We all played tag when we were kids. What most of us don't realize is that this simple chase game is in fact an application of pursuit theory, and that the same principles of games like tag, dodgeball, and hide-and-seek are also at play in military strategy, high-seas chases by the Coast Guard, and even romantic pursuits. In "Chases and Escapes," Paul Nahin gives us the first complete history of this fascinating area of mathematics, from its classical analytical beginnings to the present day.

Drawing on game theory, geometry, linear algebra, target-tracking algorithms, and much more, Nahin also offers an array of challenging puzzles with their historical background and broader applications. "Chases and Escapes" includes solutions to all problems and provides computer programs that readers can use for their own cutting-edge analysis.

Now with a gripping new preface on how the Enola Gay escaped the shock wave from the atomic bomb dropped on Hiroshima, this book will appeal to anyone interested in the mathematics that underlie pursuit and evasion.

Why do some games seem to be universal while others have a particular connection to the culture of the people playing them? Around the World in 80 Games is about the mathematics of chance, game theory, gamification, gaming strategies and computer games. Traversing the globe, Marcus du Sautoy looks at the genesis of games new and old, explores how to invent a good game and explains the fascination of a popular lockdown game. The most simple games endure: board games, card games and dice games have captivated us for centuries and the acclaimed mathematician and author of The Creativity Code (among many others) will once again bring mathematics to the fore with insight and aplomb in Around the World in 80 Games.

Casino games and traditional card games have rich and idiosyncratic histories, complex subcultures and player practices, and facilitate the flow of billions of dollars each year through casinos and card rooms, and between professional players and amateurs. They have nevertheless been overlooked by game scholars due to the negative ethical weight of “gambling” – with such games pathologized and labelled as deviance or mental illness, few look beyond to unpick the games, their players, and their communities. The Casino, Card and Betting Game Reader offers 25 chapters studying the communities playing these games, the distinctive cultures and practices that have emerged around them, their activities and beliefs and interpersonal relationships, and how these games influence – both positively and negatively – the lives and careers of millions of game players around the world. It is the first of a new series of edited collections, Play Beyond the Computer, dedicated to exploring the play of games beyond computers and games consoles.

Game theory is the science of interaction. This textbook, derived from courses taught by the author and developed over several years, is a comprehensive, straightforward introduction to the mathematics of non-cooperative games. It teaches what every game theorist should know: the important ideas and results on strategies, game trees, utility theory, imperfect information, and Nash equilibrium. The proofs of these results, in particular existence of an equilibrium via fixed points, and an elegant direct proof of the minimax theorem for zero-sum games, are presented in a self-contained, accessible way. This is complemented by chapters on combinatorial games like Go; and, it has introductions to algorithmic game theory, traffic games, and the geometry of two-player games. This detailed and lively text requires minimal mathematical background and includes many examples, exercises, and pictures. It is suitable for self-study or introductory courses in mathematics, computer science, or economics departments.

Through analysis of three case study videogames – Left 4 Dead 2, DayZ and Minecraft – and their online player communities, Digital Zombies, Undead Stories develops a framework for understanding how collective gameplay generates experiences of narrative, as well as the narrative dimensions of players’ creative activity on social media platforms. Narrative emergence is addressed as a powerful form of player experience in multiplayer games, one which makes individual games’ boundaries and meanings fluid and negotiable by players. The phenomenon is also shown to be recursive in nature, shaping individual and collective understandings of videogame texts over time. Digital Zombies, Undead Stories focuses on games featuring zombies as central antagonists. The recurrent figure of the videogame zombie, which mediates between chaos and rule-driven predictability, serves as both metaphor and mascot for narrative emergence. This book argues that in the zombie genre, emergent experiences are at the heart of narrative experiences for players, and more broadly demonstrates the potential for the phenomenon to be understood as a fundamental part of everyday play experiences across genres.

