Video game history is often told through machines, companies, famous designers, and bestselling games. Historians trace the rise of Atari, Nintendo, Sega, Sony, and Microsoft, reconstruct development stories, preserve old software, and explain how particular genres changed over time. Bobby Schweizer has spent much of his career approaching the history of games from a different direction.
His work asks what happens when games are treated not simply as products, but as systems, spaces, historical objects, and forms of communication. A city in a video game can be studied alongside the physical city that inspired it. An arcade mechanic can be traced backward into older amusement traditions. A Disney attraction can be studied as a playable environment. Even a demolished theme park ride can survive through fan reconstructions, recordings, photographs, and virtual worlds.
Schweizer is most often described in institutional and publisher biographies as a games scholar, educator, designer, media scholar, or independent scholar rather than formally as a video game historian. Yet history runs through a substantial portion of his work. His research has examined the development of video game cities, game mechanics, arcades, theme parks, Disney games, interactive attractions, media archaeology, and preservation. His career offers an example of how video game history expanded during the early twenty-first century from collecting dates and software into asking larger questions about how games represent places, ideas, and cultural memory.
Finding History Inside the Video Game City
Schweizer’s earliest major academic work centered on a deceptively simple subject: cities in video games.
In May 2009 he completed a Master of Science in Digital Media at the Georgia Institute of Technology. His thesis, Representations of the City in Video Games, examined how urban environments are translated into playable spaces. Georgia Tech later described the work as concentrating particularly on representations of New York City in games.
That question placed Schweizer at an intersection between game studies, architecture, urbanism, and media history. A video game city cannot function exactly like a real one. Streets must accommodate player movement. Buildings may exist primarily as scenery. Traffic, pedestrians, police, businesses, and transportation systems may be simulations rather than independent institutions. Developers decide what parts of a city matter, what can be entered, what can be destroyed, and what exists only to create the impression of urban life.
Schweizer continued developing those ideas in work such as “Understanding Videogame Cities,” which used Steelport from Saints Row: The Third to examine the relationship between physical and imagined cities. Rather than treating the game city as merely a backdrop for missions, he described it through its spatial arrangement, representation, infrastructure, and the player’s experience of moving through it.
His 2013 essay “Moving Through Videogame Cities” pushed the argument further. Schweizer emphasized that game cities are experienced through movement and action. Players do not simply look at streets as they might look at a photograph. They drive, climb, run, collect objects, hide, fight, and navigate. The meaning of the city therefore emerges partly from what the game permits the player to do inside it.
It was an approach that would remain recognizable throughout Schweizer’s later work. Whether the subject was a digital metropolis, an arcade shooting gallery, Epcot, or a forgotten Disney attraction, he repeatedly returned to the relationship between designed space and human action.
Newsgames and the Question of Playable Journalism
While Schweizer was studying cities, another Georgia Tech project was developing around a different question: could a video game perform journalism?
The Newsgames project began at Georgia Tech around 2008. Schweizer later recalled that the research began with the question of what relationship existed between video games and journalism. Students and researchers examined games that commented on current events, reconstructed events, modeled political or economic systems, and experimented with ways that interactive systems might communicate information differently from newspapers, television, or ordinary web articles.
The project culminated in one of Schweizer’s most prominent early publications. In 2010 MIT Press published Newsgames: Journalism at Play, written by Ian Bogost, Simon Ferrari, and Schweizer. MIT Press described the book as an argument that video games could become a distinct journalistic form because games could model systems rather than simply reproduce older forms of print or broadcast reporting on a computer screen.
The idea was larger than putting a quiz beside a news article. A newsgame could ask the player to participate in a simplified system and discover relationships through play. A game about piracy, elections, economics, war, or public policy could communicate by allowing players to make decisions and observe consequences.
That concept was important to Schweizer’s development as a scholar because it placed game mechanics themselves at the center of interpretation. If a game’s rules could make an argument about a current event, then mechanics were historical and cultural evidence. The historian or critic had to ask not only what a game showed but what its systems required the player to do.
Georgia Tech later credited Schweizer’s work with Bogost on Newsgames as one of the major projects of his graduate career. The book was supported by research associated with the John S. and James L. Knight Foundation and became an early attempt to systematically describe the past, present, and possible future of games used for journalism.
