The Game of Justice argues that justice is politics, that politics is something close to ordinary people and not located in an abstract and distant institution known as the State, and that the concept of the game provides a new way to appreciate the possibilities of creating justice. Justice, as a game, is played in a challenging environment that makes serious demands on the participants, in terms of self-knowledge and individual self-government, and also in terms of understanding social behavior. What the term game provides is a radical opening of all established institutions: the status quo is neither absolute nor inevitable, but is the result of past political controversy, a result created by the winners to express their victory. At the same time, the game of justice, like all games, is played over and over again, with winners and losers changing places over time. This serves as encouragement to past losers and provides a cautionary reminder to past winners.

Since our sixteenth birthday, my twin brother and I have taken one hit after another, beginning with our mother's sudden disappearance and ending when she tried to destroy us with her magic. Now, we're embroiled in a mess of murderous proportions, chasing after a group of rogue witches drunk on their own power, and Mom is at the center of the chaos. We've got one chance to stop her and her cronies from unleashing their darkest, deadliest spell, one meant to bend every human and supernatural to their will. But first, we have to find her...and the clock is ticking faster with every step we take. Don't miss the stunning conclusion to the Urban Fantasy Mystery series readers call "brilliant" and "exceedingly well-written."

From #Gamergate to the 2016 election, to the daily experiences of marginalized perspectives, gaming is entangled with mainstream cultures of systematic exploitation and oppression. Whether visible in the persistent color line that shapes the production, dissemination, and legitimization of dominant stereotypes within the industry itself, or in the dehumanizing representations often found within game spaces, many video games perpetuate injustice and mirror the inequities and violence that permeate society as a whole. Drawing from groundbreaking research on counter and oppositional gaming and from popular games such as World of Warcraft and Tomb Raider, Woke Gaming examines resistance to problematic spaces of violence, discrimination, and microaggressions in gaming culture. The contributors of these essays seek to identify strategies to detox gaming culture and orient players and gamers toward progressive ends. From Anna Anthropy’s Keep Me Occupied to Momo Pixel’s Hair Nah, video games can reveal the power and potential for marginalized communities to resist, and otherwise challenge dehumanizing representations inside and outside of game spaces. In a moment of #MeToo, #BlackLivesMatter, and efforts to transform current political realities, Woke Gaming illustrates the power and potential of video games to foster change and become a catalyst for social justice.

Restorative Justice was a term and concept largely unused before the mid-1970s. Wayne Northey happened to be in on the ground floor of facilitating its worldwide adoption as a challenge to Western retributive justice systems, ultimately to violent responses to conflict domestically and internationally. The most replicated early model of Restorative Justice, based on the well-known “Elmira Case,” was a Canadian first, initially dubbed Victim Offender Reconciliation Project (VORP). The author became its second director in 1977. The term “mediation” later displaced the more religious word, “reconciliation,” as the model spread outside Christian moorings; and “program” displaced the initially more tentative “project.” At seminary, Northey had learned to think through one’s vocation theologically. He began in that vein, writing and publishing on this profound call for a systemic “paradigm shift,” and has been at it ever since. This publication is volume 1 of a series of his collected writings, of which two additional volumes may be found online. Two or three further volumes are projected.

This volume offers a new theoretical approach to the analysis of the law/revenge binary, and attempts to dismantle the common idea of revenge as lacking any legal, moral or rational dimension. In contrast, the book puts forward a model of a complex system of justice—which it terms 'vindicatory'—wherein vendetta constitutes an authorized action, the core of which does not (just) lie in vengeance but also in settlement procedures for peace—or 'composition.' The first part of the book ("Vindicatory Justice: Conceptual Analyses and Forerunners") seeks to identify the nature of vindicatory justice and to shed light on the structure of so-called vindicatory systems. In turn, the second part ("Mapping Vindicatory Justice") illustrates, using examples gathered from a range of sociolegal contexts, the dynamic relationship between composition and authorized revenge in vindicatory systems. Taken as a whole, the volume shows that applying a longue durée historical perspective to the study of revenge systems allows us to clearly recognize composition and authorized revenge as features of the same legal system, even though one of them may seem predominant (or more eye-catching) than the other in certain cultural settings.

What is a game? -- The game industry -- Roles on the team -- Teams -- Effective communication -- Game production overview -- Game concept -- Characters, setting, and story -- Game requirements -- Game plan -- Production cycle -- Voiceover and music -- Localization -- Testing and code releasing -- Marketing and public relations.

Updated to reflect the rapidly evolving game development landscape, industry veteran Heather Chandler continues to educate game enthusiasts on the procedures and processes of game production. This Third Edition presents information that a producer, lead, or studio manager must know to successfully develop a game from concept to gold master.

Tens of millions of people today are living part of their life in a virtual world. In places like World of Warcraft, Second Life, and Free Realms, people are making friends, building communities, creating art, and making real money. Business is booming on the virtual frontier, as billions of dollars are paid in exchange for pixels on screens. But sometimes things go wrong. Virtual criminals defraud online communities in pursuit of real-world profits. People feel cheated when their avatars lose virtual property to wrongdoers. Increasingly, they turn to legal systems for solutions. But when your avatar has been robbed, what law is there to assist you?In Virtual Justice, Greg Lastowka illustrates the real legal dilemmas posed by virtual worlds. Presenting the most recent lawsuits and controversies, he explains how governments are responding to the chaos on the cyberspace frontier. After an engaging overview of the history and business models of today's virtual worlds, he explores how laws of property, jurisdiction, crime, and copyright are being adapted to pave the path of virtual law.Virtual worlds are becoming more important to society with each passing year. This pioneering study will be an invaluable guide to scholars of online communities for years to come.