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The ethics and experience of “treacherous play”: an exploration of three games that allow deception and betrayal—EVE Online, DayZ, and Survivor. Deception and betrayal in gameplay are generally considered off-limits, designed out of most multiplayer games. There are a few games, however, in which deception and betrayal are allowed, and even encouraged. In Treacherous Play, Marcus Carter explores the ethics and experience of playing such games, offering detailed explorations of three games in which this kind of “dark play” is both lawful and advantageous: EVE Online, DayZ, and the television series Survivor. Examining aspects of games that are often hidden, ignored, or designed away, Carter shows the appeal of playing treacherously. Carter looks at EVE Online’s notorious scammers and spies, drawing on his own extensive studies of them, and describes how treacherous play makes EVE successful. Making a distinction between treacherous play and griefing or trolling, he examines the experiences of DayZ players to show how negative experiences can be positive in games, and a core part of their appeal. And he explains how in Survivor’s tribal council votes, a player’s acts of betrayal can exact a cost. Then, considering these games in terms of their design, he discusses how to design for treacherous play. Carter’s account challenges the common assumptions that treacherous play is unethical, antisocial, and engaged in by bad people. He doesn’t claim that more games should feature treachery, but that examining this kind of play sheds new light on what play can be.
A Treacherous Game: Street Deceptions, two young friends set out to become the youngest, richest, and most powerful in the streets but the journey along the way is not so sweet. Set in the location of Chicago, this mind-bending book weaves deceit, double-crossing, love, lust, and treachery.
In a world full of shape-shifters, how can you tell friend from foe? In the second installment of The Morphosis.me Files, Kayleigh delves deep into untapped magic to better control her morphing powers, still determined to find and free her mother. No amount of magic, however, can help her survive the social tightropes of high school life: dating, popularity contests, a diverse group of friends, exchange students, and a surprise sports competition called the Gaelic Games. When a vulture begins stalking Kayleigh night and day, she suspects the foreign exchange students are more than they seem. Concerned for her safety and with the Gaelic Games approaching, Kayleigh is forced to face her new enemies on the field. It’s a winner-takes-all match that will either lead her closer to finding her mother or further than ever into enemy territory.
Principles for designing educational games that integrate content and play and create learning experiences connecting to many areas of learners' lives. Too often educational videogames are narrowly focused on specific learning outcomes dictated by school curricula and fail to engage young learners. This book suggests another approach, offering a guide to designing games that integrates content and play and creates learning experiences that connect to many areas of learners' lives. These games are not gamified workbooks but are embedded in a long-form experience of exploration, discovery, and collaboration that takes into consideration the learning environment. Resonant Games describes twenty essential principles for designing games that offer this kind of deeper learning experience, presenting them in connection with five games or collections of games developed at MIT's educational game research lab, the Education Arcade. Each of the games—which range from Vanished, an alternate reality game for middle schoolers promoting STEM careers, to Ubiquitous Bio, a series of casual mobile games for high school biology students—has a different story, but all spring from these fundamental assumptions: honor the whole learner, as a full human being, not an empty vessel awaiting a fill-up; honor the sociality of learning and play; honor a deep connection between the content and the game; and honor the learning context—most often the public school classroom, but also beyond the classroom.
"By leveraging savvy and basic instincts, Tuesday Knight rose up from running an elite gentleman's club to becoming the mega-wealthy Beverly Hills wife and business partner of reformed drug kingpin Marcus King. Along with their respectable, law-abiding new life came new names, and a new family. But now the country's most feared drug lord wants to use Marcus's legit empire to push her product--and the fallout threatens to be treacherous"--Back cover.
Hearts and loyalties collide in this electrifying new YA series from New York Times bestselling author Jennifer A. Nielsen. Jennifer A. Nielsen's New York Times bestseller The Traitor's Game, which Entertainment Weekly called "the next big YA fantasy," is perfect for fans of the Red Queen series by Victoria Aveyard and the Throne of Glass series by Sarah J. Maas. Kestra Dallisor has spent three years in exile in the Lava Fields, but that won't stop her from being drawn back into her father's palace politics. He's second-in-command to the cruel king, Lord Endrick, which makes Kestra a valuable bargaining chip. A group of rebels knows this -- and they snatch Kestra from her carriage as she reluctantly travels home.The kidnappers want her to retrieve the lost Olden Blade, the only object that can destroy the king, but Kestra is not the obedient captive they expected. One of the rebels, Simon, has his hands full as Kestra tries to foil their plot, by any means necessary. As motives shift and secrets emerge, both have to decide what -- and who -- it is they're fighting for.
An exploration of the relationship between games and art that examines the ways that both gamemakers and artists create game-based artworks. Games and art have intersected at least since the early twentieth century, as can be seen in the Surrealists' use of Exquisite Corpse and other games, Duchamp's obsession with Chess, and Fluxus event scores and boxes—to name just a few examples. Over the past fifteen years, the synthesis of art and games has clouded for both artists and gamemakers. Contemporary art has drawn on the tool set of videogames, but has not considered them a cultural form with its own conceptual, formal, and experiential affordances. For their part, game developers and players focus on the innate properties of games and the experiences they provide, giving little attention to what it means to create and evaluate fine art. In Works of Game, John Sharp bridges this gap, offering a formal aesthetics of games that encompasses the commonalities and the differences between games and art. Sharp describes three communities of practice and offers case studies for each. “Game Art,” which includes such artists as Julian Oliver, Cory Arcangel, and JODI (Joan Heemskerk and Dirk Paesmans) treats videogames as a form of popular culture from which can be borrowed subject matter, tools, and processes. “Artgames,” created by gamemakers including Jason Rohrer, Brenda Romero, and Jonathan Blow, explore territory usually occupied by poetry, painting, literature, or film. Finally, “Artists' Games”—with artists including Blast Theory, Mary Flanagan, and the collaboration of Nathalie Pozzi and Eric Zimmerman—represents a more synthetic conception of games as an artistic medium. The work of these gamemakers, Sharp suggests, shows that it is possible to create game-based artworks that satisfy the aesthetic and critical values of both the contemporary art and game communities.
An argument that production tools shape the aesthetics and political economy of games as an expressive medium. In Making Games, Stefan Werning considers the role of tools (primarily but not exclusively software), their design affordances, and the role they play as sociotechnical actors. Drawing on a wide variety of case studies, Werning argues that production tools shape the aesthetics and political economy of games as an expressive medium. He frames game-making as a (meta)game in itself and shows that tools, like games, have their own "procedural rhetoric" and should not always be conceived simply in terms of optimization and best practices.