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      <Text>&lt;p&gt;&lt;p&gt;The last decade has witnessed the emergence of critical game studies and critical games user experience research, coinciding with the proliferation of initiatives advancing EDI (equity, diversity, and inclusion) in institutions of higher education. But the critical tools, ways of thinking, and best practices for incorporating anti-racist, decolonial, and EDI frameworks are not being promoted and circulated in parallel to the discourses valorizing these approaches. How do we make anti-racism, decolonization, equity, diversity, and inclusion vital elements of the research and development of games and playable media? What can we do to ensure that our methods and approaches are respectful and responsive to the needs of equity-deserving groups? How might we better recognize, address, and intervene on the systemic challenges of colonialism, racism, sexism, ableism, and other marginalizing factors that affect games research, education, development, and cultures? Bringing together leading voices from equity-deserving groups working in games research and/or creation, this book offers starting points for answering these questions. Lectures and essays by notable scholars and developers are framed with clear take-aways for application to games user experience research and game studies, and complemented by short essays about novel ideas from emerging voices in the field and vital perspectives from other disciplines. All of these readings are supplemented with targeted reflection questions, key words, suggestions for further reading, and ready-made takeaways for readers to use to inform their own research and teaching practice.&lt;/p&gt;&lt;/p&gt;</Text>
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      <Text>&lt;p&gt;&lt;p&gt;POVERTY IS NOT A GAME! After growing up poor and working for decades in shelters and halfway houses, Dana Gold created a board game to help people of goodwill understand how families get ensnared in poverty and how difficult the struggle is to overcome structured inequity. The first version of the game was a sheet of paper, circles traced from a toilet paper roll, and movers Dana swiped from her kid’s Chutes and Ladders game. The game, now called Broke, creates empathy for people who are poor by giving players the opportunity to experience the stress and frustration of making high stakes decisions with competing priorities and not enough income. Poverty can be fought by people with the passion and will to make change. But how? Playing Broke, now also an app, not only informs but creates the will to make system change a reality. Join Dana in getting frustrated enough, by playing a game, to work for change.&lt;/p&gt;&lt;/p&gt;</Text>
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      <Text>&lt;p&gt;&lt;p&gt;In the spring of 2005, an experimental game was prototyped in seven days. This little experiment was Tower of Goo, and it was the seed that led to the development of the independent video game, World of Goo, which was released in the fall of 2008. Shortly thereafter, I wrote a piece on the game that was published in 2009 as part of the book, Well Played 1.0. In this piece, I engaged in a close in-depth reading of World of Goo to help parse out the various meanings I found in my experience with the game. And now, ten years later, I want to take another look at the game and see how well its gameplay experience holds up. Normally, I approach a gameplay experience from the perspective of how its game design and narrative development can help a player learn how to play the game, and I relate my analysis in a fairly linear fashion while sharing insights along the way. With this piece, I relate my entire experience with World of Goo; from participating in the early beta testing during its development and exchanging emails with its designer, Kyle Gabler, to reading about it in the press and online, and to the actual experience of playing the game itself, to revisiting it with Kyle and Ron Carmel, the game’s developer, for the tenth anniversary of the game’s release. The goal of Well Played is to help develop and define a literacy of games as well as a sense of their value as an experience. Videogames are a complex medium that merits careful interpretation and insightful analysis.&lt;/p&gt;&lt;/p&gt;</Text>
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      <Text>&lt;p&gt;&lt;p&gt;Following on Well Played 1.0 and 2.0, this book is full of in-depth close readings of games that parse out the various meanings to be found in the experience of playing a game. Contributors analyze sequences in a game in detail in order to illustrate and interpret how the various components of a game can come together to create fulfilling a playing experience unique to this medium. Contributors again look at games, some that were covered in Well Played 1.0 and 2.0 as well as new ones, in order to provide a variety of perspectives on more great games.&lt;/p&gt;&lt;/p&gt;</Text>
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      <Text>&lt;p&gt;&lt;p&gt;Well Played is a concept of providing in-depth close readings of games that parse out the various meanings found in the experience of playing a game. Around Halloween in 2020, the Well Played Journal started its 10th volume. Looking back, the first “well played” presentation and article was in 2003, the first book came out in 2009, and the first journal issue was released in 2011. Thinking of Well Played during the pandemic underscored how games have been a part of our experiences and the value and role games have had in people’s lives this past year or so. This Well Played retrospective and companion essays on games during the pandemic capture a critical history of Well Played and highlight how much games can matter in our lives. The retrospective and pandemic essays have resonant themes, so we’ve woven them together to share a written tapestry of Well Played and games, value, and meaning. &lt;/p&gt;&lt;/p&gt;</Text>
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      <Text>&lt;p&gt;&lt;p&gt;What Happens When We Play: A Critical Approach to Games User Experience Design &amp; Education brings together research and reflection from both faculty and graduate students involved in University of Skövde’s Games User Experience (GUX) Master’s program, launched in 2020. The collection shares insights from the new GUX curriculum, which takes a critical-making approach, combining practical projects done in collaboration with game studios, critical cultural theory and history, and design theory and hands-on work in the practice of games user experience design and analysis. The seemingly simple question posed by our title, What Happens When We Play, opens up a range of complex possibilities for inquiry, all of which we argue fall under the purview of contemporary GUX that centers our focus on the player. For example, who do we mean by “we” in our title? Who is playing, and who is left out? Who wishes to join in but cannot, and who may join but chooses not to? Why? In addition, our title opens up questions about the scope of play - when can we be said to be “in” the game? Where does the play experience begin, and end? What happens just before that, and what happens after? This perspective on games and the user experience is intended to stretch the boundaries of the field, encouraging GUX students, researchers, and workers to question both more deeply and broadly as they aim to both understand and create player experience.&lt;/p&gt;&lt;/p&gt;</Text>
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