Bobby Schweizer

The Bitsy Book: An Interactive Textbook on Storytelling for Game Design is a guide for teachers and independent learners interested in the expressive potential of video game narratives and the logic of computer programming. Using Bitsy—an open source, web-based “tiny online game engine” that is especially welcoming to beginner designers—this book explores how digital platforms shape creative works. Drawing from classroom experience and proven practices from the game industry, The Bitsy Book is structured to follow the steps of the game design process, from character creation and world-building to playtesting and publishing. Educators will find the structure useful as the basis of a semester-long curriculum complete with prompts for small-stakes homework assignments and larger projects. Meanwhile, hobbyists and digital artists can follow a self-directed path to assist them as they realize their creative vision. Each chapter provides a theoretical overview of one step in that process as well as step-by-step illustrated tutorials, practice exercises, and examples of games published by the Bitsy community. By the end of your journey, you will know everything you need to be able to write compelling dialog, draw and animate pixel art characters and environments, and devise compelling puzzles and quests. Featuring a jargon-free, conversational tone and a wealth of handy illustrations, this book is a fantastic introduction to the craft of game development that gets you started inventing worlds and stories to play in right away.

Together with the Olympics, world's fairs are one of the few regular international events of sufficient scale to showcase a spectrum of sights, wonders, learning opportunities, technological advances, and new (or renewed) urban districts, and to present them all to a mass audience. Meet Me at the Fair: A World's Fair Reader breaks new ground in scholarship on world's fairs by incorporating a number of short new texts that investigate world's fairs in their multiple aspects: political, urban/architectural, anthropological/ sociological, technological, commercial, popular, and representational. In taking the measure of both the material artifacts and the larger cultural production of world's fairs, the volume presents its own phantasmagoria of disciplinary perspectives, historical periods, geographical locales, media, and messages, mirroring the microcosmic form of the world's fair itself.