A Sense of Presence: Mediating an American Apocalypse
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Transmedia Storytelling Hyperdiegesis, Narrative Braiding
Transmedia Storytelling Hyperdiegesis, Narrative Braiding and Memory in Star Wars Comics William Proctor Since at least the turn of the twentieth century, the comic book medium has grown in dialogue alongside other media forms, both old and new, underscored by what is commonly described as adaptation. In basic terms, adaptation refers to a process whereby stories are lifted from one medium and replanted in another. Of course, the process is more complicated than that as different media each bring different creative requirements and, as a result, adaptation is never simply about reproducing a story in exactly the same way—although it is about reproduction, to some degree. Put simply, adaptation refers to the retelling of a story in a new media location. For example, each installment of Warner Bros.’ Harry Potter film series—from Harry Potter and the Sorcerer’s Stone to Harry Potter and the Deathly Hallows—are adaptations of novels written by J.K Rowling, each ‘retelling’ the same story in the process from book-to-film. The caveat here is that such a retelling also involves revising narrative elements, and even editing or reframing scenes from the ‘source’ text to better-fit the ‘target’ medium. Variations as well as repetition are key factors to consider, as adaptation theorist Linda Hutcheon notes (2006). The contemporary landscape is brimming with adaptations of all sorts, but perhaps the most common example in the twenty-first century are the bevvy of film and TV series based on comic books, many of them produced by the ‘big two’ superhero publishers, Marvel and DC, as film scholar Terence McSweeney argues: “We are living in the age of the superhero and we cannot deny it” (2018, 1). -
CONJECTURE GAMES PRESENTS: Conjectural Roleplaying Gamemaster
CONJECTURE GAMES PRESENTS: CRGE conjectural roleplaying gamemaster emulator By Zach Best Artwork by Matthew Vasey The Helldragon (order #6976544) “If everyone is thinking alike, then somebody isn’t thinking.” – George S. Patton Dedicated to Katie. Who shares every step with me. Written by Zach Best Artwork by Matthew Vasey Published by Conjecture Games (www.conjecturegames.com) Special Thanks to Alex Yari, Francis Flammang, David Dankel, Nicky Tsouklais, Matthew Mooney, Aaron Zeitler, Kenny Norris, Jimmy Williams, and Deathworks for playtesting, editing, and general commenting. Very Special Thanks to Chris Stieha for being the first and most thorough playtester an indie game designer could ever ask for. All text is © Zach Best (2014). All artwork is © Matthew Vasey (2014) and used with permission for this work. The mention of or reference to any company or product in these pages is not a challenge to the trademark or copyright concerned. 2 The Helldragon (order #6976544) Table of Contents What is CRGE? pg. 4 Loom of Fate – Binary GM Emulator, pg. 6 The Surge Count, pg. 8 Unexpectedly Explanations, pg. 10 Loom of Fate Examples, pg. 11 Loom of Fate Tutorial, pg. 13 Conjured Threads – Story Indexing Game Engine, pg. 14 Stage of the Scene, pg. 16 CRGE Scene Setup, pg. 18 Bookkeeping, pg. 18 Storyspinning – Frameworks for CRGE, pg. 20 Vignette Framework, pg. 21 Vignette Framework Tutorial, pg. 23 Tapestry –Multiplayer CRGE Module, pg. 24 Appendix I (Tables), pg. 27 Appendix II (Vignette Framework Tutorial Example), pg. 28 3 The Helldragon (order #6976544) What is CRGE? Conjecture The Conjectural Roleplaying Gamemaster “Is the door locked?” This is a very simple Emulator (“CRGE”) is a supplement for any pen question applicable to many RPG adventures. -
Reality Is Broken a Why Games Make Us Better and How They Can Change the World E JANE Mcgonigal
Reality Is Broken a Why Games Make Us Better and How They Can Change the World E JANE McGONIGAL THE PENGUIN PRESS New York 2011 ADVANCE PRAISE FOR Reality Is Broken “Forget everything you know, or think you know, about online gaming. Like a blast of fresh air, Reality Is Broken blows away the tired stereotypes and reminds us that the human instinct to play can be harnessed for the greater good. With a stirring blend of energy, wisdom, and idealism, Jane McGonigal shows us how to start saving the world one game at a time.” —Carl Honoré, author of In Praise of Slowness and Under Pressure “Reality Is Broken is the most eye-opening book I read this year. With awe-inspiring ex pertise, clarity of thought, and engrossing writing style, Jane McGonigal cleanly exploded every misconception I’ve ever had about games and gaming. If you thought that games are for kids, that games are squandered time, or that games are dangerously isolating, addictive, unproductive, and escapist, you are in for a giant surprise!” —Sonja Lyubomirsky, Ph.D., professor of psychology at the University of California, Riverside, and author of The How of Happiness: A Scientific Approach to Getting the Life You Want “Reality Is Broken will both stimulate your brain and stir your soul. Once you read this remarkable book, you’ll never look at games—or yourself—quite the same way.” —Daniel H. Pink, author of Drive and A Whole New Mind “The path to becoming happier, improving your business, and saving the world might be one and the same: understanding how the world’s best games work. -