Economists often look at markets as given, and try to make predictions about who will do what and what will happen in these markets Market design, by contrast, does not take markets as given; instead, it combines insights from economic and game theory together with common sense and lessons learned from empirical work and experimental analysis to aid in the design and implementation of actual markets In recent years the field has grown dramatically, partially because of the successful wave of spectrum auctions in the US and in Europe, which have been designed by a number of prominent economists, and partially because of the increase use of the Internet as the platform over which markets are designed and run There is now a large number of applications and a growing theoretical literature. The Handbook of Market Design brings together the latest research from leading experts to provide a comprehensive description of applied market design over the last two decades In particular, it surveys matching markets: environments where there is a need to match large two-sided populations to one another, such as medical residents and hospitals, law clerks and judges, or patients and kidney donors It also examines a number of applications related to electronic markets, e-commerce, and the effect of the Internet on competition between exchanges

What is a game? Classically, a game is perceived as something played by human beings. Its mathematical analysis is human-centered, explores the structures of particular games, economic or social environments and tries to model supposedly 'rational' human behavior in search of appropriate 'winning strategies'. This point of view places game theory into a very special scientific corner where mathematics, economics and psychology overlap and mingle.This book takes a novel approach to the subject. Its focus is on mathematical models that apply to game theory in particular but exhibit a universal character and thus extend the scope of game theory considerably.This textbook addresses anyone interested in a general game-theoretic view of the world. The reader should have mathematical knowledge at the level of a first course in real analysis and linear algebra. However, possibly more specialized aspects are further elaborated and pointers to relevant supplementary literature are given. Moreover, many examples invite the reader to participate 'actively' when going through the material. The scope of the book can be covered in one course on Mathematical Game Theory at advanced undergraduate or graduate level.

A host of digital affordances, including reduced cost production tools, open distribution platforms, and ubiquitous connectivity, have engendered the growth of indie games among makers and users, forcing critics to reconsider the question of who makes games and why. Taking seriously this new mode of cultural produciton compells analysts to reconsider the blurred boundaries and relations of makers, users and texts as well as their respective relationship to cultural power and hierarchy. The contributions to Indie Games in the Digital Age consider these questions and examine a series of firms, makers, games and scenes, ranging from giants like Nintendo and Microsoft to grassroots games like Cards Against Humanity and Stardew Valley, to chart more precisely the productive and instructive disruption that this new site of cultural production offers.

Many of today's most commercially successful videogames, from Call of Duty to Company of Heroes, are war-themed titles that play out in what are framed as authentic real-world settings inspired by recent news headlines or drawn from history. While such games are marketed as authentic representations of war, they often provide a selective form of realism that eschews problematic, yet salient aspects of war. In addition, changes in the way Western states wage and frame actual wars makes contemporary conflicts increasingly resemble videogames when perceived from the vantage point of Western audiences. This interdisciplinary volume brings together scholars from games studies, media and cultural studies, politics and international relations, and related fields to examine the complex relationships between military-themed videogames and real-world conflict, and to consider how videogames might deal with history, memory, and conflict in alternative ways. It asks: What is the role of videogames in the formation and negotiation of cultural memory of past wars? How do game narratives and designs position the gaming subject in relation to history, war and militarism? And how far do critical, anti-war/peace games offer an alternative or challenge to mainstream commercial titles?

The newest addition to our Influential Video Game Designers series explores the work of Todd Howard, executive producer at Bethesda Studios, known for how he consistently pushes the boundaries of open-world gaming and player agency. Howard’s games create worlds in which players can design their own characters and tell their own stories. While many games tell the story of the game’s main character, Todd Howard’s worldbuilding approach to game design focuses more on telling the story of the game’s world, whether it be the high fantasy environments of the Elder Scrolls series or the post-apocalyptic wasteland of the Fallout series. This focus on sculpting the world allows for remarkable amounts of player freedom and choice in an expansive game environment by creating a landscape rich with open opportunity. Drawing on both academic discussions of narrative, world design, and game design, as well as on officially released interviews, speeches, and presentations given by Howard and other designers at Bethesda Games, Wendi Sierra highlights three core areas set Howard’s design perspective apart from other designers: micronarratives, iterative design, and the sharing of design tools. Taken as a whole, these three elements demonstrate how Howard has used a worldbuilding perspective to shape his games. In doing so, he has impacted not only Bethesda Studios, but also the landscape of game design itself.