How uncertainty in games—from Super Mario Bros. to Rock/Paper/Scissors—engages players and shapes play experiences. In life, uncertainty surrounds us. Things that we thought were good for us turn out to be bad for us (and vice versa); people we thought we knew well behave in mysterious ways; the stock market takes a nosedive. Thanks to an inexplicable optimism, most of the time we are fairly cheerful about it all. But we do devote much effort to managing and ameliorating uncertainty. Is it any wonder, then, asks Greg Costikyan, that we have taken this aspect of our lives and transformed it culturally, making a series of elaborate constructs that subject us to uncertainty but in a fictive and nonthreatening way? That is: we create games. In this concise and entertaining book, Costikyan, an award-winning game designer, argues that games require uncertainty to hold our interest, and that the struggle to master uncertainty is central to their appeal. Game designers, he suggests, can harness the idea of uncertainty to guide their work. Costikyan explores the many sources of uncertainty in many sorts of games—from Super Mario Bros. and Dungeons & Dragons to Rock/Paper/Scissors, from Monopoly to CityVille, from FPS Deathmatch play to Chess. He describes types of uncertainty, including performative uncertainty, analytic complexity, and narrative anticipation. And he suggests ways that game designers who want to craft novel game experiences can use an understanding of game uncertainty in its many forms to improve their designs.

This book is about the challenges that emerge for organizations from an ever faster changing world. While useful at their time, several management tools, including classic strategic planning processes, will no longer suffice to address these challenges in a timely and comprehensive fashion. While individual management tools are still valid to solve specific problems, they need to be employed based on a clear understanding of what the greater challenge is and how they need to be combined and prioritized with other approaches. In order to do so, companies can apply the clarity of thinking from the military with regard to which leadership level is responsible for what and how these levels need to interact in order to produce a single aligned response to an outside opportunity or threat. Finally, the tool of business wargaming, while known for some time, proves to be an ideal approach to quickly and effectively bring all leadership levels together, align them around a common objective and lay the groundwork for effective implementation of targeted responses that will keep the organization competitive and in the game for the long run. The book offers a comprehensive introduction to business wargaming, including a historical account, a classification of different types of games and a number of specific real-world examples. This book is targeted at practicing managers dealing with the aforementioned challenges, as well as for students of business and strategy at every level.

"Games are a unique art form. The game designer doesn't just create a world; they create who you will be in that world. They tell you what abilities to use and what goals to take on. In other words, they specify a form of agency. Games work in the medium of agency. And to play them, we take on alternate agencies and submerge ourselves in them. What can we learn about our own rationality and agency, from thinking about games? We learn that we have a considerable degree of fluidity with our agency. First, we have the capacity for a peculiar sort of motivational inversion. For some of us, winning is not the point. We take on an interest in winning temporarily, so that we can play the game. Thus, we are capable of taking on temporary and disposable ends. We can submerge ourselves in alternate agencies, letting them dominate our consciousness, and then dropping them the moment the game is over. Games are, then, a way of recording forms of agency, of encoding them in artifacts. Our games are a library of agencies. And exploring that library can help us develop our own agency and autonomy. But this technology can also be used for art. Games can sculpt our practical activity, for the sake of the beauty of our own actions. Games are part of a crucial, but overlooked category of art - the process arts. These are the arts which evoke an activity, and then ask you to appreciate your own activity. And games are a special place where we can foster beautiful experiences of our own activity. Because our struggles, in games, can be designed to fit our capacities. Games can present a harmonious world, where our abilities fit the task, and where we pursue obvious goals and act under clear values. Games are a kind of existential balm against the difficult and exhausting value clarity of the world. But this presents a special danger. Games can be a fantasy of value clarity. And when that fantasy leaks out into the world, we can be tempted to oversimplify our enduring values. Then, the pleasures of games can seduce us away from our autonomy, and reduce our agency."--

Modern optimization approaches have attracted an increasing number of scientists, decision makers, and researchers. As new issues in this field emerge, different optimization methodologies must be developed and implemented. The Handbook of Research on Emergent Applications of Optimization Algorithms is an authoritative reference source for the latest scholarly research on modern optimization techniques for solving complex problems of global optimization and their applications in economics and engineering. Featuring coverage on a broad range of topics and perspectives such as hybrid systems, non-cooperative games, and cryptography, this publication is ideally designed for students, researchers, and engineers interested in emerging developments in optimization algorithms.

Hosting the Olympic Games: Uncertainty, Debates and Controversy provides a broad and comprehensive analysis of past Olympic and Paralympic events, shedding critical light on the future of the Games with a specific look at the upcoming Paris 2024 Olympics. It draws attention to the debates and paradox that hosting the Games presents for the contemporary city. Employing a range of interdisciplinary theoretical and methodological approaches, individual chapters highlight the various controversies of the Games throughout the bidding process, the event itself and its aftermath. Social Science-based chapters place strong emphasis on the vital importance of sustainable strategy for contemporary host cities. Along with environmental concerns whether atmospheric, microbiological or otherwise, many other requirements, costs and risks involving security and public expenditure among others are explored throughout the book. Including a variety of international and comparative case studies from a range of contributing academics, this will be essential reading for students and researchers in the field of Event studies as well as various disciplines including Tourism, Heritage studies and Urban and Environmental studies.

An engaging examination of how video game design can create strong, positive emotional experiences for players—with examples from popular, indie, and art games. This is a renaissance moment for video games—in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples—drawn from popular, indie, and art games—that unpack the gamer’s experience. Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players’ emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony’s Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero’s Train. Isbister’s analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human.

This book offers a practical yet powerful way to understand the psychological appeal and strong motivation to play video games. With video game sales in the billions and anxious concerns about their long-term effects growing louder, Glued to Games: How Video Games Draw Us In and Hold Us Spellbound brings something new to the discussion. It is the first truly balanced research-based analysis on the games and gamers, addressing both the positive and negative aspects of habitual playing by drawing on significant recent studies and established motivational theory. Filled with examples from popular games and the real experiences of gamers themselves, Glued to Games gets to the heart of gaming's powerful psychological and emotional allure—the benefits as well as the dangers. It gives everyone from researchers to parents to gamers themselves a clearer understanding the psychology of gaming, while offering prescriptions for healthier, more enjoyable games and gaming experiences.