DIVMany illuminating and instructive examples of the applications of game theoretic models to problems in political science appear in this volume, which requires minimal mathematical background. 1975 edition. 24 figures. /div

Much of late-nineteenth-century American politics was parade and pageant. Voters crowded the polls, and their votes made a real difference on policy. In Party Games, Mark Wahlgren Summers tells the full story and admires much of the political carnival, but he adds a cautionary note about the dark recesses: vote-buying, election-rigging, blackguarding, news suppression, and violence. Summers also points out that hardball politics and third-party challenges helped make the parties more responsive. Ballyhoo did not replace government action. In order to maintain power, major parties not only rigged the system but also gave dissidents part of what they wanted. The persistence of a two-party system, Summers concludes, resulted from its adaptability, as well as its ruthlessness. Even the reform of political abuses was shaped to fit the needs of the real owners of the political system--the politicians themselves.

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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.

Today over half of all American households own a dedicated game console and gaming industry profits trump those of the film industry worldwide. In this book, Soraya Murray moves past the technical discussions of games and offers a fresh and incisive look at their cultural dimensions. She critically explores blockbusters likeThe Last of Us, Metal Gear Solid, Spec Ops: The Line, Tomb Raider and Assassin's Creed to show how they are deeply entangled with American ideological positions and contemporary political, cultural and economic conflicts.As quintessential forms of visual material in the twenty-first century, mainstream games both mirror and spur larger societal fears, hopes and dreams, and even address complex struggles for recognition. This book examines both their elaborately constructed characters and densely layered worlds, whose social and environmental landscapes reflect ideas about gender, race, globalisation and urban life. In this emerging field of study, Murray provides novel theoretical approaches to discussing games and playable media as culture. Demonstrating that games are at the frontline of power relations, she reimagines how we see them - and more importantly how we understand them.