PC Gaming: Computer Gaming World's Instant Expert Guide covers everything new game players need to know, such as game genres, terminology, ratings, and new technology, as well as hardware needs, accessories, and how to troubleshoot the most common problems. The free CD includes hot game demos, such as Quake, Star Trek Generations and Command & Conquer Red Alert, which are attractive to avid players, but will also serve as a "try-before-you-buy" sampler for new gamers.

An examination of subversive games like The Sims—games designed for political, aesthetic, and social critique. For many players, games are entertainment, diversion, relaxation, fantasy. But what if certain games were something more than this, providing not only outlets for entertainment but a means for creative expression, instruments for conceptual thinking, or tools for social change? In Critical Play, artist and game designer Mary Flanagan examines alternative games—games that challenge the accepted norms embedded within the gaming industry—and argues that games designed by artists and activists are reshaping everyday game culture. Flanagan provides a lively historical context for critical play through twentieth-century art movements, connecting subversive game design to subversive art: her examples of “playing house” include Dadaist puppet shows and The Sims. She looks at artists’ alternative computer-based games and explores games for change, considering the way activist concerns—including worldwide poverty and AIDS—can be incorporated into game design. Arguing that this kind of conscious practice—which now constitutes the avant-garde of the computer game medium—can inspire new working methods for designers, Flanagan offers a model for designing that will encourage the subversion of popular gaming tropes through new styles of game making, and proposes a theory of alternate game design that focuses on the reworking of contemporary popular game practices.

The biggest challenge facing many game programmers is completing their game. Most game projects fizzle out, overwhelmed by the complexity of their own code. Game Programming Patterns tackles that exact problem. Based on years of experience in shipped AAA titles, this book collects proven patterns to untangle and optimize your game, organized as independent recipes so you can pick just the patterns you need. You will learn how to write a robust game loop, how to organize your entities using components, and take advantage of the CPUs cache to improve your performance. You'll dive deep into how scripting engines encode behavior, how quadtrees and other spatial partitions optimize your engine, and how other classic design patterns can be used in games.

"Games are a unique art form. The game designer doesn't just create a world; they create who you will be in that world. They tell you what abilities to use and what goals to take on. In other words, they specify a form of agency. Games work in the medium of agency. And to play them, we take on alternate agencies and submerge ourselves in them. What can we learn about our own rationality and agency, from thinking about games? We learn that we have a considerable degree of fluidity with our agency. First, we have the capacity for a peculiar sort of motivational inversion. For some of us, winning is not the point. We take on an interest in winning temporarily, so that we can play the game. Thus, we are capable of taking on temporary and disposable ends. We can submerge ourselves in alternate agencies, letting them dominate our consciousness, and then dropping them the moment the game is over. Games are, then, a way of recording forms of agency, of encoding them in artifacts. Our games are a library of agencies. And exploring that library can help us develop our own agency and autonomy. But this technology can also be used for art. Games can sculpt our practical activity, for the sake of the beauty of our own actions. Games are part of a crucial, but overlooked category of art - the process arts. These are the arts which evoke an activity, and then ask you to appreciate your own activity. And games are a special place where we can foster beautiful experiences of our own activity. Because our struggles, in games, can be designed to fit our capacities. Games can present a harmonious world, where our abilities fit the task, and where we pursue obvious goals and act under clear values. Games are a kind of existential balm against the difficult and exhausting value clarity of the world. But this presents a special danger. Games can be a fantasy of value clarity. And when that fantasy leaks out into the world, we can be tempted to oversimplify our enduring values. Then, the pleasures of games can seduce us away from our autonomy, and reduce our agency."--

How can we make sure that our children are learning to be creative thinkers in a world of global competition - and what does that mean for the future of education in the digital age? David Williamson Shaffer offers a fresh and powerful perspective on computer games and learning. How Computer Games Help Children Learn shows how video and computer games can help teach children to build successful futures - but only if we think in new ways about education itself. Shaffer shows how computer and video games can help students learn to think like engineers, urban planners, journalists, lawyers, and other innovative professionals, giving them the tools they need to survive in a changing world. Based on more than a decade of research in technology, game science, and education, How Computer Games Help Children Learn revolutionizes the ongoing debate about the pros and cons of digital learning.

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.

The relationship between story and game, and related questions of electronic writing and play, examined through a series of discussions among new media creators and theorists.

The first book-length study devoted to FromSoftware games, On Soulsring Worlds explores how the Dark Souls series and Elden Ring are able to reconcile extreme difficulty in both gameplay and narrative with broad appeal. Arguing that the games are strategically positioned in relation to contemporary audiences and designed to tap into the new forms of interpretation afforded by digital media, the author situates the games vis-à-vis a number of current debates, including the posthuman and the ethics of gameplay. The book delivers an object lesson on the value of narrative (and) complexity in digital play and in the interpretive practices it gives rise to. Cross-fertilizing narrative theory, game studies, and nonhuman-oriented philosophy, this book will appeal to students and scholars of game studies, media studies, narratology, and video game ethnography.

'A definitive guide, in here you'll find everything you need' S. J. Watson With over 4,000 industry contacts and over eighty articles from a wide range of leading authors and publishing industry professionals, the latest edition of this bestselling Yearbook is packed with all of the practical information, inspiration and guidance you need at every stage of your writing and publishing journey. Designed for authors and illustrators across all genres and markets, it is relevant for those looking for a traditional, hybrid or self-publishing route to publication; writers of fiction and non-fiction, poets and playwrights, writers for TV, radio and videogames. If you want to find a literary or illustration agent or publisher, would like to self-publish or crowdfund your creative idea then this Yearbook will help you. As well as sections on publishers and agents, newspapers and magazines, illustration and photography, theatre and screen, there is a wealth of detail on the legal and financial aspects of being a writer or illustrator. Includes advice from writers such as Peter James, Cathy Rentzenbrink, S.J. Watson, Kerry Hudson, and Samantha Shannon. Additional articles, free advice, events information and editorial services at www.writersandartists.co.uk