Turning Ideas Into Game Mechanics
The Newsgames research soon created another problem. If journalists were going to use games regularly, making each game from scratch would be difficult.
Schweizer and collaborators at Georgia Tech and the University of California, Santa Cruz worked on an authoring system initially called The Cartoonist. Schweizer explained in 2011 that the idea was to create short games resembling editorial cartoons in scope, capable of representing relationships and arguments without requiring a newsroom to build an elaborate commercial game.
The project evolved into Game-O-Matic.
In the system, creators could describe relationships between objects or actors and allow the software to connect those relationships with familiar styles of game mechanics. The research surrounding Game-O-Matic asked a question that reaches beyond journalism: how does a game mechanic acquire meaning?
Schweizer, Mike Treanor, Ian Bogost, and Michael Mateas explored the problem in academic work on what they called “micro-rhetorics.” Their 2012 paper described these as units of meaning created through the relationship between mechanics, patterns of play, and thematic representation. Game-O-Matic attempted to generate simple games capable of expressing relationships and arguments through those combinations.
The group had already addressed related questions in the 2011 paper “Proceduralist Readings,” which proposed a method for examining meaning in games by looking carefully at processes, themes, aesthetics, and cultural interpretation.
For video game historians, this work points toward an important distinction. The history of games cannot be reconstructed entirely from screenshots, advertisements, boxes, and release dates. The rules matter. The interactions matter. A mechanic can carry assumptions about competition, failure, success, scarcity, movement, money, or power.
Schweizer would later apply that kind of historical thinking to one of gaming’s most familiar concepts: difficulty.
How Difficulty Became History
In 2016 MIT Press published Debugging Game History: A Critical Lexicon, edited by Henry Lowood and Raiford Guins. Rather than presenting game history as a simple chronological march from one console generation to the next, the book examined concepts such as amusement arcades, controllers, artificial intelligence, game audio, simulation, and world building.
Schweizer contributed the chapter “Difficulty.”
Difficulty might appear to be a timeless characteristic of games, but Schweizer treated it historically. The reasons a game is difficult depend partly upon the conditions under which it was designed.
An arcade operator needed paying customers to keep placing coins into a machine. A game that allowed one skilled player to occupy a cabinet indefinitely could reduce revenue, while a game that punished players too aggressively could drive customers away. Home console economics changed that relationship because the player had already purchased access to the game. Later free-to-play systems introduced still other financial relationships between difficulty, progress, and spending.
Seen this way, difficulty becomes evidence. It can reveal assumptions about where a game was played, how its creators expected players to behave, and how the business surrounding the game worked.
That type of analysis represents an important strand in modern video game history. Instead of asking only when a game appeared, it asks why the game worked the way it did.
A Doctorate Built Around Cities in Motion
Schweizer’s work on games, spaces, and systems continued alongside Newsgames.
In August 2014 he completed his Ph.D. in Digital Media at Georgia Tech with the dissertation Videogame Cities in Motion.
Georgia Tech announced that August that Schweizer would remain at the institution as a Visiting Assistant Professor of Digital Media. The university noted that he had completed both his master’s degree and doctorate there, worked with Ian Bogost on Newsgames, and directed a research group called Aperio: Games and Spaces while pursuing his doctorate.
Aperio broadened the idea of game space beyond the screen. The group studied digital games and virtual worlds, but also cities, architecture, public spaces, locative media, alternate reality games, and theme parks. Faculty and students approached these subjects through multiple disciplines, including history, anthropology, design, aesthetics, technology, and cultural analysis.
That widening interest in space would prove important. Schweizer’s research was moving toward places where the boundaries separating video games from older forms of amusement were increasingly difficult to maintain.
From World’s Fairs to Theme Parks
In 2014 Schweizer joined Laura Hollengreen, Celia Pearce, and Rebecca Rouse as an editor of Meet Me at the Fair: A World’s Fair Reader, published by Carnegie Mellon University’s ETC Press.
