EPDF and EPUB available Open Access under CC-BY-NC-ND licence. Millions of children throughout Africa undertake many forms of farm and domestic work. Some of this work is for wages, some is on their family's own small plots and some is forced and/or harmful. This book examines children's involvement in such work. It argues that framing all children's engagement in economic activity as 'child labour', with all the associated negative connotations, is problematic. This is particularly the case in Africa where many rural children must work to survive and where, the contributors argue, much of the work undertaken is not harmful. The conceptual and case-based chapters reframe the debate about children's work and harm in rural Africa with the aim of shifting research, public discourse and policy so that they better serve the interest of rural children and their families.

At a time when print and film have shown the classic Western and noir genres to be racist, heteronormative, and neocolonial, Sara Humphreys's Manifest Destiny 2.0 asks why these genres endure so prolifically in the video game market. While video games provide a radically new and exciting medium for storytelling, most game narratives do not offer fresh ways of understanding the world. Video games with complex storylines are based on enduring American literary genres that disseminate problematic ideologies, quelling cultural anxieties over economic, racial, and gender inequality through the institutional acceptance and performance of Anglo cultural, racial, and economic superiority. Although game critics and scholars recognize how genres structure games and gameplay, the concept of genre continues to be viewed as a largely invisible power, subordinate to the computational processes of programming, graphics, and the making of a multimillion-dollar best seller. Investigating the social and cultural implications of the Western and noir genres in video games through two case studies-the best-selling games Red Dead Redemption (2010) and L.A. Noire (2011)-Humphreys demonstrates how the frontier myth continues to circulate exceptionalist versions of the United States. Video games spread the neoliberal and neocolonial ideologies of the genres even as they create a new form of performative literacy that intensifies the genres well beyond their originating historical contexts. Manifest Destiny 2.0 joins the growing body of scholarship dedicated to the historical, theoretical, critical, and cultural analysis of video games.

At a time when print and film have shown the classic Western and noir genres to be racist, heteronormative, and neocolonial, Sara Humphreys's Manifest Destiny 2.0 asks why these genres endure so prolifically in the video game market. While video games provide a radically new and exciting medium for storytelling, most game narratives do not offer fresh ways of understanding the world. Video games with complex storylines are based on enduring American literary genres that disseminate problematic ideologies, quelling cultural anxieties over economic, racial, and gender inequality through the institutional acceptance and performance of Anglo cultural, racial, and economic superiority. Although game critics and scholars recognize how genres structure games and gameplay, the concept of genre continues to be viewed as a largely invisible power, subordinate to the computational processes of programming, graphics, and the making of a multimillion-dollar best seller. Investigating the social and cultural implications of the Western and noir genres in video games through two case studies-the best-selling games Red Dead Redemption (2010) and L.A. Noire (2011)-Humphreys demonstrates how the frontier myth continues to circulate exceptionalist versions of the United States. Video games spread the neoliberal and neocolonial ideologies of the genres even as they create a new form of performative literacy that intensifies the genres well beyond their originating historical contexts. Manifest Destiny 2.0 joins the growing body of scholarship dedicated to the historical, theoretical, critical, and cultural analysis of video games.

When Kai Kelly inherits her estranged grandfather's estate in Bliss, Idaho, life becomes anything but blissful. The discovery of a beautiful but unusual ring in the attic, leads to much more than she bargained for. Kai may not realize what she has in her possession, but the boys in Hell sure got the message. Lucifer and the six other princes of Hell, existed for several millennium believing that the Ring of Solomon-an object with the power to control demons- had been destroyed. However, the moment Kai slips the ring on her finger, the tremor of it's power ripples through the underworld. Knowing the ring's existence could mean the destruction of all demons, Lucifer sends his six princes to earth in search of the ring and it's bearer. There's one catch, a demon can't take the ring from it's owner, it has to be given willingly...or they have to be dead. Asmodeus, the Demon of Lust, is happy to have another opportunity to visit the mortal world and dally with a human female...or twelve. However, when he arrives on earth, he realizes Lucifer made all the demons mortal in an effort to keep them motivated, focused on their mission and immune from the powers of the ring. When Asmodeus meets Kai along a deserted section of highway in Magic Valley, it's more than the ring she wears that catches his eye. He plans to woo the ring out from under her but before long, the lines between lust and love blur. When the other members of the brotherhood realize Asmodeus has found the ring, they descend on Bliss, determined to get the ring from Kai at any cost. When Asmodeus is faced with choosing between the brotherhood and his one true love, he realizes the battle for Hell is nothing compared to the battle for her heart.