This volume presents an original framework for the study of video games that use visual materials and narrative conventions from ancient Greece and Rome. It focuses on the culturally rich continuum of ancient Greek and Roman games, treating them not just as representations, but as functional interactive products that require the player to interpret, communicate with and alter them. Tracking the movement of such concepts across different media, the study builds an interconnected picture of antiquity in video games within a wider transmedial environment. Ancient Greece and Rome in Videogames presents a wide array of games from several different genres, ranging from the blood-spilling violence of god-killing and gladiatorial combat to meticulous strategizing over virtual Roman Empires and often bizarre adventures in pseudo-ancient places. Readers encounter instances in which players become intimately engaged with the "epic mode" of spectacle in God of War, moments of negotiation with colonised lands in Rome: Total War and Imperium Romanum, and multi-layered narratives rich with ancient traditions in games such as Eleusis and Salammbo. The case study approach draws on close analysis of outstanding examples of the genre to uncover how both representation and gameplay function in such "ancient games".

A 3D user interface (3DUI) is an interface in which the user performs tasks in three dimensions. For example, interactions using hand/body gestures, interaction using a motion controller (e.g. Sony PlayStation Move), interaction with virtual reality devices using tracked motion controllers, etc. All these technologies which let a user interact in three dimensions are called 3D user interface technologies. These 3D user interfaces have the potential to make games more immersive & engaging and thus potentially provide a better user experience to gamers. Although 3D user interface technologies are available for games, it is unclear how their usage affects game play and if there are any user performance benefits. This book presents state of the art research on exploring 3D user interface technologies for improving video games. It also presents a review of research work done in this area and describes experiments focused on usage of stereoscopic 3D, head tracking, and hand gesture-based control in gaming scenarios. These experiments are systematic studies in gaming environments and are aimed at understanding the effect of the underlined 3D interface technology on the gaming experience of a user. Based on these experiments, several design guidelines are presented which can aid game designers in designing better immersive games.

This volume focuses on the depiction of women in video games set in historical periods or archaeological contexts, explores the tension between historical and archaeological accuracy and authenticity, examines portrayals of women in historical periods or archaeological contexts, portrayals of female historians and archaeologists, and portrayals of women in fantastical historical and archaeological contexts. It includes both triple A and independent video games, incorporating genres such as turn-based strategy, action-adventure, survival horror, and a variety of different types of role-playing games. Its chronological and geographical scope ranges from late third century BCE China, to mid first century BCE Egypt, to Pictish and Viking Europe, to Medieval Germany, to twentieth century Taiwan, and into the contemporary world, but it also ventures beyond our universe and into the fantasy realm of Hyrule and the science fiction solar system of the Nebula.

The focus of this book is on three influential cognitive motives: achievement, affiliation, and power motivation. Incentive-based theories of achievement, affiliation and power motivation are the basis for competence-seeking behaviour, relationship-building, leadership, and resource-controlling behaviour in humans. In this book we show how these motives can be modelled and embedded in artificial agents to achieve behavioural diversity. Theoretical issues are addressed for representing and embedding computational models of motivation in rule-based agents, learning agents, crowds and evolution of motivated agents. Practical issues are addressed for defining games, mini-games or in-game scenarios for virtual worlds in which computer-controlled, motivated agents can participate alongside human players. The book is structured into four parts: game playing in virtual worlds by humans and agents; comparing human and artificial motives; game scenarios for motivated agents; and evolution and the future of motivated game-playing agents. It will provide game programmers, and those with an interest in artificial intelligence, with the knowledge required to develop diverse, believable game-playing agents for virtual worlds.

The computer gaming industry is bigger than the film and music industries and is growing faster than both of them put together. The industry is also changing fast. The typical computer gamer is in his mid 20s and female gamers make up one of the faster growing parts of the market. New developments in sociability and interactivity are also transforming the industry. This is the first major study of brands and gaming and shows huge opportunities for brand development

Video games are a relative late arrival on the cultural stage. While the academic discipline of game studies has evolved quickly since the nineties of the last century, the academia is only beginning to grasp the intellectual, philosophical, aesthetical, and existential potency of the new medium. The same applies to the question whether video games are (or are not) art in and on themselves. Based on the Communication-Oriented Analysis, the authors assess the plausibility of games-as-art and define the domains associted with this question.

Discover 40+ recipes like Mooshroom Burgers, Suspicious Stew, and The Cake! Featuring recipes that are ideal for every skill level (and player type), this cookbook is just what you need to bring a touch of Minecraft into your kitchen. So, what are you waiting for? It's time to gather, cook, and eat! Building can be hungry work. And sometimes, you just need to take a break and enjoy the fruits of your labor, whether that's a quick baked potato while you're hunkered down, waiting for a creeper to quit skulking at your door, or creating a celebratory feast for all your friends! Minecraft: The Official Cookbook gives you everything you need to build awesome meals, no matter your skill level.

Alternate Reality Games (ARGs) challenge what players understand as "real." Alternate Reality Games and the Cusp of Digital Gameplay is the first collection to explore and define the possibilities of ARGs. Though prominent examples have existed for more than two decades, only recently have ARGs come to the prominence as a unique and highly visible digital game genre. Adopting many of the same strategies as online video games, ARGs blur the distinction between real and fictional. With ARGs continuing to be an important and blurred space between digital and physical gameplay, this volume offers clear analysis of game design, implementation, and ramifications for game studies. Divided into three distinct sections, the contributions include first hand accounts by leading ARG creators, scholarly analysis of the meaning behind ARGs, and explorations of how ARGs are extending digital tools for analysis. By balancing the voices of designers, players, and researchers, this collection highlights how the Alternate Reality Game genre is transforming the ways we play and interact today.

