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.

Simple games are mathematical structures inspired by voting systems in which a single alternative, such as a bill, is pitted against the status quo. The first in-depth mathematical study of the subject as a coherent subfield of finite combinatorics--one with its own organized body of techniques and results--this book blends new theorems with some of the striking results from threshold logic, making all of it accessible to game theorists. Introductory material receives a fresh treatment, with an emphasis on Boolean subgames and the Rudin-Keisler order as unifying concepts. Advanced material focuses on the surprisingly wide variety of properties related to the weightedness of a game.

A desirability relation orders the individuals or coalitions of a game according to their influence in the corresponding voting system. As Taylor and Zwicker show, acyclicity of such a relation approximates weightedness--the more sensitive the relation, the closer the approximation. A trade is an exchange of players among coalitions, and robustness under such trades is equivalent to weightedness of the game. Robustness under trades that fit some restrictive exchange pattern typically characterizes a wider class of simple games--for example, games for which some particular desirability order is acyclic. Finally, one can often describe these wider classes of simple games by weakening the total additivity of a weighting to obtain what is called a pseudoweighting. In providing such uniform explanations for many of the structural properties of simple games, this book showcases numerous new techniques and results.

The genre of adventure games is frequently overlooked. Lacking the constantly-evolving graphics and graphic violence of their counterparts in first-person and third-person shooters or role-playing games, they are often marketed to and beloved by players outside of mainstream game communities. While often forgotten by both the industry and academia, adventure games have had (and continue to have) a surprisingly wide influence on contemporary games, in categories including walking simulators, hidden object games, visual novels, and bestselling titles from companies like Telltale and Campo Santo. In this examination of heirs to the genre's legacy, the authors examine the genre from multiple perspectives, connecting technical analysis with critical commentary and social context. This will be the first book to consider this important genre from a comprehensive and transdisciplinary perspective. Drawing upon methods from platform studies, software studies, media studies, and literary studies, they reveal the genre's ludic and narrative origins and patterns, where character (and the player's embodiment of a character) is essential to the experience of play and the choices within a game. A deep structural analysis of adventure games also uncovers an unsteady balance between sometimes contradictory elements of story, exploration, and puzzles: with different games and creators employing a multitude of different solutions to resolving this tension.

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?