Rich connections between gaming and theater stretch back to the 16th and 17th centuries, when England's first commercial theaters appeared right next door to gaming houses and blood-sport arenas. In the first book-length exploration of gaming in the early modern period, Gina Bloom shows that theaters succeeded in London's new entertainment marketplace largely because watching a play and playing a game were similar experiences. Audiences did not just see a play; they were encouraged to play the play, and knowledge of gaming helped them become better theatergoers. Examining dramas written for these theaters alongside evidence of analog games popular then and today, Bloom argues for games as theatrical media and theater as an interactive gaming technology. Gaming the Stage also introduces a new archive for game studies: scenes of onstage gaming, which appear at climactic moments in dramatic literature. Bloom reveals plays to be systems of information for theater spectators: games of withholding, divulging, speculating, and wagering on knowledge. Her book breaks new ground through examinations of plays such as The Tempest, Arden of Faversham, A Woman Killed with Kindness, and A Game at Chess; the histories of familiar games such as cards, backgammon, and chess; less familiar ones, like Game of the Goose; and even a mixed-reality theater videogame.

Video games are inherently transnational by virtue of industrial, textual, and player practices. The contributors touch upon nations not usually examined by game studies - including the former Czechoslovakia, Turkey, India, and Brazil - and also add new perspectives to the global hubs of China, Singapore, Australia, Japan, and the United States.

The basics of pantomime, improvisation, voice control, monologues and dialogues presented in game formats with exercises and work sheets.

He can summon demons. But can he win a war? Fletcher is working as a blacksmith's apprentice when he discovers he has the rare ability to summon demons from another world. Chased from his village for a crime he did not commit, Fletcher must travel with his demon, Ignatius, to an academy for adepts, where the gifted are taught the art of summoning. Along with nobles and commoners, Fletcher endures grueling lessons that will prepare him to serve as a Battlemage in the Empire's war against the savage Orcs. But sinister forces infect new friendships and rivalries grow. With no one but Ignatius by his side, Fletcher must decide where his loyalties lie. The fate of the Empire is in his hands.

Are videogames bad for us? It’s the question on everyone’s mind, given teenagers’ captive attention to videogames and the media’s tendency to scapegoat them. It’s also—if you ask clinical psychologist Alexander Kriss—the wrong question. In his therapy office, Kriss looks at videogames as a window into the mind. Is his patient Liz really “addicted” to Candy Crush—or is she evading a deeper problem? Why would aspiring model Patricia craft a hideous avatar named “Pat”? And when Jack immerses himself in Mass Effect, is he eroding his social skills—or honing them via relationship-building gameplay? Weaving together Kriss’s personal history, patients’ experiences, and professional insight—and without shying away from complex subjects, such as online harassment—The Gaming Mind disrupts our assumptions about “gamers” and explores how gaming can be good for us. It offers guidance for parents, clinicians, and the rest of us to better understand the gaming mind. Like any mode of play, at their best, videogames reveal who we are—and what we want from our lives.

There is a growing recognition in the learning sciences that video games can no longer be seen as impediments to education, but rather, they can be developed to enhance learning. Educational and developmental psychologists, education researchers, media psychologists, and cognitive psychologists are now joining game designers and developers in seeking out new ways to use video game play in the classroom. In Learning by Playing, a diverse group of contributors provide perspectives on the most current thinking concerning the ramifications of leisure video game play for academic classroom learning. The first section of the text provides foundational understanding of the cognitive skills and content knowledge that children and adolescents acquire and refine during video game play. The second section explores game features that captivate and promote skills development among game players. The subsequent sections discuss children and adolescents' learning in the context of different types of games and the factors that contribute to transfer of learning from video game play to the classroom. These chapters then form the basis for the concluding section of the text: a specification of the most appropriate research agenda to investigate the academic potential of video game play, particularly using those games that child and adolescent players find most compelling. Contributors include researchers in education, learning sciences, and cognitive and developmental psychology, as well as instructional design researchers.

This book is a close taxonomic study of the pivotal role of games in early modern drama. The presence of the game motif has often been noticed, but this study, the most comprehensive of its kind, shows how games operate in more complex ways than simple metaphor and can be syntheses of emblem and dramatic device. Drawing on seventeenth-century treatises, including Francis Willughby’s Book of Games, which only became available in print in 2003, and divided into chapters on Dice, Cards, Tables (Backgammon), and Chess, the book brings back into focus the symbolism and divinatory origins of games. The work of more than ten dramatists is analysed, from the Shakespeare and Middleton canon to rarer plays such as The Spanish Curate, The Two Angry Women of Abington and The Cittie Gallant. Games and theatre share common ground in terms of performance, deceit, plotting, risk and chance, and the early modern playhouse provided apt conditions for vicarious play. From the romantic chase to the financial gamble, and in legal contest and war, the twenty-first century is still engaging the game. With its extensive appendices, the book will appeal to readers interested in period games and those teaching or studying early modern drama, including theatre producers, and awareness of the vocabulary of period games will allow further references to be understood in non-dramatic texts.