World’s fairs might seem far removed from video game history, yet they fit naturally into the questions Schweizer had already been asking. Fairs created temporary cities filled with architecture, technology, spectacle, corporate storytelling, entertainment, and carefully directed visitor movement. They were physical environments designed to be explored.
The connection becomes even clearer when theme parks enter the story.
Theme parks, like video games, construct artificial spaces and then determine how visitors move through them. They create rules, objectives, attractions, barriers, narratives, rewards, and carefully designed viewpoints. A visitor may not call those elements game mechanics, but the comparison gave Schweizer another way to examine the history of interactive entertainment.
By 2016, during a period when he was teaching in DePaul University’s College of Computing and Digital Media, Schweizer published “Visiting the Videogame Theme Park” in Wide Screen. The essay surveyed representations of theme parks in games and explored the difficulty of translating a communal physical environment into an experience centered on an individual player.
The subject connected game history with amusement history. Instead of assuming that video games invented interactivity, it encouraged researchers to look backward toward amusement parks, shooting galleries, mechanical games, world’s fairs, and other older participatory entertainments.
Following the Shooting Gallery Into the Digital Age
Schweizer made that historical connection especially clear in his 2019 DiGRA research, “How Theme Park Rides Adapted the Shooting Gallery.”
At first glance, an attraction such as Disney’s Buzz Lightyear’s Space Ranger Spin looks like a theme park ride borrowing from video games. Riders aim blasters at targets, accumulate points, and compete for scores while moving through a themed environment.
Schweizer argued that the history was considerably longer.
Shooting galleries grew from marksmanship traditions and became familiar attractions at fairs, carnivals, and amusement parks. Mechanical technologies gradually changed how targets responded to successful shots. Electromechanical amusement machines transformed the same basic action again. Light-gun games brought target shooting into electronic and video game spaces. Eventually interactive dark rides combined these traditions in attractions where physical movement through a ride environment was joined with aiming, shooting, scoring, and immediate feedback.
The result complicates any easy story in which amusement parks simply copied video games.
Instead, the shooting gallery becomes a line of technological and cultural descent moving through physical recreation, mechanical amusement, electronic games, video games, and theme park attractions. Ideas travel in both directions.
That is media archaeology in practice. A familiar modern mechanic becomes easier to understand when its older ancestors are reconstructed.
Looking Behind Grand Theft Auto
Schweizer applied a similar method to one of the most influential developments in modern games: the open urban world.
Grand Theft Auto III, released in 2001, became enormously influential because of the apparent freedom of Liberty City. Players could travel through a large urban environment, interact with vehicles and pedestrians, pursue missions, or simply experiment with the systems around them.
Yet the history of the video game city did not begin with Grand Theft Auto III.
In “Grand Theft Antecedents,” published in Video Game Art Reader in 2019, Schweizer investigated urban games that preceded Rockstar’s breakthrough. His purpose was not to diminish Grand Theft Auto III, but to place it within a longer history of designers attempting to turn cities into interactive systems.
That approach reflects a recurring pattern in Schweizer’s historical work. Famous milestones become starting points rather than beginnings. The historian looks behind them for earlier experiments, forgotten technologies, and design traditions that made the celebrated breakthrough possible.
Disney Games and Parks as Playable History
Disney eventually became one of the strongest recurring threads in Schweizer’s research.
His work has examined video games based on Disney theme parks, interactive games played inside Disney parks, attraction-inspired board games, fan-made ride recreations, and the elaborate Society of Explorers and Adventurers mythology spread across Disney destinations around the world.
One example is his research on Adventures in the Magic Kingdom, Capcom’s 1990 Nintendo Entertainment System game. Schweizer’s work on Tokyo Disneyland games places that North American release beside several Japanese games based on Tokyo Disneyland during the 1990s. Rather than treating them simply as licensed Disney products, he examines how developers translated a physical theme park into software for different audiences and markets.
The subject is particularly useful for video game history because theme park games are adaptations of places rather than conventional adaptations of stories. The designer must decide which attractions represent the park, how physical movement becomes controller input, what parts of the park can be simplified, and how a destination visited by millions of people can be compressed into a cartridge.
Schweizer also studied games that existed within Disney parks themselves.
