Thirteen previously published essays, notes, and interviews, by Olu Oguibe, with revisions, with an additional list of where the contributions were originally published and a cumulative index for this anthology as a whole.

Corporate culture is critical to any organizational change effort. This book offers a proven model for identifying and leveraging the essential elements of any culture. In a world that changes at a dizzying pace, what can leaders do to build flexible and adaptive workplaces that inspire people to achieve extraordinary results? According to the authors, the answer lies in recognizing and aligning the elusive forces—or the “puzzling” pieces—that shape an organization's culture. With a combined seventy-five years' worth of research, teaching, and consulting experience, Mario Moussa, Derek Newberry, and Greg Urban bring a wealth of knowledge to creating nimble organizations. Globally recognized business anthropologists and management experts, they explain how to access the full power of your culture by harnessing the Four Forces that drive it: Vision: Embrace a common purpose that illuminates shared aspirations and plans. Interest: Foster a deep commitment to authentic relationships and your organization's future. Habit: Establish routines and rituals that reinforce “the way we do things around here.” Innovation: Promote the constant tinkering that produces surprising new solutions to old problems. Filled with case studies, personal anecdotes, and solid, practical advice, this book includes a four-part Evaluator to help you build resilient organizations and teams. The Culture Puzzle offers the definitive playbook for thriving amid constant transformation.

An impassioned look at games and game design that offers the most ambitious framework for understanding them to date. As pop culture, games are as important as film or television—but game design has yet to develop a theoretical framework or critical vocabulary. In Rules of Play Katie Salen and Eric Zimmerman present a much-needed primer for this emerging field. They offer a unified model for looking at all kinds of games, from board games and sports to computer and video games. As active participants in game culture, the authors have written Rules of Play as a catalyst for innovation, filled with new concepts, strategies, and methodologies for creating and understanding games. Building an aesthetics of interactive systems, Salen and Zimmerman define core concepts like "play," "design," and "interactivity." They look at games through a series of eighteen "game design schemas," or conceptual frameworks, including games as systems of emergence and information, as contexts for social play, as a storytelling medium, and as sites of cultural resistance. Written for game scholars, game developers, and interactive designers, Rules of Play is a textbook, reference book, and theoretical guide. It is the first comprehensive attempt to establish a solid theoretical framework for the emerging discipline of game design.

Games of History provides an understanding of how games as artefacts, textual and visual sources on games and gaming as a pastime or a “serious” activity can be used as sources for the study of history. From the vast world of games, the book’s focus is on board and card games, with reference to physical games, sports and digital games as well. Considering culture, society, politics and metaphysics, the author uses examples from various places around the world and from ancient times to the present to demonstrate how games and gaming can offer the historian an alternative, often very valuable and sometimes unique path to the past. The book offers a thorough discussion of conceptual and material approaches to games as sources, while also providing the reader with a theoretical starting point for further study within specific thematic chapters. The book concludes with three case studies of different types of games and how they can be considered as historical sources: the gladiatorial games, chess and the digital game Civilization. Offering an alternative approach to the study of history through its focus on games and gaming as historical sources, this is the ideal volume for students considering different types of sources and how they can be used for historical study, as well as students who study games as primary or secondary sources in their history projects.

Free-to-play (F2P) games have been recently taking the market by the storm, proving to be both popular among users and developers. Delivering the core experience for free and functional or decorative benefits within the game for a small price (microtransactions), can these games really be labelled free? This research explores the costs involved in playing or taking part in free-to-play game communities through an 18-month virtual ethnography. Using a specific F2P browser game which is developed and published in Germany as a case example, interviews are conducted with professionals from the game company, as well as players of the game to explore the influence the payment model has on the various aspects of the game culture. Utilizing the circuit of culture (du Gay et al., 1997) as a theoretical framework, the research empirically explores all the contexts of the game culture in question, from official and non-official game content production and regulation, to appropriation and identification by members of the culture and the representation of themes within the game and of the game within media and public discourse.

