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"Much of [this book] is devoted to a basic discussion of how stealth works and why it is effective in reducing the number of shots taken by defensive systems. Treat this little primer as a stepping off point for discovering more of the complexities of low observability. ... [This book] should also shed light on why complex technologies like stealth cost money to field. The quest for stealth is ongoing... In fact, stealth aircraft will have to work harder than ever. The major difference from 1998 to 2010 is that defense plans no longer envision an all-stealth fleet. ... The radar game of 2020 and 2030 will feature a lot of assists and the tactics that go along with that."--P. 7.
The problem of radar reception in the presence of jamming is treated by an application of the theory of games. The game formulation is as follows: assume the radar receiver employs a matched filter, matched to the radar echo signal, and let the choice of band-limited power spectral distributions for both the radar signal and the jamming noise constitute the respective strategy decisions for the radar designer and the jammer. Games with strategies of this type are known as function-space games. For each opponent, optimum spectral strategies are specified when the payoff function is the receiver output signal-to-noise ratio or the mean squared time error in target location. A new expression for this output signal-to-noise ratio is used which reduces to the familiar 2E/No for the case of constant density noise jamming. When the output S/N ratio is the game payoff function, the optimum spectra are shown to be constant density band-limited spectra for both the radar signal and the jamming noise. The game theoretically optimum linear receiver is a matched filter receiver. When the time error is used as a payoff function, the set of spectra from which the radar designer may choose is limited in a certain way so that the resulting game may be more easily solved. However, a special trick must be used to solve it. Optimum spectra for this game are other than simple constant density spectra.
A 2021 Oregon Book Award Winner An NPR Best Book of 2020 A Finalist for the 2021-22 Maine Student Book Award A 2021 Mythopoeic Awards Finalist Andre Norton Award finalist Jenn Reese explores the often thin line between magic and reality, light and darkness in her enchanting middle grade standalone. "Brings to life, viscerally, what it is like to live in fear of abuse—even after the abuse itself is over. But there is magic here too, and the promise of a better future that comes with learning to let people who care about you into your world." —Alan Gratz, New York Times-bestselling author of Refugee “A captivating and touching story... both whimsical and emotionally—sometimes frighteningly—compelling.” —Ingrid Law, Newbery Honor-winning author of Savvy "Magically creative and deeply honest, A Game of Fox & Squirrels merges games and grimness in a fantasy tale that tells the truth." —Elana K. Arnold, Printz Honor-winning author of Damsel and A Boy Called Bat After an incident shatters their family, eleven-year old Samantha and her older sister Caitlin are sent to live in rural Oregon with an aunt they've never met. Sam wants nothing more than to go back to the way things were... before she spoke up about their father's anger. When Aunt Vicky gives Sam a mysterious card game called "A Game of Fox & Squirrels," Sam falls in love with the animal characters, especially the charming trickster fox, Ashander. Then one day Ashander shows up in Sam’s room and offers her an adventure and a promise: find the Golden Acorn, and Sam can have anything she desires. But the fox is hiding rules that Sam isn't prepared for, and her new home feels more tempting than she'd ever expected. As Sam is swept up in the dangerous quest, the line between magic and reality grows thin. If she makes the wrong move, she'll lose far more than just a game. Perfect for fans of Barbara O'Connor, Lauren Wolk, and Ali Benjamin, A Game of Fox & Squirrels is a stunning, heartbreaking novel about a girl who finds the light in the darkness... and ultimately discovers the true meaning of home.
Combining research-based perspectives and current examples including Minecraft and Animal Crossing : New Horizons, We the Gamers shows how games can be used in ethics, civics, and social studies education to inspire learning, critical thinking, and civic change.
How do game characters contribute to shaping the playing experience? What kinds of design tools are available for character-based games that utilize methods from dramatic writing and game research? Writer Petri Lankoski has a theory for this. There is a need to tether character design to game design more tightly than has been the case in the past, as well as to pay attention to social networks of characters by the means of finding useful design patterns. “The use of Lajos Egri’s bone structure for a three dimensional-character and of Murray Smith’s three levels of imaginative engagement with characters allows the candidate to expose the full complexity of the imaginary persons represented and controlled in a single-player game. What makes his design-center approach even more interesting is that game play is an integral part of it.” Comments Bernard Perron, Associate Professor of Université de Montréal on Lankoski´s work.
The complex material histories of the Nintendo Entertainment System platform, from code to silicon, focusing on its technical constraints and its expressive affordances. In the 1987 Nintendo Entertainment System videogame Zelda II: The Adventure of Link, a character famously declared: I AM ERROR. Puzzled players assumed that this cryptic mesage was a programming flaw, but it was actually a clumsy Japanese-English translation of “My Name is Error,” a benign programmer's joke. In I AM ERROR Nathan Altice explores the complex material histories of the Nintendo Entertainment System (and its Japanese predecessor, the Family Computer), offering a detailed analysis of its programming and engineering, its expressive affordances, and its cultural significance. Nintendo games were rife with mistranslated texts, but, as Altice explains, Nintendo's translation challenges were not just linguistic but also material, with consequences beyond simple misinterpretation. Emphasizing the technical and material evolution of Nintendo's first cartridge-based platform, Altice describes the development of the Family Computer (or Famicom) and its computational architecture; the “translation” problems faced while adapting the Famicom for the U.S. videogame market as the redesigned Entertainment System; Nintendo's breakthrough console title Super Mario Bros. and its remarkable software innovations; the introduction of Nintendo's short-lived proprietary disk format and the design repercussions on The Legend of Zelda; Nintendo's efforts to extend their console's lifespan through cartridge augmentations; the Famicom's Audio Processing Unit (APU) and its importance for the chiptunes genre; and the emergence of software emulators and the new kinds of play they enabled.
Evolutionary development is based on using continuous experimentation and adaptation in changing circumstances to reward success, while allowing, but eventually eliminating, failure, Since this approach is agile, flexible, quick reacting, and thrives on change, it contrasts with strategic planning in which systems are developed in a planned and orderly fashion to meet future requirements. A planned system is rigid, slow to react, and resists or ignores change, which contrasts with how the military traditionally develops weapon systems. One word that distinguishes between evolutionary and planned development is "chaos." Chaos, like risk, is unavoidable, and hence should be managed rather than avoided. Indeed, a certain degree of chaos is desirable because it generates the necessary set of adaptations and ideas that can eventually be "selected" for evolutionary improvement. The Darwinian concept of "survival of the fittest" can be applied to ideas, systems, and organizations that seek to maintain a competitive advantage.
Understanding Video Game Music develops a musicology of video game music by providing methods and concepts for understanding music in this medium. From the practicalities of investigating the video game as a musical source to the critical perspectives on game music - using examples including Final Fantasy VII, Monkey Island 2, SSX Tricky and Silent Hill - these explorations not only illuminate aspects of game music, but also provide conceptual ideas valuable for future analysis. Music is not a redundant echo of other textual levels of the game, but central to the experience of interacting with video games. As the author likes to describe it, this book is about music for racing a rally car, music for evading zombies, music for dancing, music for solving puzzles, music for saving the Earth from aliens, music for managing a city, music for being a hero; in short, it is about music for playing.