay attention to ALL, in both senses of the word, coded systems you yourself use.

The backstory of the book's authoring is itself almost too Hollywood (or new Hollywood, since EA, Blizzard, and LucasArts are the MGM, WB, and Disney of our era): author was a Chief Technology Officer for an A-list interactive marketing agency in L.A.; author leaves the biz to become a professor working on recombining the DNA (and languages and ontologies) of software development with the DNA (and languages and ontologies) of literary and cultural criticism; his mutant creation is now on the loose.

Your mission, reader, is to...

To what? Because in the game of Unit Operations, the first-person shooter is transformed into something of an Eleatic archer: where before our attention would just race to the next target, Unit Operations teaches us new ways to listen to the Bow.

The open-source software movement has from its beginning been particularly well-attuned to games with written language's units of operation. Unit Operations provides a long-awaited common ground for both technological and literary culture.

Not since first reading Geertz' Interpretation of Cultures have I had the sense of encountering so path-breaking a work in the level of its critical innovation and the clarity of its readings.

A bulging boutique of bottom-up beats bearing from baroque battles to bogus babalities.