Game Changer: Investing in Digital Play to Advance Children’S Learning and Health, New York: the Joan Ganz Cooney Center at Sesame Workshop
Game 2 changer: June 2009 Investing in digital play to advance children's learning and health Ann My Thai David Lowenstein Dixie Ching David Rejeski The Joan Ganz Cooney Center at Sesame Workshop © The Joan Ganz Cooney Center !""#. All rights reserved. The mission of the Joan Ganz Cooney Center at Sesame Workshop is to foster innovation in children’s learning through digital media. The Center supports action research, encourages partnerships to connect child development experts and educators with interactive media and technology leaders, and mobilizes public and private investment in promising and proven new media technologies for children. For more information, visit www.joanganzcooneycenter.org. The Joan Ganz Cooney Center is committed to disseminating useful and timely research. Working closely with our Cooney Fellows, national advisers, media scholars, and practitioners, the Center publishes industry, policy, and research briefs examining key issues in the $eld of digital media and learning. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, or any information storage and retrieval system, without permission from The Joan Ganz Cooney Center at Sesame Workshop. A full-text PDF of this document is available for free download from www.joanganzcooneycenter.org. Individual print copies of this publication are available for %&' via check, money order, or purchase order sent to the address below. Bulk-rate prices are available on request. For permission to reproduce excerpts from this report, please contact: Attn: Publications Department The Joan Ganz Cooney Center Sesame Workshop One Lincoln Plaza New York, NY &""!( p: !&! '#' ()'* f: !&! +,' ,("+ [email protected] Suggested citation: Thai, A., Lowenstein, D., Ching, D., & Rejeski, D. -
Theorising the Practice of Expressing a Fictional World Across Distinct Media and Environments
Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments by Christy Dena A thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) School of Letters, Art and Media Department of Media and Communications Digital Cultures Program University of Sydney Australia Supervisor: Professor Gerard Goggin Associate Supervisor: Dr. Chris Chesher Associate Supervisor: Dr. Anne Dunn 2009 Let’s study, with objectivity and curiosity, the mutation phenomenon of forms and values in the current world. Let’s be conscious of the fact that although tomorrow’s world does not have any chance to become more fair than any other, it owns a chance that is linked to the destiny of the current art [...] that of embodying, in their works some forms of new beauty, which will be able to arise only from the meet of all the techniques. (Francastel 1956, 274) Translation by Regina Célia Pinto, emailed to the empyre mailing list, Jan 2, 2004. Reprinted with permission. To the memory of my dear, dear, mum, Hilary. Thank you, for never denying yourself the right to Be. ~ Transmedia Practice ~ Abstract In the past few years there have been a number of theories emerge in media, film, television, narrative and game studies that detail the rise of what has been variously described as transmedia, cross-media and distributed phenomena. Fundamentally, the phenomenon involves the employment of multiple media platforms for expressing a fictional world. To date, theorists have focused on this phenomenon in mass entertainment, independent arts or gaming; and so, consequently the global, transartistic and transhistorical nature of the phenomenon has remained somewhat unrecognised. -
Entertainment Architecture
Entertainment Architecture Constructing a Framework for the Creation of an Emerging Transmedia Form by Adalbert (Woitek) Konzal Dipl.-Kfm. European Business School, Oestrich-Winkel, Germany A dissertation presented in fulfilment of the requirements for the degree of Doctor of Philosophy ARC Centre of Excellence for Creative Industries and Innovation Creative Industries Faculty Queensland University of Technology Brisbane, Australia 2011 Adalbert (Woitek) Konzal Entertainment Architecture Keywords film movie transmedia entertainment transmedia storytelling pervasive games ubiquitous games agency form evolution entrepreneurship business industry creative destruction marketing promotion — II — Adalbert (Woitek) Konzal Entertainment Architecture Abstract This thesis investigates the radically uncertain formal, business, and industrial environment of current entertainment creators. It researches how a novel communication technology, the Internet, leads to novel entertainment forms, how these lead to novel kinds of businesses that lead to novel industries; and in what way established entertainment forms, businesses, and industries are part of that process. This last aspect is addressed by focusing on one exemplary es- tablished form: movies. Using a transdisciplinary approach and a combination of historical analysis, industry interviews, and an innovative mode of ‘immersive’ textual analysis, a coherent and comprehensive conceptual framework for the creation of and re- search into a specific emerging entertainment form is proposed. That form, -
