Games Of Discontent

The year 1968 was ablaze with passion and mayhem as protests erupted in Paris and Prague, throughout the United States, and in cities on all continents. The Summer Olympic Games in Mexico were to be a moment of respite from chaos. But the image of peace – a white dove – adopted by organizers was an illusion, as was obvious to a record six hundred million people watching worldwide on satellite television. Ten days before the opening ceremony, soldiers slaughtered hundreds of student protesters in the capital. In Games of Discontent Harry Blutstein presents vivid accounts of threatened boycotts to protest racism in the United States, South Africa, and Rhodesia. He describes demonstrations by Czechoslovak gold medal gymnast Věra Čáslavská against the Soviet-led invasion of her country. The most dramatic moment of the Olympic Games was Tommie Smith and John Carlos's black power salute from the podium. Blutstein furnishes new details behind their protest and examines how this iconic image seared itself into historical memory, inspiring Colin Kaepernick and a new generation of athlete-activists to take a knee against racism decades later. The 1968 Summer Games became a microcosm of the discord happening around the globe. Describing a range of protest activities preceding and surrounding the 1968 Olympics, Games of Discontent shines light on the world during a politically transformative moment when discontents were able, for the first time, to globalize their protests.

Much of late-nineteenth-century American politics was parade and pageant. Voters crowded the polls, and their votes made a real difference on policy. In Party Games, Mark Wahlgren Summers tells the full story and admires much of the political carni

This book explores ethos and games while analyzing the ethical dimensions of playing, researching, and teaching games. Contributors, primarily from rhetoric and writing studies, connect instances of ethos and ethical practice with writing pedagogy, game studies, video games, gaming communities, gameworlds, and the gaming industry. The collection’s eighteen chapters investigate game-based writing classrooms, gamification, game design, player agency, and writing and gaming scholarship in order to illuminate how ethos is reputed, interpreted, and remembered in virtual gamespaces and in the gaming industry. Ethos is constructed, invented, and created in and for games, but inevitably spills out into other domains, affecting agency, ideology, and the cultures that surround game developers, players, and scholars.

This book introduces new concepts for cooperative game theory, and particularly solutions that determine the distribution of a coalitional surplus among the members of the coalition. It also addresses several generalizations of cooperative game theory. Drawing on methods of welfare economics, new value solutions are derived for Non-Transferable Utility games with and without differences of bargaining power among the members of the coalition. Cooperation in intertemporal games is examined, and conditions that permit the reduction of these games to games in coalition function form are outlined. Biform games and games that combine non-cooperative search and matching of coalition members with cooperative solutions (i.e., efficient contracts) within the coalition are considered.

Understanding that video games are a fundamentally human creation, in this volume international scholars, designers, developers, and most importantly gamers, share with us their common connection though video game culture.

How we talk about games as real or not-real, and how that shapes what games are made and who is invited to play them. In videogame criticism, the worst insult might be “That's not a real game!” For example, “That's not a real game, it's on Facebook!” and “That's not a real game, it's a walking simulator!” But how do people judge what is a real game and what is not—what features establish a game's gameness? In this engaging book, Mia Consalvo and Christopher Paul examine the debates about the realness or not-realness of videogames and find that these discussions shape what games get made and who is invited to play them. Consalvo and Paul look at three main areas often viewed as determining a game's legitimacy: the game's pedigree (its developer), the content of the game itself, and the game's payment structure. They find, among other things, that even developers with a track record are viewed with suspicion if their games are on suspect platforms. They investigate game elements that are potentially troublesome for a game's gameness, including genres, visual aesthetics, platform, and perceived difficulty. And they explore payment models, particularly free-to-play—held by some to be a marker of illegitimacy. Finally, they examine the debate around such so-called walking simulators as Dear Esther and Gone Home. And finally, they consider what purpose is served by labeling certain games “real."

The Oxford Handbook of Children's Musical Cultures is a compendium of perspectives on children and their musical engagements as singers, dancers, players, and avid listeners. Over the course of 35 chapters, contributors from around the world provide an interdisciplinary enquiry into the musical lives of children in a variety of cultures, and their role as both preservers and innovators of music. Drawing on a wide array of fields from ethnomusicology and folklore to education and developmental psychology, the chapters presented in this handbook provide windows into the musical enculturation, education, and training of children, and the ways in which they learn, express, invent, and preserve music. Offering an understanding of the nature, structures, and styles of music preferred and used by children from toddlerhood through childhood and into adolescence, The Oxford Handbook of Children's Musical Cultures is an important step forward in the study of children and music.

The World is Born From Zero is an investigation into the relationship between video games and science fiction through the philosophy of speculation. Cameron Kunzelman argues that the video game medium is centered on the evaluation and production of possible futures by following video game studies, media philosophy, and science fiction studies to their furthest reaches. Claiming that the best way to understand games is through rigorous formal analysis of their aesthetic strategies and the cultural context those strategies emerge from, Kunzelman investigates a diverse array of games like The Last of Us, VA-11 Hall-A, and Civilization VI in order to explore what science fiction video games can tell us about their genres, their ways of speculating, and how the medium of the video game does (or does not) direct us down experiential pathways that are both oppressive and liberatory. Taking a multidisciplinary look at these games, The World is Born From Zero offers a unique theorization of science fiction games that provides both science fiction studies and video game studies with new tools for thinking how this medium and mode inform each other.