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.

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.

"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.

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.

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.