In a 2019 essay he examined the Kim Possible World Showcase Adventure, an interactive experience launched at Epcot in 2009. Players received special mobile devices and followed missions through World Showcase, triggering effects and discovering interactive elements hidden throughout the pavilions. The attraction transformed existing park spaces into components of a game.
Here the relationship between games and physical space nearly comes full circle. Schweizer’s earliest work asked how physical cities become playable digital cities. The Epcot research asked what happens when an already designed physical environment becomes a game board.
Preserving Attractions That No Longer Exist
Theme parks create a particular historical problem because even enormous attractions can disappear.
Buildings are remodeled. Rides are replaced. Sets are demolished. Audio, lighting, smells, movement, architecture, and mechanical effects may vanish together. Preserving a theme park attraction is therefore considerably more difficult than placing a cartridge or arcade board into an archive.
Schweizer explored this problem in “Resurrecting Defunct Theme Park Attractions,” focusing on fan efforts to reconstruct lost rides through digital technology.
One prominent example was Defunctland’s virtual recreation of Walt Disney World’s 20,000 Leagues Under the Sea, an attraction that operated from 1971 until 1994. Schweizer used projects like this to examine fan preservation and the ability of virtual environments to retain at least some dimensions of attractions that no longer physically exist.
The issue reaches beyond Disney.
Video game preservation faces many of the same questions. Is preserving the software enough? What about the original display, controller, arcade cabinet, network environment, player community, or physical location? Can emulation reproduce the historical experience, or does it create a new experience built from surviving pieces of the old one?
Schweizer’s research on vanished attractions demonstrates why the preservation of interactive media often requires more than saving an object. Sometimes historians must also reconstruct an experience.
Homemade Disney and Memory During the Pandemic
The closure of Disney parks during the COVID-19 pandemic produced another unusual preservation phenomenon.
Fans began creating homemade versions of attractions using household objects, improvised costumes, phones, furniture, and whatever materials were available. Schweizer examined these creations in his 2021 article “Playing Make-Believe with #homemadeDisney Pandemic Ride Videos.”
The short videos did not precisely reproduce Disney attractions. Instead, families and fans identified the details that they considered essential enough to make a ride recognizable. A chair might become a ride vehicle. Household objects might substitute for elaborate scenery. Participants acted as riders, characters, operators, and Imagineers.
For a historian, that process is revealing.
What people choose to imitate tells us what they remember.
The homemade recreations turned memory itself into evidence, showing how visitors understood attractions when deprived of access to the physical parks. Schweizer’s work increasingly placed fans alongside corporations and professional designers as participants in preserving media history.
Games in the Classroom
Teaching remained another significant part of Schweizer’s career.
At the 2015 Game Developers Conference, while affiliated with Georgia Tech, he presented “Interpreting Games for an Audience with Twitch.tv.” The session examined how livestreaming could be used in education so students could analyze games in front of an audience and reflect on what they were playing.
He later taught at DePaul University, and by the late 2010s he had moved to Texas Tech University.
At Texas Tech, Schweizer and Megan Condis helped expand the university’s game curriculum. A Game Design and Culture certificate beginning in fall 2020 incorporated game development, interactive storytelling, gaming culture, design, and media writing. Schweizer described the curriculum as a way to teach students to understand games not only as entertainment, but as expressive media, historical artifacts, an industry, and something they could create themselves.
That combination of history and practice is important. Schweizer’s work rarely treats old games as sealed artifacts disconnected from modern design. Historical understanding can help students recognize why particular conventions exist and imagine alternatives to them.
Theme Parks, Board Games, and Media Archaeology
During his Texas Tech years, Schweizer’s research increasingly concentrated on themed entertainment while retaining the historical methods visible in his earlier video game work.
He studied the interactive role-playing environment of Evermore Park with Stephanie Williams-Turkowski, examining how visitors understood a place that combined elements of a theme park, live-action role-playing, games, theater, and fantasy environments.
With Megan Condis, he examined board games based on Disney attractions. Their 2024 article in The Journal of American Culture traced Disney attraction board games across decades, including games based on Adventureland, Fantasyland, Frontierland, Tomorrowland, the Disneyland Monorail, Pirates of the Caribbean, the Haunted Mansion, Jungle Cruise, Big Thunder Mountain Railroad, and Space Mountain.
