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Preface

The communities within which I live, work, and play all have
very different ideas about games and art. In many ways, this is
the reason I have written this book: to think through the ways
in which they differ, and what that means for both games and
art. Coming to terms with these sometimes contradictory con-
ceptions, and sorting through them to understand the com-
monalities and differences, has been challenging but ultimately
rewarding.
Since beginning this book, I have had the opportunity to teach
at the Savannah College of Art and Design–Atlanta, the Georgia
Institute of Technology, and Parsons The New School for Design.
Knowingly or not, colleagues and students from all three institu-
tions have assisted in the writing of this book. At SCAD-Atlanta,
I would like to highlight the support of Matthew Maloney and
Teresa Griffis. At Georgia Tech, Ian Bogost, Janet Murray, and
Celia Pearce all provided insight as I worked through the ideas
contained here. And at Parsons, Colleen Macklin has been an
enthusiastic sounding board throughout the process.
The MIT Press and the Playful Thinking series editors have
been patient and supportive as I have worked on this manu-
script. Thanks therefore go to Doug Sery, Susan Buckley, Virginia
x Preface

Crossman, Jesper Juul, Geoffrey Long, and William Uricchio.

The anonymous reviewers who provided feedback on my pro-
posal and manuscript helped me see ways to strengthen and
focus the book. Whoever you all are, thank you.
Some of the ideas in this book were developed and honed
in a number of talks: at the 2009, 2010, 2011, and 2012 Game
Developers Conferences; the 2010 IndieCade International Fes-
tival of Independent Games; the 2010 and 2012 Foundations
of Digital Games conferences; the 2010 and 2013 Art History
of Games symposia; and the 2011 and 2013 Digital Games
Research Association conferences. I also had the opportunity to
give talks based on the in-progress manuscript at the NYU Game
Center and the Phoenix Art Museum. Thank you to everyone
who attended these talks.
This book is the unlikely product of the influence and inspi-
ration of a Trecento art historian, a museum director, a scholar
of nineteenth-century American art, and a scholar of African art.
During my time studying with them, Andrew Ladis, William U.
Eiland, Sarah Burns, and Patrick McNaughton opened my eyes
to the ways that art, art history, and scholarship can enrich
our lives. I would like to dedicate this book to the memory of
Andrew Ladis for his tutelage and friendship.

John Sharp
Brooklyn, NY
Spring, 2014