Play constitutes one of our first deliberate activities in life, providing the first opportunity for interaction with objects, devices and other children or grown-ups, months before walking, talking or acquiring advanced tactile abilities. Later on in life, play becomes the basis of forming small or larger groups and identifying rules which need to be respected in order to function within those groups: players of a school basketball team have different roles and competencies, and they all have to work towards the common good of the team, while following the rules of the game, in order to succeed. In this framework, play, especially in social situations, becomes a powerful inducer of emotions, based on its outcome and the dynamics between team members and opponents. In the case of digital games, devices have now the ability to sense player emotion, through cameras, microphones, physiological sensors and player behaviour within the game world, and utilise that information to adapt gameplay accordingly or generate content predicted to improve the player experience and make the game more engaging or interesting. This book attempts to encompass the concepts that make up the big picture of emotion for and from digital gaming, starting from psychological concepts and approaches, such as modelling of emotions and player experience, to sensing and adapting to emotion, and to discuss applications of emotion-aware gaming in selected concepts and robotics. As work on emotion in games is highly multidisciplinary by nature and important to several areas of research and development, we carefully selected and invited scholars with pioneering work and recognised contributions in game studies, entertainment psychology, affective computing, game design, procedural content generation, interactive narrative, robotics, intelligent agents, natural interaction and interaction design. The result is a holistic perspective over the area of emotion in games as viewed by the variant research angles offered by the different research fields. Based on the received chapter contributions, this book is divided in three main parts: Theory, Emotion Modelling and Affect-Driven Adaptation and Applications. Bateman opens the first part of the book (Theory) by examining the question of why we like to play in "The Aesthetic Motives of Play".