The work illustrates how an attraction can move among media. A physical ride becomes a board game. A theme park becomes a video game. A shooting gallery becomes an arcade mechanic and later returns to the amusement park as an interactive dark ride.
Rather than studying each of these objects in isolation, Schweizer’s research follows the connections between them.
An Independent Scholar and a Return to Making Games
By late 2024, scholarly biographies began identifying Schweizer as an independent scholar based in Charlotte, North Carolina.
A 2024 article written with Megan Condis on Disney Imagineering’s Society of Explorers and Adventurers described his research interests as interaction design, play, games in theme parks, media archaeology, and the role that fans and amateurs play in preserving theme park memory.
His official website similarly presents him simply as a teacher, designer, and writer. Interestingly, Schweizer notes there that he does not write about video games as frequently as he once did, pointing readers instead toward earlier work on Newsgames, video game cities, Game-O-Matic, and game analysis while highlighting his more recent interest in theme parks and interactive spaces.
Yet games remain part of the story.
In January 2026 Palgrave Macmillan published Storytelling for Video Games Using Bitsy: A Guide for Aspiring Designers, written by Megan Condis and Schweizer. The book uses the accessible Bitsy game engine to teach character creation, environments, world building, story structure, inventory, puzzles, quests, sound, playtesting, and publication. Springer identifies Schweizer as an independent scholar and educator with approximately a decade of experience developing game-design curricula for colleges and community workshops.
More than fifteen years after Newsgames, Schweizer had returned in book form to another question about making games accessible to people who might not consider themselves professional developers.
Why Bobby Schweizer Matters to Video Game History
Bobby Schweizer’s importance to video game history is difficult to reduce to a single discovery, game, or book.
That is partly the point.
His career demonstrates how broad the study of game history has become.
A historian can begin with Grand Theft Auto III and discover decades of experiments with digital cities. A study of a Disney shooting ride can lead backward through light-gun games, electromechanical amusements, carnival shooting galleries, and marksmanship traditions. A Nintendo game can become evidence for how American and Japanese audiences imagined Disney theme parks. A defunct ride reconstructed in virtual reality can raise the same preservation questions that surround emulators and abandoned software.
Schweizer’s research repeatedly crosses boundaries between game studies, media history, architecture, urbanism, journalism, amusement history, theme parks, education, and preservation. The common thread is not one platform or franchise. It is an interest in how designed systems create meaning through interaction.
That makes his work particularly useful for historians of video games.
The industry’s history is larger than the history of consoles and software companies. Games belong to a much older history of play, mechanical amusement, public spectacle, simulation, architecture, competition, storytelling, and experimentation. Modern games inherited ideas from those traditions, transformed them, and sometimes returned them to the physical world in new forms.
Schweizer’s scholarship helps reveal those connections.
The result is a history of games in which streets, rides, arcades, classrooms, theme parks, newsrooms, board games, virtual worlds, and computer screens belong to the same larger story: the continuing attempt to build spaces and systems that people can enter, explore, interpret, and play.