Ludology with Dr. Jane Mcgonigal Ologies Podcast March 12, 2019
Ludology with Dr. Jane McGonigal Ologies Podcast March 12, 2019 Ohaaay, it’s the lady sitting in the middle seat, who has to get up to pee, but you’re in the window seat and you’re so relieved she does, because that means you don’t have to ask the guy in the aisle to get up, Alie Ward, back with another episode of Ologies. Oh, video games! [Mario coin-collecting noise] Video games, what’s their deal? How do they affect our brains? Have we got an ology for y’all! First, I do have some thanks. Thanks to everyone who’s pledging some of your latte money or tossing me a quarter a week on Patreon for making it possible for me to get my physical butt in the same space as the ologists, or in this case, pay a recording studio to do our first ever remote interview. Very exciting. Thanks to everyone sporting Ologies merch out in the wild – that’s at OlogiesMerch.com. T-shirts, hats, pins, all of that. Thank you to everyone who rates, and subscribes, and reviews. You leave such nice notes! For example, Namon says: I love this podcast so much. I found it when searching for podcasts to sleep! Sadly, I found a podcast to binge and stay up even later. Thank you, Alie Ward, for the podcast that has everything from biology to beauty. I never did solve my sleeping problem, but I don’t really mind anymore, so thank you for the podcast. Well, thanks for the review! Try the Fancy Nancy. -
Platf Orm Game First Person Shooter Strategy Game Alternatereality Game
First person shooter Platform game Alternate reality game Strategy game Platform game Strategy game The platform game (or platformer) is a video game genre Strategy video games is a video game genre that emphasizes characterized by requiring the player to jump to and from sus- skillful thinking and planning to achieve victory. They empha- pended platforms or over obstacles (jumping puzzles). It must size strategic, tactical, and sometimes logistical challenges. be possible to control these jumps and to fall from platforms Many games also offer economic challenges and exploration. or miss jumps. The most common unifying element to these These games sometimes incorporate physical challenges, but games is a jump button; other jump mechanics include swing- such challenges can annoy strategically minded players. They ing from extendable arms, as in Ristar or Bionic Commando, are generally categorized into four sub-types, depending on or bouncing from springboards or trampolines, as in Alpha whether the game is turn-based or real-time, and whether Waves. These mechanics, even in the context of other genres, the game focuses on strategy or tactics. are commonly called platforming, a verbification of platform. Games where jumping is automated completely, such as The Legend of Zelda: Ocarina of Time, fall outside of the genre. The platform game (or platformer) is a video game genre characterized by requiring the player to jump to and from sus- pended platforms or over obstacles (jumping puzzles). It must be possible to control these jumps and to fall from platforms or miss jumps. The most common unifying element to these games is a jump button; other jump mechanics include swing- ing from extendable arms, as in Ristar or Bionic Commando, or bouncing from springboards or trampolines, as in Alpha Waves. -
Getting Started with Gamification Aaron Sumner SIDLIT 2011
Getting Started with Gamification Aaron Sumner SIDLIT 2011 Share this list with others: bit.ly/gamification-sidlit Jane McGonigal at TED (2010, video) http://www.ted.com/talks/jane_mcgonigal_gaming_can_make_a_better_world.html A 20-minute summary of McGonigal’s thesis that games teach the critical skills we need to solve the world’s largest problems. Reality is Broken: Why Games Make Us Better and How They Can Change the World (McGonigal, 2011) http://realityisbroken.org/ McGonigal’s book goes more in-depth on her thesis and showcases a number of examples of real games that have been developed to solve real problems. Gabe Zichermann: Gamification Master Class (2011, video) http://oreilly.com/catalog/0636920017622 A three-hour video workshop on putting game mechanics to use. Targeted toward marketers, but contains good information for education and other fields. Includes activities to help you develop the right experience for your “players.” Gamestorming (Gray, Brown, and Macanufo, 2010) http://oreilly.com/catalog/9780596804183 Not quite what I was looking for for my needs, but might be of interest to you if you’re looking for new ways to promote collaboration within a group. The games from this book are non- technological in nature. Gamification by Design (Zichermann and Cunningham, 2011) http://oreilly.com/catalog/0636920014614 A book version of the Gamification Master Class videos. I have not read this book yet. Flow: The Psychology of Optimal Experience (Csikszentmihalyi, 2008) http://www.amazon.com/gp/product/0061339202/ Referred to as many experts in game design and gamification as a must-read book (which, unfortunately, I haven’t gotten to yet). -
