66 resultados para playing


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Contemporary cases of transmedia storytelling have thrown many conventional understandings of ‘adaptation’ into disarray. The resurgence of tabletop game culture has thus far played a significant role in this, though scholars have largely neglected the subject, particularly in terms of how transmedia relationships reconfigure the meaning(s) shaped by and through games by players. This paper addresses this phenomenon through a close analysis of two board games based on The Lord of the Rings, in which the (re)construction of the story-world of the source text(s) impacts strongly on ‘conventional’ modes of narrative and identification. Governed by the adoption of various mechanics and innovative uses of the ‘competitive-cooperative’ spectrum, such transformations frequently have significant implications for how narrative meanings might be generated through play.

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During the writing of this essay, the controversial nonhuman animal rights organisation PETA (People for the Ethical Treatment of Animals) sent out a tweet linking to an online article about the recent PC and Playstation 4 console game No Man’s Sky, in which players are positioned as explorers of countless virtual planets. Encountering the wide array of creatures indigenous to these worlds, players of this game are offered the choice of whether ‘to document them and name them or slaughter them en masse’ (Francisco, ‘PETA’). While an environmental agenda appears to be far from the game designers’ minds, PETA’s Marketing Vice President Joel Bartlett interprets No Man’s Sky as ‘counting on our natural empathy … we have a natural sense of exploration that has been important to human history’ (Francisco, ‘PETA’). Indeed, PETA has immersed itself in the gaming industry by creating its own simple online games in-house, such as the provocative Mario Kills Tanooki, which opposes what it sees as the unethical messages conveyed by Nintendo’s popular Super Mario Bros. franchise. These instances of the intersection of exploration, ethics, empathy, and play raise important questions regarding the potential role(s) of gaming in furthering (or hindering) the welfare of nonhuman animals. This issue becomes more and more urgent not only in a time of ongoing climate change, environmental degradation, and the continued endangerment of countless species around the planet, but also in a time when the gaming industry and the adoption of game design principles in many others grows apace.

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Level Playing Field is both an inflatable sport and temporary public artwork commissioned for Scape 7 Public Art, Christchurch, New Zealand in 2013.

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This poem is an output of a collaborative improvisation session.

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This paper explores issues of critical literacy, gender justice and masculinity through ‘Mr A’s’ story. Mr A is head of English at ‘Grange College’ – an all boys’ school in a large urban centre in Queensland (Australia). The paper highlights how the privileging of rationality, control and ‘the masculine’ within Mr A’s ‘teaching‐as‐usual’ discourse constrains his efforts to pursue gender justice through critical literacy. While Mr A scaffolds his students’ critical analysis of gender and power in texts, his investments in teacher/student binary relations draw rigid boundaries between himself and his students in ways that delegitimise the terrain beyond the rational and ignore a theorising of the self. Drawing on Mr A’s story within Davies’ theorising about the possibilities of critical literacy, this paper adds to key work in arguing the importance of teachers’ interrogating their classrooms as lived texts where the relations of domination and power that derail the social justice possibilities of critical literacy can be made both recognisable and revisable. Such interrogation is foregrounded here as particularly urgent within the current moment where rationalist discourses within and beyond schools are increasingly working to circumscribe and constrain teacher practice in ways that stifle transformative social agendas.