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It begins by assuming that video games are meaningful–not just as sociological or economic or cultural evidence, but in their own right, as cultural expressions worthy of scholarly attention. In this way, this book makes a contribution to the study of video games, but it also aims to enrich textual studies.  Early video game studies scholars were quick to point out that a game should never be reduced to merely its \"story\" or narrative content and they rightly insist on the importance of studying games as games. But here Steven E. Jones demonstrates that textual studies–which grows historically out of ancient questions of textual recension, multiple versions, production, reproduction, and reception–can fruitfully be applied to the study of video games. Citing specific examples such as Myst and Lost, Katamari Damacy, Halo, Façade, Nintendo’s Wii, and Will Wright’s Spore, the book explores the ways in which textual studies concepts–authorial intention, textual variability and performance, the paratext, publishing history and the social text–can shed light on video games as more than formal systems. 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At the center of these changes, by turns channeling and amplifying these vibrant energies, stood the profoundly influential, if subsequently unheralded, record producer, Tom Wilson.    It would be hard to find a figure more solidly located at the junction of the currents traversing America in 1966: a Black man working in almost exclusively white studio settings, Wilson played a vital role in an astonishing array of landmark records: after producing Bob Dylan and Simon \u0026amp; Garfunkel in the previous year, in 1966 alone Wilson produced albums from Frank Zappa \u0026amp; the Mothers of Invention, The Velvet Underground, Hugh Masekela, The Animals, Sun Ra, and more. Any one of these would be a standout on most producers' resumes. Taken together, they testify to an influential career, and invite a new appraisal of a pivotal moment in American pop culture. 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