Ken Binmore's previous game theory textbook, Fun and Games (D.C. Heath, 1991), carved out a significant niche in the advanced undergraduate market; it was intellectually serious and more up-to-date than its competitors, but also accessibly written. Its central thesis was that game theory allows us to understand many kinds of interactions between people, a point that Binmore amply demonstrated through a rich range of examples and applications. This replacement for the now out-of-date 1991 textbook retains the entertaining examples, but changes the organization to match how game theory courses are actually taught, making Playing for Real a more versatile text that almost all possible course designs will find easier to use, with less jumping about than before. In addition, the problem sections, already used as a reference by many teachers, have become even more clever and varied, without becoming too technical. Playing for Real will sell into advanced undergraduate courses in game theory, primarily those in economics, but also courses in the social sciences, and serve as a reference for economists.

Playing Real: Mimesis, Media, and Mischief explores the integration and interaction of mimetic theatricality and representational media in twentieth- and twenty‐first-century performance. It brings together carefully chosen sites of performance—including live broadcasts of theatrical productions, reality television, and alternate-reality gaming—in which mediatization and mimesis compete and collude to represent the real to audiences. Lindsay Brandon Hunter reads such performances as forcing confrontation between notions of authenticity, sincerity, and spontaneity and their various others: the fake, the feigned, the staged, or the rehearsed. Each site examined in Playing Real purports to show audiences something real—real theater, real housewives, real alternative scenarios—which is simultaneously visible as overtly constructed, adulterated by artifice and artificiality. The integration of mediatization and theatricality in these performances, Hunter argues, exploits the proclivities of both to conjure the real even as they risk corrupting the perception of authenticity by imbricating it with artifice and overt manipulation. Although the performances analyzed obscure boundaries separating actual from virtual, genuine from artificial, and truth from fiction, Hunter rejects the notion that these productions imperil the “real.” She insists on uncertainty as a fertile site for productive and pleasurable mischief—including relationships to realness and authenticity among both audience and participants.

Games Real Actors Play provides a persuasive argument for the use of basic concepts of game theory in understanding public policy conflicts. Fritz Scharpf criticizes public choice theory as too narrow in its examination of actor motives and discursive democracy as too blind to the institutional incentives of political parties. With the nonspecialist in mind, the author presents a coherent actor-centered model of institutional rational choice that integrates a wide variety of theoretical contributions, such as game theory, negotiation theory, transaction cost economics, international relations, and democratic theory.Games Real Actors Play offers a framework for linking positive theory to the normative issues that necessarily arise in policy research and employs many cross-national examples, including a comparative use of game theory to understand the differing reactions of Great Britain, Sweden, Austria, and the Federal Republic of Germany to the economic stagflation of the 1970s.

Instructions on how to play from a "fake book."

Playing for Real is a problem-based textbook on game theory that has been widely used at both the undergraduate and graduate levels. The Coursepack Edition contains only the material necessary for a course of ten two-hour lectures plus problem classes. It comes with a disc of teaching aids including the author's own lecture presentations and two series of weekly exercise sets with answers.

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