Sources & Further Reading
Schweizer, Bobby. “Representations of the City in Video Games.” M.S. thesis, Georgia Institute of Technology, 2009. https://repository.gatech.edu/server/api/core/bitstreams/924ae94b-4c7f-4835-9561-e5fd2afdfd3f/content
Schweizer, Bobby. “Videogame Cities in Motion.” Ph.D. diss., Georgia Institute of Technology, 2014. https://repository.gatech.edu/server/api/core/bitstreams/00340ff9-4693-4563-b8e1-7aadf9edcaaa/content
Bogost, Ian, Simon Ferrari, and Bobby Schweizer. Newsgames: Journalism at Play. Cambridge, MA: MIT Press, 2010. https://mitpress.mit.edu/9780262518079/newsgames/
Schweizer, Bobby. “A Brief History of Newsgames: Combining News + Videogames.” MediaShift, December 14, 2010. https://mediashift.org/2010/12/a-brief-history-of-newsgames-combining-news-videogames341/
Schweizer, Bobby. “Journalists Should Play and Discuss Newsgames Like 1378(km).” MediaShift, October 21, 2010. https://mediashift.org/2010/10/journalists-should-play-and-discuss-newsgames-like-1378km288/
Schweizer, Bobby. “Why Huffington Post’s ‘Predict the News’ Game Is No Galaga.” MediaShift, February 2, 2011. https://mediashift.org/2011/02/why-huffington-posts-predict-the-news-game-is-no-galaga032/
Schweizer, Bobby. “How to Design a Simple Newsgame Authoring Tool.” MediaShift, March 8, 2011. https://mediashift.org/2011/03/how-to-design-a-simple-newsgame-authoring-tool066/
Schweizer, Bobby. “Designing a Newsgame Is an Act of Journalism.” MediaShift, April 20, 2011. https://mediashift.org/2011/04/designing-a-newsgame-is-an-act-of-journalism103/
Schweizer, Bobby. “Three 3D Newsgames Produced Within a Week of Bin Laden Raid.” MediaShift, May 24, 2011. https://mediashift.org/2011/05/three-3d-newsgames-produced-within-a-week-of-bin-laden-raid140/
Schweizer, Bobby. “When a Game Only Looks Like a Game.” MediaShift, December 23, 2011. https://mediashift.org/2011/12/when-a-game-only-looks-like-a-game356/
Treanor, Mike, Bobby Schweizer, Ian Bogost, and Michael Mateas. “Proceduralist Readings: How to Find Meaning in Games with Graphical Logics.” In Proceedings of the Foundations of Digital Games Conference, 2011. https://profiles.wustl.edu/en/publications/proceduralist-readings-how-to-find-meaning-in-games-with-graphica/
Treanor, Mike, Bobby Schweizer, Ian Bogost, and Michael Mateas. “The Micro-Rhetorics of Game-O-Matic.” In Proceedings of the Foundations of Digital Games Conference, 2012. https://profiles.wustl.edu/en/publications/the-micro-rhetorics-of-game-o-matic/
American University Game Center. “Game-O-Matic.” Accessed October 30, 2026. https://auwebsite.azureedge.net/centers/gamecenter/studio.cfm
Schweizer, Bobby. “Understanding Videogame Cities.” In Proceedings of DiGRA 2013 Conference. Digital Games Research Association, 2013. https://dl.digra.org/index.php/dl/article/view/655
Schweizer, Bobby. “Moving Through Videogame Cities.” Mediascape, 2013. https://bschweizer.com/pubs/Moving_Through_Videogame_Cities.html
Schweizer, Bobby. “Platforms.” In The Routledge Companion to Video Game Studies, edited by Mark J. P. Wolf and Bernard Perron. New York: Routledge, 2014. https://www.si.edu/object/siris_sil_1038104
Pearce, Celia, Laura Hollengreen, Rebecca Rouse, and Bobby Schweizer, eds. Meet Me at the Fair: A World’s Fair Reader. Pittsburgh: ETC Press, 2014. https://press.etc.cmu.edu/file/download/482/93836d28-63cb-486e-aa86-0947de798f0b
Georgia Institute of Technology, Digital Media Program. “Welcome Dr. Bobby Schweizer.” August 27, 2014. https://dm.lmc.gatech.edu/welcome-dr-bobby-schweizer/
Georgia Institute of Technology, Digital Media Program. “Newsgames.” Accessed October 30, 2026. https://dm.lmc.gatech.edu/research/gallery/faculty-books/newsgames-by-ian-bogost/
Schweizer, Bobby. “Difficulty.” In Debugging Game History: A Critical Lexicon, edited by Henry Lowood and Raiford Guins. Cambridge, MA: MIT Press, 2016. https://doi.org/10.7551/mitpress/10087.003.0016
