When players play, there is a transactional process at work, whether for children on a teeter-totter or pandas playing with peers. In this edited volume, nine experts on play show how play transactions are an important dynamic of play across cultures, age groups, even species. A rich array of play contexts is evident across the nine chapters, encompassing varied continents, age groups, and sorts of players. The play processes of giant pandas, of home-visiting therapists, of Polynesian women, and of autistic kids are included here. The healthy interchange of ideas about play, one of the hallmarks of the Association for the Study of Play, is a process that is cultivated in this new volume.

A study of Everquest that provides a snapshot of multiplayer gaming culture, questions the truism that computer games are isolating and alienating, and offers insights into broader issues of work and play, gender identity, technology, and commercial culture. In Play Between Worlds, T. L. Taylor examines multiplayer gaming life as it is lived on the borders, in the gaps—as players slip in and out of complex social networks that cross online and offline space. Taylor questions the common assumption that playing computer games is an isolating and alienating activity indulged in by solitary teenage boys. Massively multiplayer online games (MMOGs), in which thousands of players participate in a virtual game world in real time, are in fact actively designed for sociability. Games like the popular Everquest, she argues, are fundamentally social spaces. Taylor's detailed look at Everquest offers a snapshot of multiplayer culture. Drawing on her own experience as an Everquest player (as a female Gnome Necromancer)—including her attendance at an Everquest Fan Faire, with its blurring of online—and offline life—and extensive research, Taylor not only shows us something about games but raises broader cultural issues. She considers "power gamers," who play in ways that seem closer to work, and examines our underlying notions of what constitutes play—and why play sometimes feels like work and may even be painful, repetitive, and boring. She looks at the women who play Everquest and finds they don't fit the narrow stereotype of women gamers, which may cast into doubt our standardized and preconceived ideas of femininity. And she explores the questions of who owns game space—what happens when emergent player culture confronts the major corporation behind the game.

Who of us cannot remember the pain and humiliation of being rejected by our classmates? However thick-skinned or immune to such assaults we may become as adults, the memory of those early exclusions is as palpable to each of us today as it is common to human experience. We remember the uncertainty of separating from our home and entering school as strangers and, more than the relief of making friends, we recall the cruel moments of our own isolation as well as those children we knew were destined to remain strangers. In this book Vivian Paley employs a unique strategy to probe the moral dimensions of the classroom. She departs from her previous work by extending her analysis to children through the fifth grade, all the while weaving remarkable fairy tale into her narrative description. Paley introduces a new rule—“You can’t say you can’t play”—to her kindergarten classroom and solicits the opinions of older children regarding the fairness of such a rule. We hear from those who are rejected as well as those who do the rejecting. One child, objecting to the rule, says, “It will be fairer, but how are we going to have any fun?” Another child defends the principle of classroom bosses as a more benign way of excluding the unwanted. In a brilliant twist, Paley mixes fantasy and reality, and introduces a new voice into the debate: Magpie, a magical bird, who brings lonely people to a place where a full share of the sun is rightfully theirs. Myth and morality begin to proclaim the same message and the schoolhouse will be the crucible in which the new order is tried. A struggle ensues and even the Magpie stories cannot avoid the scrutiny of this merciless pack of social philosophers who will not be easily caught in a morality tale. You Can’t Say You Can’t Play speaks to some of our most deeply held beliefs. Is exclusivity part of human nature? Can we legislate fairness and still nurture creativity and individuality? Can children be freed from the habit of rejection? These are some of the questions. The answers are to be found in the words of Paley’s schoolchildren and in the wisdom of their teacher who respectfully listens to them.

