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In spite of all this, building a game in a History or English Department and submitting that as academic work on par with a book remain risky propositions. Furthermore, games naturally engage with subjects that lie within the conventional province of humanistic inquiry, including storytelling, architecture, music, and visual art.
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With revenues that exceed those of Hollywood, and a growing and diversifying world market, one might argue that video games are among the most important imaginative human artifacts to develop in the past several decades it would be extraordinary if the academy were not discussing them and teaching people how to build them. It also was not terribly difficult to develop academic programs in which the creation of video games-one of the more striking examples of the marriage of engineering and art-became the principal research activity: where a billion-dollar industry arises, an academic program will follow.
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But in the end, it was not hard for an academy well adjusted to the long shadow of cultural studies to conform itself to these new objects of inquiry. It took some time before even writing about games became acceptable as humanistic scholarship. This is not to say that there has been no cross-pollination between games and the humanities or that there are not already natural relationships between the two areas. Games are not, in most departments, humanistic scholarship. Yet for all this growth, it is an easy matter to say what games are not. At this point, even cataloging general game mechanics is a fool’s errand genres proliferate as fast as the gatekeepers of the App Store and the Steam platform can green-light them. Games, as Wittgenstein warned us, are not easily placed into categories (36). PART I ][ Chapter 3 Can Video Games Be Humanities Scholarship?