Few industries fit the description of high turbulence and high velocity better than the computer games industry. Relatively young, rapidly evolving, and frequently experiencing disruptive innovation, its potential for growth and new business opportunities seems barely exhausted. And indeed, in the current economic climate this industry seems positively recession-proof. Those making and those playing games use digital technology to share an enthusiasm for the industry's products that we rarely find elsewhere. This fascination with computer games and gaming and the economic significance of the industry make it one of the most remarkable socio-cultural phenomena of our world. As the industry emerges, we become more aware of the need to trace it and to understand it in all its meanings, and the challenges it poses. The 10 chapters in this book provide an examination of the computer games industry from 10 different perspectives, discussing the following aspects: -The spatial logic of the industry-Business model innovation-Games development - a risky business-Co-production and the role of the consumer-Business sustainability-The place of creativity-Emerging people management challenges-Violent games and work well-being-A critical perspective on games as phantasmagoric commodities-Virtual worlds - blurring boundaries between realities and games

It was a pleasure to provide an introduction to a new volume on user experience evaluation in games. The scope, depth, and diversity of the work here is amazing. It attests to the growing popularity of games and the increasing importance developing a range of theories, methods, and scales to evaluate them. This evolution is driven by the cost and complexity of games being developed today. It is also driven by the need to broaden the appeal of games. Many of the approaches described here are enabled by new tools and techniques. This book (along with a few others) represents a watershed in game evaluation and understanding. The eld of game evaluation has truly "come of age." The broader eld of HCI can begin to look toward game evaluation for fresh, critical, and sophisticated thi- ing about design evaluation and product development. They can also look to games for groundbreaking case studies of evaluation of products. I'll brie y summarize each chapter below and provide some commentary. In conclusion, I will mention a few common themes and offer some challenges. Discussion In Chapter 1, User Experience Evaluation in Entertainment, Bernhaupt gives an overview and presents a general framework on methods currently used for user experience evaluation. The methods presented in the following chapters are s- marized and thus allow the reader to quickly assess the right set of methods that will help to evaluate the game under development.

This book provides a comprehensive and practically minded introduction into serious games for law enforcement agencies. Serious games offer wide ranging benefits for law enforcement with applications from professional trainings to command-level decision making to the preparation for crises events. This book explains the conceptual foundations of virtual and augmented reality, gamification and simulation. It further offers practical guidance on the process of serious games development from user requirements elicitation to evaluation. The chapters are intended to provide principles, as well as hands-on knowledge to plan, design, test and apply serious games successfully in a law enforcement environment. A diverse set of case studies showcases the enormous variety that is possible in serious game designs and application areas and offers insights into concrete design decisions, design processes, benefits and challenges. The book is meant for law enforcement professionals interested in commissioning their own serious games as well as game designers interested in collaborative pedagogy and serious games for the law enforcement and security sector.

Many designers, policy makers, teachers, and other practitioners are beginning to understand the usefulness of using digital games beyond entertainment. Games have been developed for teaching, recruiting and to collect data to improve search engines. This book examines the fundamentals of designing any game with a serious purpose and provides a way of thinking on how to design one successfully.

The reader will be introduced to a design philosophy called Triadic Game Design.; a theory that all games involve three worlds: the worlds of Reality, Meaning, and Play. Each world is affiliated with aspects. A balance needs to be found within and between the three worlds. Such a balance is difficult to achieve, during the design many tensions will arise, forcing designers to make trade-offs. To deal with these tensions and to ensure that the right decisions are made to create a harmonic game, a frame of reference is needed. This is what "Triadic Game Design" offers.

Basics of Game Design is for anyone wanting to become a professional game designer. Focusing on creating the game mechanics for data-driven games, it covers role-playing, real-time strategy, first-person shooter, simulation, and other games. Written by a 25-year veteran of the game industry, the guide offers detailed explanations of how to design the data sets used to resolve game play for moving, combat, solving puzzles, interacting with NPCs, managing inventory, and much more. Advice on developing stories for games, building maps and levels, and designing the graphical user interface is also included.

Game Sound Technology and Player Interaction: Concepts and Developments researches both how game sound affects a player psychologically, emotionally, and physiologically, and how this relationship itself impacts the design of computer game sound and the development of technology. This compilation also applies beyond the realm of video games to other types of immersive sound, such as soundscape design, gambling machines, emotive and fantastical sound to name a few. The application for this research is wide-ranging, interdisciplinary, and of primary importance for academics and practitioners searching for the right sounds.

As audiences are increasingly no longer solely listeners but also active producer-consumers, and as video games and other interactive systems increasingly permeate our daily lives, understanding interactivity and its impact on the audience has never been more important. A collection of newly commissioned chapters on interactivity in music and sound edited by preeminent scholars in the field, this book marks the beginning of a journey into understanding the ways in which we interact with sound, and offers a new set of analytical tools for the growing field of interactive audio. What does it mean to interact with sound? How does interactivity alter our experience as creators and listeners? What makes interactive audio different from non-interactive audio? Where does interacting with audio fit into our understanding of sound and music? What does the future hold for interactive media when it comes to our musical and sonic experiences? And how do we begin to approach interactive audio from a theoretical perspective? The Oxford Handbook of Interactive Audio answers these questions by exploring the full range of interactive audio in video games, performance, education, environmental design, toys, and artistic practice. Examining these questions from a range of approaches - technological, emotional, psychological, and physical - the book provides a thorough overview of the fascinating experience of interactive sound.