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@ -925,22 +925,19 @@ allegorical illustration.</p>
<section id="section-10" class="section">
<h1 id="holographic-oracle-deck">Holographic Oracle Deck</h1>
<h2
id="crystals-energy-is-a-holographic-oracle-deck-exploring-a-range-of-energy-sources-through-the-magical-mystical-nature-of-crystals-as-energy-storing-matter">Crystals
id="crystals-energy-is-a-holographic-oracle-deck-exploring-a-range-of-energy-sources-through-the-nature-of-crystals-and-minerals-as-energy-storing-matter.">Crystals
&amp; Energy is a holographic oracle deck exploring a range of energy
sources through the magical (mystical) nature of crystals as
energy-storing matter</h2>
<p>Crystals &amp; Energy is a holographic oracle deck exploring a
range of energy sources through the nature of crystals and minerals as
an energy-storing matter.</p>
sources through the nature of crystals and minerals as energy-storing
matter.</h2>
<p>Lídia and Artemis, Special Issue 20 guest editors, asked us to modify
an oracle deck of our choice. We, Cara and Boyana, prototyped a
holographic oracle deck where a type of crystal is coupled with a type
of energy resource in a single card in an attempt to talk about the
global energy crisis we are facing today. It was important to us to
provide multiple perspectives not only on how energy is used, but where
provide multiple perspectives not only on how energy is used but where
and under what conditions it is sourced. We attempted this by using
crystals sourced in particular areas to provide a specific insight and
perspective onto a facet of the global energy eco-system. In practice,
perspective onto a facet of the global energy ecosystem. In practice,
our deck provides an educational experience through the use of a DIY
prism and complimentary audiovisual materials, which serve to create an
immersive learning environment.</p>
@ -966,13 +963,13 @@ similar to what geologists do when documenting their discoveries. He
also mentioned a few things about caverns and a mine (which later turned
into a museum) located near the city in which he used to live.</p>
<p>To visualise the card, we used a hologram video-maker app. The
process was fun and easy. All we had to do was simply find a high
resolution image of the Aquamarine crystal on a black surface and upload
it into the app. Lastly, we made a model of a pyramid prism so that we
could demonstrate the prototype fully. To get the full holographic
effect, we had to put it on top of a phone screen and play the video,
which we uploaded on YouTube and embedded as a link onto our Special
Issues website.</p>
process was fun and easy. All we had to do was simply find a
high-resolution image of the Aquamarine crystal on a black surface and
upload it into the app. Lastly, we made a model of a pyramid prism so
that we could demonstrate the prototype fully. To get the full
holographic effect, we had to put it on top of a phone screen and play
the video, which we uploaded on YouTube and embedded as a link onto our
Special Issues website.</p>
<p>We saw in this prototype a potential to provide new knowledge, to
create an engaging learning experience around energy sources, and also
to provide a bit of wonder and immersion into a discourse that can often
@ -1097,18 +1094,27 @@ Unwelcome Gifts from The Players Power to Change the Game by
Anne-Marie Schleiner, we started dissecting the ideology behind the
games we have played as children. To do that, we utilised several
prompts to help us examine the ideology that two popular video games
enforce through their narrative and gameplay. The list of questions we
needed to answer while playing the game includes:</p>
<p>What are the win conditions? If the game is quest based, what types
of quests are you asked to complete? What is the gameplay? What is the
narrative? How much space is there for alternative ways of playing this
game? What is missing? What type of relationships are you allowed to
form? What is the role of non-player characters? What are the
requirements for surviving the game? Which behaviours are rewarded? What
real-world values are reproduced in the game you are playing? How are
you situated in the hierarchy of the game? What change in status is
promised? What are you being trained for? What fantasies are lived out
or explored?</p>
enforce through their narrative and gameplay.</p>
<p>The list of questions we needed to answer while playing the game
includes:</p>
<p>What are the win conditions?</p>
<p>If the game is quest based, what types of quests are you asked to
complete?</p>
<p>What is the gameplay?</p>
<p>What is the narrative?</p>
<p>How much space is there for alternative ways of playing this
game?</p>
<p>What is missing?</p>
<p>What type of relationships are you allowed to form?</p>
<p>What is the role of non-player characters?</p>
<p>What are the requirements for surviving the game?</p>
<p>Which behaviours are rewarded?</p>
<p>What real-world values are reproduced in the game you are
playing?</p>
<p>How are you situated in the hierarchy of the game?</p>
<p>What change in status is promised?</p>
<p>What are you being trained for?</p>
<p>What fantasies are lived out or explored?</p>
<p>Our team, Irmak, Ada and Boyana, worked on the famous Papa Louie:
When Pizzas Attack. Soon after we started investigating the game, its
elements and modifications, we discovered that other players had already
@ -1125,8 +1131,8 @@ storyline that focuses on healing and coping as a response to grief and
loss, rather than violence. To link the new storyline to SI20s topic we
added ritualistic elements as actions during the gameplay.</p>
<p>What was changed was the topic, purpose and outcome of the game. Papa
no longer fought to save his customers, but he dealt with his own loss
and grief over what happened. Our version promoted rest and rituals for
no longer fought to save his customers, but he dealt with his loss and
grief over what happened. Our version promoted rest and rituals for
healing instead of revenge-seeking, violence and toxic pizzeria
culture.</p>
<p>We started by putting some keywords and suggestions on a blackboard
@ -1157,10 +1163,10 @@ of the game:</p>
unlocking a new stage in his grieving process and healing from that
loss. Rituals thus are the actions players needed to execute at each
level.</p>
