In 2014 games critic Cara Ellison rather flippantly pledged to the internet she’d leave home, become itinerant, and travel around the world to live with and write about some of the most interesting game developers and their cultural outlook. As your ‘cyberpunk hair-dyed Attenborough’, originally Cara put up the Embed With Games series monthly on a free blog as she travelled from couch to couch, writing about the people she met and about the way our game creators express the culture around them. The internet generously helped fund her travel costs through a subscription service, egging her on in the only way it could. This is the collected work, called Embed With Games with an exclusive introduction from Kieron Gillen, a cover from Irene Koh, and a conclusion exclusive to the eBook.
Presents five hundred alphabet, counting, math, science, drama, listening, and other types of games for three- to six-year-olds that take only five minutes to play, and includes a skills index.
A collection of four one kilobyte games for the Atari Video Computer System, one for each seasosn, about the experience of observing things. Neither action nor strategy, each game requires a different kind of sedate observation and methodical iput. Accompanying the game are essays about the commonalities between videogames and poetry and 1,024 machined haiku--poetry generated by computer--9 bits worth for each season."--Unedited summary from back cover.
This is the first textbook dedicated to explaining how artificial intelligence (AI) techniques can be used in and for games. After introductory chapters that explain the background and key techniques in AI and games, the authors explain how to use AI to play games, to generate content for games and to model players. The book will be suitable for undergraduate and graduate courses in games, artificial intelligence, design, human-computer interaction, and computational intelligence, and also for self-study by industrial game developers and practitioners. The authors have developed a website (http://www.gameaibook.org) that complements the material covered in the book with up-to-date exercises, lecture slides and reading.
A group biography of seven enduring and beloved games, and the story of why—and how—we play them. Checkers, backgammon, chess, and Go. Poker, Scrabble, and bridge. These seven games, ancient and modern, fascinate millions of people worldwide. In Seven Games, Oliver Roeder charts their origins and historical importance, the delightful arcana of their rules, and the ways their design makes them pleasurable. Roeder introduces thrilling competitors, such as evangelical minister Marion Tinsley, who across forty years lost only three games of checkers; Shusai, the Master, the last Go champion of imperial Japan, defending tradition against “modern rationalism”; and an IBM engineer who created a backgammon program so capable at self-learning that NASA used it on the space shuttle. He delves into the history and lore of each game: backgammon boards in ancient Egypt, the Indian origins of chess, how certain shells from a particular beach in Japan make the finest white Go stones. Beyond the cultural and personal stories, Roeder explores why games, seemingly trivial pastimes, speak so deeply to the human soul. He introduces an early philosopher of games, the aptly named Bernard Suits, and visits an Oxford cosmologist who has perfected a computer that can effectively play bridge, a game as complicated as human language itself. Throughout, Roeder tells the compelling story of how humans, pursuing scientific glory and competitive advantage, have invented AI programs better than any human player, and what that means for the games—and for us. Funny, fascinating, and profound, Seven Games is a story of obsession, psychology, history, and how play makes us human.
A broad treatment of computer and video games from a wide range of perspectives, including cognitive science and artificial intelligence, psychology, history, film and theater, cultural studies, and philosophy. New media students, teachers, and professionals have long needed a comprehensive scholarly treatment of digital games that deals with the history, design, reception, and aesthetics of games along with their social and cultural context. The Handbook of Computer Game Studies fills this need with a definitive look at the subject from a broad range of perspectives. Contributors come from cognitive science and artificial intelligence, developmental, social, and clinical psychology, history, film, theater, and literary studies, cultural studies, and philosophy as well as game design and development. The text includes both scholarly articles and journalism from such well-known voices as Douglas Rushkoff, Sherry Turkle, Henry Jenkins, Katie Salen, Eric Zimmerman, and others. Part I considers the "prehistory" of computer games (including slot machines and pinball machines), the development of computer games themselves, and the future of mobile gaming. The chapters in part II describe game development from the designer's point of view, including the design of play elements, an analysis of screenwriting, and game-based learning. Part III reviews empirical research on the psychological effects of computer games, and includes a discussion of the use of computer games in clinical and educational settings. Part IV considers the aesthetics of games in comparison to film and literature, and part V discusses the effect of computer games on cultural identity, including gender and ethnicity. Finally, part VI looks at the relation of computer games to social behavior, considering, among other matters, the inadequacy of laboratory experiments linking games and aggression and the different modes of participation in computer game culture.
Cognitive Development in a Digital Age James Paul Gee begins his classic book with "I want to talk about video games–yes, even violent video games–and say some positive things about them." With this simple but explosive statement, one of America's most well-respected educators looks seriously at the good that can come from playing video games. This revised edition expands beyond mere gaming, introducing readers to fresh perspectives based on games like World of Warcraft and Half-Life 2. It delves deeper into cognitive development, discussing how video games can shape our understanding of the world. An undisputed must-read for those interested in the intersection of education, technology, and pop culture, What Video Games Have to Teach Us About Learning and Literacy challenges traditional norms, examines the educational potential of video games, and opens up a discussion on the far-reaching impacts of this ubiquitous aspect of modern life.
The Switch Collector is a comprehensive "Switchopedia" Collector book series that covers all the physical releases for the Nintendo Switch along with the must play digital-only releases we would like to see come out physically. Part two of the second volume, titled "Volume Two Part Two" continues our journey with the Switch finishing the second year of the Nintendo Switch. This book is also in an abridged format to streamline the information so it is easy for the reader to consume!
Videogames! Aren’t they the medium of the twenty-first century? The new cinema? The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk? The final victory of interaction over passivity? No, probably not. Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this paradox more thoroughly than any other author to date. Delving into popular, familiar games like Flappy Bird, Mirror’s Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL, and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don’t watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn’t. Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the “rivers and fields” that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: “God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study.”