This book considers different stages of Kurdish history, oppression, and genocide through a critical lens, offering an historiography of Iraq and colonialism. Divided into two parts, the first part conceptualizes the coined term “genocide culture” and examines dominant Iraqi cultural practices that fostered genocide. The second part contextualizes the experiences of the Kurdish community to examine the effects of cultural practices and the role of “civilian actors” in fueling the extermination of targeted groups. Through semi-structured interviews, primary archival documents, and nonparticipant observation, the author studies the links between everyday cultural practices and microaggression in general and the nexus between the state and the general population in the implementation of macroaggression and genocide. The audience will include scholars and students interested in genocide studies and the relation of both genocide and culture to histories of colonialism, as well as those working in the fields of violence and cultural psychology, sociology, history, international relations, ethnic conflict, and Middle Eastern studies.

Many scholars, practitioners, and policy-makers in the cultural sector argue that Canadian cultural policy is at a crossroads: that the environment for cultural policy-making has evolved substantially and that traditional rationales for state intervention no longer apply. The concept of cultural citizenship is a relative newcomer to the cultural policy landscape, and offers a potentially compelling alternative rationale for government intervention in the cultural sector. Likewise, the articulation and use of cultural indicators and of governance concepts are also new arrivals, emerging as potentially powerful tools for policy and program development. Accounting for Culture is a unique collection of essays from leading Canadian and international scholars that critically examines cultural citizenship, cultural indicators, and governance in the context of evolving cultural practices and cultural policy-making. It will be of great interest to scholars of cultural policy, communications, cultural studies, and public administration alike.

The surprising history of the Commodore 64, the best-selling home computer of the 1980s—the machine that taught the world that computing should be fun. The Commodore 64 (C64) is officially the best-selling desktop computer model of all time, according to The Guinness Book of World Records. It was also, from 1985 to 1993, the platform for which most video games were made. But while it sold at least twice as many units as other home computers of its time, like the Apple II, ZX Spectrum, or Commodore Amiga, it is strangely forgotten in many computer histories. In Too Much Fun, Jesper Juul argues that the C64 was so popular because it was so versatile, a machine developers and users would reinvent again and again over the course of 40 years. First it was a serious computer, next a game computer, then a computer for technical brilliance (graphical demos using the machine in seemingly impossible ways), then a struggling competitor, and finally a retro device whose limitations are now charming. The C64, Juul shows, has been ignored by history because it was too much fun. Richly illustrated in full color, this book is the first in-depth examination of the C64’s design and history, and the first to integrate US and European histories. With interviews of Commodore engineers and with its insightful look at C64 games, music, and software, from Summer Games to International Karate to Simons’ BASIC, Too Much Fun will appeal to those who used a Commodore 64, those interested in the history of computing and video games and computational literacy, or just those who wish their technological devices would last longer.

Now in its second edition, the Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming is the definitive, go-to resource for anyone interested in the diverse and expanding video game industry. This three-volume encyclopedia covers all things video games, including the games themselves, the companies that make them, and the people who play them. Written by scholars who are exceptionally knowledgeable in the field of video game studies, it notes genres, institutions, important concepts, theoretical concerns, and more and is the most comprehensive encyclopedia of video games of its kind, covering video games throughout all periods of their existence and geographically around the world. This is the second edition of Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming, originally published in 2012. All of the entries have been revised to accommodate changes in the industry, and an additional volume has been added to address the recent developments, advances, and changes that have occurred in this ever-evolving field. This set is a vital resource for scholars and video game aficionados alike.

The Meaning of Video Games takes a textual studies approach to an increasingly important form of expression in today’s culture. It begins by assuming that video games are meaningful–not just as sociological or economic or cultural evidence, but in their own right, as cultural expressions worthy of scholarly attention. In this way, this book makes a contribution to the study of video games, but it also aims to enrich textual studies. Early video game studies scholars were quick to point out that a game should never be reduced to merely its "story" or narrative content and they rightly insist on the importance of studying games as games. But here Steven E. Jones demonstrates that textual studies–which grows historically out of ancient questions of textual recension, multiple versions, production, reproduction, and reception–can fruitfully be applied to the study of video games. Citing specific examples such as Myst and Lost, Katamari Damacy, Halo, Façade, Nintendo’s Wii, and Will Wright’s Spore, the book explores the ways in which textual studies concepts–authorial intention, textual variability and performance, the paratext, publishing history and the social text–can shed light on video games as more than formal systems. It treats video games as cultural forms of expression that are received as they are played, out in the world, where their meanings get made.