Schweizer, Bobby. “Visiting the Videogame Theme Park.” Wide Screen 6, no. 1 (2016). https://widescreenjournal.org/wp-content/uploads/2021/06/visiting-the-videogame-theme-park.pdf
Game Developers Conference. “Interpreting Games for an Audience with Twitch.tv.” GDC Vault, 2015. https://gdcvault.com/play/1022092/Interpreting-Games-for-an-Audience
Schweizer, Bobby. “Grand Theft Antecedents.” Video Game Art Reader 3 (2019). https://www.jstor.org/stable/10.3998/mpub.12471295.8
Schweizer, Bobby. “Pervasive Playing Epcot with Kim Possible.” In Media Res, January 16, 2019. https://mediacommons.org/imr/content/pervasive-playing-epcot-kim-possible
Schweizer, Bobby. “How Theme Park Rides Adapted the Shooting Gallery.” In Proceedings of DiGRA 2019: Game, Play and the Emerging Ludo-Mix. Digital Games Research Association, 2019. https://dl.digra.org/index.php/dl/article/download/1833/1833/1830
Schweizer, Bobby. “Touring the Videogame City.” In Locating Imagination in Popular Culture: Place, Tourism and Belonging, edited by Nicky van Es, Stijn Reijnders, Leonieke Bolderman, and Abby Waysdorf. London: Routledge, 2021. https://www.routledge.com/Locating-Imagination-in-Popular-Culture-Place-Tourism-and-Belonging/vanEs-Reijnders-Bolderman-Waysdorf/p/book/9780367492632
Schweizer, Bobby. “Playing Make-Believe with #homemadeDisney Pandemic Ride Videos.” Eludamos: Journal for Computer Game Culture 12, no. 1 (2021): 199–218. https://septentrio.uit.no/index.php/eludamos/article/view/vol12no1-10
Schweizer, Bobby, and Stephanie Williams-Turkowski. “Interpreting Interactive Role-Playing at Evermore Park.” Well Played 10, no. 2 (2021): 35–73. https://doi.org/10.1184/R1/14919645
Schweizer, Bobby. “Resurrecting Defunct Theme Park Attractions: Fan Preservation in Virtual Worlds.” In Virtual Interiorities, edited by Gregory Turner-Rahman, Vahid Vahdat, and Dave Gottwald. https://virtualinteriorities.org/
Schweizer, Bobby. “Tokyo Disneyland Games in Translation.” In Abstract Proceedings of DiGRA 2022 Conference: Bringing Worlds Together. Digital Games Research Association, 2022. https://dl.digra.org/index.php/dl/article/download/1325/1325
Texas Tech University. “Gaming Is Everywhere, Now JCMI Certificate.” March 4, 2021. https://www.depts.ttu.edu/comc/about/news/posts/2021/03/game-design-culture-certificiate-jcmi.php
Texas Tech University. “Hispanic and Latin American Video Gaming Experience.” Accessed October 30, 2026. https://www.depts.ttu.edu/comc/research/hihic/events/gaming/
Schweizer, Bobby, and Megan Condis. “Attraction Adaptations of Ride Aesthetics in Disney Theme Park Board Games.” Journal of American Culture 47, no. 2 (2024): 105–114. https://doi.org/10.1111/jacc.13558
Condis, Megan, and Bobby Schweizer. “Trans-Spatial Narratives of Disney Imagineering in the Society of Explorers and Adventurers.” Popular Communication 22, no. 4 (2024): 203–218. https://doi.org/10.1080/15405702.2024.2429375
Condis, Megan, and Bobby Schweizer. Storytelling for Video Games Using Bitsy: A Guide for Aspiring Designers. Cham: Palgrave Macmillan, 2026. https://doi.org/10.1007/978-3-031-89335-3
Schweizer, Bobby. “Bobby Schweizer: Teacher, Designer, Writer.” Accessed October 30, 2026. https://bschweizer.com/
Smithsonian Institution. “Debugging Game History: A Critical Lexicon.” Smithsonian Libraries and Archives. Accessed October 30, 2026. https://www.si.edu/object/debugging-game-history-critical-lexicon-edited-henry-lowood-and-raiford-guins-editorial-assistant-ac%3Asiris_sil_1062376
Rensselaer Polytechnic Institute. “Meet Her at the Fair: Rensselaer Professor Edits Anthology of World’s Fair Scholarship.” September 25, 2014. https://news.rpi.edu/content/2014/09/25/new-anthology-explores-world%E2%80%99s-fairs-new-angles