Empire Games Empire Games Book One

Charles Stross builds a new series with Empire Games, expanding on the world he created in the Family Trade series, a new generation of paratime travellers walk between parallel universes. The year is 2020. It's seventeen years since the Revolution overthrew the last king of the New British Empire, and the newly-reconstituted North American Commonwealth is developing rapidly, on course to defeat the French and bring democracy to a troubled world. But Miriam Burgeson, commissioner in charge of the shadowy Ministry of Intertemporal Research and Intelligence—the paratime espionage agency tasked with catalyzing the Commonwealth's great leap forward—has a problem. For years, she's warned everyone: "The Americans are coming." Now their drones arrive in the middle of a succession crisis. In another timeline, the U.S. has recruited Miriam's own estranged daughter to spy across timelines in order to bring down any remaining world-walkers who might threaten national security. Two nuclear superpowers are set on a collision course. Two increasingly desperate paratime espionage agencies try to find a solution to the first contact problem that doesn't result in a nuclear holocaust. And two women—a mother and her long-lost daughter—are about to find themselves on opposite sides of the confrontation. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

A time of ambition, treachery and dangerous secrets . . . Rita Douglas is plucked from her dead-end job and trained as a reluctant US spy. All because she has the latent genetic talent to hop between alternate timelines - and infiltrate them. The United States is waging a high-tech war, targeting assassins who can move between worlds to deliver death on a mass scale. And Rita will be their secret weapon. Miriam Beckstein has her own mission, as a politician in an industrial revolution US. She must accelerate her world's technology before their paranoid American twin finds them. It would blow them to hell. After all, they've done it before. Each timeline also battles internal conspiracies, as a cold war threatens to turn white hot. But which world is the aggressor - and will Rita have to choose a side? This new series is set in the same world as Charles Stross' 'Merchant Princes' series.

The alternate timelines of Charles Stross' Empire Games trilogy have never been so entangled than in Invisible Sun—the techno-thriller follow up to Dark State—as stakes escalate in a conflict that could spell extermination for humanity across all known timelines. An inter-timeline coup d'état gone awry. A renegade British monarch on the run through the streets of Berlin. And robotic alien invaders from a distant timeline flood through a wormhole, wreaking havoc in the USA. Can disgraced worldwalker Rita and her intertemporal extraordaire agent of a mother neutralize the livewire contention before it's too late? At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Finalist, 2021 John Hope Franklin Prize, given by the American Studies Association Seeking ways to understand video games beyond their imperial logics, Patterson turns to erotics to re-invigorate the potential passions and pleasures of play Video games vastly outpace all other mediums of entertainment in revenue and in global reach. On the surface, games do not appear ideological, nor are they categorized as national products. Instead, they seem to reflect the open and uncontaminated reputation of information technology. Video games are undeniably imperial products. Their very existence has been conditioned upon the spread of militarized technology, the exploitation of already-existing labor and racial hierarchies in their manufacture, and the utopian promises of digital technology. Like literature and film before it, video games have become the main artistic expression of empire today: the open world empire, formed through the routes of information technology and the violences of drone combat, unending war, and overseas massacres that occur with little scandal or protest. Though often presented as purely technological feats, video games are also artistic projects, and as such, they allow us an understanding of how war and imperial violence proceed under signs of openness, transparency, and digital utopia. But the video game, as Christopher B. Patterson argues, is also an inherently Asian commodity: its hardware is assembled in Asia; its most talented e-sports players are of Asian origin; Nintendo, Sony, and Sega have defined and dominated the genre. Games draw on established discourses of Asia to provide an “Asiatic” space, a playful sphere of racial otherness that straddles notions of the queer, the exotic, the bizarre, and the erotic. Thinking through games like Overwatch, Call of Duty 4: Modern Warfare, Shenmue II, and Alien: Isolation, Patterson reads against empire by playing games erotically, as players do—seeing games as Asiatic playthings that afford new passions, pleasures, desires, and attachments.

In the first decade of the twenty-first century, video games are an integral part of global media culture, rivaling Hollywood in revenue and influence. No longer confined to a subculture of adolescent males, video games today are played by adults around the world. At the same time, video games have become major sites of corporate exploitation and military recruitment. In Games of Empire, Nick Dyer-Witheford and Greig de Peuter offer a radical political critique of such video games and virtual environments as Second Life, World of Warcraft, and Grand Theft Auto, analyzing them as the exemplary media of Empire, the twenty-first-century hypercapitalist complex theorized by Michael Hardt and Antonio Negri. The authors trace the ascent of virtual gaming, assess its impact on creators and players alike, and delineate the relationships between games and reality, body and avatar, screen and street. Games of Empire forcefully connects video games to real-world concerns about globalization, militarism, and exploitation, from the horrors of African mines and Indian e-waste sites that underlie the entire industry, the role of labor in commercial game development, and the synergy between military simulation software and the battlefields of Iraq and Afghanistan exemplified by Full Spectrum Warrior to the substantial virtual economies surrounding World of Warcraft, the urban neoliberalism made playable in Grand Theft Auto, and the emergence of an alternative game culture through activist games and open-source game development. Rejecting both moral panic and glib enthusiasm, Games of Empire demonstrates how virtual games crystallize the cultural, political, and economic forces of global capital, while also providing a means of resisting them.

Dark State is the second book in a thrilling series - set in the same world as Charles Stross' Merchant Princes series. This book follows Empire Games. The time for peace is ending . . . In the near future, one America is experiencing its first technological revolution – whilst in a parallel world, the United States is a hi-tech police state. But both timelines are poised for conflict. Miriam Burgeson’s America is heading for civil war. However, a high profile defection might avert this crisis, if only Miriam and her agents can arrange it in time. And Rita Douglas, rival US spy, arrives during this turmoil. Rita’s world is rocked when she realizes Miriam is her birth mother, changing her own mission irrevocably. Then her United States discovers yet another parallel earth, and the remains of an advanced society. Something destroyed that civilization, Rita’s people are about to rouse it – and two worlds will face the consequences.

Over a century before Monopoly invited child players to bankrupt one another with merry ruthlessness, a lively and profitable board game industry thrived in Britain from the 1750s onward, thanks to publishers like John Wallis, John Betts, and William Spooner. As part of the new wave of materials catering to the developing mass market of child consumers, the games steadily acquainted future upper- and middle-class empire builders (even the royal family themselves) with the strategies of imperial rule: cultivating, trading, engaging in conflict, displaying, and competing. In their parlors, these players learned the techniques of successful colonial management by playing games such as Spooner’s A Voyage of Discovery, or Betts’ A Tour of the British Colonies and Foreign Possessions. These games shaped ideologies about nation, race, and imperial duty, challenging the portrait of Britons as "absent-minded imperialists." Considered on a continuum with children’s geography primers and adventure tales, these games offer a new way to historicize the Victorians, Britain, and Empire itself. The archival research conducted here illustrates the changing disciplinary landscape of children’s literature/culture studies, as well as nineteenth-century imperial studies, by situating the games at the intersection of material and literary culture.