Metagames

Metagames: Games about Games scrutinizes how various meta devices, such as breaking the fourth wall and unreliable narrator, change and adapt when translated into the uniquely interactive medium of digital games. Through its theoretical analyses and case studies, the book shows how metafictional experimentation can be used to both challenge and push the boundaries of what a game is and what a player’s role is in play, and to raise more profound topics such as those describing experiences of people of oppressed identities. The book is divided into six chapters that deal with the following meta devices: breaking the fourth wall, hypermediation, unreliable narrator, abusive game design, fragmentation, and parody. The book will predominantly interest scholars and students of media studies and game studies as it continues discourses held in the discipline regarding the metareferential character of digital games.

The greatest trick the videogame industry ever pulled was convincing the world that videogames were games rather than a medium for making metagames. Elegantly defined as “games about games,” metagames implicate a diverse range of practices that stray outside the boundaries and bend the rules: from technical glitches and forbidden strategies to Renaissance painting, algorithmic trading, professional sports, and the War on Terror. In Metagaming, Stephanie Boluk and Patrick LeMieux demonstrate how games always extend beyond the screen, and how modders, mappers, streamers, spectators, analysts, and artists are changing the way we play. Metagaming uncovers these alternative histories of play by exploring the strange experiences and unexpected effects that emerge in, on, around, and through videogames. Players puzzle through the problems of perspectival rendering in Portal, perform clandestine acts of electronic espionage in EVE Online, compete and commentate in Korean StarCraft, and speedrun The Legend of Zelda in record times (with or without the use of vision). Companies like Valve attempt to capture the metagame through international e-sports and online marketplaces while the corporate history of Super Mario Bros. is undermined by the endless levels of Infinite Mario, the frustrating pranks of Asshole Mario, and even Super Mario Clouds, a ROM hack exhibited at the Whitney Museum of American Art. One of the only books to include original software alongside each chapter, Metagaming transforms videogames from packaged products into instruments, equipment, tools, and toys for intervening in the sensory and political economies of everyday life. And although videogames conflate the creativity, criticality, and craft of play with the act of consumption, we don’t simply play videogames—we make metagames.

This book presents the huge variety of current contributions of game theory to economics. The reader is taken through a concise history of game theory and exposed to original pieces of work that are significant to game theory as a whole.

In today’s confrontational and connected world, communication is the key strategic act. This book uses drama theory—a radical extension of game theory—to show how best to communicate so as to manage the emotionally charged confrontations occurring in any worthwhile relationship. Alongside a toolset that provides a systematic framework for analysing conflicts, drama theory explains why people need to listen to, and rely on, their feelings to help shake themselves out of fixed, unproductive positions and to find new ways of solving tough problems. This guide provides a sufficient grounding in the approach to enable you to apply it immediately for your own benefit and for the benefit of those with whom you work. A host of inspirational examples are included based upon actual situations in social and personal relations, business and organisational relations, defence and political management. These will give you an entirely fresh way of seeing how power is exercised in everyday interpersonal exchanges and a greater critical awareness of such factors as subtext and plotholes in public narratives. Using this approach you will be able to overcome the dilemmas of credibility and disbelief to build compelling messages that underpin your strategic intent. Moving beyond the vague platitudes of concepts like emotional intelligence, drama theory will also help you to avoid the pathologies that bedevil the process of managing conflicts and find ways of achieving authentic resolutions.

Game theory could be formally defined as a theory of rational decision in conflict situations. Models of such situations, as they are conceived in game theory, involve (1) a set of decision makers, called players; (2) a set of strategies available to each player; (3) a set of outcomes, each of which is a result of particular choices of strategies made by the players on a given play of the game; and (4) a set of payoffs accorded to each player in each of the possible outcomes. It is assumed that each player is 'individually rational', in the sense that his preference ordering of the outcomes is determined by the order of magnitudes of his (and only his) associated payoffs. Further, a player is rational in the sense that he assumes that every other player is rational in the above sense. The rational player utilizes knowledge of the other players' payoffs in guiding his choice of strategy, because it gives him information about how the other players' choices are guided. Since, in general, the orders of magnitude of the payoffs that accrue to the several players in the several outcomes do not coincide, a game of strategy is a model of a situation involving conflicts of interests.

This text opens with the theory of 2-person zero-sum games, 2-person non-zero sum games, and n-person games, at a level between non-mathematical introductory books and technical mathematical game theory books. Includes introductory explanations of gaming and meta games. Includes numerous exercises anbd problems with solutions and over 30 illustrations. 1986 edition.

Essays discuss the terminology, etymology, and history of key terms, offering a foundation for critical historical studies of games. Even as the field of game studies has flourished, critical historical studies of games have lagged behind other areas of research. Histories have generally been fact-by-fact chronicles; fundamental terms of game design and development, technology, and play have rarely been examined in the context of their historical, etymological, and conceptual underpinnings. This volume attempts to “debug” the flawed historiography of video games. It offers original essays on key concepts in game studies, arranged as in a lexicon—from “Amusement Arcade” to “Embodiment” and “Game Art” to “Simulation” and “World Building.” Written by scholars and practitioners from a variety of disciplines, including game development, curatorship, media archaeology, cultural studies, and technology studies, the essays offer a series of distinctive critical “takes” on historical topics. The majority of essays look at game history from the outside in; some take deep dives into the histories of play and simulation to provide context for the development of electronic and digital games; others take on such technological components of games as code and audio. Not all essays are history or historical etymology—there is an analysis of game design, and a discussion of intellectual property—but they nonetheless raise questions for historians to consider. Taken together, the essays offer a foundation for the emerging study of game history. Contributors Marcelo Aranda, Brooke Belisle, Caetlin Benson-Allott, Stephanie Boluk, Jennifer deWinter, J. P. Dyson, Kate Edwards, Mary Flanagan, Jacob Gaboury, William Gibbons, Raiford Guins, Erkki Huhtamo, Don Ihde, Jon Ippolito, Katherine Isbister, Mikael Jakobsson, Steven E. Jones, Jesper Juul, Eric Kaltman, Matthew G. Kirschenbaum, Carly A. Kocurek, Peter Krapp, Patrick LeMieux, Henry Lowood, Esther MacCallum-Stewart, Ken S. McAllister, Nick Monfort, David Myers, James Newman, Jenna Ng, Michael Nitsche, Laine Nooney, Hector Postigo, Jas Purewal, Reneé H. Reynolds, Judd Ethan Ruggill, Marie-Laure Ryan, Katie Salen Tekinbaş, Anastasia Salter, Mark Sample, Bobby Schweizer, John Sharp, Miguel Sicart, Rebecca Elisabeth Skinner, Melanie Swalwell, David Thomas, Samuel Tobin, Emma Witkowski, Mark J.P. Wolf