<p>And so our story went like this: The Onion ring mafia kidnapped Papa
<p>And so our story went like this: *The Onion ring mafia kidnapped Papa
Louies clients, and he lost his Pizzeria. However, along with this
external change, he lost his identity as a pizza owner/maker. He was
full of grief and seeked ways to cope with grief and ease himself. He
full of grief and sought ways to cope with grief and ease himself. He
tried different rituals throughout this process, built his new identity
and overcame his troubles.</p>
<figure>
@ -1187,17 +1193,17 @@ and overcame his troubles.</p>
Healing</h2>
<p>Following this comic production, a small text-adventure Pyhton game
was developed following the same storyline. The game was fundamentally
an explorative game, in which the player could follow four levels of
an explorative game in which the player could follow four levels of
healing. Playing as Papa Louie and helping him heal his shattered soul,
the player would go in each room and type “take” or “carry” to pick up
possibilties for healing. The possbilities for each room were:</p>
<pre><code>1. empty pizzeria: [closure,catharsis, anger]
2. living room: [connection,understanding,support]
3. study room: [expression,hope,new experiences]
4. bedroom: [self-discovery,self-care]
5. kitchen: [work,nourishment,purpose].</code></pre>
the player would go into each room and type “take” or “carry” to pick up
possibilities for healing. The possibilities for each room were:</p>
<pre><code>1. empty pizzeria: [closure, catharsis, anger]
2. living room: [connection, understanding, support]
3. study room: [expression, hope, new experiences]
4. bedroom: [self-discovery, self-care]
5. kitchen: [work, nourishment, purpose].</code></pre>
<p>Once one had picked up enough healing chances, the game would end and
thank you for healing papa. The following picture shows the introductory
thank you for healing Papa. The following picture shows the introductory
illustration.</p>
<figure>
<img src="healinggame.png" alt="The Game" />
@ -1223,7 +1229,7 @@ alt="Duif met kroon by Claude Mellan 1608 - 1688, courtesy of the Rijksmuseum
<figcaption aria-hidden="true">Duif met kroon by Claude Mellan 1608 -
1688, courtesy of the Rijksmuseums Free Archive.</figcaption>
</figure>
<p><strong><em>Peace</em></strong> works less as a game per-se, and more
<p><strong><em>Peace</em></strong> works less as a game per se, and more
as an exercise in reconnecting to your senses (smell, temperature,
touch) by imagining oneself in imaginary landscapes. It takes on the
text-adventure format by asking its players to respond “yes” to continue
@ -1258,27 +1264,27 @@ Would you like to explore another daydream?</code></pre>
</section> -->
<section id="section-15" class="section">
<h1 id="the-player-is-the-author">The Player is the Author</h1>
<p>In The Sims™ 4 some values are certainly given by the game; make
<p>In The Sims™ 4, some values are certainly given by the game; make
money to buy nicer things, progress in your career by doing tasks that
improve your skills, charisma is a skill but not kindness. But also
improve your skills, and charisma is a skill but not kindness. But also
ideology is put into the game by the player. The player chooses what to
reproduce and often share in the “gallery” or on social media. In
reproduce and often shares in the “gallery” or on social media. In
contrast with what has been said by game design theorists in the past
(Aarseth, 2004), the narrative power and “richness of character” of a
game like The Sims™ 4 lies precisely in the freedom left open to the
players. “The positive potential of authorship” come precisely from the
malleability and user control, once you see that the player is the
players. “The positive potential of authorship” comes precisely from the
malleability and user control once you see that the player is the
author. Community being so important in this game then means that the
crux of the social reproduction is happening when the choices you have
made in the game are broadcasted. Did you create a heteronormative white
thin nuclear family that made a lot of money? Or did you choose to play
crux of social reproduction is happening when the choices you have made
in the game are broadcasted. Did you create a heteronormative white thin
nuclear family that made a lot of money? Or did you choose to play
differently?</p>
<p>The development of this community has also led to a strong culture of
modding or rewriting the games actual code to change appearance,
performance and behavoior.This brings the power of authorship even more
performance and behaviour. This brings the power of authorship even more
into the hands of the players and users.</p>
<p>In a spirit of respect and love for this community we have published
Console as downloadable content for The Sims™ 4, find out more on
<p>In a spirit of respect and love for this community, we have published
Console as downloadable content for The Sims™ 4. Find out more on
issue.xpub.nl/20</p>
<figure>
<img src="sims.png" alt="Console in Sims" />
@ -1534,8 +1540,8 @@ are! ")</p>
</section> -->
<section id="section-17" class="section">
<h1 id="tetris-fantasies">Tetris Fantasies</h1>
<h3 id="death-geometry-and-the-structure-of-the-individual">Death,
Geometry and the Structure of the Individual</h3>
<h2 id="death-geometry-and-the-structure-of-the-individual">Death,
Geometry and the Structure of the Individual</h2>
<p>Tetris is a game where a single player is encouraged to organise the
chaos given to them from above, a limited space for play of ten by
twenty units leads to a limited ability to approach the perfection
@ -1763,7 +1769,7 @@ need to know the future or their oracles that they go on YouTube and
subscribe to a channel there. Knowing the future made me anxious when
for many people it is something to look forward to or head towards. For
Ada, the answer to that question was simple. Everyone needs some clarity
and a sense of belonging and safety and its better and easier to
and a sense of belonging and safety, and its better and easier to
believe when told by someone else. The problem we were facing was then
about, how can a performance so intimate and personal be transferred
online for thousands to see. Doesnt that strip the whole act of the

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