The Ludic Garden
THE LUDIC GARDEN: THE WORK OF PLAY IN COMPOSITION AND RHETORIC By JACOB EUTENEUER Bachelor of Arts in English University of Nebraska Lincoln, Nebraska 2009 Master of Arts in English Kansas State University Manhattan, Kansas 2012 Master of Fine Arts in Creative Writing University of Akron Akron, OH 2015 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY May, 2019 THE LUDIC GARDEN: THE WORK OF PLAY IN COMPOSITION AND RHETORIC Dissertation Approved: Joshua Daniel-Wariya Dissertation Adviser Lynn Lewis Anna Sicari Tutaleni Asino ii ACKNOWLEDGEMENTS This dissertation would not have been possible without the unending support of my wife, Jamie. Her guidance, encouragement, love, and support are the unseen threads that hold this work together. In addition to Jamie, I would like to thank our two sons, Oliver and Peter. Their curiosity and joy are what have driven me throughout this long process. Many of the video games mentioned throughout this dissertation were played with them at my side, stomping Koopa Troopas or vanquishing evil from the land of Hyrule. I would also like to thank the members of my dissertation committee, Joshua Daniel- Wariya, Lynn Lewis, Anna Sicari, and Tutaleni Asino. Their knowledge, wisdom, mentorship, energy, and labor have made this all possible. As a long time English major, it is common to see acknowledgement sections with nods to the authors and writers who have blazed the trail before them and inspired them to take up the study of language and literature. -
Social and Spatial Ecosystems in Location-Based Mobile Gameplay
Casual Play, Hardcore Community: Social and Spatial Ecosystems in Location-Based Mobile Gameplay Jessie Marchessault A Thesis In The Department Of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Master of Arts (Media Studies) at Concordia University Montreal, Quebec, Canada September 2020 © Jessie Marchessault, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Jessie Marchessault Entitled: Casual Play, Hardcore Community: Social and Spatial Ecosystems in Location-Based Mobile Gameplay and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Media Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _______________________________ Chair _______________________________ Examiner Dr. Bart Simon _______________________________ Examiner Dr. Owen Chapman _______________________________ Supervisor Dr. Mia Consalvo Approved by _________________________________________________ Dr. Monika Gagnon ____________2020 ________________________________________ Dean of Faculty iii Abstract Casual Play, Hardcore Community: Social and Spatial Ecosystems in Location-Based Mobile Gameplay Jessie Marchessault, M.A. Concordia University, 2020 This thesis explores the social and spatial dynamics of two major Location-Based Mobile Games communities in Montréal. By conducting interviews and play sessions with fifteen active -
The No-Prep Gamemaster Or How I Learned to Stop Worrying and Love Random Tables
The No-Prep Gamemaster Or How I Learned to Stop Worrying and Love Random Tables Sample file Matt Davids 1 Edited By Ryan Thompson Layout & Design By Matt Davids Patrons Scott Frega, Heath Baxter & Andrew Nagy Thanks Mik Calow, Jeff Gatlin & JE Melton Published by dicegeks. Contents copyright © 2019 dicegeeks and Matt Davids. All rights reserved. Some artwork © 2015 Dean Spencer, used with permission. All rights reserved. SampleCover image from iStock. Used under license. file www.dicegeeks.com 2 Get Free Dungeon Maps and More dicegeeks.com/free Sample file 3 Table of Contents Glossary........................................................................5 Introduction.................................................................6 ARCANA Gamemaster Evolution................................................8 True Role of the GM....................................................11 The No‐Prep Approach...............................................18 THREE KEYS Fill Yourself with Stories..............................................21 Don't Set Dungeons in Stone......................................31 Random Tables...........................................................35 ARROWS IN THE QUIVER Best Case/Worse Case.................................................45 Don't Create Everything.............................................48 List of Names..............................................................51 Listen to the Table......................................................54 Players Can Help Create..............................................57