We think we’re relating to other people–but actually we’re all playing games. Forty years ago, Games People Play revolutionized our understanding of what really goes on during our most basic social interactions. More than five million copies later, Dr. Eric Berne’s classic is as astonishing–and revealing–as it was on the day it was first published. This anniversary edition features a new introduction by Dr. James R. Allen, president of the International Transactional Analysis Association, and Kurt Vonnegut’s brilliant Life magazine review from 1965. We play games all the time–sexual games, marital games, power games with our bosses, and competitive games with our friends. Detailing status contests like “Martini” (I know a better way), to lethal couples combat like “If It Weren’t For You” and “Uproar,” to flirtation favorites like “The Stocking Game” and “Let’s You and Him Fight,” Dr. Berne exposes the secret ploys and unconscious maneuvers that rule our intimate lives. Explosive when it first appeared, Games People Play is now widely recognized as the most original and influential popular psychology book of our time. It’s as powerful and eye-opening as ever.

An impassioned look at games and game design that offers the most ambitious framework for understanding them to date. As pop culture, games are as important as film or television—but game design has yet to develop a theoretical framework or critical vocabulary. In Rules of Play Katie Salen and Eric Zimmerman present a much-needed primer for this emerging field. They offer a unified model for looking at all kinds of games, from board games and sports to computer and video games. As active participants in game culture, the authors have written Rules of Play as a catalyst for innovation, filled with new concepts, strategies, and methodologies for creating and understanding games. Building an aesthetics of interactive systems, Salen and Zimmerman define core concepts like "play," "design," and "interactivity." They look at games through a series of eighteen "game design schemas," or conceptual frameworks, including games as systems of emergence and information, as contexts for social play, as a storytelling medium, and as sites of cultural resistance. Written for game scholars, game developers, and interactive designers, Rules of Play is a textbook, reference book, and theoretical guide. It is the first comprehensive attempt to establish a solid theoretical framework for the emerging discipline of game design.

In an era of increasingly patient-centered healthcare, understanding how health and illness play out in social context is vital. This volume opens a unique window on the role of play in health and wellbeing in widely varied contexts, from the work of Patch Adams as a hospital clown, to an Australian facility for dementia treatment, to a New Zealand preschool after an earthquake, to a housing complex where Irish children play near home. Across these and other featured studies, play is shown to be shaman-like in its transformative dynamics, marshaling symbolic resources to re-align how patients construe and experience illness. Even when illness is not an issue, play promotes wellbeing by its power to reimagine, invigorate, enliven and renew through sensory engagement, physical activity, and symbolism. Play levels social barriers and increases flexible response, facilitating both shared social support and creative reassessment. This book challenges assumptions that play is inefficient and unproductive, with highly relevant evidence that playful processes actually work hard to dislodge unproductive approaches and thereby aid resilience. Solid research evidence in this book charts the course and opens the agenda for taking play seriously, for the sake of health. This book was originally published as a special issue of the International Journal of Play.

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FEATURING: IAN BOGOST - LEIGH ALEXANDER - ZOE QUINN - ANITA SARKEESIAN & KATHERINE CROSS - IAN SHANAHAN - ANNA ANTHROPY - EVAN NARCISSE - HUSSEIN IBRAHIM - CARA ELLISON & BRENDAN KEOGH - DAN GOLDING - DAVID JOHNSTON - WILLIAM KNOBLAUCH - MERRITT KOPAS - OLA WIKANDER The State of Play is a call to consider the high stakes of video game culture and how our digital and real lives collide. Here, video games are not hobbies or pure recreation; they are vehicles for art, sex, and race and class politics. The sixteen contributors are entrenched—they are the video game creators themselves, media critics, and Internet celebrities. They share one thing: they are all players at heart, handpicked to form a superstar roster by Daniel Goldberg and Linus Larsson, the authors of the bestselling Minecraft: The Unlikely Tale of Markus "Notch" Persson and the Game that Changed Everything. The State of Play is essential reading for anyone interested in what may well be the defining form of cultural expression of our time. "If you want to explain to anyone why videogames are worth caring about, this is a single volume primer on where we are, how we got here and where we're going next. In every way, this is the state of play." —Kieron Gillen, author of The Wicked + the Divine, co-founder of Rock Paper Shotgun